Progarchives, the progressive rock ultimate discography

TRANSATLANTIC

Symphonic Prog • Multi-National


From Progarchives.com, the ultimate progressive rock music website

Transatlantic picture
Transatlantic biography
Formed in 1999 - Disbanded in 2002 - Reunited in 2009

TRANSATLANTIC is Prog's premier super group. A truly illustrious collection of amazing talent that push the barriers which redefine the meaning of a progressive rock supergroup! Of course thats no surprise, looking at the all-star line-up: keyboardist / vocalist Neal MORSE (Spocks Beard), drummer Mike PORTNOY (Dream Theater), guitarist Roine STOLT (Flower Kings), and bassist Pete TREWAVAS (Marillion). Together, these multitalented guys have created some truly amazing music. For an all-star progressive rock band, TRANSATLANTIC has a chance to make some musical noise in the United States.

All four musicians agree that "SMPTe" is a timeless piece of rock history and one that shows such diverse influences as PINK FLOYD, YES, GENESIS, KING CRIMSON and The BEATLES. This album captures some of the finest progressive rock ever recorded. Barring the prog-nazis and their arrogant opinions! "Bridge Across Forever" is definitely more of a full-band effort. Those familiar with all the band members styles will certainly identify everyones characteristic touches -- Morses melody, Stolts vibrant playing, Trewevas tasteful licks, Portnoys intense drumming. Also appearing are: Chris Carmichael, violin, viola and cello; Keith Mears, saxophone; and the "Elite" choir, background vocals. Each member of the band gets a shot at lead vocals, and the vocal harmonies are outstanding. In all cases, the musicianship is intense, technical, and ambitious, but never goes over-the-top. Made for fans by fans, "Bridge Across Forever" will stand the test of time to epitomize progressive rock.

TRANSATLANTIC forum topics / tours, shows & news


TRANSATLANTIC forum topics Create a topic now
TRANSATLANTIC tours, shows & news Post an entries now

TRANSATLANTIC Videos (YouTube and more)


Showing only random 3 | Show all TRANSATLANTIC videos (3) | Search and add more videos to TRANSATLANTIC

Buy TRANSATLANTIC Music



More places to buy TRANSATLANTIC music online

TRANSATLANTIC discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TRANSATLANTIC top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.06 | 781 ratings
SMPT:e
2000
4.17 | 866 ratings
Bridge Across Forever
2001
4.04 | 954 ratings
The Whirlwind
2009
3.83 | 603 ratings
Kaleidoscope
2014
0.00 | 0 ratings
The Absolute Universe - Forevermore (Extended Version)
2021
0.00 | 0 ratings
The Absolute Universe - The Breath of Life (Abridged Version)
2021

TRANSATLANTIC Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.39 | 139 ratings
Live in America
2001
4.45 | 197 ratings
Live in Europe
2003
4.36 | 210 ratings
Whirld Tour 2010 - Live From Shepherd's Bush Empire, London
2010
4.29 | 122 ratings
More Never Is Enough
2011

TRANSATLANTIC Videos (DVD, Blu-ray, VHS etc)

3.87 | 119 ratings
Live in Europe
2003
3.91 | 53 ratings
Building the Bridge / Live In America
2006
4.66 | 217 ratings
Whirld Tour 2010 - Live from Shepherd's Bush Empire, London
2010
3.58 | 12 ratings
The Official Bootleg DVD
2010
4.42 | 63 ratings
KaLIVEoscope
2014

TRANSATLANTIC Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.15 | 82 ratings
Bridge Across Forever - The Limited Edition
2001
4.52 | 76 ratings
SMPTe (The Roine Stolt Mixes)
2003
0.00 | 0 ratings
The Absolute Universe - The Ultimate Edition
2021

TRANSATLANTIC Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

TRANSATLANTIC Reviews


Showing last 10 reviews only
 Whirld Tour 2010 - Live From Shepherd's Bush Empire, London by TRANSATLANTIC album cover Live, 2010
4.36 | 210 ratings

BUY
Whirld Tour 2010 - Live From Shepherd's Bush Empire, London
Transatlantic Symphonic Prog

