Jon Lord - Sarabande 1976

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Genre: Symphonic Rock

Release Date: 1983

Label: Line Records

Notes

Recorded between 3rd and 6th September 1975 at the Stadt Halle
Oererckenschwick near Dusseldorf with the Dieter Dierks Mobile Recording Studio
using AGFA P.E.M. 408 master tape.
Engineered by Martin Birch (The WASP).
Remixed by Martin Birch at Musicland Studios (Munich), assisted by Hans Menzel.
Mastered at Kendun Recorders in Burbank CA.
Produced by Jon Lord and Martin Birch.

Jon Lord - keyboards

Paul Karass - bass

Mark Nauseef - percussion

Andy Sommers - guitar

Pete York - drums

and the Philharmonia Hungarica conducted by EBERHARD SCHOENER

Review from purplerecords

Founder member of Deep Purple, keyboard player Jon Lord needs little introduction to rock audiences. Yet classical music had been a huge part of his musical education, and echoes of his love for the genre imbued the early Deep Purple albums. His interest was then channeled into a series of classical/rock experiments which lasted throughout the seventies.

Jon Lord based his material on a set of dance suites, interpreted with a string orchestra and modern rock instrumentation. His own keyboard playing was stunning, ranging from gentle piano work to heavy Hammond organ riffs. The guitar was played by Andy Summers, just prior to his joining The Police.

A crash of orchestra and cymbals opens this huge work. The title piece is strong, with a cool bass line and Lord's infectious synth, built up with masses of horns, strings, and percussion shifting from Latin moves and sweeping winds to jazzy and romantic encounters. This is *orchestral* rock more than it is *symphonic*, and the record is bold even for 1976.

In the 11-minute 'Guige' we hear remnants of Dave Brubeck's proto-fusion and even Bo Hansson's distant impact, as instruments talk to each other in spirited conversation. The second half grooves smoothly into hip street rhythms, Arabian sand storms, Eastern treasure and T.E. Lawrence. 'Caprice' is first-rate syn-phonic rock sewn into a fascinating quilt of opera, pomp and circumstance and is benefitted by Eberhard Schoener's firm conducting.

Unfortunately, at the time it was released, the album went mostly unnoticed in the storm of Deep Purple's 1976 tour and their split.

Conception - Parallel Minds 1993

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Genre:Melodic Metal

Release Date: 1993

Label: Noise Records

Roy S. Khantatat - vocals

Tore Ostby - Guitar

Arve Heimdal - Drums

Ingar Amlien - Bass

Hans Cristian Gjestvang - Keboards

Review - The Metal Observer:
Label-wise released roundabout two months BEFORE the real debut, "Parallel Minds" shows us matured CONCEPTION, the compositions are rounder and more compact, as you can hear in the opening up-tempo-track "Water Confines".

Musically they have stayed true to their sound, slightly progressive Melodic Metal, which mainly lives off Tore Шstby's guitar-wizardry and Khan's brilliant vocals, but both elements are always used for the good of the song, no solo-escapades ruining the flow of the songs or one part growing too dominant. Just as on the debut the production is more than convincing either, each instrument has its clear sound, everything is coming over very powerful.

More classics are "Roll The Fire", more mid-paced, very direct, very intense, great atmosphere, the great ballad "Silent Crying", "The Promiser" with its excellent lyrics and the almost nine-minute "Soliloquy", which covers almost all facets of Melodic/Progressive Metal…

Even though I miss the flamenco-parts of "The Last Sunset", still a great album by a great band, both thumbs up!

Graham Bonnet - Here Comes The Night (1991)

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Genre:Rock

Release Date: 1991

Label: President

Graham Bonnet's illustrious singing career includes hit singles "Night Games" and "Since You've Been Gone" with Rainbow. Apart from working with Richie Blackmore and Michael Schenker, he can be credited with having helped the careers of Yngwie Malmsteen, Steve Vai, and Chris Impelliteri all of whom played in bands with him. On this set he covers classic pop songs alongside quality original material. Truly outstanding.

