VARIOUS ARTISTS (CONCEPT ALBUMS & THEMED COMPILATIONS)

You won't find any Genesis, Yes, or Asia in this collection but you will find solid proof that even after the seeming collapse of the progressive musical empire of the 70s- brought on by the rise of an upstart punk rebellion- prog lived on! Even if it did go underground. In fact, we even learn that punk and prog could form surreptitious collaborations.

I wish I could have been best friends with Steven Wilson during the golden decades of music in the UK, but unfortunately, I grew up in a boring old place called Canada. However, thanks to this new collection of rare prog- tinged tracks from 1979-89, I can feel like I have been transported to Steven's rec room, where we are surrounded by albums on a shag carpet while he plays me his favourite tracks.

This is a massive little collection Steven curated in collaboration with Demon Music Group. The collection I have is a 4 CD set with an exceptionally beautiful and well-designed small hard-cover book (It's also available in vinyl format). It's loaded with carefully curated songs released out of the UK. There are about 14 songs per disc. I have to say even just cracking into the first disc has been more impactful than I expected. I only got as far as 10 tracks into disc one in my first listen. Same thing happened in the next two listens, but happily so. There was so much there to absorb and enjoy, and I was only getting started! The logic of events have proven to me this is probably the most practical way to attack this selection - piecemeal and spread out over many listening sessions.

The book that houses the CDs is top quality. The articles (technically called liner notes) about each song and well written, and accompanied by photos of the original album artwork. There's also a substantial introduction by Wilson. Listening and enjoying this set has been a revelation and a pure pleasure, even if is a bit of a project because it's so vast and diverse. Each time I sit down to tackle some more songs, book in hand, I feel like I'm walking slowly through a modern art gallery, guided by a knowledgeable docent.

Some of the tracks are even remixes by Steven himself.

There's a few artists I knew well, like Tears for Fears, Japan, Kate Bush, David Sylvain...but out of about 50 selections, they were only a tiny slice. Steven avoided picking obvious tracks and dug for the more unique music.

I highly recommend this set for several reasons. Firstly, it features a collection of inspiring music that is truly remarkable. Secondly, the liner notes, written by James Nice, are deserving of a Grammy Award, and provide valuable insight into the music and its creators. Lastly, the packaging of the set is exceptional, making it a beautiful addition to any music collection. It's a trip though some of the best that the 80s had to offer but most mainstreamers will consider obscure and weird- God bless 'em. Six tracks didn't make it to the finish line due to legal or permission issues, but Steven lists them off for you to search out on your own.

Before making a decision, it might be worth reviewing the track listing to avoid redundancy. However, I would be surprised to find anyone other than Steven Wilson who already owns the majority of these tracks.

Oh hey, Steven... I would love to see a future curated collection of 80's art-rock and prog-tinged music released from other parts of the world. It would be highly intriguing and I am definitely interested in hearing what you would come up with.

Steven Wilson, donning a brown Indiana Jones Fedora hat, has unearthed and dusted off significant musical treasures of post-70s prog and alternative rock from the UK. The accompanying well reasearched book makes this a university course-worth of material- a gift that will keep on giving for the prog-curious and then some.

"Rock Legends: Progressive Rock" is a DVD with a collection of eleven progressive live concert clips. All of them are focused about the classic progressive rock bands and all songs belong to the prog rock repertoire of the 70's. The clips are taken from different times being some of them taken from old live tapes and others from more recent live shows.

However and unfortunately, "Rock Legends: Progressive Rock" has no information about the places, the dates and the artists that played on the tracks. So, it was very difficult for me to have some information about them. Still, after several researches, I got some information about them. Anyway, I apologize for any inaccuracies that perhaps exist in some.

