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VARIOUS GENRES

A Progressive Rock Sub-genre


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Various Genres definition

Albums or CD's where more than one artist is featured either as a SAMPLER or a TRIBUTE to a particular band. Examples: - Peter and The Wolf - Prog Fairytale - 1975 / The Reading Room - 2000 / Leonardo - The Absolute Man - 2001 / Best Prog Rock Album in the World... Ever - 2003 / Un Voyage En Progressif Volume 1 to 8 / Kalevala - A Finnish Progressive Rock Epic.

Various Genres Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Various Genres | More Top Prog lists and filters

4.18 | 215 ratings
JESUS CHRIST SUPERSTAR
Various Artists (Concept albums & Themed compilations)
4.23 | 102 ratings
ODYSSEY - THE GREATEST TALE
Various Artists (Concept albums & Themed compilations)
4.20 | 94 ratings
INFERNO - THE DIVINE COMEDY, PART 1
Various Artists (Concept albums & Themed compilations)
4.28 | 57 ratings
LA BIBLIA
Various Artists (Concept albums & Themed compilations)
4.14 | 85 ratings
DECAMERON - TEN DAYS IN 100 NOVELLAS (PART 1)
Various Artists (Concept albums & Themed compilations)
4.17 | 59 ratings
THE SPAGHETTI EPIC 3 - THE GREAT SILENCE
Various Artists (Concept albums & Themed compilations)
4.16 | 57 ratings
REWIRING GENESIS - A TRIBUTE TO THE LAMB LIES DOWN ON BROADWAY
Various Artists (Tributes)
4.11 | 70 ratings
THE STORIES OF H.P. LOVECRAFT - A SYNPHONIC COLLECTION
Various Artists (Concept albums & Themed compilations)
4.03 | 93 ratings
JESUS CHRIST SUPERSTAR (THE ORIGINAL MOTION PICTURE SOUND TRACK ALBUM)
Various Artists (Concept albums & Themed compilations)
4.09 | 57 ratings
PURGATORIO -THE DIVINE COMEDY, PART II
Various Artists (Concept albums & Themed compilations)
4.54 | 14 ratings
LEADER OF THE STARRY SKIES: A TRIBUTE TO TIM SMITH, SONGBOOK 1
Various Artists (Tributes)
4.02 | 57 ratings
DECAMERON - TEN DAYS IN 100 NOVELLAS (PART II)
Various Artists (Concept albums & Themed compilations)
4.01 | 49 ratings
THE 7 SAMURAI
Various Artists (Concept albums & Themed compilations)
4.02 | 35 ratings
MARSCAPE
Various Artists (Concept albums & Themed compilations)
3.93 | 41 ratings
GIALLO ! (ONE SUITE FOR THE MURDERER)
Various Artists (Concept albums & Themed compilations)
3.95 | 33 ratings
THE ZODIAC - COSMIC SOUNDS
Various Artists (Concept albums & Themed compilations)
3.83 | 56 ratings
DECAMERON - TEN DAYS IN 100 NOVELLAS (PART III)
Various Artists (Concept albums & Themed compilations)
3.90 | 33 ratings
RETURN TO THE DARK SIDE OF THE MOON
Various Artists (Tributes)
4.39 | 9 ratings
VISIONS OF AN INNER MOUNTING APOCALYPSE (MAHAVISHNU ORCHESTRA)
Various Artists (Tributes)
4.30 | 10 ratings
MORE ANIMALS AT THE GATES OF REASON - A TRIBUTE TO PINK FLOYD
Various Artists (Tributes)

Latest Various Genres Music Reviews


 Leonardo - The Absolute Man by VARIOUS ARTISTS (CONCEPT ALBUMS & THEMED COMPILATIONS) album cover Studio Album, 2001
3.44 | 67 ratings

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Leonardo - The Absolute Man
Various Artists (Concept albums & Themed compilations) Various Genres