Brazen Abbot - Bad Religion 1997

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Genre:Hard Rock

Release Date: 1997

Label: USG

Band Members:

Nikolo Kotzev - Guitars, Violin, Piano, Keyboards, Percussion

T H E S I N G E R S:

Joe Lynn Turner - 1, 4, 7, 10

Goran Edman - 3, 5, 8, 11

Thomas Vikstrom - 2, 6, 9

T H E P L A Y E R S: (Europe Guys)

Ian Haugland - Drums

Mic Michaeli - Organ

John Leven - Bass

10 Years ago the success story of Brazen Abbot under the direction of the bulgarien composer/multi-instrumentalist Nikolo Kotzev began. Kotzev formed his own group Brazen Abbot with ex-Europe musicians Ian Haughland and Mic Michaelis as instrumentalists and the two vocalists Göran Edman and Thomas Vikström (Candlemass).

1995 saw the arrival of the debut Live And Learn, for which the guitar maestro earned enthusiastic reviews from all over the world. Eye Of The Storm, recorded with new addition John Leven (also ex-Europe) on bass and Joe Lynn Turner as an additional vocalist, followed one year later with another cavalcade of melodic hard rock. The third Brazen Abbot recording, Bad Religion, impressed with the same line-up and a stylistically similar concept in 1997. Now the terrific first three records will be rereleased.

Adagio - Underworld (2003)

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Genre: Neo-classical/Progressive Power metal

Release Date: 2003

Label: NTS

David Readman : Vocals

Stephan Forte: Guitar

Franck Hermany : Bass

Kevin Codfert : Keyboards

Dirk Bruinenberg : Drums

Reviewed by: Larry Daglieri, December 2003

When Adagio released Sanctus Ignis a couple of years ago, the band were met with barrages of reviews calling them Symphony X clones. True progressive metal fans just looking for another quality disc released in their beloved genre found true bliss in the neo-classically driven / song-oriented style of Adagio. With neo-classical guitar wiz Stephan Forte at the helm, and vocalist David Readman of Pink Cream 69 enlisted, the disc was otherwise highly praised and accepted. Since the band was a project and pulled musicians from other highly acclaimed bands such as Elegy, many thought that this would be a one-time deal.

Without warning, Adagio released Underworld and any doubters that this band means business need kindly eat some crow. This is one of the best releases of 2003, and the band certainly has something to say along with making some serious upgrades since we last heard them. Enter in a full concept disc, accompanied by orchestral arrangements, choirs, 13:00 songs, an incredible production, and above standard songwriting. Basically, this is what you get when you cross a progressive metal band with a movie soundtrack influenced by Classical music. The music is guitar driven, of course, compliments of the multi-talented Stephan Forte, who more than makes a passing resemblance to a certain Mr. Romeo. Stephan also had a hand in the production, and also in the orchestral arrangements and choirs. The show wouldn’t be complete without the riveting vocals of David Readman, who has certainly earned the respect of prog metal fans with his ease of performance coming from a hard-rock background to belt out the lead on this opus. His voice is raspy, powerful, and shows that he can still reach outer limits without a strain or effort to be found.

Musically, this is a sophomore outing disc that sometimes either makes or breaks bands, especially progressive metal bands. Adagio has taken the more difficult route and created a special disc here, with a bone-crunching production surrounding a Classical opus injected with a high dose of metal. At times it can be speedy, double bass heavy, but never lingers in one speed for too long without changing tones, moods, or tempo. In between songs, the symphony takes over, as if the metal band left the stage and the symphony orchestra has taken over. As quickly as the orchestra takes over, the metal band asserts itself once again to carry on the Underworld story. There are plenty of keyboards on the disc, ranging from pianos, to synths, strings, and beyond. Of note, the drum playing is simply phenomenal with Dirk Bruinenberg (Elegy) spreading his drum wings outside of Elegy and showing that he is has more chops than humanly possible.

