01. Promised Land 02. The Prisioner 03. Death & Illusions 04. Inner 05. Ethiopia 06. Eternal 07. Vigilante 08. The Prophecy
Vitalij Kuprij keyboards
Marco Ferrrigno guitars on left channel
Javier Leal guitars on right channel
Philip Bynoe bass
Jon Doman drums
Reviewed by Christopher J. Kelter I had no idea what to expect when I put "Promised Land" into the CD player. It was pretty obvious that it was going to be instrumental music as I could see no credit given to a vocalist. Also, I had a vague idea about virtuoso keyboardist Vitalij Kuprij's role in Artension, but hadn't heard his playing in any manner, shape, or form (oops, I was wrong - I've heard Kuprij on James Murphy's "Feeding The Machine"). Of course, it goes without saying that I'd never heard of the two feature guitarists on "Promised Land" either; Marco Ferrigno and Javier Leal were complete unknowns to me.
Regardless of the players, one spin of "Promised Land" will have your head spinning if you are a fan of the neoclassical style of instrumental metal. Often this style is associated with one guitarist (Vinnie Moore, Tony MacAlpine, Yngwie J. Malmsteen) or occasionally two guitarists (Marty Friedman/Jason Becker). But to hear three virtuosos sharing inspiration, pushing each other, and adding their distinctive musical voices to the performances herein was quite a trip. The music veers more to the style of Yngwie J. Malmsteen and Tony MacAlpine than anyone else I’ve mentioned so far.
Guitarist Javier Leal gives off vibes like a possessed mix of Yngwie J. Malmsteen and Tony MacAlpine as he struts his six-string histrionics. Guitarist Marco Ferrigno has a more diverse approach to his sections. All the while, keyboardist Vitalij Kuprij is laying down a melodic foundation for the music to take flight as well as taking a number of opportunities to solo and give the proceedings a non-guitar explosion into instrumental heaven.
Bassist Philip Bynoe and drummer Jon Doman are pretty much relegated to true rhythmic support, but occasionally get the chance to elevate the music with their skillful playing to near-Liquid Tension Experiment heights. That, my friends, is high praise.
"Promised Land" is a thoroughly enjoyable listen for those of you who enjoy instrumental metal.
1. Triana 2. Zona rosa 3. Origen 4. Arco Iris 5. Andaluza 6. Lamentos
Tomas Vega - guitars
Guty Lopez - bass
Larry Martin - drums
Pedro Ample - percussion
Rafael Guillermo - piano, organ, mini-Moog
Enrique Carmona - guitar
Julian Llinas - string arrangements
ProgArchives, erik neuteboom: In the early Nineties I bought some Spanish progrock magazines (Sirius) in order to improve my ‘one-year-Spanish’ and to discover more of the exciting world of Spanish progressive rock. In one Sirius I noticed an add in which Angel Romero (a known Spanish proghead from Madrid who later moved to the USA) offered his entire progrock LP collection because of a dust-allergy. I felt like a vulture but it was no problem to him, he was happy with my appreciation for the socalled Rock Andaluz, the wonderful blend of Spanish flamenco and progrock. I asked him for advise and bought albums from Cai, Azahar and Vega. On this debut LP guitarplayer Tomas Vega delivers a pleasant progressive blend of flamenco and rock.
1. Triana (3:55): This track is a transition from Spanish composer Isaac Albeniz his work. It contains a cheerful climate and a swinging rhythm-section featuring jazzy inspired flamenco guitar runs, a bit polished string-arrangements and an exciting duel between flowing electric guitar and fast flamenco guitar. 2. Zona rosa (5:53): The first and final part sounds romantic with warm flamenco guitar and tender acoustic piano runs. In between a swinging rhythm and splendid flamenco guitar work, great electric guitar overdubs (howling with echoes from early Triana), propulsive conga percussion and a dynamic rhythm-section. 3. Origen (5:07): This song delivers the most obvious Morish atmosphere (for many years Andalusia was occupied by the Arabs in medieval times): a mid-tempo with an adventurous rhythm-section, exciting flamenco guitar and fiery electric guitar (again some great overdubs), evoking bands like Triana, Mezquita and Iceberg (also Rock Andaluz). 4. Arco Iris (3:30): It starts with warm and sensitive flamenco guitar and soaring strings. Then an accellaration delivering a mid-tempo with powerful electric guitar, sparkling Fender Rhodes piano and again exciting flamenco guitar play. 5. Andaluza (5:32): The titletrack (a transition from Spanish composer Enrique Granados) has a romantic undertone due to the romantic string- arrangements, bringing Alameda to my mind. The jazz inspired flamenco guitar work reminds me strongly of the pivotal and innovative flamenco guitarist Paco De Lucia, outstanding! 6. Lamentos (6:06): The final song delivers great interplay, sensational electric guitar overdubs and alternates between mellow with romantic piano and sensitive flamenco guitar and swinging with fiery electric guitar (an Andalusian undertone).
