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Crossover Prog • Canada

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The Tea Party picture
The Tea Party biography
Founded in 1990 in Windsor, Ontario, Canada - Disbanded in 2005 - Regrouped in 2011 up until today (2017)

1990 - The Tea Party consisting of Jeff Martin as lead vocals/lead guitar, Stuart Chatwood on bass and keyboards and Jeff Burrows on drums officially forms after a marathon jam session at Cherry Beach Rehearsal Studios on Toronto's waterfront.

1991 - The Tea Party release their first album independently. The self-titled debut was mainly distributed throughout Ontario and all 3500 original pressings sold out within a year.After this release, they were signed to Chrysalis and sold over a million copies of their official 1st release Splendor Solis, their most successful album to date.During the nineties the band did exstensive tours of both the USA and Canada and have developed something of a cult following.Transmission their studio release in 1997 is regarded as their most progressive album to date sharing a myriad of sound influences.They are widely regarded as one of Canada's most prominent bands and in 2007 they released their first official DVD of live material.

THE TEA PARTY Videos (YouTube and more)

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Seven CirclesSeven Circles
Emd Int'l 2004
$53.94 (used)
Emd Int'l 1999
$2.42 (used)
The Tea Party CollectionThe Tea Party Collection
Wea Int'L 2000
$4.24 (used)
Ocean at the EndOcean at the End
Unv 2014
$7.96 (used)
Edges of TwilightEdges of Twilight
Capitol 1995
$1.69 (used)
Live from AustraliaLive from Australia
Linus Entertainment 2012
$11.19 (used)
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THE TEA PARTY discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

THE TEA PARTY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.31 | 16 ratings
The Tea Party
3.82 | 58 ratings
Splendor Solis
4.31 | 96 ratings
The Edges Of Twilight
3.52 | 39 ratings
3.43 | 43 ratings
3.59 | 35 ratings
The Interzone Mantras
2.76 | 40 ratings
Seven Circles
3.41 | 40 ratings
The Ocean At The End

THE TEA PARTY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

THE TEA PARTY Videos (DVD, Blu-ray, VHS etc)

4.43 | 7 ratings
The Reformation Tour

THE TEA PARTY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 3 ratings

THE TEA PARTY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.08 | 7 ratings


Showing last 10 reviews only
 The Edges Of Twilight by TEA PARTY, THE album cover Studio Album, 1995
4.31 | 96 ratings

The Edges Of Twilight
The Tea Party Crossover Prog

Review by Warthur
Prog Reviewer

5 stars Take Jim Morrison, put him in front of Led Zeppelin, and stick them in an isolation tank full of bong smoke and early 1990s goth albums and you might end up with something resembling The Tea Party's The Edges of Twilight. Although they don't sound very similar, I kind of think of this crew as being a bit like a Canadian answer to early Porcupine Tree, in the sense that in both cases the artists in question apply some of the production styles and motifs of 1990s indie/alternative rock to a progressive rock agenda, though they are rapidly distinguished from each other by their choice of influences. Porcupine Tree mashed up trippy psychedelia with aspects of trance music and jangle-guitared British indie pop, whereas The Tea Party take the most progressive moments of the Doors and Zep, taken the progginess a few steps further, and give them a Sisters of Mercy sort of aesthetic. It's a weird, weird plan, but somehow it works.
 The Edges Of Twilight by TEA PARTY, THE album cover Studio Album, 1995
4.31 | 96 ratings

The Edges Of Twilight
The Tea Party Crossover Prog

Review by Gallifrey

4 stars 20 Years On: The Tea Party's The Edges of Twilight

It's kinda amazing that this album even exists in a way, let alone exists, and is good. This is a progressive hard rock album, released smack bang in the middle of the 90's, when both progressive rock and hard rock was at its most uninspired and awful. Prog then was either corny Dream Theater clones or corny wannabe 70's revival trite, and hard rock was split between grunge and post-grunge (aka buttrock) and AC/DC-style 'tuff guy' wannabe 70's revival trite. It seems ridiculous that somehow The Tea Party (oh, and these guys are called the [%*!#]in Tea Party) could put out a proggy hard rock record that a) isn't terrible, b) doesn't just sound like Rush, and c) actually is progressive and actually is hard rock is pretty incredible to be honest.