Review by dougmcauliffe

2 stars I got this 3 disc set in one of Neal Morse's radiant sales over a year ago, it was a mere $1.99 so I figured if I didn't like it, it wouldn't be a big deal. What's included here is a pretty exhaustive setlist covering a giant chunk of their discography over the course of a 3 hour concert. I gave it a few listens and while the performances seem perfectly dialed in and competent.... I just find the actual music here to be extremely aggravating to listen to. I consider myself a lover of music as a whole, and when I listen I'm always actively searching for something to like about whatever I'm currently playing, but this record was an extremely rare case where upon walking away from each listen, I just felt annoyed afterwards. It comes off as modern prog for people who don't like modern prog. The songs will have brief moments where it's actually pretty nice and pleasant, maybe a nice melody here or there, but the songs just tend to meander on and become very predictable. A lot of the stage banter and random detours they take during some of these tracks really take me out of it as well. I don't want to hear Highway Star inserted into the middle of a prog epic. There's something from each of these members that I love and besides Neal Morse, they all got 5 star albums to their names in my book. With that said, this conglomerate just doesn't work for me. Of the songs here the two I enjoy the most are actually the shortest, Bridge Across Forever is just genuinely a really lovely and intimate sounding song, and We All Need some Light is incredibly cheesy, but I still kinda dig it.

I'll add that I have heard the studio versions of all these songs, I've never been into All of the Above, but I remember thinking The Whirlwind, Stranger and Duel were decent in their studio forms. Perhaps my tastes have changed since, but these live versions don't do it for me at all. After a while of listening, the music just becomes one big blob on transatlantic-isms to my ears.

2 Stars, fans will probably dig this, I unfortunately did not.

 SMPT:e by TRANSATLANTIC album cover Studio Album, 2000
4.06 | 781 ratings

BUY
SMPT:e
Transatlantic Symphonic Prog

Review by Hector Enrique

4 stars TRANSATLANTIC was probably the most successful supergroup of the 2000s, and their first work, SMPT:e (after the initials of the last names of its members) one of the best releases. Many essential bands from previous generations were a source of inspiration, whose works, belonging to the symphonic side of the progressive genre, are clearly recognizable in SMPT:e.

The album begins with the long All of the Above, a typical 31-minute progressive suite divided into 6 fragments, where a short, very jazzy sequence of keyboards stands out, arriving 10 minutes into the song, and an aroma of JETHRO TULL without flutes but with melodic airs from the Ian Anderson group around the 19 minutes-mark, to face the last section with spatial ramblings of the guitar in the style of Hackett in the more mature GENESIS, and the occasional reminiscence of YES as well. Summing up, this theme is a statement from its main architect, Neal Morse.

The beautiful ballad We All Need Some Light sums up melancholy in all its melody, loaded with feeling. With its less than 6 minutes, in addition to being the shortest song on the album, it is also the easiest to listen to. Similar in length, Mystery Train is a combination of Beatleanian influences from Sgt. Pepper´s? and a superficial modernized psychedelic that doesn't add as much to the work.

My New World is an excellent symphonic exercise of more than 16 minutes, full of variations and tempos, with clear influences from the early works of YES, E, L & P, GENESIS, all together and scrambled but without being cloying. At times it seems that Steve Howe, Keith Emerson, and similar legends are accompanying them, but far from trying to copy them, they are more like a magnificent tribute to the genre, with the particular touch of its main manager, the leader of THE FLOWER KINGS, Roine Stolt.

The cover In Held ('Twas) in I, taken from one of PROCOL HARUM´s best albums, Shine On Brightly from 1968, finishes SMPT: e, another imposing theme of more than 17 minutes, reproduced with great taste, and recognition of the value of one of the original groups of the genre.

TRANSATLANTIC, perhaps without having it as its main objective, gives a fresh and renewed air to the movement with SMPT: e. In a nutshell, one of the best of the 2000s.

 SMPT:e by TRANSATLANTIC album cover Studio Album, 2000
4.06 | 781 ratings

BUY
SMPT:e
Transatlantic Symphonic Prog

Review by Muskrat

2 stars Some supermarket prog!

I can easily understand why Transatlantic is popular, and why people like this kind of music. It's a bit like going to sleep in an Ibis Hotel. A standardized service of equal quality, whatever the place or the day of the year. You can therefore be sure of always having the same quality and no unpleasant surprises. As with any industrial product. Thanks to the Morse / Stoilt tandem, Transatlantic took up the concept and transposed it to progressive rock. We have here a product perfectly mastered and recorded. We are served what we expect, no surprise. Everything is controlled to obtain the optimum result, a bit like prog produced in industry and which you would buy at the supermarket. If you've never listened to Stoilteries or Morseries, listen to Transatlantic, it will save you many hours of boring listening.

