WALLENSTEIN

The differences are that this album has real vocals, the songs are shorter, and the mixing of instruments is sometimes altered. On some tracks in Mother Universe, Jurgen Dollase's keyboard work is less to the fore than on Blitzkrieg, and the resultant song feel in some cases leans more towards a psych direction than a classical music structure.

Then, there are the previous Wallenstein characteristics apparent. Dollase's deeply moving keys playing, obviously classically inspired at times, the playfully aggressive guitar work going on at the same time at times, and the creative bass and drum work, as well. And the compositions are Dollase's, as in the case of the debut album.

On Mother Universe, the vocal work and instrumental play go together really well, and make for a balanced album, though it is instrumentally where this band really shines. Mr. Dollase's keyboard work is especially delightful, and a thrill to follow on this album, as well. Vocally and instrumentally, there is real unbridled emotion going on here, and what would music be without real emotion? The whole record is very moving, and displays some of the greatest music of the symphonic prog world, period.

Wallenstein would not peter out after these first two masterpieces, and continue to create some great music, up to, and including the album Charline, an album which is a far cry from this one, but good, nonetheless. Mother Universe is definitely one of the band's very best-i give it five stars.

The band's previous three records are cerebral, intelligent, classically inspired symphonic prog, and quite frankly, i wasn't so sure they could top, or even equal, those five star efforts. I feel with this one, they very well may not surpass, but come close to equaling, the past greatness. Though in this record, Wallenstein show even more than usual that they can still be progressive, but also instill some important, new musical changes.

Though classically trained keyboardist Jurgen Dollase is still the highlight of the group's instrumental sound, other members shine on this record in a unique sort of way this time around, especially violinist Joachim Reiser.

The music on Stories, Songs and Symphonies is not quite as frenetic as previous records like Blitzkrieg, but instrumentally, they never lose your interest, and there is a cohesive spirit uniting all the songs on this album, so that there is diversity and varied moods and feelings, all right, but all fits together so well.

Mr. Dollase's lead vocals are quite nice- he sings with feeling and emotion, without being excessive, though the band really shine when they are instrumental, a Wallenstein trade mark, really.

Overall, an intelligent, cerebral record that is also delightful and beautiful sounding. Who would want their Wallenstein any other way? Five stars.

While many progressive groups were starting to record some pretty cringe-worthy pop by this point in the seventies (1978), there is nothing to cringe at with Charline. The title song made it to 17 in the German charts at the time, though really should have been a hit, worldwide, as it is both very pretty and catchy .

I think one of the main reasons that this record is seventies pop-rock at it's best is the presence of German singer Kim Merz, who does such a fabulous job of singing on all the tracks on Charline, his first record with Wallenstein. He has a truly great voice, with a strong delivery, though never loosing a melodious, naturally musical phrasing. (Mr. Merz turned 60 years old just recently, Happy Birthday, Kim!)

The whole band at this point were still a live act to be reckoned with, as judging by the videos where they are doing the title track of Charline that exist. No, this is not the Wallenstein of the past, but Charline is much better than the following album Blue Eyed Boys, which i am sorry to say is a bit cringe-worthy in places.

The tasteful singing and playing all the way through Charine is quite a pleasing thing to hear, and when i want something a bit lighter, this album is a nice experience. I am giving it three stars, because this is prog archives, but judged as a quality pop rock effort, which it is, it deserves five stars. "Charline is on my mind"

The music on Blitzkrieg is mainly instrumental, and so be it, though the album has a hard edge to it, with some aggressive guitar work in the mix, it is tempered by the always eloquent keyboard work of Jurgen Dollase. Yes, Wallenstein blast you and move you in the same breath, and that is not something to be taken for granted with a rock group. This music is so intelligently crafted, and you can tell that Dollase has had classical music training, with the way he plays, and the way everything is connected.

There is no filler in Blitzkrieg, and the lengthy instrumental passages where there is a lot of interplay between guitar and keys always have a point to them, and a mind-blowing technique is displayed that never betrays a great emotional feel that keeps the listener thrilled from start to finish, on every number.

This debut was a hard act to beat, it being so well done, but the band would end up putting out some more incredible records before things changed for the worse years later, with a creeping pop drivel that ended up totally abandoning the brilliance evident in this debut masterpiece. It was unfortunate that things did change, but it was unavoidable, and happened to the best of the seventies progressive acts, no matter how great.

There is so much going in Blitzkrieg, technically, emotionally, that it keeps you coming back for more and thus stands the test of time very well, the result being a five star masterpiece.

On their third album, Cosmic Century (and for that matter, the two following studio albums) Wallenstein as a creative musical entity were obviously not at the end of their tether, even though the previous albums were hard acts to follow, due to their excellence.

The thing i like the most about Cosmic Century is the work of composer-keyboardist-vocalist Jurgen Dollase, his important role and obviously classically trained keyboard work the main pulse behind Wallenstein. As a creative musician in the seventies, Dollase had his fingers in a lot of musical pies (like with The Cosmic Jokers, Walpurgis, Sergius Golowin, etc.), but his work in Wallenstein is where he really shined the most. But he gives the other musicians room to express themselves, and their playing is refreshing, and interesting to listen to, as well, on Cosmic Century.

