In 1973, Museo Rosenbach delivered the greatest album of all time, a masterpiece that withstands the test of time with its brilliance in progressive rock. In 2013, a *true* follow-up was released; Barbarica.

Museo rosenbach plays progressive rock with clear roots in the classic Italian prog tradition. On Barbarica, influences from their debut album are evident, but with a more modern sound. The music shifts between lighter and heavier sections, creating a dynamic whole. In some parts, one can sense similarities to Banco del Mutuo Soccorso, although these elements are limited, by and large, it's the band's own sound that dominates.

The instrumentation is varied and well-balanced, with the guitar taking a slightly more prominent role than the keyboard. The guitars deliver both heavy riffs and melodic elements, while the keyboards contribute atmosphere and complexity. Flute and acoustic guitar also appear, broadening the soundscape. The production is of good quality, with a relatively well-balanced mix between the instruments. The sound quality is clear and crisp, allowing the nuances in the arrangements to shine through. The modern production values are combined with a sound that recalls the band's earlier work, preserving their characteristic style.

The vocals are strong and expressive, and the singer sounds as if he hasn't aged at all. His voice still carries a majestic quality that fits well within the progressive context. The singing is both melodic and powerful, serving as a natural part of the whole.

The songwriting is consistently high in quality, and within the context of Museo Rosenbach's discography, Barbarica stands as a worthy successor. It's an album that offers familiarity while clearly aiming to bridge the old with the new. Highlights include the powerful opening track and the quality of the vocals. Overall, it's a strong album, though if one were to critique something, it would be that the last two songs have unclear structures and occasionally lack a clear thread, but this is a minor issue. The album shows that the band still has much to offer, and they do it very well here.

In a session in Columbia Studio B on January 16, Miles Davis begins recording new material for an album that would become Miles in the Sky, (released in July). This session marks the final studio session of Miles' exclusive collaboration with Tony Williams, Wayne Shorter, Herbie Hancock, and Ron Carter--his "Second Great Quintet." In mid-May of 1968, Miles Davis wraps up recording the material that would become the album Miles in the Sky, an album whose music and electrified sound palette display a definitive shift in Davis' music. The May 15-17 sessions found Miles inviting electric jazz guitarist George Benson into the studio as well as asking bassist Ron Carter and keyboard master Herbie Hancock to perform on electric bass and electric piano, respectively. The sessions would also begin the trend of long, occasionally "side-long," jams: resulting here in four songs covering 51-minutes of music.

A1. "Stuff" (17:02) the experimentation with the "new" electronic options available to jazz musicians is finally being endorsed (commanded) by Miles: electric piano for Herbie and electric bass for Ron (which we all know he never really enjoyed despite his excellence at it). The result is something that definitely feels more modern--and more sassy- smooth. The slow-down/almost pauses every 30-seconds or so are kind of hard to get used to: they make me feel as if either the song is winding down to a conclusion or that they're preparing us for a new motif (like a bridge), but, no! The same theme keeps on; only the lead instruments change (sometimes). I like the sassy performance Miles gives us: it's as if he's really locked in and enjoying a loose, carefree day--and I think his attitude is infectiously affecting his studio mates cuz this song is overall very chill and relaxed. The length of the song, however, is a matter of question: was 17 minutes really necessary? (32/35)

A2. "Paraphernalia" (12:41) a composition credited to both Wayne and guest George Benson, as many have noted, this has got to be one of George's most unusual guitar performances, mostly sitting back as a single bass-dominant chord rhythmatist, reinforcing Tony's driving rhythm track, accenting Ron's wildly-exploratory and mountaintop-to-valley- floor walking bass line. As a matter of fact, until the sixth minute, George does little else but play one chord in perpetual rhythm--like another tom on Tony's kit. Herbie, Miles, Wayne, and even Tony, however, really flash and flair- -whether in solos (Miles and Wayne), melodic support (Herbie) or rhythmic attack (Tony). Finally at 7:10, George is "allowed" to step up to the front of the stage. But by the end of the ninth minute it's over: Herbie takes over for his first and only true solo (which, to my ears, sounds a little harsh and "off"--until he hits a cool series of chords in the beginning of the 12th minute, then he's cookin'. At the end of the 12th minute the horn players rejoin--though reluctantly as it is uncertain whether Herbie has completed his statement (he has not: he just continues doing so--off in his own very cerebral world--while the others tentatively play around him. I really like this ending: the ambiguity and uncertainty is really endearing for the fact that it shows the band's individual humanity with all of its doubt and frailty! Cool song! Especially for Tony's dynamic play, Ron's amazing adventurosity, Herbie's perseverance in the face of adversity and uncertainty, and Miles and Wayne's professional maturity. As for George: he's almost a non-entity; a moot member; I can't even remember his solo! (23.75/25)

