SYMPHONIC PROG

The Ladder and Magnification are arguably Yes' most turbulent albums?not because of their musical content, but because of the circumstances surrounding their creation and release.

Magnification was originally set to be released on September 11, 2001. The tragic events of that day forced a delay and cast a long shadow over its reception. But The Ladder, released two years earlier, faced its own tragic chapter: the sudden death of its producer, Bruce Fairbairn.

In late 1998, Yes regrouped in Vancouver to write new material. For the first time in years, they returned to collaborative songwriting, abandoning solo contributions in favor of building songs together from fragments and ideas. This period also marked keyboardist Igor Khoroshev's full-time integration into the band.

The title The Ladder was inspired by a 1966 artwork by Yoko Ono, famously seen by John Lennon?a ladder leading up to a magnifying glass that revealed the word "YES." It's a fitting metaphor for an album that aims for something affirming and meaningful but ultimately falls short.

Bruce Fairbairn played an unusually hands-on role. He attended rehearsals, helped select material, and brought renewed energy to the sessions. It was his idea to return to analog textures he convinced Chris Squire to use his classic Rickenbacker bass again, giving the recordings a familiar Yes flavor. Steve Howe would later describe him as one of the most cooperative producers he had ever worked with.

Then, on May 17, 1999, during the final stages of mixing, Fairbairn died suddenly of a heart attack. Known for his punctuality, concerns were raised when he failed to show up to the studio. His passing left the band stunned and cast a somber tone over the completion of the album. The final track, "Nine Voices," was dedicated to him.

Musically, The Ladder is an improvement over the dismal Open Your Eyes, which had somehow sold well despite its lack of inspiration. Structurally, the album is more coherent, and the title track?a 9-minute highlight is genuinely beautiful, easily one of Yes' best songs in years.

But the rest of the album doesn't hold up. Much of it feels lightweight and uninspired. "New Language" tries to recreate the energy of earlier epics and fares slightly better, but still pales in comparison to the band's classic material. "The Messenger," a tribute to Bob Marley, completely misses the mark. Rather than channeling Marley's spirit, it feels like a genre experiment gone wrong.

Overall, the album feels like a contractual obligation. With 11 tracks running just over an hour, there's very little that truly sticks. Most of these songs would never have made it onto an album during the band's prime years.

The production lets the album down. Whether Fairbairn managed to complete the mix before his death or someone else stepped in, the result is cold and overprocessed. Steve Howe's guitar sounds metallic and unnatural, Alan White's drums are buried and lifeless, and the bass is oddly bright and disconnected from the rest of the mix Igor Khoroshev is the only one who stands out, as his good taste is evident in the analog sounds he uses, especially in the titled track. The whole thing feels flat and sterile?lacking the warmth and dynamism that defined Yes in their peak era.

The Ladder could have been something meaningful. The band was working well together, the energy in the studio was reportedly good, and there was a clear attempt to recapture the old magic. But the tragic loss of their producer, the uneven songwriting, and the uninspired production turned the album into something that never quite takes off.

Roger Dean's cover art nods to the band's classic era, but the music within doesn't live up to the promise. In the end, The Ladder isn't a triumphant climb upward?it's a weary ascent to nowhere.

I can listen to this on repeat, and often have, while it is the perfect album to drift away to at night. I don't listen to it every week, but I am sure there are few months in the year when it does not hit my player at some point. I still much prefer the original to the 2013 re-recording, and to my jaded ears the remix doesn't really add a great deal, just means I get to press play and then can hear the album through twice with some bonus tracks in the middle, two of which are single versions of songs on the album. The combination of Bedford's orchestration, the layered guitars, banks of keyboards plus a highly sympathetic rhythm section means this is an album which I simply cannot get enough of. Compare this release to any of their others, like "Breathless", and it is almost like a totally different band yet Andy Latimer, Peter Bardens, and Andy Ward were on both. I find it indescribable, yet can say it is full of beauty which captures me each and every time I play it, and when I put it on it has to be played from the beginning to the end as anything else is sacrilege.

If, somehow, you have missed out on this truly magical experience then this expanded release is the time to resolve a huge musical oversight.

It must be remembered that this was music written for an event which was actually taking place after everything had been recorded, which meant that Ant had to provide different styles of music at different lengths, not knowing how it would all fit together and whether it would all work. Also, originally there was not supposed to be an album, and it was only due to Rob Ayling's persuasion that it could all be done in time that everything was pulled together. Apart from percussion by Joji Hirota on two tracks, everything is played by Anthony, with electric guitar being the main melodic lead. The album is instrumental, as one might expect, and one can tell it was written to accompany a visual element as there is often the feeling there is something missing, as this was designed to provide finesse and additional elements to what people were watching as opposed to a piece of music which was to be played in isolation. The result is something which is fun and interesting, but this is probably more for diehard Anthony Phillips fans who want to hear everything he has produced as opposed to an album which will be played time again for pure listening pleasure.