Review by lukretio

2 stars Leonardo, The Absolute Man is an ambitious multi-singer prog rock opera orchestrated by Trent Gardner, the mastermind of Magellan, where he played keyboards, trombone and vocals. For this project, Gardner recruited his brother Wayne (Magellan's guitarist) and the rhythm section of US proggers Dali's Dilemma (Jeremy Colson on drums, Patrick Reyes on rhythm guitar, Steve Reyes on bass). The line-up is completed by a dozen singers, each interpreting a different character in the saga of Leonardo da Vinci, the famous Italian polymath who lived during the High Renaissance. The vocalists are drawn from the US prog rock/metal scene and feature some notable names, such as Mike Baker (Shadow Gallery), Robert Berry (3 with Keith Emerson and Carl Palmer), Dream Theater's James LaBrie (in the role of Leonardo himself), Michelle Young (Glass Hammer), and Steve Walsh (Kansas).

As a huge fan of Ayreon, Avantasia, Kompendium, and Nikolo Kotzev's Nostradamus, I am a sucker for this type of multi-singer productions, so I was really looking forward to sinking my teeth in Gardner's magnum opus. Alas, although there were a couple of tasteful bites here and there throughout the 63+ minutes of the album, overall the experience left a bitter aftertaste in my mouth.

Given the quality of the line-up, there is obviously nothing wrong with the musicians' performances, which are all of high quality. The music itself is also generally pleasant. Unsurprisingly given that Gardner is the project's mastermind, the songs are very much keyboard-driven and filled with lush and spacious orchestral arrangements, but they do not lack bite and the music can rock too, when necessary. This gives the album an overall musical-like flavour, which I find suitable for this type of productions. However, differently from many Broadway musicals, the music here is much more complex, both in terms of songwriting and arrangements. Gardner often chooses the untrodden path when it comes to deciding how his compositions should progress, although at times he can also let the music open up into beautiful melodies, like on the chorus of "Reins of Tuscan", on the soulful ballad "Mona Lisa", on the grandiose "First Commission" and "This Time, This Way", and the initial part of the piano-driven ballad "Shaping the Invisible".

Sometimes, however, there is a sense of over-indulgence in the sheer amount of technical complexity and cleverly-constructed arrangements that permeate the 18 songs of the album. I have the impression that, by trying to showcase his progressive chops, Gardner at time completely lost sight of the song itself, leading to overly difficult episodes such as "Apprentice", "Inventions" or - perhaps the most notable example - the second-half of "Shaping the Invisible", a song that starts beautifully with a soulful performance by LaBrie accompanied by the piano, before progressing to a dreadful, messy crescendo that approaches cacophony, completely ruining the atmosphere of the song.

I was also mildly disappointed by the vocal parts. It is not about the singers' performances per se, which are all good (special praise goes to LaBrie, Walsh and the two female singers Michelle Young and Lisa Bouchelle). Rather, my issue is about the way the vocal parts integrate with the music. There are two problems, in my view. First, as with the musical background (and perhaps because of it), I sometimes felt that the vocal melodies were overly difficult, sacrificing immediacy and euphony in favour of technicality ("Heart of France", "Apprentice"). Second, many of the singers involved in the project have a rather similar timbre and it is really hard to tell them apart. This is a major shortcoming, in my opinion, as one of the things I appreciate the most in this type of multi-singer projects is the variety of the vocal performances. This is almost completely lost here, with only Steve Walsh possessing a distinctive timbre that sets him apart from the rest of the male vocalists. In truth, Leonardo feels a lot like a LaBrie-dominated project, with many other singers that sound a lot like LaBrie extras.

Overall, although there are a few moments of brilliance (above all, the two male-female duets "First Commission" and "This Time, This Way"), Leonardo was a mildly disappointing release for me, with too many dull moments and shortcomings. If you, like me, are a fan of multi-singer rock/metal operas, it may still be worth to give this album a try, as the objective quality of the musicians involved is high and there are a few standout episodes here and there throughout the 60+ minutes of the record. However, anyone else would do better by trying some of the other rock/metal operas that exist out there, like anything by Ayreon or, if you want something less metal, the awesome Nostradamus record by Nikolo Kotzev.