The disc is dark, brooding, powerful and moody and gives little room for breath except between orchestral passages and intros, which drive the story. If you’re thinking Symphony X - V; this is much heavier in the symphonic region. The songwriting is a bit more intricate here, as well as the compositions being more Classically-influenced. One word of caution, do not try to listen to this disc song for song. It is meant to be played in its entirety, as a story, as a concept, which makes the disc that much more artistic and creative to these ears. If you are a fan of blistering neo-classical guitar work, frantic drum work, aggressively powerful vocals, and a metal movie soundtrack, then this is for you. One of the best of 2003 in the progressive metal genre for sure.

Tony MacAlpine - Edge of Insanity (1986)

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Genre: Rock, Instrumental rock, neo-classical metal

Release Date: 1986

Label: Shrapnel

Album Review by Andy Hinds @ AMG

After Yngwie Malmsteen set the guitar world on fire with his 1984 debut, Rising Force, it was amazing how quickly the clones came out of the woodwork. Within a couple years there were dozens of them, flooding the market with their recorded instrumental extravaganzas. Tony MacAlpine was one of the Yngwie followers, to a certain degree. His debut album, Edge of Insanity, with its all-star rhythm section of Steve Smith and Billy Sheehan (drums and bass, respectively), follows the rough blueprint of Yngwie's model. Soloing over dramatic minor key vamps, MacAlpine catalogs his impressive licks at top speed. But while his chops on the guitar are quite astounding, what is more impressive is that he is equally adept at playing the keyboard. So there's plenty of exciting guitar/keyboard interplay here, including dueling solo sections and unison or harmonized runs, that is quite dazzling. Album highlights include the laid-back album-closer, "No Place in Time," and MacAlpine's impressive unaccompanied piano performance of Chopin's "Prelude 16, Opus 28." The low point is "Quarter to Midnight," a "live solo" that sounds very suspiciously like a studio recording with (rather fake-sounding) crowd noise dubbed in. His second album, Maximum Security, is much better.



Progressive metal guitar virtuoso Tony MacAlpine began his musical education as a classically-trained pianist and violinist; his subsequent rock recordings retained a pronounced classical influence, incorporating elements of jazz and fusion as well. He debuted in 1986 with the instrumental Edge of Insanity, recorded with an all-star line-up including bassist Billy Sheehan and ex-Journey drummer Steve Smith; for the follow-up, Project: Driver, MacAlpine formed the band M.A.R.S. with drummer Tommy Aldridge, vocalist Bob Rock and bassist Rudi Sarzo. The group quickly dissolved and MacAlpine returned to his solo career, additionally forming his own label, Squawk; after 1987's Maximum Security, he founded another group, dubbed simply MacAlpine, with singer Alan Schorn, keyboardist Mark Robertson, bassist Mike Jacques and drummer Billy Carmassi. The band's lone record, Eyes of the World, appeared in 1990, and MacAlpine returned to instrumental projects for the remainder of the decade, issuing a series of albums including 1992's Freedom to Fly, 1995's Evolution, 1997's Live Insanity and 2000's Cab. Cab 2 followed in 2001. by Jason Ankeny @ AMG