I'm going to say this straight away - this is better than any Rush record. Okay, maybe Moving Pictures tops it, but The Tea Party, at least for me, manage to merge prog and hard rock in a way that doesn't make me cringe internally. This isn't wanky nonsense with a punchier bass to give it a hard rock tag, nor is it dadrock with long songs to give it a prog tag. This is more or less the best progressive hard rock album I have heard, and it came out in 1995.

'Fire in the Head' is an absolute mother[%*!#]er of a song. I do hate using profanities to describe music, but there's simply nothing else that can grasp the balls on this track. From the harmonic- ridden guitar riff to the insane verse groove to the rich, powerful vocal lines, this song has testosterone levels that AC/DC could only dream of, yet does it without ever talking about trucks or intercourse. There's an insatiable swagger to Jeff Martin's voice here, with a very Jim Morrison-esque vibrato to it keeping the song in check. There are no tough-guy manly man-ness vocals of manliness here, because they're too good for that. It's so rich in powerful energy that even a rather campy Rush-styled pre-chorus lick can't pull the balls off it.

But the rest of the album doesn't try to repeat the energy of that track, and it shouldn't. Sure, a full record with the intensity of that song would have been pretty impressive, but it also would have been insanely dull. Despite me describing this as progressive hard rock a number of times, the majority of the album wouldn't exclusively fit in either. When it needs to pull some hard punches, it does, and there are some truly monstrous riffs to be found here, and the 'prog' side is more of a 'it's not generic trite' than a 'it has billions of solos' style of prog. The music here is tastefully written and arranged, which is a rarity for hard-edged rock music, even featuring soft, lengthy, piano led pieces, and a rather impressive acoustic instrumental piece, 'The Badger', focusing brilliantly on the harmonic play that many of the heavy riffs have, but with the acoustic instrument it takes its own form. 'Correspondences' is easily the other standout of the record, perfectly combining softer elements of piano and acoustic guitar with progressive structures and a couple of meaty hard rock riffs coming in its second half.

Jeff Martin's vocals really are the focal point of this album on the whole though, and I'm certain that without his romantic croon, this album would be nowhere near as impressive. He carries the music wonderfully through the album's otherwise pedestrian middle-run, with pretty much every song in this section being decent in one regard or another, often due to Martin alone. And I feel that this is the downfall of The Edges of Twilight. Although within the context of the 90's, this is absolutely brilliant and nearly unheard of - a new band coming in with the sounds of the 70's that actually legitimately sounds great, take this out of context and it's not as incredible. And the same thing goes for its genre. This may be a fantastic progressive hard rock album, but when has progressive hard rock really been fantastic? On the whole it is impressive, and definitely an essential album for any prog fan, but it's not quite as good as I want it to be overall.


Originally written for my Facebook page/blog:

 The Ocean At The End by TEA PARTY, THE album cover Studio Album, 2014
3.41 | 40 ratings

The Ocean At The End
The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

3 stars Has it really been nearly ten years? One listen to THE TEA PARTY's 2014 reformation album makes it seem no time at all since they broke up after the bland 'Seven Circles'. And I don't mean that entirely in a good way.

Look, these songs are great. Some are outstanding, and the band certainly take more risks than they were taking in 2005. But - and I am finding this difficult to put into words - there's an oily sheen of rock professionalism all over this album. Perhaps it's the overproduction, but I have the feeling it goes deeper. 'The Black Sea', for example, ought to be a standout, but it falls flat. There's no rough hand reaching out from the speakers and grabbing me around the throat. I am not compelled to listen. We get THE TEA PARTY doing PINK FLOYD on the title track, with a plodding pace, ascending chord sequences and a bitchin' guitar solo. Actually, I like it. 'Like' is about the most they get out of me. Heck, even 'Submission' fails to move me, despite the amazing intro. The only time I did a double-take was at the chilling electronic five-minute outro. They have cleansed this record of anything that might irritate or hook the listener and, in so doing, have rendered it sterile.