It's not all bad, oh no! It simply lacks inventiveness, authenticity and emotion. Reserved for tandem fans.

 Whirld Tour 2010 - Live From Shepherd's Bush Empire, London by TRANSATLANTIC album cover Live, 2010
4.36 | 210 ratings

BUY
Whirld Tour 2010 - Live From Shepherd's Bush Empire, London
Transatlantic Symphonic Prog

Review by iluvmarillion

2 stars Swayed by all the glowing reviews of The Whirlwind and my love of the previous studio album, I not only bought the new studio album, but also the 3-hour live recording of the London closing tour. I'm sorry I did. The band's live version of the epic, "The Whirlwind" on the first side, is as boring as the studio version. "Duel with the Devil" on the second CD is the highlight of the concert, but we could do without the 30 minutes of "All of the Above", which isn't a strong song. Strange that in a 3-hour long concert of a band whose discography consists of three albums, they couldn't perform my favorite Transatlantic number, "My New World". Symphonic Prog doesn't have to be as pretentious as this.
 The Whirlwind by TRANSATLANTIC album cover Studio Album, 2009
4.04 | 954 ratings

BUY
The Whirlwind
Transatlantic Symphonic Prog

Review by iluvmarillion

2 stars Roine Stolt, Neal Morse, Pete Trewavas and Mike Portnoy are great musicians, but being great musicians doesn't guarantee great music. The Whirlwind is 78 minutes of lifeless, boring music. If you don't fall asleep listening to it, about 56 minutes in you get the suggestion of a hook when the music slows down during the passage, 'Is it Really Happening', then the whole thing speeds up again for the predictable grandiose finish. Epics don't necessarily have to be of a specified length. However, Beethoven's ninth symphony is about 65 minutes long and that's epic enough. Close To The Edge runs about 17 minutes in length and Supper's Ready is about 23 minutes long. Music shouldn't have to be a test of endurance. If that's the case The Whirlwind should be awarded a gold medal.

The bonus disc which accompanies The Whirlwind contains way much better music than the main disc. 'Spinning' is a great Roine Stolt composition. A very catchy melody you can hum having a shower, it takes 68 minutes less time than The Whirlwind to make a point. 'For Such a Time' is a wonderful Neal Morse number with similar pace to 'She's Leaving Home' and features a beautiful chorus line, as clever as anything he's come up with in any of his solo albums. 'The Return of the Giant Hogweed' is as good a Genesis cover as I've heard and one of the few bands you get to hear about these days, America, is featured in 'I Need You'. The arrangement makes a brilliant turn of events in the middle section when it morphs into 'Day Tripper'. And although 'Soul Sacrifice' is a fairly standard interpretation, Mike Portnoy puts in a superb drumming performance and it's a good way to finish off the album.

The Whirlwind is a disappointing follow up to 'Bridge Across Forever' which itself was a promising follow up album to the band's debut album. Perhaps the band had a rethink of their song writing approach, because the next album to this one, Kaleidoscope, has tighter compositions, a mix of short and longer tracks and more memorable tracks.

 Kaleidoscope by TRANSATLANTIC album cover Studio Album, 2014
3.83 | 603 ratings

BUY
Kaleidoscope
Transatlantic Symphonic Prog

Review by A Crimson Mellotron

4 stars 'Kaleidoscope' is the fourth studio release by the 'supergroup' Transatlantic. This is an album that comes after three stellar ones, so the expectations were, of course, quite high. Here, the band does what one would expect them to do ' a massive album bookmarked by two monstrous epics with a few shorter songs in between. We also get five vocalists throughout the whole thing (!), as Morse, Stolt, Portnoy, Trewavas, and the guest Daniel Gildenlow all have vocal duties.