Colosseum - Live 1971

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Genre: Progressive Rock

Release Date: 1971

Label: Castle Records

Richie Kotzen - Richie Kotzen 1989

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Genre: Instrumental rock

Release Date: 1989

Label: Shrapnel

By the time of Richie Kotzen's debut album in 1989, Mike Varney's Shrapnel label was cranking out young guitar virtuosos like an assembly line; it seemed like each week, a fresh-faced teenaged prodigy would emerge from the Shrapnel stable with a self-titled debut, backed up by an all-star rhythm section. Pennsylvania's Richie Kotzen was one of these. With bassist Stu Hamm and ex-Journey drummer Steve Smith behind him, he added yet another all-instrumental shred guitar album to Shrapnel's catalog. But, fortunately, he avoided many of the cliches that plagued many of his contemporaries. Rather than attempting wide-screen neo-classical melodrama, his style here is offbeat and humorous; witness the hilarious stop/start dynamics of "Unsafe at Any Speed," with its cartoonish scherzos and ridiculously over-the-top blasts of rapid-fire guitar fills. Kotzen obviously owes a debt to Steve Vai here, but adds his own quirks to the formula. The production assistance of labelmate Jason Becker also helps to distinguish Richie Kotzen from the other predictable-sounding stuff on the Shrapnel label; the record is mixed bone-dry instead of reverb-drenched, which adds a more personal charm to the proceedings. Both Kotzen's chops and tone would improve greatly over the next year or so, but this is an interesting entry in the genre nonetheless. ~ Andy Hinds, Rovi

Epica - Feint 2004 (2MCD)

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Genre: Gothic/Sympho Metal

Release Date: 2004

Label: Transmissi

Simone Simons: Mezzo-soprano vocals

Mark Jansen: Guitar and grunts/screams

Ad Sluijter: Guitar

Yves Huts: Bass

Coen Janssen: Synthesizer and piano

Jeroen Simons: Drums

FEINT is a four-track EP by Epica. The release contains previously unavailable and alternate versions of already released songs.

Double single taken from the goth-metal band's 2003 debut album 'Phantom Agony', features eight tracks on two CDs. Disc one features the title track, 'Feint', b/w 'Leif Al Din', & two non-LP tracks, 'Feint' (unreleased piano version) & 'Triumph Of Defeat' (unreleased instrumental track). Disc two features the title track, 'Cry For The Moon', b/w 'Run For A Fall', & two non-LP tracks, ''Cry For The Moon' (unreleased single version) & 'Run For A Fall' (unreleased single version). Transmission. 2004.

Gordian Knot - Gordian Knot (1999)

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Genre: Progressive Rock, Metal, Instrumental

Release Date: 1999

Label: Sensory

AMG Review
Star-studded projects often add up to very little, but Gordian Knot's eponymous debut turns out to be one of the best progressive rock albums released in the last years of the second millennium. And that's thanks to the fact that Sean Malone held on to the reins, guiding the project to its goal of finely crafted guitar-driven instrumental songs. Malone has a prog metal background, so do most of his guests (Cynic drummer Sean Reinert, King Crimson guitarist Trey Gunn, Dream Theater bassist John Myung, along with Ron Jarzombek and Glenn Snelwar). And yet the album only has a couple of tracks that can be qualified as "metal" ("Rivers Dancing," "Singularity"). Everything else falls into the guitar craft of the likes of David Torn and Robert Fripp. "Galois" opens the set with a seductive soundscape. "Code/Anticode" is the album's main showcase, an intelligent prog rocker with a solid rhythm section and a catchy modal melody. "Reflections" manages to make a menacing metal verse and a classical guitar chorus walk hand in hand like two lovers. "Srikara Tal" and "Redemption's Way" work as a soloing frame over a slightly North African percussion backdrop. They feel a bit overstretched, but the guitar work adorning them is worth the extended durations. The album ends with "Grace," a delicate ballad played on the Chapman stick that dissolves into soundscapes to take listeners back to where they started. If it weren't for a couple of overlong or self-indulgent tracks, this album would be a masterpiece. As it is, it still deserves the attention of any guitar fan.

Frank Zappa - Trance Fusion 2006

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Genre: Instrumental rock

Release Date: 2006

Label: Zappa Records

Eddie Hardin - Wizard's Convention (1976)

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Genre: Hard-, Blues-, Classic Rock