1. Three Score And Ten, Amen 2. Time Lament 3. Take Me Back To Doomsday 4. The Daughter Of Time 5. Theme For An Imaginary Western 6. Bring Out Your Dead 7. Downhill And Shadows 8. The Time Machine
Jon Hiseman: Drums, producer
Dave "Clem" Clempson: Guitars, Vocals
Dave Greenslade: Organ, Keyboards, vibraphone
Mark Clarke: Bass, vocals
Chris Farlowe: Vocals
Dick Heckstall-Smith: Saxophones
Barbara Thompson: Flute , Saxophones
Louis Cennamo: Bass
This band had potential. This band had good players. This band really knew how to merge art-rock with jazz so that it would preserve both the emotionality of the former and the colourfulness of the latter. This band lost James Litherland on guitar/vocals and replaced him with equally nimble guitarist Dave Clempson. And then this band went ahead and replaced its lead singer. And lo and behold, here we have the 'King Midas In Reverse' principle. It's a good thing I've never heard any of Chris Farlowe's solo stuff; if he sounds just as shitty on his regular releases, it spared me a couple of really bad dreams, and if it wasn't until his short stint in Colosseum that he began to sound like that, I would have managed to tolerate a severe disappointment. Anyway, Farlowe's vocals on this album are dreadful. They are pretty powerful, yes, he's belting as if he's trying to get out of his skin, but you can never tell, never ever tell if the guy's primary wish is to sing like (a) a pretentious operatic crooner, (b) a passionate soulster, (c) a hoarse grizzly jazzman, or (d) a dumb rip-roaring cock-rocker. He milks all four of these emplois, as it seems to me, at absolute random choice; the song can begin as an art-rock aria and then transform into a metal rocker or a jazz-pop throwaway, all at a single wave of Mr Farlowe's vocal cords. Don't get me wrong, he's got a good pair, but it's been long proved that it's not the vocal capacities that matter, it's your ability to make the best of 'em that does. And this guy is simply horrendous in this respect. Yuck, I've never been so let down by anybody's vocals since I last listened to Mr Coverdale. Minus one point to Mick Jagger who had the nerve to ever promote this guy, much less giving him 'Out Of Time' to cover. Mick, how could you? There's only one track on the entire album that I can tolerate vocalwise, that would be 'Downhill And Shadows'; not sure if it's Farlowe on vocals there, but if it's him, that's one example of a nicely done, laid-back bluesy work. That's the problem, though: it's the only straightforward blues number on the entire record, and while it's excellently done and features dazzling and highly expressive guitarwork from Clempson, it's still little more than a well-done blues number. With some Really Good Guitar Playing. In the Clapton tradition. Or, maybe a bit sharper than Clapton's usual style. Let's say, "in the Jimmy Page tradition, but without the Jimmy Page gimmickry". The other six songs all represent Colosseum's "typical" art-jazz-rock brand, well-aranged and well-played but, unfortunately, spoilt by the vocals. One of the tracks is a Jack Bruce cover ('Theme For An Imaginary Western'), that, for some reason, was a real favourite of every band that was in some way associated with Jack at the time (I already mentioned the Cream-Colosseum connections, and it was also done by Mountain, one of the members of which was Cream's producer). But I must say that I actually find the Colosseum originals more inventive and less monotonous. Thus, 'Three Score And Ten, Amen' nicely vibrates from funky verses to all-out "epic" choruses pinned upon Greenslade's ominous organ pounding that brings the so much desired medieval notes into focus. Don't be put off by Heisman's drumming, either - he's using his set in a creative way, which means he's bashing all over the place, but he really knows what he's doing. Plus, the rabid wah-wah licks on the tracks can't be disqualified, either. 