And what's JEFF MARTIN done with his voice? He's sounding more and more like JIM KERR these days. (Have a listen to 'Cypher' to hear what I mean.) Now I love KERR's heavily affected voice, and it worked in the context of SIMPLE MINDS' elaborate electronic, pulsing rock of the early 80s ('Sons and Fascination' is one of the best records ever made - ooh look, I'm getting sidetracked). But it just sounds incongruous here. He tickles my ear now, when back then he scorched.

This album's good, make no mistake. But I think the band wanted to do better than good. If so, they're probably a little disappointed.

Was it worth them reforming the band? I'll find out in a couple of weeks' time, when I attend their Canberra gig.

 Seven Circles by TEA PARTY, THE album cover Studio Album, 2004
2.76 | 40 ratings

Seven Circles
The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

2 stars And so we reach the rather bleak nadir of this compelling band. THE TEA PARTY learned its chops performing LED ZEPPELIN covers. However, by this, their seventh album, they have all the chops in the world but bind them up rather in the manner Chinese women were once forced to wrap their feet. The result is stunted and unbalanced.

And yet. A surfeit of heavy rock riffs still stirs a faint pleasure in me. Stop it, 'Overload'! I don't want to enjoy this; I shouldn't! But - hee hee - it's still fun. 'Writings On The Wall' is a superior hard rocker. The chorus to 'Wishing You Would Stay' is lovely, with the female voice lifting the song out of mediocrity. Listened to in isolation - perhaps as part of one of their earlier albums - these tracks wouldn't be too bad. (Well, 'The Watcher' is pretty bad, really.) But put 'em all together and you have the same result you'd get if you forced Shakespeare to write a script for a Teletubbies episode.

No, 'Seven Circles', I'm going to resist your crude blandishments. You are a sellout, written to get heavy rock radio airplay, and I despise you for that. If I was the charismatic lead singer and had a desire to make more meaningful music I'd leave after such a limp effort - oh look, he did.

 The Interzone Mantras by TEA PARTY, THE album cover Studio Album, 2001
3.59 | 35 ratings

The Interzone Mantras
The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

3 stars A classic case of misleading advertising. One look at the album cover and title and you'd be forgiven for thinking THE TEA PARTY have returned to their glory days of beautiful Eastern melodies. But they have not. These are not mantras. Shiva does not appear as guest vocalist on any track. Drat.

With this album THE TEA PARTY settle firmly into their post-'Transmission' album formula. Really, this review is largely interchangeable with any of their four most recent albums. And that's a shame: there's no surprises left. It happens to virtually every band - but one can hope...

So. Hard rocker to open, a couple of mid-tempo ballads as singles separated by a few stronger (but interchangeable) numbers. After about five or six tracks, pull out a sequence of three excellent tracks lightly dusted in the glamour that made them a candidate for Crossover Prog: a bit of Arabic melody and rhythm, an oud or a sitar or a tambla drum, a flash of LED ZEPPELIN tinsel (there's a guitar figure in 'Angels' that'll arrest your attention if you're a ZEP fan, and 'Must Must' is yet another return to that troubled Himalayan province, you know the one I mean). Save the most progressive track for the end. Result: an album much more Crossover than Prog. Rinse and repeat.


They are so very good at it.

Crunchy riffs (Exhibit A: 'The Master & Margarita'), superb rhythm section (Exhibit B: 'Apathy'). The occasional surprise (the delicious, sumptuous horns in Exhibit B) and outright brilliance (Exhibit C: the entirety of 'White Water Siren', but especially the chorus riff, oooooh) make this an album I play again and again, albeit in reduced form as a 40-minute playlist. Two songs ('Apathy' and 'White Water Siren') make it on to my 50-minute Best Of THE TEA PARTY playlist. Write more of this stuff, guys! To me, all this adds up to a solid three-star album.

But with a more liberal sprinkling of prog dust it could have been so much more.