The first track "Starless" by John Wetton is a live version of a song of King Crimson from "Red", released in 1974. It seems to be a track taken from John Wetton's debut video "Live In The Underworld", released in 2003. Besides John Wetton, the band consists of guitarist John Mitchell, of Arena, keyboardist Martin Orford, of IQ and drummer Steve Christey of Jadis. The second track "Catherine Parr" by Rick Wakeman is a live version of a medley from "The Six Wives Of Henry VIII", released in 1973. This film shows Rick Wakeman captured in action with the English Rock Ensemble, in 1990. The third track "Eruption" by Focus is a live version of a song from "Moving Waves", released in 1972. This is a track taken from their DVD "Live In America", released in 2003. The fourth track "Barbarian" by Emerson, Lake & Palmer is a live version of a song from "Emerson, Lake & Palmer", released in 1970. It was taken from a very rare tape from an early 1971 film just after the group has finished recording their debut studio work. The fifth track "Vivaldi" by Curved Air is a live version of a song from "Airconditioning", released in 1970. It's an excerpt taken from a Belgian TV live show, in 1972. This is the classic Curved Air line up featuring Sonja Kristina, Daryl Way, Francis Monkman, Mike Wedgewood and Florian Pilkington-Miksa. The sixth track "The Weaver's Answer" by Family is a live version of a song from "Family Entertainment", released in 1969. This live version was filmed for RTBF, a Belgian public television, in 1971. This is one of the most popular line ups of the group, featuring Roger Chapman, John 'Charlie' Whitney, Poli Palmer, John Weider and Rob Townsend. The seventh track "Poor Man's Moody Blues" by Barclay James Harvest is a live version of a song from "Once Again", released in 1971. This is a track taken of a unique live concert filmed at London's Town and Country Club, to mark the 25th Anniversary of the group. The eighth track "Clocks" by Steve Hackett is a live version of a song from "Spectral Mornings", released in 1979. Apparently, the track was taken from Steve's DVD "Live Legends", released in 2004. It seems that the DVD version doesn't contain the whole concert Horizons, recorded live in Nottingham Central TV Studios, in October 1990. The band consists of Steve Hackett, his brother John Hackett on flute, guitar and Moog Taurus pedals, Julian Colbeck on keyboards and Pendragon's Fudge Smith on drums. The ninth track "Tale Of Taliesin" by Soft Machine is a live version of a song from "Softs", released in 1976. The line up of the band on this video is John Etheridge (guitar), Karl Jenkins (keyboards), Roy Babbington (bass) and John Marshall (drums). Allan Holdsworth and Mike Ratledge both were gone from the band by this time. The tenth track "Theme One" by Van Der Graaf Generator is a live version of a song from "Pawn Hearts", released in 1971. The track didn't appear on the UK releases but appeared on the US releases. I think this is a track taken from their live DVD "Godbluf Live 1975", recorded for the Belgian TV, on 21st March of 1972 and was released in 2003. The eleventh track "Paradise/The Spell" by Uriah Heep is a live version of two songs from "Demons And Wizards". This track was taken from their live DVD "The Magician's Birthday Party" released in 2002. It has also the participation of Ken Hensley.

Conclusion: Today, you can get no end with DVD's gathering the sounds of the past. Some are poorly edited and put together almost by chance than knowledge of the bands or the time. Still, this is one of the better, with a good selection and some really good performances all over it. So, "Rock Legends: Progressive Rock" is a very interesting DVD and it represents a good introduction for those who aren't accustomed to progressive rock music, especially with the bands from the 70's. However, it seems to me that we can't say that it's an essential musical document and an excellent addition to any of us. Particularly in this case, since that many of the names of some of the prog bands here aren't the most known for the public in general. So, and despite be an excellent musical live document for the beginners, this isn't really essential for most of us. The bands represented here for a prog head are so important, that is essential to have some of their DVD's in our progressive collection of music, that we can't content ourselves only with this kind of stuff.

Prog is my Ferrari. Jem Godfrey (Frost*)

It's somewhat of a buyer beware statement.