'Time Lament' is pretty depressing... er, could be pretty depressing. Why didn't they bring out a Peter Hammill to do the vocals on that track? It would be right up the guy's alley; a radical, blistering theatrical delivery would set the scene quite right. The title track slowly rises from humble beginnings to a magnificent climax, just like an art-rock is supposed to (but NEVER like a jazz-rock is supposed to, and yet it is jazzy in its own way). 'Take Me Back To Doomsday' never impressed me that much, but the instrumental 'Bring Out Your Dead' ROOOLES. First, it ain't got no Chris Farlowe. Second, Chris Farlowe doesn't sing on it. Third, Chris Farlowe doesn't do ANYTHING on it. And... oh yeah, it's pretty energetic too. Kinda. Sorta. Nice little instrumental, soon to be forgotten. Anyway, I'd gladly give the album a high 11, low 12, were it not for the fact that (a) I have just added another person to my - very very short - list of intolerable vocalists, and (b) the last track, called, 'The Time Machine' and recorded live at the Royal Albert Hall, is an eight-minute drum solo. These guys were sure taking their Cream legacy a bit too hard. For such a short album, eight minutes of a drum solo is, er, well, you get my drift. The most curious thing is that no review of this album you'll ever find on the Web, so far, at least, won't mention that 'The Time Machine' is just a drum solo. In fact, I may be mistaken, but I think that in one review or short bio of the band, I heard 'Time Machine' being called an 'epic highlight' of the album or something like that. Score for those who insist that reviewers rarely listen to the records they review, especially if nobody's ever heard of these records. Why bother, indeed? It's one chance in a million that somebody will discover their arrogance and set them straight. AND THAT CHANCE HAS ARRIVED! But wait, did I yet tell you about the cool album cover? Look at it. Ain't that a really cool album cover? And yeah, Colosseum took their Roman name very seriously. Too bad they didn't have the brilliant idea to throw Chris Farlowe to the lions on their first live date. Just imagine the popularity!
Genre: Hard Rock Format: flac + cue + log Released:1995 Label: Rock Treasures
DISC 1:
1. Break your chains
2. Standin' on fire
3. I'll be waiting
4. Dangerous
5. Just between us
6. Queen
7. Lightning strikes
8. Day by Day
9. Women, whiskey & songs
10. Great Sandwich
DISC 2:
1. Break Your Chains (Demo)
2. Under Fire (Demo)
3. If You Need Somebody (Demo)
4. Dangerous (Demo)
5. Oceans (Demo)
6. Lightning Strikes (Demo)
7. Day By Day (Demo)
8. NJBBWD (Demo)
9. Just Between Us (Live)
10. Eternal Flame (Live)
11. Scream Of Anger (Live)
12. NJBBWD (Live)
13. Let Me Love You (Live)
Jeff Scott Soto
-- lead vocals
Marcel Jacob
-- bass
Christopher Stehl
-- guitar
Mats Lindfors
-- guitar
Mats Olausson
-- keyboards
Peter Hermansson
-- drums
Yeah here is the first Talisman album in the orginal Airplay/Vinyl Mania edition, and this group have a fantastic heavy and melodic sound, and Jeff Scott Soto is a fantastic frontman indeed, and the songwriting of Marcel Jacob is really over the top, yeah you probely know everything about this group already, but here is a short story of the group.
Talisman was formed by bass player Marcel Jacob, who had previously played with among others Rising Force, John Norum Group and Power. While Jacob was playing with John Norum, he started working on tracks which he thought would end up on Norum's second solo album. The singer on those demos was Göran Edman, also in John Norum Group at that time. But Norum rejected the songs and, in the meantime, Göran was offered the opportunity to join Yngwie Malmsteen's band.
Jacob found himself with record label interest but no band when he was later contacted by the label which had originally showed some interest in the demos.
Auditions among Swedish vocalist were unsuccessful but Cary Sharaf ex Wasa Express guitar player suggested Jeff Scott Soto: he was called, he got the material and agreed to join the band. Both Soto and Jacob had played on Yngwie Malmsteen's Marching Out in 1985, touring in support of the album to some acclaim, particularly in Japan.