Dollase's vocals are done with great feeling, and that could be said of the great instrumental playing on this record, whether it be drums, guitar, keys or violin. There is intelligence in this music, but also, in the same breath, a lot of feeling and emotion. Like Triumvirat, Wallenstein know how to juggle these two things with neither at the expense of the other, a feat not easily done by a lot of rock groups.

There is no wasted filler in any of Cosmic Century, and the album fits together quite nicely, because of that. A wonderful listen, from start to finish. Five stars-an essential.

Needless to say that '77 was not the best times of prog in the rock history? And one can feel this while listening to this «Wallenstein» effort. I would say that it doesn't hurt. But no more. Their best years are definitely behind. The worse is probably reached while « Jo Jo » is being played.

But to be honest, there is nothing great on this album. The closing «On an Eagle's Wing » is the most complex track of the whole (but it is not difficult). It offers some pshychedelic reminiscence as well as a strong jazz approch. The whole seems quite improvised (even if it isn't).

This album doesn't hold great songs like during their first three albums. Two stars is my rating. Below average.

The second long track "Silver Arms" also shines here: thanks to a superb second half which features a strong guitar section; rounded by a very skilled group of musicians. This is a very melodic and symphonic piece which might well be one of the bands ever. A bit hesitant and chaotic in its initial phase although the solid organ part is quite sustained and should please fans of the heavy prog genre. It is another highlight of course.

But almost each track is very well done and interesting: it is again the case with "Song Of Wire" which is a superb crescendo-built song which definitely needs to be known even if short vocals are not the best here. The Floydean closing number is again quite enjoyable and it is a very good end for a very good album actually.

Seven out of ten easily; but upgraded to four stars.

The next track is features a wild instrumental intro which could not the cup of tea of many progheads but it needs to be investigated. It is almost hard to heavy rock and to my standards, it could have been developed as such but we'll get some symphonic parts instead (of which a vocal part that could have been skipped). The wild section (almost punkish!) gets back at the end of this crazy song. Another good moment though.

The pastoral and folkish "Shakespearesque" is somewhat weaker but the inspiration gets back with "Dedicated To The Mystery Land": again the intro is gorgeous and highly hard/psyche oriented.

Like during "Brainstrain", the song evolves into a more symphonic approach for a short while. Some great and frenzy guitar are topping the second part of this excellent track. The third highlight.

The two remaining songs are quite average and are dragging down my rating to three stars. Still, this is a good album that would need some more exposure.

"Lunetic" is by no means a lunatic affair. The entire contrary. It is an extraordinary psyche rock song with a fantastic beat all the way through. The attacking guitar is from another world and the whole rhythmic section plays outstanding. This long track (just over the 12 minutes mark limit) is truly amazing. A jewel of psyche-rock music. A highlight of course.

The guitar ?oriented side of this album is underlined again with "The Theme". But the theme of music is completely different. This time, we are brought back to the full symph style: melodic, sweet, soft? with some tranquil mellotron in the background. Again, this is a solid piece of music: should I say a second highlight? The second half of the song though is completely crazy again.

Needless to say that if you are expecting some quietness; you'd better be prepared. The few peaceful moments here are mixed with the most incredible and powerful ones! What a great mix indeed!

My passion for this work declines somewhat with the third and longest song. "Manhattan Project" sounds too much self indulgent to my taste. Lush keyboards, bombastic atmosphere but some sort of pompous feel are dominant. Still, when all these defects disappear, the flute and tranquil piano are an enchantment. This track holds several different parts though; and I guess that each one can "feed" your prog heart. Just grab what your mood tells you to do?

This album is almost all instrumental and demonstrates quite a high technical skill. Quite an achieved work that deserves four stars with no ambiguity.

Beautiful, that's probably what will you think about when listening this. Melodic, truly symphonic album (keyboards / piano reigns here mostly, through most of the track's length), but without being non-original, without being cheap and stealing here or there, simply fine sound that a lot of bands would envy.

Lunetic starts, as Wallenstein guys likes with keyoards & guitars duet (both being equal in resulting sound). The song is basically one wild ride without rest. But The Theme is more subtle. Mellow piece reminding me Troya's Point of Eruption a little bit.

Tracks are divided here into wilder-calmer-wild-calmest simply.

Manhatten Project is probably the weakest piece here (but it's hard to find weak one anyway), with big part of it being taken by solos on various instruments (holy three - guitar, keyboard, drums). Audiences starts as ballad, but soon turns into good old keyboards heaven (piano actually) with gentle mellotron sealing the track.

4(+), well recommended. It's weird that at first, people were rating this album with 4-5 stars, then after some time, ratings suddenly dropped to 2-3, where they stayed. So who's right ? Probably all of us.

Enjoy this, it's what 70s Prog is about.