Opening track 'Into the Blue' might be my most favorite thing from this band, it is absolutely majestic and memorable, it has some genius vocal harmonies by Neal Morse and the performance of all the other members is top notch. 'Shine' is a nice ballad-type band effort that was released as a single, if I am not wrong, with everyone in the band taking the spotlight on different parts of the song. 'Black as the Sky' is a punchy and proggy track with great vocal harmonies and an in-your-face chorus, much in the spirit of some of their 70s favorites like Tull or Focus. 'Beyond the Sun' is a little Neal solo piece leading up to the 32-minute title track ' which I feel is not as strong as 'Into the Blue' but quite spectacular as well. The instrumental sections on this one are the least to say impressive, and the chemistry between the players is enviable!

Excellent music, another really good release from Transatlantic, and a great addition to symphonic prog lovers' (and not only) collection.

 The Whirlwind by TRANSATLANTIC album cover Studio Album, 2009
4.04 | 954 ratings

BUY
The Whirlwind
Transatlantic Symphonic Prog

Review by Squire Jaco

4 stars For a band that has unashamedly composed prog epics of unmatched length, they leave no doubt at the start of this 77-minute epic that you're in for an epic of epic proportions... ;-)

The opening track starts with a small brass ensemble that transitions to an orchestral flourish before settling into what is essentially the overture for this grand work, introducing the listener to many of the musical themes that we'll hear again in various forms throughout the next hour and a quarter.

In typical Transatlantic style, the recurring themes are catchy, sophisticated, and often turned inside-out to form new and interesting mind excursions. Folks, this is great stuff! It's probably one of my favorite progressive rock albums of the year (just behind the fantastic "Realms of Eternity" by Syzygy). To any naysayers out there, all I can say is that you sound like a baseball fan who is disappointed that the star slugger on your favorite team belted the game-winning home run "only" 400 feet when you were expecting a 500-ft homer instead. Get real, folks - this is some primo stuff.

I like Roine Stolt's increased vocal duties this time around, and I feel like these are the best guitar lines he's laid down since the TFK "Stardust We Are" album. I appreciate the fact that Portnoy is able to de-metalize his drum style for this band, and he really is impressive here. Likewise, Trewavas has his best Transatlantic showing on this cd - his bass is thick, trebly and melodic, and his vocals are great. Neal Morse is great here too - I love his vocals, and if he tends to drag the lyrics back to the edge of Christian music here and there, I'm fine with that. I do believe that the work as a whole shows a nice balance between all four members; and while the message is certainly one that aspires to a higher plane, the listener is not hit over the head with it until (perhaps) the last song (which is still a great one!).

Just a quick nod to the great cd artwork and liner notes - it's even kind of cool that they've been able to work their signature flying space zeppelin into the covers of all three studio albums now. And kudos to the sound engineers for nice separation and mixing - some of the jams and prog workouts here are just fantastic, and made even more so by the production.

The only thing that sort of bothered me (and this is a real nit, folks) is that by the end of the second song, I was pretty durn sure that the whirlwind blew everyone away! and I really did not need one more chorus or song about it to convince me... I got it. Really. (Perhaps some of the other songs could have been shortened or edited a bit as well.) But "wind" is the primary theme of this suite after all, and is integral to the metaphor of the overall message, so let's accept it and move on.

I liked the second cd too, but not nearly as much. I enjoy covers of songs that I've liked, so these are worthy - I think the combination of the two "I Need You" songs was clever. "Spinning" is a fantastic song in the Flower Kings style, while the lyrics to "Lenny Johnson" just seemed a bit clumsy to me. "Lending A Hand" is kind of a cool song in a late-60's spacey-psychedelic-prog style. I'd probably give that disc alone a 3-1/2 star rating, which prohibits me from assigning the entire package 5 stars.

So, please put away your lofty presuppositions about what this comeback cd from your favorite progressive rock band of the past decade SHOULD be, and let it wash (or blow?) over you for what it is - another great, thoughtful collage of masterful songwriting and performing from a one-of-a-kind band. Worthy.

 Bridge Across Forever by TRANSATLANTIC album cover Studio Album, 2001
4.17 | 866 ratings

BUY
Bridge Across Forever
Transatlantic Symphonic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars An album and band whose imitative/derivative sound had repelled me for years has finally earned it's respect and admiration.

