Billy and friends are in Milano. They're game to jam with local legends like the Nicolosi Family who comprised the pop- R&B band Novecento back in the day. This is the result of those sessions.

1. "Africa's Sounds" (4:32) great opener of smooth jazz. Billy still has it! (9.3333/10)

2. "Shadow" (4:46) a cool jazzy pop/R&B song with great organ play from Pino Nicolosi and awesome bass and guitar from the other two Nicolosi brothers, Rossana and Lino, respectively. Sister Dora Nicolosi also makes an apearance as Gregg Brown's foil and backup singer. (8.875/10)

3. "Red Baron" (7:44) Troy Parrish speaking the lyrics over the funky music (of a Billy classic?) Never a huge fan of the original (off of Spectrum) but this one is groovin/dance-worthy. (13.5/15) 4. "Okky Dokky" (4:41) great melodic smooth jazz with a 90s Soul II Soul-like Acid Jazz feel. Excellent horn contributions, but such a great groove played by Billy, Rossana, and Marco Fadda. I love this tune! (9.375/10)

5. "Jah Spirit" (5:02) great Acid Jazz music with Gregg Brown's Rastafarian vocal, Lino Nicolosi's excellent rhythm and smooth lead jazz guitar work over Rossana and Billy's killer collaboration. Great double bass solo from Riccardo Fioravanti in the mid-section as well and trumpeter Fabrizio Bosso in the final third. (9.25/10)

6. "I Want You Back" (4:57) great cruisin groove established by Rossana, Pino and Billy while vocalist Rick Baily provides a satisfactory R&B vocal over the top. The Rick's multi-voiced b vox are fun. Rossana Nicolosi is the real deal! Brother Lino provides a fun blast-from the past Eddie Van Halen "Beat It" like guitar shredding in the final 90 seconds. (9.125/10) 7. "Sensations" (5:32) more cool grooving: sounding like a cross between Barry White's old LOVE UNLIMITED ORCHESTRA and some of the 90s' best Acid Jazz grooves (even Swing Out Sister). AWesome trumpet solo from either Amik Guerra or Fabrizio Bosso in the second half of the song. Great, hypnotic groove! (Rossana: you go girl!) (9.25/10)

8. "Leaving Now" (6:26) Smooth Jazz set up for Manhattan Transfer-like pop-jazz vocal from Gayle Moran-sound-alike Dora Nicolosi. Eddie Gomez' always welcome double bass sounds a bit weird. Great smooth jazz "lounge" piano from brother Pino Nicolosi. A tough, complicated vocal is performed admirable but not quite as perfectly as a Barbra Streisand or Celine Dionne (or even Corinne Drewery) would have done. (9/10)

9. "Hands Up!" (5:11) 1980s Smooth Jazz/Soul/R&B heaven! Love the strings arrangement and performance, Pino's organ and electric piano play, the Italian horn section, and, of course, Rossana's awesome bass! No more cowbell! (9.25/10)

10. "Now That You've Gone" (5:07) more stellar Smooth Jazz with nice group vocals and awesome jazz electric guitar over the amazing Pino, Rossana, Billy, Marco Fadda rhythm section. (9/10)

Total time 53:58

I can't think of a 21st Century Jazz-Rock Fusion album that feeds my 1970s-Motown-raised soul better than this one!

A-/five stars; a minor masterpiece of Acid Jazz-tinged funky Smooth Jazz.

"𝗗𝗼𝗺𝗶𝗻𝗶𝗼𝗻 = 𝗟𝗶𝗴𝗵𝘁 𝗠𝗮𝘁𝘁𝗲𝗿"

1. The Unknown Door (22:33) (25/25)

The opening is soft, reminiscent of the Fanfare for the Common Man cover by ELP. The WWII radio in the back, the war-like horn section. This will take fans back to Harvest of Souls and The Seventh House, War Tale vibes like on a few other IQ epics. The opening section ends with a bit of a world music vibe too. Really cool!

The following section takes normal IQ songwriting while adding something totally different for them. Still the same soaring hammonds and mellotrons, guitar riffing, tambourine. This section tied together by an industrial sequencer led chorus. Weird part, a bit of a mess but doesn't hinder the listening excerience.

The next part is a bit heavier, what some call 'The Battle' section. Even compared to recent IQ works like 'The Road of Bones' and 'Resistance'... this is heavy. It has a really nice chorus-esque piece that really ties this heavy section together. Good hammonds, great mellotrons, chunky guitars sound really good too.