B1. "Black Comedy" (7:32 or 13:49: I'm only reviewing and rating the 7:32 version since that's all I can find posted on YouTube.) A solid nondescript hard bop (or post bop, if you must) song of the ilk that Miles has been doing for some years. I have trouble staying focused much less remembering anything from this song once it has passed. (13.125/15)

B2. "Country Son" (12:51) a more loosely organized jam that sounds like something Teo recovered from hours of tape, fade in, splice away, and faded out--which would lead me to deduce that the song was not very cleanly composed (which is probably why Miles took the writing credit); it's more of a series of themes and ideas strung together--quite possibly played in the order published, even possibly planned as is with the thematic and stylistic shifts occurring due to signals from Miles, but that third and fourth minute feels to me as if the band was just wandering around beneath Wayne's soling sax, searching and fumbling around for the right style and pace to support him with--with Ron usually the promulgator of stylistic and rhythmic changes. It's just too weird of a conglomeration of musical themes to be intentional; it has to be a flow of thematic attempts--though, hearing this, one cannot help but compare these rather severe and dramatic shifts to prog songs like "Close to the Edge," "Supper's Ready," "Tarkus," or even one of Camel or Nektar's side-long symphonic pieces. This may be able to fall under the label "symphonic" but I swear: no symphony I've ever heard has this kind of radical stylistic and melodic shifting going on within a continuous flow. I'd be more inclined to call it a medley or, less respectfully, a hodge podge of leftovers pulled randomly and sequentially out out of the refrigerator. I like many of the themes present here, I think the motif that Herbie leads in the seventh into the eighth minute might be my favorite though Miles melodic play with his band's support in the thirteenth minute is pretty cool, as well. Overall, it just leaves me with a weird aftertaste. Like leftovers. (22.25/25)

Total Time: 51:04

The presence of four notably long songs supposedly squeezed into two sides of vinyl is a bit suspicious (though Todd Rundgren would routinely squeeze 30-40 minutes into a side during his mid-1970s heyday)--and I wish I could verify if Teo and Columbia managed to squeeze the long version of "Black Comedy" onto Side Two--which would equal some 25 minutes of music

A-/five stars; a minor masterpiece of hard bop/post bop that many people consider transitional to, or pre-, Jazz-Rock Fusion. I hear some of what they're talking about but to me its sounds more like a group of musicians who are quite familiar with one another, who are showing signs of growing a bit bored or fatigued with their collaboration: they're still performing at a high level but they feel as if, at times, they're reaching, stretching for inspiration and motivation-- especially on that last song. And I agree with the critics of "Stuff" in that it begins to over stay its welcome--to sound repetitive--after about ten minutes.

"Keepers of the Light" opens with neo-prog metal, punctuated by Andy's percussive drums; this sound is direct with the voice, Charlie as frontman, the twirling, pulsating synths and the bass bringing the groovy air. The guitars do the work and wait for the break to launch into a consensual solo before giving way to the keyboards; punchy, more edgy 2020 neo-prog, the one that was missing from the decade? "The Days That Never Were" airs spleen, majestic latency before the start. Charlie launches his crystalline voice, captivating for a message of hope. The sound looks to Arena, Enchant and Rush, distilling emotion in scales. The piano leads the way for this piece exploding into Supernova with a voice reminiscent of the Archangel by the phrasing-sung. A powerful track, hard prog melodic-new prog. "Panopticon" feels like a paranoid prison and a passage to another world, with Riverside's dark intro, fresh percussion, and a bewitching derivation, akin to Galahad and IQ. The break in the Genesis keyboards, their latest iteration, is clear, allowing Charlie to belch out a dynamite verse; the chorus on Arena, to which they could be heirs. The vocal break, laid back for a moment, the passage of the guitar solo on expressive pads, and its long development provide a delightful moment; three beats: "Real Eyes" vibrant, "The Watchman" dynamic, and "The Lie Of The Land" with the nostalgic Hammond for the major piece. Crystal- clear piano and melancholic guitar final.