Release Date: 1976

Label: Repertoir Records

Eddie Hardin - vocals, various instruments

Ray Fenwick - vocals, guitar, backing vocals

David Coverdale - vocals

Roger Glover - bass

Glenn Hughes - vocals

Jon Lord - piano

Mark Nauseef - percussion, drums, bells

Tony Ashton - piano, vocals

Mo Foster - bass

Les Binks - drums

Henry Spinetti - drums

Ric Lee - drums

Rick van der Linden - piano, various instruments

Pete York - drums, percussion

Mike D'Abo - vocals

Mike Smith - vocals

Jimmy Helms - vocals

John Crocker - alto sax

John Slaughter - guitar

The Chris Barber Band - various instruments

Having witnessed first hand the enjoyment and musical freedom experienced by Deep Purple bassist Roger Glover during the making of his 'concept' "Butterfly Ball" album ex-Spencer Davis Group keyboardist Eddie Hardin felt sufficiently inspired to partially follow suit by inviting a variety of musicians who he'd always wanted to work with to contribute to a new studio
project he had in mind. Recalls Hardin "Basically I'd written quite a lot of songs which I felt maybe suited other peoples voices and styles rather then my own." Some of the 'other peoples voices' he enlisted to help him included ex-Manfred Mann vocalist Mike D'Abo, ex-Dave Clark Five man Mike Smith, future Londonbeat mainman Jimmy Helms and ex-Deep Purple members David Coverdale and Glenn Hughes. "Glenn was great, he came to the studio, had a bottle of whiskey and some fish 'n' chips and then laid down his vocal".
Complementing Hardin's astute choice of vocalists was his equally canny choice of musicians. Roger Glover helped out on bass whilst Purples keyboardist Jon Lord appeared on "She's A Woman". Amongst the drummers featured were ex-Fancy / judas Priest man Les Binks, ex-Herd member Henry Spinetti, former Ten Years After member Ric Lee, future Ian Gillan sticksman Mark Nauseef and Hardin's old Spencer Davis Group / Hardin & York sidekick Pete York. Leading session bassist Mo Foster appeared throughout the album whilst guitarists included Chris Barber man John Slaughter and another ex-Spencer Davis Group member in Ray Fenwick. Mr. Hardin himself sang lead vocals on The Craig Song" and "Make If Soon" as well as tinkling the ivories on a variety of tracks whilst keyboardists Tony Ashton (ex Ashfon Gardner & Dyke and later in Paice Ashfon Lord) and Rick van der Linden (ex-Ekseption) also helped out.
With such an array of talent if seems incredible that the album never charted. However as the LP was originally released on Christmas Eve 1976 if made it impossible for people to buy it until stores reopened after the Xmas holidays by which time most record stores had forgotten about if whilst coping with the post Christmas rush of record tokens and demands for TV advertised compilations leaving "Wizards Convention" to sadly disappear from sight. Collectors, however, might like to note that we've added six bonus tracks from the original sessions for the "Wizards Convention" album to this CD.
"Looking Forward To Tomorrow" features lead vocals by Billy Ocean, Eddie Hardin handles the role on "Time For Another", "The Put Down Song" and "Goodnight Children" whilst on "Summer Days" and "Seems I'm Always Gonna Love You" he's joined by ex-Elf / Rainbow / Black Sabbath vocalist Ronnie James Dio.
Eddie Hardin recalls having had a lot of fun making the album and to this day regards if as "The best album I've ever recorded".
When you consider his involvement with the likes of the Spencer Davis Group and his work with people of the calibre of John Entwhistle and Roger Glover that is indeed praise of the highest order. - Review by Mark Brennan

John Macaluso & Union Radio - The Radio Waves Goodbye (2007)

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Genre: Progressive Metal / Rock / Fusion

Release Date: 2007

Label: Lion Music

John Macaluso - Drums

James LaBrie - Vocals

Mike Dimeo - Vocals

Don Chaffin - Vocals

Dina - Vocals

Shelly - Vocals

Adrian Holtz - Vocals

Suzy - Vocals

Jack Frost - Lead Guitar

Alex Masi - Lead Guitar

Marco Sfogli - Guitars/Bazuki

Chris Caffery - Guitars

Alex Rastopskin - Guitars

Larry Meyeer - Bass/Guitars

Robert Katrikh - Guitars

Vitalij Kuprij - Keyboards/Piano

Dimuti - Keyboards/Rhythm Guitars

Marty Mallinger - Keyboards

Derrik Weiland - Piano

Randy Coven - Bass

John Macaluso is one of the most respected drummers in rock. He has played on close to 200 albums, including on the highly acclaimed Ark albums, Yngwie Malmsteen's Alchemy, and TNT's Realized Fantasies. Obviously, this has helped him get some of progressive metal's finest musicians on his first solo album, which he set out to make the best ever album of his career.