A little instrumental section, has some really silky basslines, really feels like 80s Neo-Prog. Has some Pendragon elements, but I feel like this section can be summed up into ... an 80s Neo-Prog bit with 2000's IQ flare.

The acoustic section next up reminds me HEAVILY of 'Dogs' acoustic sections by Pink Floyd, even 'Meddle'-esque. The Prog Folk elements are strong here. Plus these chords are very Floydian as well. Strong section, love the vocals, chords, instruments used... chef's kiss.

Now onto a slightly more typical IQ part, nice keyboard solo, well structured, proggy, but nothing new really. Just fits well in an IQ epic. Gives the average fan something to remind of the band they've always known.

The ending section is typical, a reprisal of the opening in a slower, more emotional, all instrumentalists involved. Is it unwelcome because of how predictable it is? Absolutely not. It's what you expect of a strong IQ epic.

Overall, this epic is a great alternative to Harvest of Souls. You want something just as well structured, has moments that are just as strong, and something a bit different? This is it. Each section feels like it's own song (which is the hallmark of a strong epic). Wonderful. The best epic since "Without Walls" and "Harvest of Souls" for sure (and it's not particularly close to me).

2. One of Us (3:10) (5/5)

Gorgeous acoustic track, beautiful. The vocals are soft, pleasant, and well mixed. The keys add a nice amount of atmosphere to this soft track. It's a song like Wintertell (off of 'The Lost Attic' by IQ). The song can even be compared musically to "I Believe in Father Christmas" by ELP (Greg Lake). Such a beautiful song, glad a song like that made it onto the final cut of an IQ album. Could make a grown man cry with how beautiful this is.

3. No Dominion (6:25) (9/10)

The single from the album. Of all the tracks, this is the one that retreads the most old IQ ground. Is that a bad thing? Absolutely not! This song, unlike the other singles, is a keyboard dominant track. I love how ominous and thick the keys are. The musical box like keyboard melody and sound is noted here, seems to be a theme. It's a typical IQ song structurally speaking, it shows the band's Genesis influence, while keeping it's darker side. Weird telephone like sound effect, followed by a wound-up musical box sound effect. Cool way to transition to the next song, sad there was a fade out. Good, strong, not groundbreaking, just good IQ.

4. Far From Here (12:44) (14/15)

The opening is very dark, atmospheric, love the opening a ton. Typical of a 2000's IQ mini-epic. A haunting musical box opening, very cool. Creepy, love it.

The next section shows off a bit more of Paul Cook's drumming skill. A bit heavier and more chaotic. Keyboard dense section with nice vocals from Peter Nicholls.

Definitely picks up a bit in the heaviness department, more straightforward, definitely just a bit more of a heavy chugging section. Probably the heaviest section of any IQ track ever released.

Sequencer to transition into the next bit, a bit like Nine Inch Nails or even Rammstein. Kinda returns back to the second sections theme. Nice reprise, ties the mini-epic together in a circular-esque structure. Beautiful chorus-like piece here too, love the mellotrons, sticks around in your head.

Soft, gentle end to this more chaotic mini-epic. Keyboard and guitar with a bit of vocals. Pleasant, it really fits on this album. Plus the end itself is just... so pretty.

This Mini-Epic overall does everything a solid IQ mini-epic ought to do. It's got good dynamics, heavy moments work well, gentler moments shine nicely, it's a more chaotic one than normal... but I think it works really well! It's a grower!

5. Never Land (8:16) (10/10)

The opening of this track is so beautiful. The lyrics are emotional, the mood is angelic, the production, silky basslines, piano in the back. This song is like a reworked, expanded, and restyled 'Oceans'. Amazing. One of the best album closers in their entire discography.

______________________________

Overall Rating: (63/65) Rating Percentage: 97% Favourite Track: The Unknown Door Final Grade: A+ ______________________________

I couldn't be more impressed with how the big boy's in Prog have released some of the best albums they've released in 2025. Steven Wilson's "The Overview" and IQ's "Dominion" have been borderline 'ten-out-of-ten' rcords!

This album takes tropes that this band is known for and adds completely new moods and sounds, effectively refreshing IQ's sound. It's impressive that over 40 years after their debut, they can still deliver high quality records. They haven't lost their identity, they only expanded on it. Incredibly confident album from IQ. It's concise, structured, well produced, and contains some of their best songwriting of the 21st Century. The second album this year to come close to my 10/10 score. 2025 truly has been one of the best years for Prog Rock in a while.