1. "Duel With The Devil" (26:43) : (42/50) - i) Motherless Children - incredible opening two minutes, but then things become so derivative. At the end of the fifth minute the vocals begin. So much like ASIA. Fairly good melodies. Good performances though a bit loose and out-of-sync in places. (13/15) - ii) Walk Away - at the seven minute mark this odd pseudo-acoustic, pseudo-folk JON ANDERSON-like song is inserted. It amps up for the chorus while trying to retain fairy melodies from its start before launching into a full-on prog assault of bombastic proportions--guitar power chords and Hammond on full display. (7.75/10) - iii) Silence of the Night - at 11:35 everything slows down as if in a jazz porno dream. Talking wah-guitar soloing over wavering Fender Rhodes. Too sexy! And then add sax! Too much! And to come out of it with PINK FLOYD's "Eclipse" from Dark Side of the Moon is just too audacious, even impudent. (8.25/10) - iv) You're Not Alone - at 15:53 we change channels and find ourselves bouncing along a 1970s pop hit by AMBROSIA or THE LITTLE RIVER BAND. (4/5) - v) Almost Home - at 18:40 we have our final shift into a very TFK/YES-"Soon Oh Soon"-like steel pedal guitar solo before they launch into a Relayer-like instrumental passage. The vocal section that comes next is remarkable for it's "Elite" choir gospel-church-like backing vocals. This is wonderful! This is followed by a very TFK-familiar climax and finish. (9/10)

2. "Suite Charlotte Pike" (14:30) (29/35): - i) If She Runs - opens with a fade in to a jam like something from a PRINCE concert. At the end of the second minute the band congeals into a rock tune to support a EAGLES/BEATLES-like vocal section. The finishing instrumental section is very BEATLES-ish (intentionally so). Odd with all of the band members' studio commentary included. (8.5/10) - ii) Mr. Wonderful - at 4:40 we move into more 1960s styles, mostly the BEACH BOYS, despite Roine Stolt's signature voice in the lead vocal spot. Pleasant. (4.25/5) - iii) Lost and Found pt. 1 - a brief Richard Wright/PINK FLOYDian synth solo (4/5) - iv) Temple of the Gods - at 8:25 we move into a more aggressive passage of BEATLES-medley mix. (3.5/5) - v) Motherless Children / If She Runs (reprise) - at 10:55 we move into a mellow reprise of the Motherless Children theme and lyrics from the previous song. Nice guitar solo in the thirteenth minute preceding the return to the opening theme of "If She Runs." As is typical of the Stolt projects, the finale is the best part. (8.75/10)

3. "Bridge Across Forever" (5:33) Neal and piano. (8.5/10)

4. "Stranger In Your Soul" (26:05) (50.5/55): - i) Sleeping Wide Awake - cheap synth strings intro precedes "Watcher of the Skies"-like entrance and beginning before Yes bass and ASIA-like synth bring us up and into the organ-dominated motif that precedes the vocals. The vocal section--which is shared alternately and, later, collectively, by Neal and at least two other members--is very nice: simple music that supports the nice melodies and stylings--until (8.75/10) - ii) Hanging in the Balance - the jarring leap into thickness and heaviness at the six minute mark. This section is well constructed--though the drums feel out of sync with the sound of the rest of the music. (8.5/10) - iii) Lost and Found pt. 2 - around 9:45 we move into this Southern rock-feeling passage, which decays into a pleasant little interlude of BEATLES-like pastoral bliss before jumping into a full-powered, bass-thumping instrumental section for an incredible solo from guitarist Roine Stolt. Weird then to go back to the BUGGLES-like vocal section. (8.75/10) - iv) Awakening the Stranger - at 12:35 we descend into the crystalline waters piano with dreamy guitar, synth, and vocal incidentals in the background. At 14:15 this pretty section evolves into a very pleasant plaintive vocal performance from Neal over his piano. Great melodies, great nuanced support from the others. (10/10) - v) Slide - This then moves seemlessly and magically into a multi-layered "strings" passage. These two passages make up the best "song" I've ever heard from TMPTE. (5/5) - vi) Stranger In Your Soul - at 17:40 we slide into a new section in which there is a very impressive display of organ, bass, and drum mastery right off the bat. A PORCUPINE TREE-like vocal over jazzy drums and piano interrupts this temporarily, but the heavy organ-bass-drums motif reappears here and there to remind us that it's all part of the same song--and then by the 20-minute mark we are fully returned to it for a prolonged instrumental passage. Solos by synths, guitar, bass proceed to fill the next few minutes. At the end of the 22nd minute we return to the vocal motif, only with a little more power and thickness behind Neal's voice. (9.5/10)

Total Time 72:51

It sounds and feels as if the boys had a lot of fun playing the music on this record, but it also feels as if it was fairly easy to put together these songs--the motifs and styles of which have so many familiar predecessors and models.