In February 1989 recordings for the first album took place in Stockholm with Christopher Ståhl (Power) and Mats Lindfors (Norum, Grand Slam) on guitars, Peter Hermansson (220 Volt, Norum) playing drums on some tracks and Mats Olausson (Yngwie Malmsteen, Glory) on keyboards. Jacob programmed the rest of drums and played all rhythm guitars with the help of the producer Mats Lindfors on Women, Whiskey and Songs
Unfortunately, Electra, the label Jacob was signed to, went bankrupt just when the mixing was finished and the album'release was delayed. Meanwhile, Soto's US-based project Eyes got signed. Jacob left for Los Angeles to help Eyes demo and record what would be their first release. During this time an employee of the label that had originally signed Talisman moved to a new label and the masters of the first album were bought from the bankrupt label. So Talisman was eventually released in February 1990 on the Airplay/Vinyl Mania label. The first single I'll Be Waiting reached number 2 in Sweden's singles chart and 33,000 copies of the album were sold in two months in Sweden.
-- synths & piano, orchestral and choir arrangements
Yves Huts
-- bass guitar
Jeroen Simons
-- drums
Epica Orchestra:
Thomas Glöckner - violin
Andreas Pfaff - violin
Tobias Rempe - violin
Marie-Theres Stumpf - viola
David Schlage - viola
Jörn Kellermann - cello
Cordula Rhode - cello
Andrè Neygenfind - contrabass
Epica Choir:
Melvin Edmonsen - bass
Previn Moore - tenor
Bridget Fogle - alto
Cinzia Rizzo - alto
Annie Goeble - soprano
Amanda Somerville - soprano, vocal coach
Additional musicians
Olaf Reitmeier - acoustic guitars on "Feint" and "Run for a Fall", engineer
Annette Berryman - flute on "Run for a Fall"
Marcel, ProgPower Online, 7/03
"A new chapter in the successful book of Gothic Metal is written by guitarist and composer Mark Jansen (ex-After Forever), so forget everything you have heard so far and prepare yourself for the awesome beauty of Epica. Inspired by the Arab culture, Epica brings a unique blend of classical orchestra and choir, brutal grunts and screams and the exquisite mezzo soprano vocals of Simone Simons. (...) From the moment you hear the first notes of ‘Adyta’, you are captured by the beautiful and mysterious atmosphere of 'The Phantom Agony', where Arab and Latin influences are mixed with powerful drums and shredding guitars and garnished with grunts and screams by Mark Jansen. Vocalist Simone Simons is a true revelation, as she seemed to have walked right out of an opera, straight into Epica, and it is a pure delight to hear her sing. The use of a real choir as well as choir samples add to the atmosphere in the songs. (...) Of course, if you listen to The Phantom Agony, you hear a sound which is very similar to After Forever, no surprise as mark Jansen was one of the main songwriters in After Forever. However, do not make the mistake to view Epica as just a clone of After Forever! Epica is an entirely separate band with their own sound, that differs enough from After Forever, as it is less metal and more classical influences...."
Genre: Jon Lord Music Format: ape + cue + log Released:1974 Label: Purple Records
1. Continuo on B.A.C.H
2. Window - 1st Movement - Renga
3. Window - 2nd Movement - Gemini
4. Window - 3rd Movement - Alla Marcia Allegro
Glenn Hughes
-- Bass and vocals
JON LORD
-- Keyboards
Tony Ashton
-- Vocals
David Coverdale
-- Vocals
Pete York
-- Drums
Ray Fenwick
-- Guitar
Orchestra Opera conducted by Eberhard Schoener
Review by purple records
"Windows" was Jon's fourth experiment at merging elements of rock and classical music, and was recorded live during June 1974. Jon had been asked by German festival organisers to perform a special concert in Munich, and got together with conductor Eberhard Schoener to compose a new piece especially for the evening. In fact, two works were performed. WINDOW comprised three movements, including a reworked section from his earlier album GEMINI SUITE. The second piece, CONTINUO ON BACH, saw Jon and Eberhard having his stab at finishing a composition which had been left uncompleted upon Bach's death. The piece had been put together for a German show the previous year, but this was the first time it had been recorded.
The Munich Chamber Opera Orchestra performed alongside Jon Lord, fellow Deep Purple players David Coverdale (vocals) and Glenn Hughes (bass), and a host of rock luminaries including Ray Fenwick, Pete York, Tony Ashton, and others - with Eberhard Schoener on moog.
Windows is at times a demanding listen, but the ever-changing musical textures, and the sheer quality of the performances, have delighted and intrigued listeners for twenty five years now.
The original gatefold album was deleted back in the late seventies, and is now a very collectable artifact. This exclusive 25th anniversary reissue will be welcomed by fans everywhere, especially in the UK where it has never been issued on CD. The CD has been cut from the original quarter inch Abbey Road masters for the best possible sound quality while the 12 page colour booklet carries detailed notes, plus contemporary cuttings and memorabilia.