 Encores, Legends & Paradox - A Tribute To The Music Of ELP by VARIOUS ARTISTS (TRIBUTES) album cover Studio Album, 1999
3.61 | 38 ratings

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Encores, Legends & Paradox - A Tribute To The Music Of ELP
Various Artists (Tributes) Various Genres

Review by JazzFusionGuy

3 stars If there was some form of progressive CD release recognition like Prog-Grammy or the "Gilded ELP Award" gala event, this tribute album would surely have easily earned "Best of . . .", "Best Tribute", "Most Artist . . .", and "People's Choice . . .", etc., etc. It is warming to this old progger heart to hear so many talented artists paying homage to one of the foundational giants of the progressive rock genre. For those who have never heard of ELP, yes they exist, Keith Emerson, Greg Lake, and Carl Palmer pulled off some of the most imaginative, inspiring, maddening, and daring rock ever recorded. Nothing else like it had been heard before. Perhaps snippets, maybe a phrase or a bar had been dabbled with by others earlier but ELP solidly infused art into art-rock and thankfully had the wisdom to keep it rocking. Wild keyboard solos, polyphonic Moog synth covers of classical music, mean bass runs, golden guitar, strong vocals, and drumming beyond description, giant gong and all, ELP fused it together into interesting compositions, moving ballads. Fugues, overtures, movements, and live shows full of spectacle kept ELP fans thirsting for more.

And now the review . . . selections from Tarkus, Trilogy, the ELP debut Emerson, Lake, and Palmer, and the extravagantly ambitious Brain Salad Surgery are each crafted expertly afresh by such artists as these; Peter Banks, Martin Barre , Robert Berry, Marc Bonilla, Geoff Downes, Trent and Wayne Gardner, Jerry Goodman, Matt Guillory, Glenn Hughes, Igor Khoroshev, James LaBrie, Pat Mastelotto, Erik Norlander, John Novello, Doane Perry, Simon Phillips, Mike Portnoy, Mark Robertson, Jordan Rudess, Derek Sherinian, John Wetton, and Mark Wood. "Whew!" Ah, but the diversity of talents and styles mesh nicely on each track.

Best tracks overall, earning 10 out of 10, (a hard choice), were the 10:16 "The Endless Enigma", simply a monolithically incredible piece of work, "Hoedown", "Tarkus", and "The Barbarian". All the other tracks were each at least 8 or 9's out of 10 in excellence except for "Knife Edge" where Glenn Hughes' vox strained and strayed way too far into bluesy-rock, nite- club crooning angst and left progressive rock boundaries we expected on such a tribute release. My subjective call, of course here.

So, grab this, and if you haven't sampled the real deal of ELP before now, this CD will definitely attract the attention due to the immortal music of Emerson, Lake, and Palmer. This is a must-have release for all keyboardists and fans of the 88-stepped, ivory staircase to blissdom.

 Gubec-Beg (rock opera) by VARIOUS ARTISTS (CONCEPT ALBUMS & THEMED COMPILATIONS) album cover Studio Album, 1975
3.13 | 5 ratings

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Gubec-Beg (rock opera)
Various Artists (Concept albums & Themed compilations) Various Genres

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars The rock opera which combined the musical effects of rock music with musical theatric delivery became a phenomenon in the late late 1960s with bands like The Pretty Things, The Who and others had the desire to create a larger than life thematic presentation in a rock context. While the stylistic hybridization remained primarily in the English speaking world for several years after the initial explosion of popularity, other nations followed suit only after the phenomenal success of Andrew Lloyd Weber's "Jesus Christ Superstar" which reverberated around the world and in many ways alerted that the rest of the world that rock had evolved beyond its rather trite and predictable origins although The Who also played a part in upping the ante with its success in "Tommy".