"Fall Through Time," another psychedelic intro, gradually brightening on a jerky keyboard; the guitar meows, Charlie narrates his desire to change his destiny. Prog like we didn't make anymore, letting large spaces rise on the prog sap, the demonstrative pad on Pallas, Genesis. A piano arpeggio break then the synths, the guitar, we are at the dawn of a great departure. The rhythm is launched, penetrating your ears and imprinting a majestic proggy atmosphere with the Cheap Trick synth of the Heavy Metal title. Mark boasts a Marillion-style break inviting reflection; the guitar goes on the same band, I shiver. Charlie screams, modulates his voice and lets Graham unleash the solo of the month. "The One" smells of Arena for the nervous melody, the melting vocal and the strong rhythm. Conventional but fresh neo prog metal energy, catchy with the keyboard which fires out bewitching notes. A solemn radio edit glorifying prog. "After the War" for the end, solemn piano in arpeggio, Charlie starting slowly. An epic, grandiloquent melody on a great rise; a piano break with Mark ruling, Andy's drumsticks and cymbals coming to his aid. The dramatic evolution, Marillion for Stuart's vibrant bass, the guitars letting loose and foraging in this bucolic world of Charisma. The final guitar solo wrenches, melancholic, weeping, a crescendo finale, captivating one last time the ears of the modern prog fan in search of an OMNI album.

Ghost Of The Machine made the album a springboard from the neo-prog of the 80s and 90s, the new prog stronger, faster, longer, edgy, traveling between dream and reality with a touch of nostalgia.

There has been many a debate about which lead guitarist who played in THE YARDBIRDS was the best. And while I am such a fan of the bands Jimmy Page(LED ZEPPELIN) and Eric Clapton(CREAM) formed after leaving THE YARDBIRDS, it was Jeff Beck who took a different route and one I didn't connect with in my youth.

Beck's first five studio albums are bluesy, rockabilly type recordings before changing abruptly with 1975's "Blow By Blow" to that jazz rock and fusion style. "Wired" from 1976 continues where "Blow By Blow" left off but with more energy. Two MAHAVISHNU ORCHESTRA musicians coming on board for "Wired" will do that. That would be Jan Hammer and Narada Michael Walden.

Both of these records are mountain peaks in his discography and you can't have one without the other in my opinion. Keyboardist Max Middleton and drummer Richard Bailey are back from the "Blow By Blow" record. As is George Martin the famed producer for THE BEATLES. I like that both "Blow By Blow" and "Wired" have Beck on the cover playing his guitar. They really do feel like companion albums. Narada Michael Walden composed four of the eight tracks and they also cover a Charlie Mingus song. The other three tunes are split between Middleton, Hammer and Bascomb the bassist.

My top three includes that Mingus track "Goodbye Pork Pie Hat". And what are the odds that I was listening that week to the band PORK PIE and their "Transitory" cd. Anyway, the Mingus track is very classy and I'm just drawn to it. "Blue Wind" is a Hammer tune and he drums on it as well. And the guy can play, I've heard him before. Some depth of sound here with the rhythm guitar actually and I like Beck's style. Some clean and fast playing. Again, Hammer can play the drums! Great track!

"Sophie" is my final top three. A Narada tune with Middleton playing clavinet and electric piano. Yes! There's so much skill on this track. A beautiful listen for my ears. Beck is on fire late and I like the contrasts on this tune between the mellow and more powerful sections. There's a fair amount of funk on this one including the opening two tracks. And both have the clavinet and bass driving the bus.

So yes this one sits beside it's brother "Blow By Blow" on my shelf. Both are solid 4 star records in my world.

Wasn't a fan of their first 2 albums, but was hopeful that with a different singer they would be much improved, and I think this is their best album, a major improvement fro the 1st two, as it is a bit brighter, poppier, with some actual semblances of melody here and there. But it still just doesn't connect with me, I just don't see the appeal or get why this band has been so praised. There are some interesting things instrumentally, with their use of horns and twisted pastiche of styles from the 1930's and 40's, but the mix with their post-rock hipster vibe just doesn't work for me. An improvement, but not enough. Rating 2.5

AND ANOTHER GEM FROM THE OVERLOOKED CURRENT SPANISH PROG!