Genre: Rock Format: ape + cue + log Released:1982 Label: Swan Song, Rhino Entertainment Company
After the long, hot journey in the Zeppelin, an oasis. Robert Plant’s first solo album is rooted in the music of Zeppelin, of course, but that’s not to say he’s tied to the past. Rather, he branches out, embracing a lighter, crisper studio sound that indulged in familiar exotica while shedding the heavy intensity of Led’s epic arrangements. You’ve seen the swagger of “Burning Down One Side” and “Worse Than Detroit” before, but unchained from his former band Plant could pass for Steven Tyler in a serious mood. Drummer Phil Collins keeps the beat on its toes, Cozy Powell is more a student of the Bonham school, and the core of Robbie Blunt, Paul Martinez and Jezz Woodroffe are as tight as any band Ozzy brought along for the ride. If you’re looking for a lost Zeppelin album, better to bark up Coda’s tree. If you’re looking for Plant’s genius in full flower, you really want Principles. Pictures At Eleven is simply a stake in the ground; a declaration that there would be life after Zeppelin, and it would look something like this (cue the moody “Like I’ve Never Been Gone”). What’s most impressive about Pictures is that Plant and Blunt come up with some awfully good material. Clearly, I hadn’t given Plant a large enough share of Zeppelin’s glory, and Pictures makes plain that much of what was best about that band (that indefinable groove, the heavy caravans of emotion driven through dark endless night) emanated from the singer. I’d always seen him as something of a slightly more substantive Roger Daltrey, and I didn’t count on Pictures At Eleven being so close to the genuine article. (Meanwhile, Jimmy Page, the grand architect, was noodling out inconsequential soundtracks.) It’s not the first time I’ve put my money on the wrong horse. It was, however, the first time that anyone from the legendary Led dared to get back in the saddle. To his eternal credit, Plant came in riding tall like we remembered.
1. Burning Down One Side
2. Moonlight in Samosa
3. Pledge Pin
4. Slow Dancer
5. Worse Than Detroit
6. Fat Lip
7. Like I've Never Been Gone
8. Mystery Title
Bonus tracks:
9. Far Post
10. Like I’ve Never Been Gone (Live)
ROBERT PLANT
-- vocals, mixing, design
ROBBIE BLUNT
-- guitars, mixing assistance
PHIL COLLINS
-- drums
PAUL MARTINEZ
-- bass
JEZZ WOODROFFE
-- keyboards & synths, mixing assistance
Cozy Powell
-- drums (4,7)
Raphael Ravenscroft
-- sax (3)
Notes:
Remaster of the original 1982 album with two bonus tracks. Track 9 originally was a b-side on the Burning Down One Side UK 12" single, and Track 10 was recorded on tour supporting the Principle Of Moments album, but is previously unreleased.
Tracks 1 to 9 recorded at Rockfield Studios, Monmouth. Track 10 recorded at The Summit, Houston, TX, on Sept. 20, 1983.
Genre: Modern Classical, Symphonic Metal, Heavy Metal Format: flac + cue + log Released:1997 Label: Nuclear Blast
Sound: This is probably the best album to introduce new listeners to Therion. This is a very well orchestrated and guitar oriented album that dips even towards classical music. The choirs and duos in this album are also very intriguing to hear. This is also the second post pure death metal album showing the shift from former death metal to progressive/gothic metal.
Lyrics and Singing: The lyrics are first of all Written by Thomas Karlsson the leader of the occult group "Dragon Rouge". These Lyrics always tell the Beliefs and ideals. The choirs and singer both chime in finely and sound good with the music. The female and male duets are also a good listen with shifts. The solo soprano singers just like on Lepaca Kliffoth though on this album the singers are greatly impressive. The lyrics if dissected by what is being said can be moving or at least challenge how one thinks.