The very first non-English rock opera seems to have come from the Japanese collaborative efforts of Tenjo Sajiki and the Tokyo Kid Brothers with its 1971 smash hit " サントラ盤‼ 書を捨てよ町へ出よう (Santora-ban‼ Sho o suteyo machi e deyō) " but soon the rest of the world was adapting the sound of rock music to their own interpretations of the rock opera. One of the more successful of these came from the region of Croatia which was then a part of the former Yugoslavia and titled GUBEC-BEG which was created by the primary trio of Karlo Metiko? (composer), Ivica Krajač (libretto) and Miljenko Prohaska (orchestration) along with a cast of talented vocalists and musicians to pull it all off.

The theme of this rock opera was to celebrate the 400th anniversary of the Peasant Revolt of 1573 when the situation of the population was so desperate that they were forced to collaborate their efforts to defeat the ruling aristocracy of the day. The project began as far back in 1971 and premiered on March 5, 1975 in the concert hall of Vatroslav Lisinski. The play was a huge success within Yugoslavia and even spilled outside its borders despite being performed exclusively in the Croatian language. The most famous and highly regarded of the entire musical output from this rock opera has remained "Ave Maria" performed by Josipa Lisac and although the play has been revived from time to time, it has never been as successful as when it was first released. The original lineup starred Branko Blaće, Marijan Ka?aj, Josipa Lisac, Miro Ungar, Đani ?egina, Boris Pavlenić, Vlado Kovačić, Tomislav Borić, Sanda Fidersheg and others. The album featured nine tracks with a wide range of moods and motifs.

While i know next to nothing about Croatian music history, this one is not a bad example at all about the sentiments experienced in the era of the communist hegemony as it rather perfectly exemplified a new form of dictatorship in an area of the world that had been suppressed for a very long time. Given that this album is thematically relevant and performed exclusively in Croatian automatically means that most who don't speak the lingo won't comprehend the meaning of its relevance and on the musical side of the equation there is nothing here to get overly excited about either as it rather reflects the trend of ethnic folk musical flavors incorporating rock music into its fabric of existence. For those in the ex-Yugoslavia this very well may be of extraordinary importance in historical terms but for those of us who are clueless as to the experiences of the time and place, this one is decent indeed but hardly something that will speak to us on a higher level. Well worth the time to experience this Eastern European for its historical significance alone but not something that musically transcends beyond its thematic relevance.

 The Many Faces of King Crimson: A Journey Through the Inner World of King Crimson by VARIOUS ARTISTS (CONCEPT ALBUMS & THEMED COMPILATIONS) album cover Boxset/Compilation, 2016
3.00 | 1 ratings

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The Many Faces of King Crimson: A Journey Through the Inner World of King Crimson
Various Artists (Concept albums & Themed compilations) Various Genres

Review by Matti
Prog Reviewer

— First review of this album —
3 stars This is quite a peculiar 3-disc set. No, it doesn't contain music of King Crimson performed either by the band itself or by other artists. Nor is it a various artists compilation all the way. Each of the discs have completely different approaches. The first disc does contain various artists' tracks featuring past or present King Crimson members, mostly as guests only. The second disc is entirely dedicated to the late 60's pre-Crimso act GILES, GILES & FRIPP. And the third disc is, one to one, the sole album released in 2005 by a band called FISSION TRIP that consists of members from King Crimson and HANDS.

The various artists disc in itself feels patchy and confusing. Sadly the set doesn't have systematic release information (such as the years or source albums), and searching the information from the two-page text is difficult, since it doesn't even proceed in the running order. Some of the music is indeed unquestionably Crimsonesque. For example the avantish instrumental music of JAMIE MUIR, MICHAEL GILES & DAVID CUNNINGHAM has evident stylistic roots in the Larks Tongues era King Crimson. The two tracks are scattered on the disc the same foolish way as three tracks from PETER SINFIELD's album Still (1973) and two tracks by JOHNNY WARMAN featuring Tony Levin & Jerry Marotta. Another instrumental piece which easily could be mistaken to be King Crimson, albeit the newer stuff, is recorded by PAT MASTOLETTO & TREY GUNN.

