PROG RELATED

Then there's a live version of 'Fade to Black', which, again, great song, although this could easily be one of the thousands of other live recorded versions of this track and I wouldn't know the difference. And a demo of the title track, despite the very rough sound, it's a nice touch, although listening to James Hetfield 'na na na' his way through the song is humorous for a one-off listen, but once is enough, thank you.

Overall, can't really complain. It's a harmless enough CD for collectors, but music fans today generally don't really care for CD singles, do they? So yeah, one for the collectors.

1. "In C, Part 1" (23:50) 2. "In C, Part 2" (19:10)

Total time 43:00

While many find Miminalist music dull or boring, I LOVE it! It reminds me so much of Bali's Gamelan music, which I ADORE! I find the hypnotic mathematical forms and patters mesmerizing, relaxing, and often tremendously engaging and interesting--especially the way the tracks of polyrhythmic instruments blend and flow, alternate between conflict and then falling conciliatorily into the weave, how new instruments can be surreptitiously snuck into the weave while others mysteriously go missing, over and over. Fascinating! In C definitely registers as not only a landmark album in the history of music but a masterpiece in a new genre that would go on to inspire so many prog artists including the Berlin School, Brian Eno, all members of the 1981 incarnation of King Crimson, modern loopers and electronica, Post Rock, and Tech/Extreme Metal artists.

It seems the first track is highly connected to "Approach" by the Intergalactic Touring Band.

So he we're listening to 100% electronic sounds that convey a very special organic and warm (some other reviewers would seem to disagree there LOL !) mood, bass tones as spicy as great electric bass tones at times, "drumrolls" and dynamics very well made, riffs and chord progressions are exquisite, an e-percussion only section in "Phobos And Deimos Go To Mars : Phobos" sounds too long, now the leading line played after it is fantastic, I guess there were emulations of it later.

I forgot who was on this album other than Portnoy, but decided it would be an interesting first spin not knowing who was involved. By Track five I knew Neal Morse was here because he sings on that one. My conclusion was that the singer isn't on the level as the musicians. He came across as very middle of the road. He's a good singer but he seems like a "safe" pick.

So they have FLYING COLORS listed here under Prog-Related for a reason. "Second Nature" can be fairly straight forward, but I liked a lot of this, and it really smokes at times. Four of the nine tracks are really good, but unfortunately the other five are below average in my opinion. The almost 12 minute closer is like a mini version of the album in the sense it is very hit and miss, mostly miss. I feel that this doesn't end well with those last four tracks but the one Neal sings on is quite good called "A Place in Your World". Then add the three opening tracks "Open Up Your Eyes", "Mask Machine" and "Bombs Away" and that's my top four.

This is a band that seems to be on a mission, going on tour after every album then releasing a live one. So three studio records and three live ones so far. I just have this 2014 release which is their second one, and it certainly has it's moments. These guys can bring it.

That rhythm sections moves the soundscape on the opening title track. Lots of energy. That continues with "Crash Course On Brain Surgery" before the laid back "Wondering What Everyone Knows". I like this one a lot. Strummed guitar, percussion and relaxed vocals. I like the double tracking of the vocals at times. The main attraction though is "Zoom Club" a ten minute track that could be their finest moment. This thing grooves and it's repetitive with vocal arrangements to die for. Influential? A little bit. We get teased for 1 1/2 minutes then they amp it up. Head banging time. Vocals just before 2 minutes belting it out. And we still have 8 more minutes. Come on!

"Hammer And Tongs" doesn't kick in until a minute and it has a SABBATH vibe but man that guitar just lights it up. Bluesy and down tuned. Great track. "Running For My Soul" sounds so good, the bass especially but the guitar leads all the way until the vocals arrive just after a minute. Uptempo and bluesy. "Living On Your Own" ends it and it's a top three with the title track and "Zoom Club". This one just sounds different. Positive, almost bright as vocals arrive. At 9 minutes, it's a ride. A ZEPPELIN vibe here. Like Page and Plant. The sun is out! Perfect way to end the record.

I rank this neck and neck with the previous years "Never Turn Your Back On A Friend", while their debut remains my favourite. A beautiful trio of albums.

Both concerts open with the funereal ambience created by Brian May's guitars in the brief instrumental "Procession", and give way to a sampling of songs that represent the corrosive and dense character of the band at the time, such as the powerful "Ogre Battle", the raspy riffs of "Father to Son" and "Son and Daughter" in the style of seventies Black Sabbath, a multi-layered guitar solo taken from "Brighton Rock" courtesy of May's famous Red Special, the galloping "Great King Rat" and "Keep Yourself Alive", and the huge Zeppelin chords of "Liar", further evidence of the guitarist's excellent form.