Impression: I like this album the most of any Therion I have heard. If you like bands like Nightwish and also Kamelot this is somewhere in between in sounds. I really like the Symphony of the Dead Instrumental and The Quiet Desert are great tracks. I sometimes wish this was a little less symphonic and more metal oriented yet it is a true Masterpiece nonetheless. If This was Stolen I would be happy the person had the taste to find this and be angry I would have to wait to get this shipped but would certainly buy this again. I personally think this is also the best way to listen to Therion for the first time as appose to Deggial which takes a bit of an open mind and a taste for classical music.~ Reviewed by: tbarrettl
Christofer Johnsson: Guitar, Hammond organ, Keyboards, Gran Piano
Piotr Wawrzeniuk: Drums, Vocals
Jonas Mellberg: Guitar, Keyboard
Lars Rosenberg: Bass
Dan Swanö: Vocals
Tobbe Sidegård: Vocals
Peter Tägtgren: Additional lead guitars
Gottfried Koch: Acoustic guitar, Grand Piano
All choir and solo opera singing on this album were done by
Bettina Stumm: Soprano
Raphaela Mayhaus: Soprano
Marie-Therese Kubel:Alto
Ergin Onat: Tenor
Klaus Bülow: Bass
Joachim Gebhardt: Bass
CD in a 4-page foldout Digipak with additional booklet containing liner notes.
Tracks 1-3 recorded during the "Theli" session at Impuls Music Studio, Germany, Jan-March 1996.
Tracks 4-5 recorded in a session at Abyss Studio, Sweden, June 1996.
Tracks 6-7 recorded at Impuls Music Studios, Germany, Dec. 1996. Track 6 was originally released onthe "Beyond Sanctorum" album in 1992. At first, it was also planned to rerecorded "Dawn OfPerishness" from the "Symphony Masses" album, but as the result wasn't suitable, Christofer Johnssondecided to go for a Judas Priest cover instead.
Tracks 8-11 recorded in a session at Impuls Music Studios, Germany, Dec. 1996. The tracks are socalled "Therionized" versions of the songs from the soundtrack.
Tracks 12-18 taken from the original soundtrack to "The Golden Embrace" Art Movie (1997) by PerAlbinsson.
Track 3 originally performed by Scorpions (1974).
Track 4 originally performed by Iron Maiden (1982).
Track 5 originally performed by Running Wild (1987).
Track 7 originally performed by Judas Priest (1976).
Genre: Instrumental Rock Format: ape + cue + log Released:2006 Label: Melodik Records
1)Something Anything
2)Purple Plush
3)Cinematic
4)In My Dreams
5)Bleed
6)Celestine
7)Danza Della Notte
8)Heavyocity
9)My Only Son
10)My Dearest
11)Ultra
12)The Awakening
13)Before the Throne
Neil Zaza (Lead, Rhythm, Baritone & Bass Guitars, Synth)
Michael Anthony (Bass)
Timothy M. Bradford (Keyboards)
Bill Cioce (Drums)
Peter Frampton (Guitar)
Doug Johns (Bass)
Scotty Kormos (Drums)
Mark Leach (Hammond B-3 Organ)
Roger Joseph Manning Jr. (Keyboards)
Bobby Rock (Drums)
Jordan Rudess (Keyboards)
Steve Smith (Drums, Percussion)
T.M. Stevens (Funky Bass)
David Strieter (Keyboards)
Garry "GMan" Sullivan (Drums)
Anyone that is familiar with Zaza’s work will know that his work is a near perfect marriage of
melody and flash and "When Gravity Fails" is perhaps his ultimate exercise yet in this art form.
"When Gravity Fails” is a superb instrumental album. I defy anyone to listen to this album and not be blown away. Zaza really has come up with an ace with this record, and whilst "Melodica" was a very good album, ‘”When Gravity Fails” can be considered to this point Zaza’s magnum opus. Stylistically it has all the right ingredients, yet there is an element of passion here that is
often missing from instrumental works even from the perceived big name instrumental market leaders. On the basis of this album (not to mention Zaza’s back catalogue), Neil Zaza deserves to be at the very top of the guitar elite. ESSENTIAL. - Virtuosityone.com
Now comes When Gravity Fails, the Ohio native's eighth CD loaded with 13 melodic hard-rock gems, jaw-dropping solos and an even more impressive guest list than Staring at the Sun that would make better-known players squeal. Unlike other instrumental guitarists, Zaza is smart enough to retain control of his playing. Sure, When Gravity Fails lifts off with lots of soaring, high-pitched arena-rock soloing (part of what makes the record so refreshing and endearing), but nary a single note sounds out of place. Nor does Zaza ignore his fellow musicians. In fact, “Cinematic” emerges as one of the album's prettiest and best songs precisely because Zaza allows Rudess a mesmerizing piano solo in the middle, accented by Frampton's classic-rock fretwork. The man's example is one that many younger players - and even some older ones - should heed. We need more musicians like Neil Zaza. - Sea Of Tranquility ~