PA Rating: 5 stars - Essential: a masterpiece of progressive rock music.

— First review of this album —

I have become such a fanboy of all things related to SONAR and Stephan Thelen. That all instrumental music coming out of Switzerland that is complex and interlocking. The sound of the tri-tone instruments is amazing, as is guitarist David Torn when he involved. So the expectations are high when it comes to this 6 piece band called FRACTAL SEXTET. This is their second studio album released in 2024, and it clocks in around 55 minutes with six tracks, not counting the bonus song.

The story goes that Stephan Thelen and fellow guitarist Jon Durant were asked by an individual as to why they don't have a permanent band to play this complex and interlocking style of music. So the seed was planted and eventually Stephan and Jon sat down and talked about who would be part of this group. Adding four members isn't an easy thing when you do not want to step on any toes as it were with fellow collaborators from SONAR and Stephan Thelen solo. So they did the smart thing and went outside the usual cast of musicians who are involved.

The exception is Andi Pupato a percussionist who is one of the usual suspects and previously part of Nik Bartsch's Ronin'. So that leaves drums, bass and keyboards. Man, I would have liked to have had an ear to these conversations about who they considered. The surprising pick to me was Colin Edwin formerly of PORCUPINE TREE. Really surprising until I saw he and Durant are in the same band called BURNT RELIEF. So that was a Durant suggestion no doubt. Keyboards? Fabio Anile, who is a classical pianist and keyboardist. On the kit we get drum phenom Yogev Gabay from Israel.

On their debut it was Stephan Thelen composing just about everything, while here it is shared between him and Fabio Anile. I have to say that this is surprisingly minimalistic. The breakouts are few, to a fault in my opinion. And understand I adore this style of music, but this certainly doesn't matchup to many SONAR or solo Stephan Thelen albums. I would also argue that while I appreciate all the music that they can give us, I don't think this permanent band idea was necessary when you have that large cast of musicians that have played live and in studio together for years at your disposal.

One thing this record did though was bring to my attention drummer Yogev Gabay. Thelen says that this is a very polyrhythmic album but with Yogev in the driver's seat, there's nothing to worry about. Still, they have almost doubled down on the metric pensions of their debut to the point that even Gabay had to do a few takes at times before he nailed it. They call him the major lynchpin to the proceedings, as well as one of the group's prime catalysts.

When I think of this album I'm reminded of drums, piano and guitar expressions. And that it's minimalistic of course. So much of this just seems to trip along. Of course the attention is in the details here but it's hard to know from song to song which one I'm listening to. All are similar in sound and style but I'd probably pick the closer "Four Hands" if I was to pick just one song. I was disappointed with this one but the expectations were sky high(haha). I pretty much assumed this would be my album of the year for 2024. No, it is not, but a solid 4 stars regardless.

The dedication to Tommy Bolin does not, unfortunately, change the fact that 'Last Concert in Japan' is one of the weakest releases of the entire Deep Puprle canon, a 1977 live album capturing the last gig of the Mark IV lineup in Tokyo, is a muddy recording that does not really present any of the appeal of this particular iteration of the band, and if their then-last studio album had been a fine exercise in funk-rocking, this live release seems to have almost nothing to do with 'Come Taste the Band', the album supposedly supported on that tour. The final product here is a dreadful recording of an obviously poor concert, with Bolin virtually missing, his playing is by far one of the most abysmal guitar recording to have ever appeared on a Purple album, with Glenn Hughes later claiming that the band's axe-man had been "out of shape" that very evening, confirmed by the really bad recording. He is, of course, covered up excellently by Jon Lord, who seems to steal the show in Tokyo, even getting a solo spot that goes under the name of 'Woman from Tokyo' on the official tracklist.

And this is where the other major source of confusion comes from as half the selected setlist is made up of songs that were not recorded by this lineup of the band. The hefty but unsuccessful trials of 'Smoke on the Water' (which is relatively acceptable here) and the really tasteless playthrough of 'Highway Star' prove why such recordings should not have been included on the live album. Below-par performances of other classic tracks recorded by the MKIII lineup grace the setlist, like 'Burn' and 'You Keep On Moving', while Bolin even gets to play a song off of one of his solo albums, completely irrelevant here. The only decent recordings seem to be the ones of 'Love Child' and 'Lady Luck', quite expectedly. Just a very poor and confusing live album, far off the excellence and liveliness of 'Made in Europe', for example, released some years prior; perhaps this project should have been abandoned by Deep Purple as it hardly serves them any favour in documenting them as a solid and exciting live force.