"Ekzilo was born with my first compositions in 2017. After searching for musicians (from Lorca, the region of Murcia, close to Andalucia) who could help to develop this project, the original line-up was formed and our first demos were recorded with these musicians. All of this became Ekzilo's first album, released in 2020, it is a kind of demo, the seed that Ekzilo created, everything was leading to our new album 4 years later. After this first experience the ideal line-up finally took shape: Angel Veas on bass (an experienced rock musician who played in numerous metal bands), Abel Tudela on drums (a music teacher who played in rock and jazz groups, and has been part of several flamenco formations), Paula Rodríguez (a piano teacher) on keyboards and vocals, and me, José Ruiz, on electric ? and flamenco guitar. About the flamenco, I've been playing this since I was a child. I started with local teachers and then studied with Antonio Piñana, with whom I was part of his flamenco group for many years. Later I combined my studies in harmony and music, and he was an official guitarist at many festivals. I have dedicated many years to accompanying guitar and have accompanied several important names. But all those years I have always combined flamenco with performing rock and jazz music, and playing the electric guitar. Our second album Quantum Phase Transiton marks a great leap in terms of production and the evolution of the band. The influences are now very varied, from Pink Floyd and Al DiMeola to Triana, Opeth and King Crimson, and more, I think that, above all, our music reflects all the music that has come to us from past and present generations". Band bio delivered by founding member Jose Ruiz via e-mail.

After their promising eponymous debut album from 2020 (an interesting blend of 70s symphonic rock, flamenco and Rock Andaluz), it took 4 years for Ekzilo to produce this new album. It was worth waiting because from the first track you can hear the huge progress in writing compositions, with a stunning variety and lots of adventurous musical ideas.

Patibulum (9:10) : This mid-long composition contains frequently shifting moods, with elements from Riverside, Porcupine Tree, Pink Floyd and Pendragon but with an own touch. The interplay is amazing and the music delivers lots of tension and dynamics. From a slow rhythm with a catchy beat and dreamy English vocals to a heavy outburst with surprising grunt vocals and thunderous drums. From a spacey synthesizer solo to dreamy with slow and intense guitar work. And finally a catchy mid-tempo with soaring Hammond. Ezikilo waste no time to show their huge progress, I am impressed.

La Fábrica De Barro (6:25) : The focus is on a tight beat, a swinging bass, and catchy work on piano and guitar, in a cheerful atmosphere. The interplay is strong and powerful, with sparkling piano and propulsive rhythm-section. In between the climate changes into bombastic with spectacular synthesizer work, and lush Hammond. This band can rock, and swing, and what a tight and strong unit.

Dunas (9:09) : This is the most accessible and melodic composition but with subtle shifting moods, the Neo-Prog from Marillion and Pendragon comes to my mind, embellished with a sensitive guitar solo, soaring Hammond, and backed by a dynamic rhythm-section. In the final part a synthesizer joins the main theme, culminating into a wonderful conclusion.

Brujería (9:13) : Wow, what an awesome tribute to the 70s 'symphonic jazz rock' sound from Al DiMeola (I love his Elegant Gipsy era, and have seen him 3 times on stage), especially the first part featuring powerful guitar (with the distinctive Al DiMeola 'palm muted picking' technique) and amazing interplay, and topped with swirling Hammond, sparkling piano and Rock Andaluz guitar. Halfway a short but captivating break with propulsive drum beats, and synthesizer bleeps. Then a flamenco guitar solo piece (including the rasgueado technique), culminating in a mid-tempo beat with an exciting Rock Andaluz atmosphere. Listening to this amazing composition I am blown away by the skills and musical ideas of this band, what a huge musical potential, another wow!

Evolution (18:50) : This alternating and dynamic epic composition contains lots of intersting musical ideas, and frequently changing atmospheres. From a slow rhythm with fiery guitar runs and sparkling keyboards to bombastic, both topped with grunt vocals. From an ominous atmosphere with Pink Floyd echoes to an interlude with the focus on distorted guitar work. From an orchestral part to a spacey synthesizer solo. From an interlude with soff bass runs, piano and Floydian guitar to a jazzy electric piano solo. And from a mid-tempo with moving guitar solo and swinging rhythm-section to a spectacular synthesizer solo with exciting use of the pitchbend button. In the end the climate is bombastic with the stunning 'tapping guitar' sound, backed by a thunderous rhythm-section, you cannot beg for more thrilling variety.