B/four stars; a very nice addition to any prog lover's music collection--but definitely worth it if only to hear the wonderful epic, "Stranger In Your Soul."

 Live in America  by TRANSATLANTIC album cover Live, 2001
3.39 | 139 ratings

BUY
Live in America
Transatlantic Symphonic Prog

Review by judahbenkenobi

2 stars When I was a teenager I discovered that the music my brother listened to when I was just a little boy was this strange genre called progressive rock. Yes, he listened to Rush, Queensryche, and so on, and I liked it. Now that I had grown up a bit, and had a little more independence and personal taste, I decided that this genre was my thing.

In that time I considered Transatlantic the ultimate prog, the essence of the genre, the unbeatable heroes. Their debut album was the climax of musicianship. Of course, I still like Transatlantic, but now that I have expanded my tastes and experienced different sounds and notes, I have a more balanced, realistic point of view of this excellent band.

I bought this album quite a while ago, maybe a couple of years, but for some strange reason, hadn't given it a single spin. I just did it today during co-vid 19 full lockdown in Guatemala. The results?

I am sorely disappointed. The performance, instead of being a well-produced live presentation, sounds improvised, more like a recorded jam session. That wouldn't have been bad if that would've been the real intention. But this was intended to be a document of this mammoth supergroup playing live, so the results are sadly underwhelming. The vocals are the worst part of it. Most of the singing is out of key, the harmonies are poorly synchronized and badly arranged and sometimes the vocalists don't even remember the words, especially in the cover versions.

The tracklist includes several covers, from the Beatles, Genesis and from each of the members own bands. But the arrangements are so uninspired, I could barely listen to it all through, begging for it to end.

If you want to listen to something good from this band, stick to their studio debut, or to what would be their next live album

 Live in Europe by TRANSATLANTIC album cover Live, 2003
4.45 | 197 ratings

BUY
Live in Europe
Transatlantic Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars During a brief trip to Holland (fulfilling a life long dream), I found this CD in a music store in Amsterdam. I was quite disappointed to find so few prog CDs in one of the biggest records stores in that town, so I ended up buying this CD because: a) at just 10 euros it was a bargain for a double live CD and b) although Transatlantic is not exactly one of my favourite bands it was a live album and I supposed the performances would be great. Fortunately I was right. The first two Transatlantic albums did not really excited me much: the combination of four members of four of the most important prog groups in recent history (Spocks Beard, Flower Kings, Marillion and Dream Theatre) promised more than what actually was delivered, In fact it sounded too much like Neil Morse's band (specially on their debut) and the production was too slick, burring most of the guitars and taking away some of their spontaneity.

But on stage the story was different: As I supposed, the tracks had more edge, they are rockier and doubtless the talents of the four members shine equally. Neil Morse, Roine Stolt, Pete Trewavas and Mike Portnoy finally show what they are capable of together. There are even some improvisations here and there, even if most of the songs are played with a surgical precision. The last comment may lead you to think if there was some studio overdubbing, but anyone who saw them live knows those guys can cut the most difficult material with a smile on their faces, even adding some fascinating vocal harmonies. This supergroup is really super live (to top it all they also count with the precious help of Pain Of Salvation mastermind Daniel Gildenlow. Not bad at all!).

There is not much to say about the performances themselves, since words like "perfection" and "impeccable" comes to mind all the time, and that pretty much sums it all. Of notice we have only the 30 minute Suite Charlotte Pike, where they pick up one of the less interesting tracks of their second CD and make it really special by intertwining it with the Beatles Abbey Road medley of the second side of that album. The results are stunning, with Transatlantic proving they can play the Beatles stuff with precision and respect. It is really impressive how their verses come and go with the Beatles, blending it all so seamlessly.

Live In Europe, finally, shows Transatlantic at their full potential mode, and it is far more convincing as a live group than in studio (at least until they released their third excellent effort, 2009's The Whirlwind).

Rating: something between 4 and 4,5 stars. Excellent addition to any prog music collection. And then some.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.