That is not to say there are not some fine moments on here, there are, but there are other albums of his which I will probably turn to first. However, this is yet another extremely fine reissue by Esoteric and long may they continue doing this style of work.

Apparently the original session over-ran by three minutes, so to get it into the 55-minute slot which it was destined for, varispeed was applied which resulted in the pitch of Ant's performance being raised by just over a semitone. This was something I did not previously know, but the essay by Jonathan Dann in the booklet is incredibly informative. The original master tapes were not maintained, but in 1999 a copy of a cassette was found in Ant's archives which led to the release of the original album in 2003, but it has long been out of print, and now it has been sound corrected and two additional tracks added from a Pennine Radio interview Ant undertook at the same time. There is no doubt that Ant is highly regarded as one of our finest 12-string guitarists, but his vocals are also perfectly suited to his songs, and it is a shame he is not more widely recognised in that area. He may never have really enjoyed baring his soul in a live environment, but there is no sign at all of nerves as this is a confident performance throughout. We also get to hear some of his Monty Python influenced style of humour in some of his introductions which certainly made me smile.

It is a very long time since I last played this, and now I find myself questioning just why that is as this album is an absolute delight, and any fans of 12-string acoustic guitars, great songs, Anthony Phillips or indeed Genesis as this features a version of the famous 'lost' Genesis single 'Silver Song', which was initially written by Phillips in 1969, with help from Genesis bandmate Mike Rutherford, to say goodbye drummer John Silver.

This band is truly impressive, and this album is excellent. I don't know what happened on ProgArchives that it went almost completely unnoticed. To me, it's something of a musical sacrilege that an album of this quality has been overlooked or omitted.

Perhaps it's because many listeners today are looking for more original bands groups that don't sound like the classics, that bring something entirely new. But even so, this album deserves more recognition. It's outstanding, and in my opinion, even better than Part Two. The influences from Genesis and early Marillion are more evident here, which, for someone like me, is a definite plus.

Yes, this album is closer to that strange Genesis sound the Genesis of 1973, just before The Lamb Lies Down on Broadway. I'm really enjoying this band. It feels like a time machine, bringing back the essence of that era, but it also has its own unique quality. That's what makes it even more appealing: it sounds fresh and up-to-date without ever being annoying or pretentious.

The production is warm and vintage. Maybe the cover art is a bit lacking, but musically, this is an extraordinary work. I found some information online that's worth sharing: the band is led by Gerard Freeman handles vocals and keyboards and guitars he is the creative mind behind the project and , with a virtuosic, gymnastic style full of flair. Paul Blackwell on bass, fellow prog fanatic like many of us here a master of the four strings. Joe Donegan, the drummer, has played in several tribute bands including, of course, a Genesis tribute. Chris Millwater, on keyboards and guitar, is a seasoned musician with a background in jazz who adds great atmosphere to the band's sound. Finally, Daniel Monaghan is a young and very talented guitarist who brings energy and freshness to the mix.

A very good listen and a strong addition to any progressive rock collection.

I'm going to set the research aside and just let myself be carried away by the music.

The Book of Revelations isn't exactly a revelation in itself, but musically, it's a great piece of work. It draws heavily from the world of Peter Gabriel-era Genesis and Fish-era Marillion two of my greatest musical most beloved bands, so it's hard for me to be impartial. What I hear, I really like. And I find it genuinely impressive.

Chapter 2: Olympus Mons is an intriguing and evocative title. It makes me want to go back and explore a possible Chapter 1 maybe there's something there that connects to the beginning of this whole concept.

The music is very well executed. The analog keyboards and 12-string guitars give it that unmistakable '70s atmosphere. The bass and drums are crisp and clear, everything is played with precision and warmth. The vocals have a strong resemblance to Peter Gabriel and Fish, and at times I also hear echoes of Pendragon.

But The Book of Revelations still sounds original. If anything, it leans more toward classic prog than neo- prog, with a vintage spirit that feels genuine rather than derivative.

Honestly, I had a great time listening to this album. It's nearly an hour long, with 11 tracks that kept me engaged throughout. A very enjoyable listen.

Spanish Rock Andaluz legend Mezquita released two albums: the highly acclaimed Recuerdos Di Mi Tierrra (1979), and Califas De Rock in 1981, then Mezquita disbanded in 1986. But in 2008 the former Mezquita band members decided to reunite, like many other classic Rock Andaluz bands (from Cai to Quadalquivir), only without Rafael Zorrila 'Peluca' who died in 2002. This reunion line-up featured José Rafa Ros (guitar and vocals), Randy López Rojas (bass and vocals), Paco López 'Roscka' (keyboards) and Eduardo Viñolo (drums). The band was eager to perform their beloved Rock Andaluz on stage, this culminated in a live CD entitled 30º Aniversario En Directo, recorded in Cadiz (2009) and in their hometown Cordoba (2010). This CD is a new version of the live CD 30º Aniversario En Directo and is now entitled Made In Spain, the cover and title are obvious hints to Deep Purple. It includes the 5 tracks from the first album and the 5 tracks from the second album that are on that live CD, and 5 previously unreleased bonus tracks (studio and rehearsal room). Due to limited space on the CD the track Friends In Heaven is missing from the double vinyl LP version of Made In Spain.