Having been alerted to Cherry Red's new compilation "Round And Round: Progressive Sounds of 1974", I went searching for earlier entries in that series - and got distracted and I would say a bit misled when all the "British progressive pop" compilations appeared in my search. So I must inform the prog-centric listener that 'progressive pop sounds" in this context does not necessarily mean progressive rock as most of us here would define it, and certainly doesn't mean you're going to hear any 10 minute epics. These are compilations of basically 3-minute pop songs. A very stylistically diverse collection of pop songs, it must be said, and some excellent pop songs - but pop songs nonetheless. I guess they've used the 'progressive' descriptor to distinguish these songs from the more middle of the road fare that came to dominate top 40 singles charts in the early 1970s. Indeed, there are several bona fide Prog bands represented - on the 1971 compilation you will find Curved Air, Atomic Rooster, Barclay James Harvest and ELP among others - but they are represented by their shorter, more accessible songs, not necessarily the songs most loved by the hardcore prog audience. (How many ELP fans would pick "Are You Ready Eddy" as their favourite?)

There's very little music here that I actively dislike - I would take any of it over the top 40 music of today - and there are songs that I absolutely love. On its own merits, three stars would be more appropriate. But since this is Prog Archives, two stars seems more appropriate.

For those who were looking for the authentic prog rock compilations - the more interesting series started as "Underground sounds of" whatever year (beginning with 1968), switched to "underground and progressive sounds" for 1972, and "progressive sounds" thereafter. The mix is still not 100% prog rock, but is much more tilted in that direction - and this time, they're not afraid to include tracks with running times that stretch beyond ten minutes. Plenty of favourites, and plenty of bands that were new to me and worthy of further exploration.

This album featured 18 tracks, each with a different set of musicians basically performing jamming sessions on various themes and sometimes cover songs from famous bands such as The Beatles' "Mother Nature's Son" which inadvertently caused a logically nightmare concerning copyrights and other legal wrangling. The sessions were recorded in 1969 but wouldn't find an actually release until 1973 in England on Charisma Records and in the US on Buddha Records as a double-vinyl set. Lake Eerie Records finally rereleased a remastered CD in 2006.

This is basically a show up and let loose set of material here. All these impromptu showcases a diverse set of musicians in the moment with no worries or pressures from record company execs. Given the rather spontaneous nature of the whole thing, these tracks turned out pretty damn good i must admit with particular kudos to Keith Emerson's amazing adaptability to craft keyboard solos around virtually anything. The album is mostly instrumental but a few vocal parts do occur.

Most of the tunes are based on a bluesy rock style with soloing and period organ sounds but Linda Ronstadt offers some country rock tunes which have been universally deemed as sounding out of place and break's the otherwise seamless flow of the album's constant nature. I tend to agree with these although for country rock songs Linda does an amazing job and the musicians are quite competent as well. My favorite tracks are more of the boogie shuffle styled ones such as "Earl's Shuffle" featuring Harvey Mandel on lead guitar and Jimmy Greespoon playing a mean organ while augmented by an excellent slide guitar.

Tracks like "Getting Back To Molly" exemplify the free spirit mood on this release. With a jamming bluesy groove of Eric Clapton on guitar with Dr John joining in as a second guitarist, the baritone vocal deliveries of Earl Down and the backing Free Creeks Singers offer the perfect glimpse into the sounds of an undisclosed bayou in Louisiana as if Parliament, Three Dog Night and Taj Mahal had secretly gotten together to record. There are also rumors that many other artists participated in these sessions but due to legal reasons remained anonymous. Such names that are brandished about in Mick Jagger and Bob Dylan.

Apparently the then 19-year old organist Moogy Klingman provided an interview for the booklet on the reissue recounting the tales of working in these projects. This is certainly one of those albums that gives a glimpse into a less controlled aspect of the music industry for the era it was crafted since by 1969 rock music had become the dominant music form and controlled by the record industry with an iron fist. I wouldn't call this album essential by any means but it is a much more brilliant and pleasing to the ears experience than i expected it to be. Well worth checking out despite the rather ridiculous album cover art of a chained young Tarzan(?) waiting to be consumed by a bird of prey! Definitely one for the anomalous release in the history book!