The rest of the selection has 'Salmon Leap' by ANTHONY PHILLIPS (the KC connection is the drummer Ian McCulloch), a beautiful IONA song 'Divine Presence', a smooth 2000's song 'Wonderland' by GORDON HASKELL (the vocalist on the 1970 Lizard album) and a hair-raising song 'Still Moving in Fear' by SANDY DILLON & HECTOR ZAZOU, from 1995. The musical diversity on this disc is awesome, and the music is interestingly more or less Crimson-related in many various ways, but the representation leaves a lot to be desired.

I'm not going to deal with the GILES, GILES & FRIPP disc in deeper details. The 1968 home recording material has been published as The Brondesbury Tapes (not that it was mentioned in the liner notes), although this set has only twelve tracks, roughly 45 minutes of the 72½ of the mentioned release. One may ask why their only proper album The Cheerful Insanity Of (1968) is not represented. As a side note, I once saw in a supermarket the GENESIS set of "The Many Faces of" series, and in it one disc was dedicated, in a similar manner, to the 60's pre-Trespass era. This Crimson set I borrowed from library; I don't think I would have bought this one either.

FISSION TRIP were suggested for ProgArchives several years ago, and sadly the addition process still hasn't started properly it seems. The liner notes in this set are pretty insufficient concerning this group; it's not even mentioned that most of the key members came from the prog band HANDS. The former KC drummer Ian Wallace is the main vocalist, co-writer and producer on their only album Volume One. Crimson-guitarist Adrian Belew is actually a guest musician only. I googled a nice description by the label's marketing: "a jarringly great amalgam of archival prog, witty pop, and buoyant fusion - as though Weather Report made toast from a loaf of Beatles bread and buttered it with Selling England by the Pound marmalade." Well said! The album sounds good and I'd be glad to review it here.

How on earth to rate such a schizoid and seedy release like this? Sure, with a more balanced structure and with proper release informations The Many Faces of King Crimson would function much better. However, for the interesting and diverse musical contents three stars are deserved.

 I Grandi Successi Del Rock Progressivo Italiano by VARIOUS ARTISTS (CONCEPT ALBUMS & THEMED COMPILATIONS) album cover Boxset/Compilation, 2005
4.00 | 6 ratings

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I Grandi Successi Del Rock Progressivo Italiano
Various Artists (Concept albums & Themed compilations) Various Genres

Review by Prog123

4 stars "I grandi successi del Rock Progressivo Italiano" is an excellent compilation to discover the Progressive Rock catalog that Nuova Fonit Cetra offered in the 70's. And there are some of the biggest Italian Progressive bands of that decade (Osanna, Delirium, New Trolls, Raccomandata Ricevuta Ritorno, I Garybaldi or Uno) and other very interesting groups (on all the I Califfi and the extraordinary "Campane" in ELP or Goblin style but without the baroqueism of the English... But with a more Space Rock and Folk streak). In general one could read a certain derivation from English groups, which (as far as it is understood more generalizing) is typical of Italian POP and Rock music, but strong is the graft of the Italian tradition, which makes everything more passionate and colorful. It is also not easy to read, in several cases, where the Rock part ends and where the Progressive part begins, which transforms many songs (and bands) into something to be classified as progressive more for the complexity of their music and for historical period than for musical genre proposed. Luckily, here "1 ° Tempo: Allegro" (from "Concerto Grosso") was chosen to present the New Trolls, because, otherwise, they would have been forced to present them either as a Hard Rock band (due to Nico di Palo) or as a Symphonic Rock band (due to Vittorio de Scalzi). With this I hope to have made it clear what Progressive Rock was in Italy at the time (even if bands like Banco Mutuo Soccorso, Le Orme or PFM were totally devoted to an English-style Progressive).