The list of singers appearing on the album is stunning. From Dream Theater's James Labrie to Riot's Mike Dimeo and the new Ark vocalist Adrian Holtz, the vocal performance on the whole record is nothing short of jaw-dropping. The disc begins with the Labrie-sung "Soul in Your Mind", whose overall flow recalls Dream Theater circa Six Degrees of Inner Turbulence thanks to Vitalij Kuprij's atmospheric keyboard contributions. Macaluso's drumming is central on this song, and is arguably among his greatest performances ever. Kuprij weaves moody synth lines around the drums and a thudding bass figure while Labrie sings aggressively, leaving plenty of space for both a synth and guitar solo respectively.

Ark came to a halt when Jorn Lande left the band after 2001's amazing Burn the Sun, still among prog metal's greatest offerings. Many fans questioned whether Macaluso and Ostby could find a replacement, but despite numerous rumours, nothing much came of it. Finally, Macaluso introduces the new Ark singer Adrian Holtz (with whom they were planning to cut a new CD before shelving the idea). Holtz' vocals are incredible -- he is a monster singer and is poised to become my discovery for new voice of the year. Possessing a brilliant midrange tone, he has the ability to shift from smooth, delicate phrases to soaring screams without overdoing it. He sings on five of the songs, all of which are amazing in different ways.

Obvious reference points while describing this truly progressive metal disc would be Pink Floyd's psychedelic parts blended with the gripping melodic edge of Ark and the hallmarks of instrumental music. "The Prayer Pill" and "Dissolved", arguably the best songs on the album, are both delivered by Holtz. Both pieces are more keyboard-dominated than guitar; dark-toned synth patches cover Holtz' indelible vocal melodies, supported by sweet back-up singing courtesy of Donna and Laura Macaluso. "Dissolved" boasts modern keyboard effects drilled into the mix, juxtaposed with some Middle Eastern flavour, and is carried by jazzified soundscapes and an eerie blend of psychedelic guitars and funky bass groove. The production of this song is totally mindblowing -- perhaps the best I've heard on a Lion Music artist.

Riot and Masterplan singer Mike Dimeo's unique vocal style should also be attributed to this album's success. There are only a handful vocalists who are capable of singing any style this perfectly, and Dimeo is one of them. Vitalij Kuprij's somewhat electronic snynth intro on "Mother Illusion" is so progressive and different from 98% of music out there that I'd never believe a singer like Mike Dimeo would be asked to sing on it. This guy is simply unbelievable, and actually reminds me a good deal of Jorn Lande. Despite never picking up pace, it feels especially tailored for him, and Macaluso's kick drum tones are still unmatched. Dimeo also sings on "Gates to Bridges", which also features Savatage guitarist Chris Caffery ripping it up, but Kuprij's laidback, mood-intensive playing saves the piece from being a typical hard rocker.

On the guitarist front, besides Chris Caffery, John Macaluso has also hooked up with the rising force Marco Sfogli, whose work on James Labrie's Elements of Persuasion blew everyone away. Sfogli first weaves dense acoustic guitars on the Floydian cut "Shimmering Grey"; and then shows us the real deal when he injects a searing guitar force on the seven-minute instrumental "T-34". Having heard this song like a dozen times on repeat, I can't help but wish Macaluso would release another solo disc, all instrumental this time. It is the absolutely inspired songwriting that sets this piece apart from hundreds others; there are dazzling synths, pianos, octopus drumming, and of course the godly Marco Sfogli on this song.