The monumental and brief performance at the Live Aid in 1985, of a Queen submerged at that time in a deep internal crisis that sowed doubts about their continuity, brought them back to life and revitalized their career in such a way that less than a year later they released "A Kind of Magic" with a promotional tour (called "Magic Tour") included. There were 26 shows in Europe exclusively (they were banned in North America mainly because of the satirical and misunderstood video of the single "I Want to Break Free"). Of that tour, the presentations of July 11/12, 1986 in the mythical London stadium Wembley were collected by the double album "Live at Wembley '86" (1992). A work that repairs, six years after the publication of the failed and stunted "Live Magic" of 1986, and ends up being a posthumous tribute to Freddie Mercury in one of the last live performances of Queen.

More than 140,000 people over the two days packed the venue, guided and surrendered to Mercury's swagger in a setlist that included the band's worldwide mega-hits such as "Under Pressure", "Another One Bites The Dust", "I Want To Break Free", "Crazy Little Thing Called Love" and "Bohemian Rapsody", songs from the album that motivated the tour such as the homonymous "A Kind of Magic" followed by the legendary vocal game of the singer replicated by the audience, memories of the early days with "Seven Seas of Rhye" and the chorable "In the Lap of the Gods", the hard rock of "Tie Your Mother Down", "Now I'm Here" and "Hammer to Fall", the emotional moment with "Love Of My Life" and "Is This The World We Created? " linked with the late 50's rock and roll tribute of "(You're So Square) Baby I Don't Care", "Hello Mary Lou Goodbye Heart" and "Tutti Frutti", and a final full steam ahead segment with the stadium rock mobilizer that the band handled so well: the energized "Radio Gaga" and the unbeatable duet "We Will Rock and "We Are the Champions".

The infallible and pre-recorded English hymn "God Save the Queen", the last song of the setlist, was the backdrop for the farewell of Queen and a Mercury dressed in a cape and crown emulating the Queen of England, perhaps the most memorable image of one of the best frontman in the history of rock.

3.5/4 stars

Early prog tended to veer away from blues - after all, part of the point was to broaden and deepen the range of stylistic influences rock music took on, and rock had already borrowed plenty from the blues by the time the late 1960s rolled around. There were, however, exceptions - Jethro Tull were on their first couple of albums, and so too were Colosseum on this debut release, which leads off with the bluesy rave-up Walking In the Park. The blues influences snakes through the album as touches of other genres emerge here and there.

By the time you get to Beware the Ides of March, you get more classical influences, with Dave Greenslade on keyboards and Dick Heckstall-Smith on sax in particular showing that anything Procol Harum were doing at this time, Colosseum could match. On the other hand, By the Road She Walked Before ends up being fairly conventional light psych-tinged pop, and perhaps the shortcoming of the album is the sheer range of styles it tries to incorporate, not all of which are created equal and some of which taste decidedly like filler.

This album follows in similar vein to the recent output and that is no bad thing. You could almost call this an instrumental album, although in actual fact only a very few tracks are totally instrumental. However vocals are in general brief and occasional and perhaps slightly too far in the mix although that seems to be their style these days. The closing song A Long Long Way From Home is the gentlest track on the album leaving us in a more calm mood and you could be fooled into thinking it is an instrumental when in fact the song title is just sung once right at the end. Space Continues (Lifeform) is totally instrumental over its 8 minute journey and my favourite track on the album, play it loud and try and tell me there is not a hint of Pink Floyd's One Of These Days.

Paul Draper definitely had a healthy and vigorous fascination with the Beatles, which is a dominant influence on alternative Britpop rockers Mansun's debut studio album titled 'Attack of the Grey Lantern', a semi-conceptual album with a complex storyline and a cast of enigmatic and eccentric characters, as it had been argued that the concept had never really been finished in its entirety, which adds up to the oozing pretention and appeal of the album and the band itself. Now, Mansun seem to be all about that alternative edge in British pop music, with an alluring sound that borders on progressive, with Draper & Co. never really setting for the standard verse-chorus song structure, as their music is replete with interesting movements, moods and playful melodies, appearing all over that excellent first album, a work of a somewhat capricious and ingenious songwriter (Draper), whose oeuvre works as an antidote to the corny grunge and post-punk rock from the nineties.

