QUASAR

My final purposeful excursion into the Neo-Prog band that was there from the start, Quasar.

"Seeing Stars" (5 minutes longer than the studio version off Fire in the Sky) heads off low and slow, but fairly big. I'm not big into his vocals; it is what it is. Things pick up around minute 4 and do keep ascending. Drums are nice. Keys are bright and triumphant. Female vox take the helm around minute 5 with a new rhythm, led by light cymbals and bass. The thing is, it's just so dated.

Seeing its live representation, "Power in Your Hands" must be popular(?). It was big, and almost good... I'm just not into this sort of thing, I know. It's followed by "The Loreli", ominous and "in a shroud of mystery" haha. Half of it was pretty boring.

Then the track "As You Fall Asleep" must have been aware that I would be listening to this 10+ years later... haha. I will say, the guitar riff paired with the crashing of cymbals is pretty nice. It shifts into... decent... uh... rock opera for a split second haha. Then it's Prog, I think, finally(?!) haha. Again, half a bore, but then half, for the first time on the album, good Prog! Amy Grant's Christmas album from 1983 is more progressive, though, to be completely honest...

"In the Grand Scheme of Things" certainly was a song that existed! Nice hahaha. And finally, the closer, "Mission 14", the first track that I actually had on my main playlist from the original recording (again, Fire in the Sky). The synth-guitar lead/melody around 5:40 is awesome, at least. This ones a bit like CAMEL?! They just don't make epics like they used to, though, huh?

I found most was performed satisfactorily, but much of the sonic choices are hokey and have severely dated themselves. I know people love Neo-Prog, but I have never understood it.

True Rate: 2.5/5.0

The Loreli, Quasar's second officially released album (a preproduction cassette of an earlier version of the album, entitled Forgotten Dreams, has apparently circulated to a very limited extent), finds band founder Keith Turner cobbling a new lineup together with him as the only performer returning from the Fire In the Sky lineup.

The album's largely in the Quasar style of synth-washed, melodic neo-prog that was pioneered on the debut album, the most notable difference being the presence of Tracy Hitchings on vocals. Some may find her somewhat breathy, highly emotional approach to be a bit of an acquired taste - but then again that seems to be par for the course for neo-prog vocalists - and if you're a fan of her's this release is significant in terms of being her first album appearance, coming out when she was just 20, and her ticket into the world of neo-prog which would later see her undertake projects like Strangers On a Train.

Beyond that, it's essentially pretty good-natured neo-prog which is reminiscent of Fire In the Sky and perhaps a little better produced, but only a little, and not quite as memorable.

To prepare yourself for the sounds you will hear on this album one would do well to listen to the 1974 pop hit "Magic" by future prog sessions musicians, PILOT. This album sounds just like it, voice, etc.

1. "Fanfare" (0:42) breakneck speed synths on display. (4/5)

2. "Seeing Stars" (3:48) opens with a little CAMEL and VANGELIS mixture before drums drop in to signal full band foundation for backing delicate singing of Paul Vigrass. Spacious keyboard based rock music behind this Bobby Vinton-like voice. After Paul's two verses and choruses the synths take over to close. (8.25/10)

3. "Mission 14" (13:21) a great prog groove established from stealing the music beneath GENESIS' "take a little trip with Father Tiresias" from "Cinema Show" the get-go over which some nice impassioned vocals and instrumental soli are delivered. A nice instrumental section begins in the fourth minute to include a nice Prophet 5 and electric guitar solo. Just enough gear and directional shifts to keep it interesting and never let it get boring, though it is a little too reliant on the Cinema Show sound and structures. (26.5/30)

4. "U.F.O.": (17:57) : (32.5/40)

- a) "U.F.O." (5:52) the vocals work better as the musical backdrop thickens and fills. (Bad choice for whatever effects they're running Paul's voice through.) Sounds like a blend of PILOT and SUPERTRAMP for the first half, then GENESIS-lite (Wind and Wuthering era). (8.25/10)

- b) "Flying" (2:51) sounds quite a bit like a passage from PATRICK MORAZ's Story of I or a CAMEL/GENESIS "Naminanu." Constant with no changes start to finish. (8.25/10)

- c) "Fire in The Sky" (5:15) PILOT + BUGGLES and/or Ambrosia. (8/10)

- d) "Moon" (3:59) opens with an engaging foundational riff before Paul adds some unusually relaxed and unassuming vocals. This is nice! Then there is a more bombastic bass-infused finale. (8/10)

Total Time: 35:48

B-/four stars; a solid and interesting contribution to the early neo-progressive genre which suffers from a little simplicity but is definitely worthy of a listen for your self. Too bad about the poor sound engineering of Paul Vigrass' vocals.