On the other hand, Queen's versatility is also present with less hostile tunes like the delicate "White Queen", the progressive vein with "The Fairy Feller's Master-Stroke" and an extract from the excellent "The March Of The Black Queen" (a premonitory exercise prior to the immortal "Bohemian Rapsody" released a year later), the tribute to Presley's fifties rock with "Jailhouse Rock" and the bluesy "See What A Fool I've Been", songs that feature the powerful and unsurpassable voice of a very loquacious Freddie Mercury interacting with the audience, and with the sound base of the always correct John Deacon on bass and Roger Taylor on percussion.

Except for sporadic appearances, most of the pieces from "Live at the Rainbow '74" have disappeared over the years from live setlists, buried by the worldwide mega-hits that Queen produced. But without a doubt this is an excellent way to delve into the band's beginnings and appreciate their most representative songs performed on stage.

4/4.5 stars

This record gets off to a bad start with "It's Only Love" a shot at a single? A boogie woogie, uptempo blues track, and my least favourite song on the album. Next is "Dear Jill" a slow bluesy piece which isn't my thing but then "Sing Me A Song" saves side one from being below average. This is more powerful with sax and vocals standing out. Side one ends with "The Modern Alchemist" a jazzy track and a hint at what their second record would sound like.

Side two is much better starting with "Up And Coming" which if not for that repeated theme of stuttering like guitar and more, it would be outstanding. "Leave It With Me" is a good rocking tune with that blues flavour, then we get two tracks that are average before ending with the bluesy "Ain't Ya Coming Home, Babe?" trying to be American I guess, but hey this is blues. Love the extended instrumental section with sax first then guitar, so good!

In related news I just read an interview with Geddy Lee who said "Thick As A Brick" was his favourite album. He saw them in Toronto at some time in the 70's and was blown away with Anderson's stage persona and sonically with "Thick As A Brick". Mick Abrahams would not come close to the success of his former band, but he did it his way, playing the style of music he was into. "Ahead Rings Out" is well worth checking out.

And speaking of "Blackstar" the final track on "The Next Day" called "Heat" feels like the inspiration for "Blackstar". If nothing else it's the bridge between the two records. It's dark and experimental, and it has those fragile vocals, so vulnerable that were front and centre on "Blackstar". The lyrics too! "Heat" is the track that stands out for me here. I love that of the fourteen tracks seven are very good. And especially that the first four are included in that because this was a cd I just wanted to play again, knowing how it starts off for the first 15 minutes.

There's a lot of positive energy on this record including that foot stomping, head banging opener "The Next Day". It's the chorus I'm talking specifically, and yes sit down to foot stomp and head bang please. Bowie's vocals are strong. "Dirty Boys" is next and man that baritone sax really works here along with the bass clarinet. Love those sounds. "The Stars(Are Out Tonight)" is my second favourite after the closer. Back to the energy and there's so much going on here. Too much fun. "Love Is Lost" ends that opening first four and this one grooves with guitar over top. Great lyrics.

The other two tracks that stand out for me are the back to back "I'd Rather Be High" and "Boss Of Me". The psychedelia of the former and the return of the baritone sax on the latter. I wasn't surprised to see Tony Levin playing bass on five tracks, but seeing that the main guitarist is David Torn did surprise me. Playing on this album must have been one of many highlights Torn has had in his career. This is a solid 4 star record in my world, and is worthy enough to have that "Heroes" cover in my opinion.

The answer is: No. Not at all.

The album's fatal flaw IMO is the fact that its compositional side is simply not very captivating. If you throw away all the circumstances in which it was recorded, it's essentially a session of organ noodling that goes nowhere. The challenges Riley faced in '69 to design soundscapes never before heard on tape, don't instantly make it a masterpiece.

In conclusion, probably the most critically overpraised album ever made without a real reason other than the fact it was a technological marvel, at least for its era. Huge disappointment.

1. "A Rainbow in Curved Air" (18:40) nice minimalist overlaying of electronic keys (speeded up?) and percussion. (36.5/40)

2. "Poppy Nogood and the Phantom Band" (21:40) very pleasant and mesmerizing weave of looped, echo-effected, and overlayed saxophone riffs, bursts and flourishes. Terry proves that one human can be a one man big band/wind orchestra! (36.125/40)

A-/five stars. Though perhaps only a minor masterpiece of progressive rock music, A Rainbow in Curved Air stands as a major contribution to the birth and development of progressive electronic music.