In terms of the genre within which this record might fall into, we could speak of a crafty mixture of alternative rock, Britpop, and 60s psychedelia (à la Beatles), all vibrant and cynical, with memorable choruses and unpredictable twists as well as a great use of keyboards and effects, only when necessary, topped by the soothing vocals of Draper, sufficiently quirky to keep you aware of what he's singing about. The lyrics and the (loose) storyline make up a great deal of what 'Attack of the Grey Lantern' works best as, where the songwriting gets the best of each and every song, on an album that has such a rich stylistic diversity that should be found appealing by the most demanding of prog fans. Spacey single 'Wide Open Space' is obviously one of the remarkable entries on the album, but the same amount of praise has to go to 'Mansun's Only Love Song', an infectious art-rocker, the 7-minute trippy pop suite 'Taxloss', or the comically quirky tune 'Stripper Vicar', with the record closing off with strong numbers like 'Egg Shaped Fred' and the orchestral and cathartic 'Dark Mavis', ultimately working as the resolution of the story. Mansun's debut album is a fascinating piece of British alt-pop that continues to impress and sound relevant even today, with the band setting a high standard for other alternative acts to come, with their complex arrangements, excellent songwriting, and overall witty humour.

— First review of this album —

Quásar bring out a bold proposition with this debut of theirs, and not in spite of, but rather because of its being so classic sounding. You have to dare, and they did. No production design specifically aiming to render a "vintage" feel. Just the guys and their instruments projecting an unmasked, authentic vibe made of moogs, axes, bass & cymbals through the pristine clarity of a modern studio. And melodies not only flow unstopably, but they are truly memorable. After a couple of minutes, or so, the next thing you know is that you are embarked in their cosmic journey, together with birds singing, synth washes, and who knows what else.

For starters, we are treated with the sweetness of a classical nylon-string guitar styling discret figures on the synths increasing density. After that, almost everything one can desire from a Symphonic rock album takes place in turn. First come the vocals, insinuated by a repetitive syncopated entry, giving way to a marvellous cadence made of strategically robbed beats, and accents showing up where one doesn't expect, but they always had to be. That first track is rounded with more deliciously dreamy classical guitar and full-blown synths retrieving the initial figures of the vocal cadence.

Track 2 features prominently the melodic power of the electric guitar. Trust me, no matter how much you can turn up the volume, it will never be enough. Track 4, El Rumor del Bosque, probably reaches the most perfect blend of every element in the band, all given to an accordingly perfect melody.

Approaching the middle of the album, I was thinking of a rating surpasing the four stars, but, for how much? Then I had my encounter with Track 5, Código Quásar, and that sent me all the way through to reach the masterpiece status. Simple in principle, indescribable in the end. Starting up from an elementary telegraphic beat, they go for an astonishing number of variations in metrics, and in every possible sense you may think for the word "texture", pushing things from quiet to extra-loud, from simple to ultra-complex, and from utterly transparent to impenetrably dense. My favorite track, no doubt in my mind about it.

And from there on, one cannot stop listening with wide open eyes, even for a minute. Don't miss it.

More info: https://www.progarchives.com/forum/forum_posts.asp?TID=134853

After over 15 years of study and practice, guitarist extraordinaire Guthrie Govan comes out of the closet as a blues- rock-educated and -grounded composer!

1. "Waves" (5:09) opening with a fully-fleshed out motif in which Guthrie introduces the main melodies over a fairly straightforward rock rhythm track but then begins to dance around the fretboard in wildly unpredictable ways from 0:50 to 1:15 when he settles back in among the band to reinforce the opening melody. Another foray into solo expression begins at 1:50 but this time evolves rather protractedly and more within the domains of previously- heard/attempted rock guitar solos (using his own unusual scales to perform his runs). A doubled-up flourish at the three-minute mark signals a bridge to a more blues-rock/classic rock solo. This man has so many faces! And such amazing dexterity! Impressive but also enjoyable. And I love the unusual ending: it feels like an homage to Roy Buchanan. (9.125/10)