3.5 stars for sure

Who will thought that this legendary british neo prog band named Quasar (but in same time quite little known worldwide) from early movement of the genre in early '80s will come with a new album after more then 25 years from last offer named The Loreli from 1989. The new album saw the light in december 2016 named Memories of Times Yet to Be. This line up on this relase is stable since 2012 with new female vocalist Keren Gaiser, who is very similar in many passages with the previous female singer Tracy Hitchings and aswell with the one from Magenta The pieces are long well developed, in typical neo prog tradition, melodic guitar lines, expressive keyboards, and pleasent most of the time vocal passages. All in all a very solid come back that is for sure, and I'm pleased about this new release from start to finish. Fav pieces, all have same level , maybe with a plus on Enigma at the Louvre and opening track. Nice art work, 3.5 stars, and as a proof of that this band is quite unknown in neo prog circles is the number of ratings and reviews this album got even is issued more then half a year ago.

UK band QUASAR was formed back in 1979, and is generally regarded as one of the lesser known bands in the so called neo progressive movement. They managed to record and release two albums, one in 1982 and one in 1989, and had at least three totally different line-ups in that period too. Then all went quite about this band, until they resurfaced as a US based band a few years ago. "Live 2011" is the second of two live albums they have released since then, and their first album featuring an all new, US based line-up.

The music on this album as well as their previous ones belongs in the neo progressive category. Melodic and accessible progressive rock, with a basis in the 1970's symphonic part of the progressive rock universe. The majority of the songs revolves around alternating gentle, slow or sparse movements, occasionally developing into arrangements richer in instrument textures with ones more pace-filled and energetic or richly layered, majestic constructions not based on an initial theme of a gentler or more sparse starting point. The band utilize the tonal ranges fairly well throughout to create both distinct and more subtle contrasts, and the guitars will occasionally add some darker toned impact riffs as well. Perhaps with less dramatic touches than some other neo progressive bands tend to opt for, but a sound and a style those who love the original neo progressive bands will find enticing. For just about the first time in the history of this band they have a decent recording quality on their material too.

I'll have to admit that on some occasions, I actually found some of the earlier versions of their compositions subtly more enticing, although the only song that gave me a strong and distinct impression of that nature was Power In Your Hands. Current vocalist Keren Gaiser is arguably a better vocalist as far as subtle details go, but on this particular song I found former vocalist Hatchings more dramatic and emotional delivery better suited to my personal taste. And while I'll be damned if I can expand upon it, I did think some of the other songs while overall coming across as improved in execution and performance perhaps have lost some minor dramatic edges on the way too. The one new track present on this disc does give promise for future studio albums by Quasar, a pleasant addition to their repertoire that I suspect might truly soar when recorded in a studio with it's gentle ballad slowly developing to more majestic and dramatic territories until a final dramatic eruption.

While I personally I find their second studio album "The Loreli" to be their most intriguing production so far, I'd recommend those unfamiliar with Quasar to start their inspection of the band with this live album due to an overall better recording quality on this more recent production. With those fond of neo progressive rock as it was made back in the 1980's as a likely key audience.

UK band QUASAR have been around for a good 30 years by now, with a constant array of line-up alterations along the way. Following the release of two studio albums in the 1980's they more or less disappeared, but suddenly reappeared again in 2010 with the live album "Live 1984 - 1990"

The initial four tracks here are live recordings by the 1984 edition of Quasar. And on stage it appears that this band was vastly superior to the studio entity that recorded their debut album two years earlier. In Susan Robinson they had a strong female vocalist that gave the songs a much stronger presence overall, and the songs themselves appears as far more dynamic and sophisticated on stage than they appear on the album. More contrast, more depth, more tension.

The following five pieces documents that the 1990 line-up of Quasar can be described in very much the same manner. Hitchings is the lead vocalist on these recordings, and she's just as able on stage than in the studio if not even more so, and the band as such appears to be a tighter and more vital entity when performing in front of a live audience.

When that has be said, this is a live album that comes with it's fair share of shortcomings too, and in this case they are fairly massive. I don't know what happened when this disc was put together, but something has gone terribly amiss in the mix and mastering process. Turning the volume up and down from track to track is not something you enjoy doing when listening to an album, and this is a case where you have to adjust a lot. Second track Fire in the Sky in particular suffers from this, so much lower mixed than the other songs that it is quite shocking I'm afraid.