Epílogo (1:56) : The final track is a short instrumental with mellow guitar overdubs, and strong flamenco undertones.

What a stunning progress this promising new Spanish prog band has made, what a captivating musical adventure, and so many skills and ideas. This music needs a few listening sessions to get into, but if you are up to the huge variety and many interesting musical ideas I highly recommend this new Ekzilo album!

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

The 6th album from Norwegian Prog band Magic Pie, known for their intricate compositions, symphonic arrangements and blend of classic and modern influences. This new album has a definite emphasis (perhaps too much emphasis) on incorporating 70's-80's melodic and hard rock along with their prog elements. The album contains some brilliant sections, particularly on the more proggy album centerpiece, the 18 plus minute Opus Imperfectus Part 1, of which the concluding Part 2 closes the album, but the album also contains some rather cringey sections with their embrace of generic 70's hard rock on some tracks (particularly Name It to Tame It and Everyday Hero). So, the album has some pretty big ups and downs, but overall, still a good album worth checking out. Rating: 3

21st album from this keyboard-centric symphonic prog band led by the extremely prolific Ukranian musician Antony Kalugin. Although Karfagen releases at least one album, sometimes more, just about every year, this one is a bit different. First, although it is broken up into individual tracks, it plays out as one long suite of interconnected songs, and it is more focused on vocals, harmonies, and pop-rock melodies (and contains numerous guest vocalists) than the usual more instrumental-heavy releases. There is still plenty of great instrumental prog on display here (also highlighted by numerous guest musicians, with classic symphonic prog touches throughout, but the vocal melodies and arrangements take center stage here. The result is their most accessible and cohesive release to date. The individual tracks encompass a variety of styles, but it all fits together seamlessly for a wonderful theatrical and cinematic experience. Rating: 4

Another new album and new band from the legendary and ever-prolific prog icon Neal Morse, and yes, its another winner, a high quality album for Neal and his latest new band incarnation. This time Neal teamed up with guitarist Phil Keaggy, drummer Chester Thompson, and bassist Byron House, just to hang out and jam. But as it was with his last impromptu band, The Resonance (Neal Morse and The Resonance - No Hill For a Climber, 2024), before long the jamming gelled into an album (must be nice). With this band, the music takes a bit jazzier, funkier, and looser vibe than other Morse albums, but still maintains most of the hallmarks of Morse's compositions and style. There is plenty here for fans of Neal to love, and the cool jazz elements provided by the new backing band add some different textures, such as on the Keaggy vocal-led track Walking Into Darkness. The epic Deep Water suite (6 parts, 29 min.) has all the grandeur and sweep of Neal's trademark epics. However, for those that feel Neal has been repeating many of the same musical styles and motifs over the past several albums, they probably won't be convinced otherwise with this new release, but another very good album. Best Tracks: Walking Into Darkness, Deep Water Suite. Rating: 3.5

This latest from legendary Swedish symphonic Prog band The Flower Kings (their 17th album overall and 5th since re-forming in 2019) is a strong entry, and possibly the best of their recent string of albums, but takes a gentler, mellower tone overall than much of their previous work, emphasizing melodies and intricate instrumental tapestries. Consisting of 12 tracks and a 71 minute run-time, the band stretches out on several tracks, creating some moving, emotional themes. Led by longtime members Roine Stolt (guitars and vocals) and Hans Froiberg (vocals) and the welcome recent addition of Lalle Larsson on keyboards, the band weaves their way through a variety of pleasing songs, with the highlights definitely being the fabulous instrumental virtuosity and melodic intricacies, showcased best in the extended instrumental breaks in several songs, as well as in the two all-too-short instrumental tracks, World Spinning and Kaiser Razor. The vocal sections feature some fine melodies and harmonies, but the vocals themselves are just OK, and a bit too extensive, in that in some places the vocals seem to weigh down the songs a bit, and the songs come alive more in the instrumental sections. I would prefer the band to showcase more of the instrumental aspects and use the vocals more sparingly where they can better provide a boost to the songs (a lesson they could learn from Lars Froislie). Still, a solid, very good album, but just doesn't quite compare with the best of their earlier albums. Best Tracks: Considerations, World Spinning, Kaiser Razor, The Rubble, Love Is, Walls of Shame, We Claim the Moon. Rating: 3.5