In conclusion, here are 16 bands with 16 excellent/ good/ honest songs and it is a good/ excellent introduction to a certain kind of understanding of Progressive Rock and what represented in Italy a musical genre that in countries like South Korea or Japan is considered true art.

 Dik Dik- I GiGanti: Due Gruppi Un'Epoca by VARIOUS ARTISTS (LABEL SAMPLERS) album cover Boxset/Compilation, 1995
2.00 | 1 ratings

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Dik Dik- I GiGanti: Due Gruppi Un'Epoca
Various Artists (Label Samplers) Various Genres

Review by Prog123

— First review of this album —
2 stars When in Italy we mention I Dik Dik and I Giganti we mention two of the most famous and important Beat bands of the 60's. What is forgotten (mostly because of the music critics) is the fact that in the 70's both these bands produced albums of true Progressive Rock. And it is not considered, in the case of I Dik Dik that with the cover of "A Whiter Shade Of Pale" by Procol Harum, re-titled (and sung in Italian with the title "Senza Luce" in 1967) was the first true expression of Progressive Rock in Italy. Generalizing the style of I Dik Dik is similar to that of Procol Harum or The Moody Blues, although remaining more POP and with a non-Progressive Rock approach (but, on closer inspection, Progressive Rock is always, at the end of the analysis). As for I Giganti... Aside from the album "Terra in bocca" (an awkward concept album in terms of theme and, for this reason, rejected by critics and audiences) we can't talk about Progressives but only about good (or honest?) Beat Rock (or POP, to put it as it is used today).

This compilation is very interesting, therefore, as far as the I Dik Dik section is concerned, because if you like Procol Harum, you will find good music (even if limited to "Il Primo Giorno Di Primavera", "Senza Luce", "ll Vento" and "Vendo Casa"). I Giganti section does not feature anything Progressive, although the music is interesting (Like Beat Rock).

In conclusion, I don't recommend this compilation to anyone looking to discover the origins of Italian Progressive Rock. Rather make yours the first 2 albums of Le Orme, the first two albums of New Trolls or one of the many compilations of I Dik Dik (where, however, you find a lot of Beat and Progressive in a slightly misleading mix).

 To Canterbury And Beyond: A Tribute to the Canterbury Scene by VARIOUS ARTISTS (TRIBUTES) album cover Boxset/Compilation, 1999
3.88 | 7 ratings

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To Canterbury And Beyond: A Tribute to the Canterbury Scene
Various Artists (Tributes) Various Genres

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars How did this 2018 re-release fly under all of our radars?--especially those of us who LOVE Canterbury Scene/Canterbury Style music. For the most part, the artists contributing to this tribute album have chosen to approach these "classic" Canterbury songs with great respect, even reverence, despite still adding their own twists and sound and instrumental palettes to their versions. And, though there are artists here I am not familiar with, there were enough familiar names to pique my interest. And am I glad I checked it out! From ZOO LUNAIRE's perfect opener, Gong's "The Isle of Everywhere" from their 1974 classic Radio Gnome Invisible, Part III: You , into several other classics by originally recorded by Hatfield and the North, National Health, and Caravan, we've got a veritable "greatest hits" album going here. PATRICK FORGAS does an amazing job with Soft Machine' "Echec naturel." Fabio Zuffanti's HOSTSONATEN crew does a kind of Massive Attack version of Robert Wyatt's "Sea Song." It's good! Then ASHQUELON QUILT does a remarkable update of "Dedicated to You (but you weren't listening)." Solo artist DAVID BAGSBY takes on the challenge of covering Bruford's "Hell's Bells" using a 100% synthesizer approach (not too well, but just having the item included in this collection was a big point of excitement for me; not everybody includes Bruford [or Camel, for that matter] in the Canterbury fold as I do) which, I guess, gives more of a nod to Dave Stewart than Bill, Jeff, or Allan. THE UNDERGROUND RAILROAD's incredibly faithful rendering of one of my all-time favorites, Egg's "Wring Out the Ground (Loosely Now)" is another highlight for me, but then the band TILION does an acoustic version of one of the sub-genre's masterpieces, Caravan's "Can't Be Long Now / Françoise / for Richard / Warlock"--the whole thing! More Robert Wyatt, Soft Machine, and Caravan are spiced with not one but two Camel songs ("Sasquatch" [GREAT!] and "Unevensong" [awesome!]) as well as one from Fred Frith!