 Triptych by TEA PARTY, THE album cover Studio Album, 1999
3.43 | 43 ratings

The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

2 stars It happens to almost every band eventually. Their repertoire gets large enough that their new songs begin to sound derivative of their old songs. THE TEA PARTY have consciously worked to avoid this since the beginning of their career, but I'm afraid on this album they do not succeed.

'Triptych' is a reasonable album. Musically competent, full of excellent melodies. What it's missing, however, is heart. The songs sound like inferior copies of what's gone before. The #1 Canadian single, 'Heaven's Coming Down', is stripped back soft rock... dare I mention a band called NICKELBACK? This is an abrogation of what makes the band great. This song succeeds only because the passion has been torn out of it. Rock by numbers. MARTIN's great voice is wasted here - in fact, it sounds incongruous, more like TOM JONES than JIM MORRISON. Songs like 'Underground' and 'The Messenger' drift past on a cloud of their own inconsequence. Others ('Samsara', as you'd guess from the title, and 'Halcyon Days') reference the glorious 'The Edges of Twilight' but those days appear to have gone. There's nothing exotic here, nothing searing, nothing propulsive. It's telling that many of the songs fade out. As does the album.

Again I must emphasise that this is not a poor album. But I would genuinely choose to listen to 'Transmission' twice in a row than follow it with this one.

 Transmission by TEA PARTY, THE album cover Studio Album, 1997
3.52 | 39 ratings

The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

4 stars The follow-up to the wildly impressive 'The Edge Of Twilight' is a calculated change of direction. You have to admire a band for opting out of a reprise when their formula has reached its pinnacle. THE TEA PARTY does just that by introducing samples, loops and other techniques garnished from the electronica/IDM scene that was cresting at the time. The result is 'Transmission', an album that continues the band's excellent songwriting and performance.

Unlike their earlier albums, this is a slab of top-quality music with no weaknesses - but fewer strengths also. There's no 'Sister Awake' or even 'Save Me', but there are searing rockers (and I mean searing: 'Temptation', 'Pulse' and 'Gyroscope' stick their fingers in your ears and try to gouge out your eardrums) and intriguing, superbly original tracks, such as the title track. This track begins with electronic feedback overlain by what sounds like a sample of a Jim Jones rant, joined by a thunderous Arabic beat, a Mellotron, an Eastern flute and MARTIN's vocal rasp. The song doesn't take full advantage of such an intriguing beginning (which is a complaint one could levy at most of the tracks on this album) but it is wildly atmospheric and needs to be heard to be believed. To my mind this is exactly what a progressive band needed to do in the 90s - take from the dominant musical cultures to flavour their own work.

And those flavours are stolen without apology. After fifty seconds of exactly what you'd expect, the opening track ('Temptation') is subverted by a pulsing beat one reviewer describes as reminiscent of 'When The Levee Breaks' but is in fact lifted straight from 'Minniapolis' an obscure 1992 Lemon Interupt (later to be Underworld) track. This sot of thing wins my admiration even though it comes at the cost of much of the Arabic/Eastern feel.

In a decade where 'progressive' music was by and large taking place outside normal 'prog rock' circles, it was refreshing to see bands like THE TEA PARTY reinventing themselves.

 Alhambra by TEA PARTY, THE album cover Singles/EPs/Fan Club/Promo, 1996
4.08 | 7 ratings

The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

4 stars Issued as a way to keep interest alive after their superb 'The Edges Of Twilight', THE TEA PARTY's 'Alhambra' is an excellent EP and well worth acquiring for any aficionado of the band.

Acoustic-based songs are an important part of the band's repertoire, both on their studio albums and live: in fact, they have toured as an acoustic outfit. This EP offers acoustic versions of some of The Edges Of Twilight's choicest cuts. Indeed, 'Inanna' and 'Turn the Lamp Down' are substantially the better for it - particularly the former, which is slowed down to a pace where the Arabic flavour seeps into your bones. Delicious.

After four acoustic tracks somes the highlight of this release. ROY HARPER guests as vocalist on 'Time' (sorry, Floydian flashback there) and I can see why he was asked - this outstanding song would not have suited a baritone. HARPER's voice sounds excellent, if a little thinner than back in the day, and it is somewhat of a coup for the band to have recruited him. When the glorious chorus arrives, after over two minutes' worth of largely acoustic setup, it is a substantial shock. Genuinely one of the best tracks in THE TEA PARTY's canon.