While the album was produced & written by and released under the names of Jack Lancaster and Robin Lumley, it has the distinct sound of Brand X. Actually, this album was recorded in the same studio, and released shortly before Unorthodox Behavior, and is performed by the entire original members of Brand X (Lancaster played on one track on Unorthodox Behavior). Among the remaining band members on this is Morris Pert as well.

So yes, this sounds very much like Brand X, but somewhat moodier. One of the main themes that pop up throughout the album reminds me very much of a theme on one of the later Brand X albums.

The album does a good job of assigning different musical emotions to the staged of traveling to Mars. All of it in the style that we have come to love from Brand X.

And, like a Brand X album, all of the musicianship is spectacular.

I'd say, give it a listen alongside Rick Wakeman's recent album The Red Planet.

Prokofiev's orchestral children's story was once very popular with schoolchildren and recounts a young boy named Peter and his animal friends who spent a day by his grandfather's pond when a wolf attacks him however Peter outsmarts the wolf with the help of his cunning bird friend and captures the wolf which ultimately ended up in a zoo. The music is roughly based on the original score but mostly is interpreted in a funky jazz-fusion style of progressive rock.

This 1975 release featured a prog rock interpretation of this tale with an amazing all start cast that included Jack Lancaster, Bill Bruford, Gary Brooker, Julie Tippett, Keith Tippett, Stephane Grappelli, Brian Eno, Alvin Lee, Gary Moore, Cozy Powell and Manfred Man amongst others. The album is probably most famous for featuring all the members of what would become the first lineup of Brand X which included Phil Collins, John Goodsall, Percy Jones, Jack Lancaster and Robert Lumley.

Due to the narration parts of Viv Stanshall which loosely recounts the tale in spoken words and then interpreted by the musicians, the album was released in several languages therefore in Germany the album was released as "Peter und der Wolf," in France "Pierre et le Loup," etc. The album very much comes off as some sort of rock opera with most tracks sounding like the early formations of Brand X only in an easier to digest funk fueled style of jazz-fusion in the vein of Herbie Hancock's "Headhunter" however a few tracks are more of their original classical styled presentation. "Rock and Roll Celebration" is very much the standout and sounds more like an Electric Light Orchestra tune in the vein of the early years such as "Ma-Ma-Ma Belle."

While an interesting quirk of the gift that never stops giving 1970s, in the end this version of PETER AND THE WOLF is a pleasant little album that features some top notch musicians delivering the goods but also doesn't feel like it reaches it potential. In other words this is an idea that is loftier than its final results. While not bad in any way, it just feels like the album should've been crafted better.

To my ears the whole thing sounds a bit monotonous and i'm not sure why funky jazz-rock was deemed the appropriate musical style to convey the story since it is not nearly as all-encompassing on the emotional spectrum as the traditional classical score. While hardly something to shell out large amounts of money which may be tempting since the original vinyl featured a 12-page illustrated booklet with the story text, from a musical point of view this comes off as competent and engaging but rather incomplete at the same time.

The Cast: - Narrator / Vivian Stnshall - Peter / Manfred Mann - Bird / Gary Brooker - Duck / Chris Spedding - Duck / Gary Moore - Cat / Stephane Grappelli - Wolf / Brian Eno - Pond / Keith Tippett - Grandfather / Jack Lancaster - Hunters / Jon Hiseman, Bill Bruford, Cozy Powell, Phil Collins Additional Musicians: - John Goodsall, Pete Haywood, Alvin Lee / guitars - Percy Jones, Andy Pyle, Dave Marquee / bass - Robin Lumley / keyboards - Cozy Powell & Phil Collins / drums - Bernie Frost, Julie Tippetts, The English Chorale / vocals