All in all, this is an awesomely pleasing "greatest hits" album that I would think that any Canterbury lover would trample his own mother/brother in order to get to hear. Check it out! It's wonderful! No, they're not perfect or as good as the originals, but, again, done very respectfully.

 Romantic Warrioirs IV: Krautrock, Part 2 by VARIOUS ARTISTS (CONCEPT ALBUMS & THEMED COMPILATIONS) album cover DVD/Video, 2021
4.00 | 1 ratings

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Romantic Warrioirs IV: Krautrock, Part 2
Various Artists (Concept albums & Themed compilations) Various Genres

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

— First review of this album —
4 stars The husband and wife dynamic team of Adele Schmidt and José Zegarra Holder have enthusiastically been seeking out golden age prog heroes for quite some time now in order to create some excellent documentaries about prog's golden age before and extracting their stories before these pioneers leave our Earthly world and take their show to a different realm. The ROMANTIC WARRIORS series has been instrumental in telling the forgotten tales of a classic era from decades with the 2019 edition ROMANTIC WARRIORS IV: KRAUTROCK PART I exploring the massive psychedelic scene from Germany's big bang of unlimited creativity.

Two years later in 2021 the sequel ROMANTIC WARRIORS IV: KRAUTRCOK PART 2 has finally been completed and in it's 123 minutes of playing time serves as the second installment in The Krautrock Trilogy as well as the sixth overall edition of the ROMANTIC WARRIORS documentary series. This edition features bands from Southern Germany and includes interviews with members of Guru, Amon Düül II, Xhol Caravan, Kraan, Witthüser & Westrupp, Popol Vuh and Electric Orange. Footage includes classic period performances as well as modern festivals.

Individual band members interviewed include Skip Van Wyck III, Mani Neumeier, Chirs Karrer, Daniel Fichelscher, Hellmut Hattler, Jan Fride, Walter Westrupp and an animated chat with Renate Knaup. Once again the stories dig deep into the wellspring of creativity that emerged in the late 60s and flourished throughout the 70s and provided incalculable influences for artists to come. The cities of Germany covered are Munich, Wiesbaden, Ulm and Heidelberg. The third upcoming installment will cover bands from Berlin and Hamburg which will include Tangerine Dream, Klaus Schulze, Günter Schickert, Agitation Free, Conrad Schnitzler, A.R. & Machines, Nektar and some contemporary bands such as Robert Rich & Markus Reuter and Coolspring and is slated for 2023.

In this two hour journey into the world of KRAUTROCK, we are treated to the insight of some of the key players that share their experiences and how they fit into the scene that took Germany by storm and forever changed the music terrain for eternity. The scenes are well paced with interviews of individual members of the select bands juxtaposed next to live concert footage and other relevant trips down memory lane to paint a picture that has been unseen by the public for far too long. While primarily focused on the classic golden era of KRAUTROCK, it's refreshing to see a more modern band like Electric Orange included as it displays how newer generations have continued the tradition and brought these experimental sounds into the next millennium.