2. "Erotic Cakes" (3:51) stoccato chugging music displaying some very odd time signatures and polyrhythms between the three musicians. Guthrie never really seems to be traveling in the same universe and Seth and Pete: it's more like he's rocketing around the rhythmists as if looking for an entrance, looking for a way to join into the groove they're in. His maneouvering makes me think of a heat-seeking predatory bird like a crow (or trio of crows) with hummingbird- like quickness. Interesting and rather enjoyable. (9/10)

3. "Wonderful Slippery Thing" (3:21) another solid rock/blues-rock motif over which Guthrie takes Wes Montgomery and Django Reinhardt to The School of Rock. Uber-impressive and almost humorously-creative but not my favorite, the song had existed since the early 1990s when Guthrie used it to compete in a guitar-playing competition for Guitar magazine in 1993--which he won. (9/10)

4. "Ner Ner" (8:05) another fairly straightforward (and familiar) (Southern) rock motif that presents engaging/alluring melodies over which Guthrie impresses with more flash and fireworks on both electric and acoustic guitars (one of which might very well be the guest guitar soloist Richie Kotzen). This song reminds me a lot of the solo work of STEVE VAI. Nice accessible music. (13.5/15)

5. "Fives" (4:36) sounding very much like a cross between the work of ALLAN HOLDSWORTH, STEVE VAI, and KING CRIMSON, this song starts out heavy-technical but then starts to cruise and fly in the third minute as Steve flits and spits over the top. At 4:00 the music cuts down to bare bones for the quiet support of a nice bass guitar solo from brother Seth Govan. (8.875/10)

6. "Uncle Skunk" (5:29) an interesting song that seems to draw inspiration from a combination of the old blues masters (like Buddy Guy and Roy Buchanan) and modern sound-technicians like Adrian Belew and Robert Fripp. I like the creative energy, engaging (almost "Yacht Rock") melodies, and laid back feel of this one. A top three song for me. (9.3333/10)

7. "Sevens" (5:57) this one opens sounding very much like the palette, construct, and melodies of the SCORPIONS' "Rock You Like a Hurricane," but then things change. A ChapmanStick-like bass chord playing style provides much of the foundation beneath Guthrie's amazing SATRIANI-VAI-like shredding runs. The intermittent softer flying arpeggio sections feel a lot like some of Devin Townsend's more amazing beauty passages whereas the ramped up fourth minute feels more like the work of 1980s heavy metal bands like I love the return to the more melodic and then more delicate stuff for the song's final 90 seconds. (9.125/10)

8. "Eric" (5:06) opening with a slow, spacious, more delicate and melody-rich motif over which Guthrie solos with a slide-like sound not unlike something from Roy Buchanan or even a more blues-oriented Adrian Belew. Nice. Interesting weave of micro-fast arpeggi in the fifth minute. Overall, there is a very comforting, connectable feel to this song that helps render it among my three favorites on the album. (9.125/10)

9. "Slidey Boy" (4:35) a brooding jazz flavor opens this song as Seth solos over Pete's mostly-cymbals and snare drumming for the first minute. His impressive bass play continues as Guthrie joins in with some low end piccolo-bass- like note play that intertwines with his brother's bass play but then separates and begins occupying the middle and upper ranges in a very AL DI MEOLA-like sound and style. As a matter of fact, the music and performances on this song could easily fit on Al's 2002 release, Flesh on Flesh: sounds just like Al and Anthony Jackson working together. My other top three song. (9.375/10)

10. "Rhode Island Shred" (2:18) just like Guthrie's project The Aristocrats, he must feel a need to represent as many separate styles as possible: here the Country-Western Bluegrass scene--with the help of fellow guitar wiz Bumblefoot. Impressive but neither the prog rock or Jazz-Rock Fusion that I'm seeking. (4.5/5)

11. "Hangover" (6:32) a slow, plodding blues-rock bass over which a wide variety of STEVE VAI and JOHN PETRUCCI-like guitar solos flourish--and within which brother Seth shines once again in his Anthony Jackson-like way. Solid if not my favorite. (9/10)

Total Time: 53:39

My only beef with the music on this album is the non-proggyness of a lot of it; the music here belongs more in the realm of Rock Power Trio stuff--most of it quite anchored in blues-rock traditions (very much like the music of The Aristocrats' album releases).

A-/five stars; a minor masterpiece of post-graduate-level blues-rock based Guitar School expression. There may not be a guitarist as talented as Guthrie, it's just a little disappointing to me how much of his music is firmly founded in the blues and blues-rock traditions.