What to say about the remix of 'Sister Awake', a remake of one of the best tracks in rock? We're better for having it, I suppose, but it's not up there with the original. This is a link between their previous album and the upcoming industrial electronic feel of 'Transmission'. I think this is an excellent example of how a song's arrangement is crucial.

Four stars as an excellent example of what can be achieved in an EP's length. These days I suspect it would be issued as a bonus disk.

 The Edges Of Twilight by TEA PARTY, THE album cover Studio Album, 1995
4.31 | 96 ratings

The Edges Of Twilight
The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

5 stars 'The Edges of Twilight' is THE TEA PARTY's acknowledged masterpiece, but perhaps you haven't yet experienced just how excellent it is. This power rock trio from Canada took their formula of hard rock blues and folky acoustic sound and slathered a layer of Middle-Eastern instruments, melodies and timing all over it, to end up with half a dozen all-time rock classics, surrounded by another half-dozen lesser (but still excellent) tracks. If you want to sample this band, this is where you start.

Specifically, this album is organised around the spine-tinglingly majestic 'Sister Awake', one of the best rock numbers of the 90s. More than a little prog-tinged, this six-minute adventure comes in two parts, a Moroccan-drenched intro and outro sandwiching a most beguiling centrepiece with enough riffage, drama and atmosphere to satisfy any lover of rock, prog or otherwise. This is THE TEA PARTY's 'Kashmir', the apogee of their art. It's that good. Go and have a listen to it now.

But to get there you will have already rocked out with 'Fire In The Head', an opener with more than enough power and subtlety to please, 'The Bazaar', a shorter track based on an eastern rhythm, and the longer, slower, bluesy 'Correspondences', a prog track good enough to be the highlight of many artists' careers. You'll have chilled out with the Celtic acoustic beauty of 'The Badger' and been woken up again by zeppelinesque 'Silence'.

The rest of the album's a bit of a curate's egg. For some reason the band felt the need to insert two of their blues numbers ('Turn The Light Down Low' and 'Since I've Been Loving You' - sorry, I mean 'Drawing Down The Moon') - just delete or skip if you're not a fan of this sort of stuff (I'm not). 'Inanna' is the other indispensable eastern-sounding track on the album and is cut criminally short, while the last two tracks would stand out on any other album by this band.

In the end this album's not about the individual tracks but the overall sound, which will, I hope, capture you and intrigue you over many listens.

 Splendor Solis by TEA PARTY, THE album cover Studio Album, 1993
3.82 | 58 ratings

Splendor Solis
The Tea Party Crossover Prog

Review by russellk
Prog Reviewer

3 stars A lot of rock and a dusting of prog, THE TEA PARTY are a perfect fit for Crossover Prog. This, their second album (but first widely available release), showcases their sound. Blues-based rock tinged with acoustic tendencies a la LED ZEPPELIN III or any number of folky '70s bands is your starting point, but I would point out that you can hear grunge influences, particularly in some of the guitar and vocal phrasing. The Middle Eastern references people associate with THE TEA PARTY are almost absent here. If this is your cup of tea, read on.

Splendor Solis is organised around a solid centre of excellent material: the first five songs are well crafted, powerful and fit together very satisfyingly. 'The River' is a snappy opener, while 'Midsummer Day' is an improvement on the version recorded for their debut. The drama peaks on 'A Certain Slant of Light', which is carried by an outstanding vocal performance laid on a strong rhythm section and an excellent guitar riff. 'Save Me' is a fan favourite and about as proggy as it gets on this album.

Sadly, the second half of the album tapers off, starting with the cringeworthy and thoroughly derivative 'In My Time Of Dying' - I mean 'Sun Going Down', sorry. 'Dreams Of Reason' needed more work to make it worth over six minutes of your time. The rest of the tracks are at best inoffensive.

Thanks to chris s for the artist addition. and to Quinino for the last updates

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