After a first listening session I am delighted about the inspired and powerful live performance by Mezquita. Especially the passionate vocals of bass player Randy Lopez (with that distinctive wailing undertone of the flamenco) and the sultry sounding (Morish atmosphere) fat synthesizer flights are exciting features of the Mezquita sound. But I also conclude that the tracks from the highly acclaimed first album are more captivating, more in the vein of Morish influenced bands like Iman and Azahar. While the tracks from the second album sound more like Medina Azahara, solid and tasteful melodic rock, no more or less. My highlights.

Ara Buza : A sultry synthesizer sound featuring powerful rock guitar, excellent vocals and the Morish sounding Ara Buza vocals, this adds a very special flavour.

Desde Que Somos Dos : What an awesome interplay, 'jazzrock meets flamenco' climate, and again passionate vocals.

El Bizco De Los Patios : Again a sultry synthesizer sound, with powerful guitar and vocals, tight drums, excellent interplay guitar and synthesizer, topped with vocal harmonies, wow!

The epic composition El Suicidio is my absolute highlight. First a powerful sound featuring a swirling organ solo with rock guitar riffs, another wow. Then again that sultry synthesizer sound, in a mid-tempo, embellished with a fiery guitar solo. Halfway short Deep Purple-like (Child In Time) Heavy Prog eruptions, followed by a mindblowing vocal variation on Pink Floyd's Great Gig In The Sky, in the flamenco tradition, goose bumps. In the second part a spacey synthesizer solo with a strong Arabian undertone and sensational use of pitchbend button, the melancholical climate matches with the dark subject. Finally a moving guitar solo, blended with those Deep Purple-like Heavy Prog eruptions, this is top notch Rock Andaluz!

Another very strong track is the titletrack Recuerdos De Mi Tierra. It starts with the sound of a Minimoog and church bells, then a mid-tempo with powerful guitar. Next lots of short shifting moods, embellished with awesome interplay, a fiery guitar solo, a slow and fat synthesizer sound, and topped with passionate vocals.

About the previously unreleased bonus tracks, taken from the studio and rehearsal room.

La Calle Que No Recorrí. Melodic rock with a tight up-tempo beat featuring powerful Spanish vocals, organ and a heavy guitar solo, the sound is in the vein of Medina Azahara.

The other four tracks deliver the legendary Rock Andaluz sound by Mezquita. Puertas Abiertas and Esclavo De Su Haren contain that distinctive Mezquita Morish flavour (also due to the sound of the djembe), with orchestral keyboard layers (evoking Kashmir by Led Zeppelin), excellent interplay and powerful Spanish vocals with strong flamenco undertones. The guitar work is varied, from sensitive to heavy. Noche Sin Luna features Rock Andaluz in a slow rhythm and tasteful guitar play. The final track Eso Es Vivir is the most Morish inspired song with a swinging rhythm, compelling vocal harmonies (intense and passionate) and amazing interplay, what a great example of Rock Andaluz!

Highly recommended!

Other interesting current Spanish prog and Rock Andaluz bands: Qamar, Sherish, Randy Lopez, Arabiga, Taifa, Anairt, the awesome Periplo project by Juan Antonio Vergara (the mastermind behind the Spanish prog/Rock Andaluz label 5Lunas), The Flying Caravan, Enric Pascual, and the amazing Derby Motoreta's Burrito Kachimba!

4. Debacle in the Retirement Home, Part 1 arrives with the first of the three tracks in this triptych; the sound flirts with THE WATCH through the vocals. The bass is powerful, the keyboards are fickle, 5. Debacle in the Retirement Home, Part 2 follows without any segue, in short; the acoustic guitar is distinctive, the vocals warm, the atmosphere pastoral, the arpeggio gently unfolds without any jolts 6. Debacle in the Retirement Home, Part 3 with the continuation here, the flute embellishing the last part; well, the title reminds me too much of... GENESIS, look it up a bit, but it's still easy, only the more incisive guitar can make you think a little longer; the tambourines participate in the debacle, easy, in a well-controlled musical momentum; the more it is to make you dream, the less it is to use the clichés to the acceptable limit and then we cross the line; The finale won't have that drop of new prog blood, very black, dried, and lifeless, but that some early prog fans will try to revive by cutting off their little finger and adding a few drops, misery.