3.5 rounded down

"Move, Cry, Act, Clash" shouting title, distress call on a news-TV intro about the end of our planet's life, global warming in the sights; a punchy track comes in, a voice, a rising tune like the surf of the waves at the edge of the cliff, nervous, aggressive with Martin's guitar. "The Prisoner" metal riff of the end of the world, kind of arrival before the Lord to know where we are going to be able to go; AYREON-style title made for rock opera, viscous guitar behind on DEEP PURPLE, it is more the emotion released than the musical rhythm that takes effect with the melancholy Jerry Goodman violin. "The Last Bird" and immediate stop! Yes I have to tell you that I have been a fan of SAGA since their beginnings, so listening to Michael is always a magical moment for me; I feel like I hear her 80s voice,he must rejuvenate the bugger with his sensual voice; ballad embellished with the cry of the bird until the end, delicate acoustic guitar for a dark tune from which the light can still appear. "Messaline" landed folk rock, Irish ballad suddenly reminding me of KANSAS, hold a title of IRON MAIDEN for the intro; yes they also started to prog metal on their last one. In short, the warrior guitar solo potentiates even more the Celtic aspect with violins in order of battle weighting the voice of dramatic bernie shaw. "I Said Shout" in the sequel, nervous, on a title of musical comedy 'Shaft' for the imposing choirs, short rhythmic folk-rock of BOF genre 'Starsky & Hutch'. "Heaven" on an acoustic basis and the presence of Martin BARRE for an absolutely brilliant vintage moment, the notes,the agreement melts the speakers on a typical 80's heavy metal prog sound; any resemblance to 'Stairway To Heaven' can only be made on purpose.

"The Lady of the Lake" begins from the 2nd side, I like to cut the albums: blues here relaxing the atmosphere, thundering vocals, groovy choirs, sax by John Helliwell for a cheerful restful track. "When Your Feelings Grow" heartbeat, horse cry, titanic bass in 80's PINK FLOYD style; it's rhythmic, the violins add to it, the sensual choirs too; sometimes I say to myself like ALAN PARSONS just like that. "Wake Up (Before the Last War)" still PINK FLOYD era 'Division Bell', the sax which makes jump the hairs, Roberto Tiranti gives with his airy voice to give in the introspective, Celtic fund which returns in the station wagon; moment of caution with this crystalline piano just destroyed by the dark, deafening finale, the baby being unable to do anything about it."Hey" which I let you find the similar air going to see on the side of "Silent Hill" for example, psychedelic; Roberto Tiranti uses his soft voice to melt us, the sax of course adds a layer until the end. "A Brand New Day" folk and world music filled with hope with Shira Golan and Miriam Toukan, Palestine and Israel united, language in Hebrew, Arabic and English with Michael in the background for a dreamlike musical intensity and the Génésisien solo of Steve; back to noisy life. "The Vision" slide guitar à la 'Paris, Texas', John Wetton, tribute song covering 'De l'Autre Côté' with a Celtic and intimate tone."A Brand New Day" folk and world music filled with hope with Shira Golan and Miriam Toukan, Palestine and Israel united, language in Hebrew, Arabic and English with Michael in the background for a dreamlike musical intensity and the Génésisien solo of Steve; back to noisy life. "The Vision" slide guitar à la 'Paris, Texas', John Wetton, tribute song covering 'De l'Autre Côté' with a Celtic and intimate tone."A Brand New Day" folk and world music filled with hope with Shira Golan and Miriam Toukan, Palestine and Israel united, language in Hebrew, Arabic and English with Michael in the background for a dreamlike musical intensity and the Génésisien solo of Steve; back to noisy life. "The Vision" slide guitar à la 'Paris, Texas', John Wetton, tribute song covering 'De l'Autre Côté' with a Celtic and intimate tone.

ALAN SIMON took 3 years to release this militant album where the titles are very varied, well the covid has also been there: on a pop-rock, rock, Celtic, intimate variation, with symphonic arrangements bringing haunting heat to travel safely. At the moment when he withdraws a little from this world too crazy, unhealthy, there remains this message to be shared around a round table to discuss with these famous musical knights performers; an album which increases in creative power as the said album progresses, going from the 70's to the 80's then 90's for a timeless hymn. An album made to actively reflect on a future with hope: Move, cry, act, face!