Another and more major fault is the recording quality. Opening cut Seeing Stars from the 1984 version of the band the worst of the lot, so uneven, unbalanced and generally poorly recorded that this one comes pretty close to being unlistenable. And while the recording quality of final track Power In Your Hands is somewhat better, the uneven recording quality that especially makes the gentler parts of this song suffer a lot makes me give this one a rather similar conclusion. The other tracks are marginally better recorded, by chance or by accident, but this is by no means a collection of live cuts recorded in a professional manner. This is bootleg quality live material, and substandard at that.

As far as live albums go, this archival collection from Quasar is one that can only be recommended to a select few people: Those who saw the band live back in 1984 and 1990 and dearly want to dream their way back to the actual concerts, and to ardent fans of the band that have a strong need to find out what the band sounded like live back then. A live album for the very specially interested only, even if the performance of the band as such doesn't leave much to be desired.

UK band QUASAR was formed back in 1979, and is a band that suffered from a multitude of line-up alterations in their early history. The one constant member is bassist Keith Turner, the only remaining member from the foundation of the band to the constellation that released their debut album "Fire in the Sky" in 1982, and he was also the sole member of that line-up still in the band when their second production "The Loreli" appeared in 1989.

Seven years and a brand new line-up had done a lot for Quasar as a band. As had better recording quality and production I surmise. Like their debut album this is a production that will be regarded as a neo progressive one. Accessible, melodic symphonic progressive rock, albeit with more of a sophisticated nature to it than the material on their debut album.

A central premise in the band's sound on this occasion is the manner in which the bass guitar is rather central in the arrangements. On one hand the bass is in tight interplay with the drums to construct a firm drive and rhythm foundation, but on the other hand it serves as the main contrasting element in the compositions. The guitar may chime in with the occasional darker toned texture, but is first and foremost used as a resonating light toned supplemental motif provider when not providing guitar soloing harmonizing with or supplementing the keyboards. The keyboards mainly use the lighter tones of the register to provide layers of surging and playful symphonic textures and backdrops to the proceedings. The bass guitar is the one constant provider of darker toned motifs to contrast the otherwise lighter toned instrument details, and due to that gets a more distinct placement in the arrangements. Which may also be the reason for why Turner's bass and pedals are also utilized in a more melodic sense than ordinary.

The compositions are accessible and melodic creations all, alternating between gentler movements and sections sporting either a more intense and majestic expression or the occasional lapse into sections of pace-filled and more intense excursions. The latter occasionally containing minor references to bands like ELP. What adds a lot more life and intensity to this album are the lead vocals. Tracy Hitchings is the singer on this disc, and her expressive, emotional voice is of the kind that comes with drama and tension as a natural element. While the instrumental constructions might be a bit too smooth for some, the raw emotion of Hitchings lead vocals adds nerve and tension aplenty to keep matters interesting. All of these elements arguably finding their perfect form on final track Power In Your Hands.

While both production and most instrument textures comes with a distinct 80's sound to them, and due to that will have a limited appeal, "The Lorelei" is a fine example of neo progressive rock from the 1980's, and if you enjoy that kind of music in general and are fond of the melodic, accessible variety of it in particular this album merits a check. Especially for those who have a soft spot for emotional, dramatic female lead vocals.

UK band QUASAR, these days relocated to the US, was formed in the late 70's. Following a just about total line-up alteration they recorded and released their debut album "Fire in the Sky" in 1982, a production that have subsequently been reissued on CD. The version this review describes is a digital promo for the latter, which in this particular case is worth noting.

Musically we're dealing with a band bound to be placed in the neo progressive sphere whether you'll like it or not. A UK band releasing their debut album in the early 1980's with symphonic progressive rock as their chosen style will always end up with this categorization by way of history. In this case to some extent due to style too, admittedly.

Following a very nice, energetic symphonic introduction, Quasar heads straight into the more accessible field of neo progressive rock on this album. The compositions are light, soft and smooth in construction, with a fairly typical melodic lead vocalist supported by what appears to be a fairly traditional instrument foundation. No major alterations in pace or intensity, no drastic thematic developments or traits otherwise distinctly out of the ordinary. Apart from the keyboards that is. Richly layered, soft keyboards coat and cover the arrangements, sometimes opting for a few dramatic flourishes but first and foremost melodic, harmonic and accessible. At least as the music comes across on this edition. Epic length Mission 14 is the main exception to this description, and as such also a standout composition on this album as far as I'm concerned. I might also add that the compositions as such, even if of a kind and character that invites to the neo progressive tag, draws their influences from the symphonic progressive rock of the 70's. Just like the majority of the other bands given the neo progressive description at that time.