These documentaries are truly addictive as it only makes you want to know more and explore artists that you have heard of but possibly haven't actually heard. Guru Guru for example is a band i have heard a couple albums but haven't really explored thoroughly. Zeitgeist Media has produced nothing less than visual aphrodisiacs that will whet your appetite to explore the scene even further and if you were lucky enough to live through those glorious times, to transport you back to when the magic was in action and then reel you back to the present to find out where these musicians have landed in the brave new world. I love these so much and can only hope that this series continues to infinity because there are so many tales in the world of progressive rock to tell and nobody does it better than Adele Schmidt and José Zegarra Holder. Bravo!

 Return To The Dark Side Of The Moon by VARIOUS ARTISTS (TRIBUTES) album cover Studio Album, 2006
3.90 | 33 ratings

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Return To The Dark Side Of The Moon
Various Artists (Tributes) Various Genres

Review by Lieutenant_Lan

3 stars Return To The Dark Side Of The Moon is a tribute album to Pink Floyd's Dark Side Of The Moon which came out around 33 years later. The album consists of many different musicians from a variety of bands and they come together to recreate the album really well. In a lot of ways I prefer this album over the original. Its more energetic, and has better production, and overall funner to listen too. However I think in some ways its worse, like the vocals in The Great Gig In The Sky. I would definitely recommend this to anyone who is fan of this album, and Pink Floyd. I cant rate this the same and higher than the original though. I gave the original a 4/5. So I will give this a 3/5.
 Nativity in Black II by VARIOUS ARTISTS (TRIBUTES) album cover Studio Album, 2000
2.41 | 8 ratings

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Nativity in Black II
Various Artists (Tributes) Various Genres

Review by Hiram

2 stars Black Sabbath songs are catchy and memorable, and it's great fun to play them. Whether it's necessary to record them is another thing, and looking at some of the bands featured here, my hopes aren't exactly high. But let's see and try to keep an open mind.

Godsmack "Sweet Leaf" is a more or less faithful rendition of the original. What's the point?

Machine Head "Hole in the Sky" is nerve-wrecking tough guy nu-metal or whatever. Cool bass sound though.

Static-X "Behind the Wall of Sleep" really puts the band's own touch to the song with fun "industrial" metal disco. Unfortunately it just keeps repeating that single idea and gets boring towards the end. Nice, unusual choice of cover, too.

Megadeth "Never Say Die" is a live recording and very much a playthrough of the original song. Cheers for picking a track outside the first six classic albums though.

System of a Down "Snowblind" is a definite highlight here. They really make the song their own quirky and dynamic alternative metal piece.

Pantera "Electric Funeral" is again more or less faithful to the original. Not bad but nothing special.

Primus with Ozzy "N.I.B." is another faithful rendition. It's sung by Ozzy and I wonder why Les Claypool wouldn't do it himself? Not bad but I expected something more freaky from these guys. Awesome playing throughout of course.

Slayer "Hand of Doom" is yet another near-carbon copy of the original. There's some rather freak out guitar playing though and solos have more notes than Iommi has played in his whole life. Nice to hear Slayer play a bit slower and dynamically for a change.

Soulfly "Under the Sun" is another tough guy version. Why do you have to be so angry? Dramatic outro part is excellent, however, played on acoustic guitar and ethnic instruments.

Hed(pe) "Sabbra Cadabra" begins smooth and jazzy with absolutely horrible vocals. The song grows heavier as it goes on but doesn't get any better.

Monster Magnet "Into the Void" is total space stoner madness. Not my scene, man.

Busta Rhymes "Iron Man" is another highlight. What we have here is the main part of the song and Busta Rhymes rapping on top of it. I'm no rap expert, but to me he does a good job and sounds like he really means what he's saying. As a chorus you got Ozzy singing the familiar melody but new words on the same riff. Nice one! There's also a middle section that uses two other parts of the song to a great effect. Excellent job here and certainly a different take of Sabbath.

Two great tracks, several mediocre or simply bad. Worth a listen if you're a fan of Black Sabbath or completist of any of the bands featured, but otherwise no great need to bother.

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