The 30 tracks on the 2-CD Periplo deliver not only many Rock Andaluz sounding songs, but also other musical genres.

Examples of the variety on CD-1:

Old School symphonic rock with hints from Pink Floyd and Camel in the wonderful Obertura Inesperada: first spacey synthesizers flights and moving guitar play, then tender piano, blended with sensitive electric guitar and soaring keyboards.

Folk meets Heavy Prog in In La Raiz De Mi Destino: guitar player Juan Delola plays both virtuosic flamenco guitar runs (with handclapping) as a heavy electric guitar solo.

Rock Andaluz in Empujado Al Precipicio (with an 'Arabesca' undertone, by Mezquita members), Galopando Por Mis Deseos (delicate sequencing, bombastic keyboards, powerful Fender Jazz bass, and in the end spectacular synthesizers runs) and Mis Besos En Esta Canci'n (intense flamenco guitar, blended with spacey syntheiszer flights, and passionate vocals by Alameda legend Pepe Roca).

Neo-Prog in Date Coraje: first a flashy synthesizer solo, then a fiery guitar solo with powerful bass runs, it sounds as the 'Andalusian Pendragon'.

Swinging bluesrock with a catchy beat and the distinctive mouth organ in Perro Callejero.

An electronic climate with wonderful work on keyboards by I'aki Ega'a (Iman) in Isla Del Amor.

A folky duet between flute and guitar in the first part of Descendiendo De La Ca'ailla.

The compelling eclectic track Mar De Fondo Andalusi features a spacey intro, then mellow organ, hypnotizing percussion and moving guitar work (evoking Eric Clapton), and finally a Morish sounding synthesizer solo, wow!

Examples of the variety on CD-2:

Rock Andaluz in Dibujando Sue'os (from twanging acoustic guitar to fiery electric guitar and mouth organ, topped with Randy Lopez his excellent flamenco inspired vocals), Mirada Al Infinito (great blend of flamenco guitar and palmas with a howling electric guitar, embellished by the singer of Triana tribute band Zaguan), So'ando Con La Luna (strong 'Arabesca undertone', and a spectacular synthesizer solo by Juan Antonio Vergara himself) and Algazara (flamenco guitar intro and outro by Juan Delola, in between a compelling atmosphere with senstitive electric guitar and a synthesizer solo, with castagnettes, wow).

Ethnic prog in Isla De Los Sue'os (hypnotizing percussion, then sensitive electric guitar and djembe), Tetralog'a (first sitar and tablas, halfway a heavy eruption with a wah-wah drenched guitar, then a spectacular Moog solo, and finally Spanish guitar) and Al Abordaje (sitar-like sound, blended with tablas, theatrical female vocals and finally a Peter Frampton-like talk box).

A Romantic ballad with warm vocals from the Cai singer in Encontrar La Vida.

Jazzrock in La Gaviota, El Cangrejo Y Yo and Singular (by several Quadalquivir members).

Santana-like guitar with propulsive ethnic percussion in Buscando La Semilla Del Amor Eterno.

An electronic atmosphere in Futuro (dreamy with a celestial female voice) and Reflexiones (first sequencing and spacey synthesizers, then an exciting blend of electronic, Rock Andaluz and psychedelia with a distorted Steve Hillage-like guitar solo, wow)

Blues in Doble Caracola: wonderful bluesy guitar and piano, along cheerful synthesizers flights and excellent passionate vocals with a strong flamenco undertone by the Mendigo singer.

Romantic Spanish guitar in the instrumental Una Simple Oraci'n.

WHAT A CAPTVATING MUSICAL JOURNEY BY THESE ROCK ANDALUZ MUSICIANS, NOT ONLY PLAYING THEIR BELOVED MUSIC BUT ALSO BLUES, ROCK, FOLK, ETHNIC, JAZZROCK AND ELECTRONIC, WITH PASSION AND SKILLS, HIGHLY RECOMMENDED!

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

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

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

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

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

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

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

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