What may be lacking in my own and others understanding of this version of Quasar's debut album is that it appears to be lifted from a less than perfect source. The amounts of hiss and clicks that is a presence throughout suggests that the source for this CD has been a vinyl LP, and one played a few times at that. Which isn't the perfect source to use when you want to reproduce the sounds of a sophisticated band. Details disappear, especially when I get the impression that this wasn't a high budget recording in the first place.

The promo edition I got contained two bonus items: Fire in the Harmony, an alternative version of the latter two parts of Quasar's UFO cycle (tracks 6-7 on the original LP) and UFO, all four parts of the UFO cycle combined into a single track. The former is the most interesting of the two, as the female vocalist present on this take and the subtly more guitar based arrangement (unless I'm much mistaken and misheard) does add more vitality to this composition.

As long as you can live with the technical shortcomings of the CD edition of Quasar's debut album "Fire in the Sky", it is a nice trip into the gentler parts of early 1980's symphonic progressive rock, neo progressive or not, but if you want to get a presumably superior listening experience, the original vinyl LP is the one to go for. If you can find one of good quality and are willing and able to pay the price of such a presumably rare item that is. Be that as it may be, this is still a fine example of smooth, elegant and highly accessible early 1980's progressive rock.

Logical progression

As the title implies this live album features tracks recorded over several different years. Quasar is a great band that has been plagued by line-up changes through the years and here we have tracks recorded with several different line-ups. The only constant member is Keith Turner who leads the band even today. The 80's tracks features Susan Robinson on lead vocals and the 1990 recordings feature Tracy Hitchings.

The songs are generally excellent, but the sound quality is sadly not the best on any of these recordings and now that the Live 2011 album has been released, the present release is no longer the best way to hear Quasar live on record. Much better sounding versions of Seeing Stars, Loreli, and Power In Your Hands are also featured on that much more recent live album. I much recommend anyone who wants to hear the band live on record to begin with Live 2011. Live 1984-1990 is primarily for the fans who wants to investigate the history and evolution of the band. The most interesting aspects of this album is the possibility to hear Robinson and Hitchings tackle the older material which originally featured male lead vocals.

After having been impressed by the excellent Live 2011, I am much looking forward to further releases by Quasar, both live and studio. A new studio album has been in the pipeline for some time now and I hope it will see the light of day this year. The few new songs I have heard so far are most promising (check the live videos on the band's ReverbNation site).

"Sometimes, if you listen hard, the heavens are calling you, beckoning forth, to a dark star, where deep at its core, hidden the secrets of what we're here for."

Formed in the late 70's, Quasar is one of the original Neo-Prog bands. To date they have released only two studio albums, Fire In The Sky in 1982 and The Loreli in 1989. A brand new studio album is however in the making and has been in the pipeline for several years now (though no release date is set). One song on this 2011 live album, In The Grand Scheme Of Things, will presumably feature on that forthcoming album.

The sound of Quasar can favourably be compared to that of Landmarq under Tracy Hitchings. This is of course not surprising as the latter band has its roots in Quasar with several members of Quasar having went on to become members of Landmarq including Hitchings who did what is in my opinion her greatest vocal performance ever on The Loreli. In my opinion, Quasar is the better band and the present live album features most of their best songs. At first I was somewhat disappointed because of the absence of Tracy Hitchings distinctive voice, but once I got over that I started to appreciate the voice of the gorgeous Keren Gaiser in its own right. Then I saw the video clips on the bands ReverbNation page, and was charmed by Gaiser's stage presence and all-in performance. She is something of a young Prog goddess with all the right moves, and she also plays extra keyboards. When you see this you are going to want to hear and see more from this band.

Overall, these are strong performances of a strong set of songs from both of the band's two 80's albums with a focus on the excellent The Loreli material. Seeing Stars whose two parts originally appeared on Fire In The Sky and The Loreli respectively are here brought together into a longer suite. Some parts of the songs from Fire In The Sky (which had male lead vocals) are here sung by Robert Robinson who also is the main keyboard player. The alternating male and female vocals works to good effect. The band's founder Keith Turner plays bass, Greg Studley plays guitar, and Paul Johnson the drums.

The lyrical themes explored include space (Seeing Stars and Mission 14), nightmares (As You Fall Asleep...), myths & legends (The Loreli), and even politics (on the anti-war song Power In Your Hands). Tracy Hitchings' otherworldly vocal performance on The Loreli will never be matched, but these new live versions have other things going for them, and I wouldn't hesitate to recommend this as an introduction to this very good and terribly overlooked band. I am very happy to see that they still exist and play music today and this is very promising for the future. I'm looking forward to the band's new studio album and also hope for a live concert DVD in the future. I would certainly buy it!