7. Safe as Sofas begins the final phase of this generalized triptych; focus on the vocals and arpeggios for the atmosphere of 'Supper's Ready' with the whole nostalgic and regressive clique of the sound of yesteryear. 8. Theophilia and Theophobia ... as much as I enjoy talking about connections, reminiscences, this track is so copied from a GENESIS track that I'll refrain, enough is enough; Gerard wants to stick to his favorite band, yes, the evidence is there, but diving into it with so much similarity becomes harmful for me, making me want to compare with the original, which breaks the listening atmosphere... 9. All the Way to Cedar Life... continues the copy/paste on the opening to the point that I give it a good point, it's really well sampled, well covered and in two key moments with the original band. 10. The Collapse of the Firewall... Sic with this ersatz of ..... by GENESIS, in an uptempo mode and a rounder keyboard for a change; but otherwise why would you want to regress like that? Well, the keyboard solo is worth the detour and finally shows a side of what Gerard can play. 11. The Liberated Labyrinth as a liberating finale for THE track that resembles THE BOOK OF REVELATIONS, and that's truly a revelation: using the material of the time and composing, as THE WATCH does so well, compositions bathed in atmosphere without reproducing it, a successful first attempt... at the last minute.

Many great musicians shine brightest when they're part of a band. Rick Wakeman is definitely one of them. With Yes, he sounds absolutely incredible?his compositions and the chemistry he shares with the rest of the group are unmatched. But on his own, Wakeman's solo career has always felt? uneven. Ambitious, yet but not always convincing.

Personally, I think his strongest solo efforts are The Six Wives of Henry VIII (1973), White Rock (1977), and certain parts of The Myths and Legends of King Arthur and the Knights of the Round Table (1975). Beyond those, a lot of his work feels repetitive, like variations on the same formula that don't quite land.

And it makes you wonder, how is it that someone as talented and celebrated as Rick Wakeman doesn't have a more consistent solo discography, In many ways, he seems to coast on the fame he built as a session musician for legends like David Bowie, Black Sabbath, Ozzy Osbourne, and Cat Stevens, and of course, as a key figure in the golden era of Yes.

But there's one album one live album where everything comes together: Journey to the Centre of the Earth (1974). This is Wakeman at his best, fulfilling all the promise of his talent and vision. Inspired by Prokofiev's Peter and the Wolf, which he saw as a child with his father, Wakeman set out to create a full-length composition with narration, orchestra, band, and choir. It was a massive undertaking, and his first time writing lyrics something he admitted was far outside his comfort zone and had to rewrite from scratch due to a lack of confidence.

Rather than just blending rock and classical sounds for effect, Wakeman envisioned each element playing its proper role giving the music real depth and dynamic contrast. With help from Wil Malone and Danny Beckerman, who translated Wakeman's musical ideas into orchestral and choral arrangements (despite Beckerman having no orchestral experience!), the result was a vibrant, symphonic journey. The full composition was originally 55 minutes long, but had to be trimmed to 40 to fit on a single LP. It's structured in four parts: "The Journey," "Recollection," "The Battle," and "The Forest" which cheekily ends with a snippet of Grieg's In the Hall of the Mountain King.

Armed with Mini Moogs, Mellotrons, grand pianos, and organs, Wakeman delivers a performance that captures him at his creative peak, not just as a player, but as a composer and arranger as well.

The live premiere itself was as grand as the music. Two back-to-back sold-out shows, each with 3,000 in attendance. The guest list included the likes of John Lennon, Paul McCartney, Yoko Ono, Peter Sellers, Steve Howe, and several British politicians. The evening began with classical pieces, humorous interludes, and three tracks from Six Wives, including a comedic piano segment accompanied by Laurel and Hardy footage. There was even a whimsical encore, the Pearl and Dean Piano Concerto, made up of old TV commercial jingles. It was weird, wonderful, and very Wakeman.

Of course, not everything went perfectly. Wakeman famously had to buy tickets from scalpers for his own parents. Narrator David Hemmings performed with a black eye after a domestic mishap, which Wakeman's wife disguised with makeup. Still, Hemmings seated on a throne with the script in his lap delivered a theatrical flair that elevated the whole production. Interestingly, Wakeman's first choice for narrator was Richard Harris, but when he couldn't do it, Hemmings stepped in during a chance meeting and offered himself on the spot.

Despite the scale and success of the concert, the planned filming for a home video never happened. Wakeman skipped the post-show party exhausted, asleep in the car on the way home.

In the end, Journey to the Centre of the Earth is everything you could hope for from Rick Wakeman: dramatic, melodic, wildly ambitious, and entirely unique. It's his crowning achievement a blend of electronic and acoustic textures, bold storytelling, and symphonic grandeur. Nothing else he's done, solo or with Yes, quite matches it. A one-of-a-kind masterpiece.