If you, like me, always hoped to hear a full-blown drum solo by Macaluso, for a good four minutes, "Pretzel" is going to be your song. The dialogue between the young girl and John in the intro is hilarious, and pokes fun at all those fans who tend to go to the bathroom during shows while the drummer cuts it loose. It is one long yet totally disciplined drum solo by one of rock's best. Period. Being a solo album, Macaluso also sings lead vocals on one song, the totally jazzy "The Six Foot Under Happy Man", but I wouldn't really consider it among the album's strongest cuts. What I, however, must mention is Dimuti, who is credited as guitarist, keyboardist, and bassist on various songs, and every time I was blown away by something and checked out who it was, I came across his name. I bet lots of prog fans will want to check him out if they're unfamiliar with him.

Another high point of the CD is "Things You Should Not Know", again featuring Adrian Holtz at the helm, and if anything on the new Ark CD is going to be in this vein, everyone be prepared to be blown away. It features some nice flute melody, cool Kuprij acrobatics, phenomenal drumming, and face-ripping guitar work by Alex Masi, another Lion Music artist. Speaking of which, Lion Music reminds me a lot of Magna Carta in the 90's (remember when they were still a cool label?) where every musician would guest on each other's albums, and add their own signature to the compositions. This disc reminds me a lot of that -- and it contains striking melodic strength with top-notch musicianship without overstepping the limits of the compositions.

Lyrically, the album seems to explore themes of religion, the occult, and spirituality; but fear not, there is nothing preachy here. In fact, the airy keyboards, creepy sound structures, and somewhat spacey overall vibes unite seamlessly with the subject matter discussed.

This is going to be a top release of 2007. Highly recommended.
Reviewer: Murat Batmaz

David Cross – Memos From Purgatory (1989)

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Genre: Progressive Rock, Jazz Rock/Fusion

Release Date: 1989

Label: KING Records

(Review from progarchives.com, scaruffi.com)

This is the first album David Cross released under his own name. Like on his later albums, Cross is supported by several other musicians, but more than his other albums, “Memos From Purgatory” sounds like a solo album, even though three of the eight songs were written by Sheila Maloney. The album is completely instrumental.

David Cross also directed the staging of “Memos From Purgatory” at the Half Moon Theatre and other venues using dancers, musicians, lights, slides, etc.

David Cross - violin

Pete McPhail - saxophone

Sheila Maloney - keyboards

Simon Murrell - bass

Dan Maurer - drum

Biography by Geoff Orens

The violinist for King Crimson from 1972 to 1974, David Cross later launched a solo career with the David Cross Band, which featured an interesting sound comprised of violin, bass, keyboards, drums, and saxophones.

David Cross was born in Turnchapel, England, near Plymouth. After leaving King Crimson, Cross formed the improvisational rock group Ascend, and spent the better part of the 1970s and 1980s composing for and working with theater groups in a variety of capacities. His first solo release was Memos from Purgatory (1989), which was later staged by Cross. With the David Cross Band, Cross moved between improvisational pieces and more composed ones. While the music bears some similarity to 1970s King Crimson, it is slower-paced with musical phrases and ideas that appear out of nowhere and disappear as quickly, leading some to call his music underdeveloped. 1998's Exiles was more song-oriented and featured guest appearances by Crimson alumni Robert Fripp, Peter Hammill, John Wetton, and Peter Sinfield. In 1999, Cross formed Noisy Records.

Northern Kings - Reborn (2007)

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Genre: Symphonic Metal, Power Metal

Release Date: 2007

Label: Warner Music Finland

Northern Kings:

Marco Hietala - vocals

Tony Kakko - vocals

Jarkko Ahola - vocals

Juha-Pekka Leppäluoto - vocals

Musicians:

Two Finger Choir: Backing Vocals

Vili Ollila: Piano, Keyboards, Programming

Erkka Korhonen: Lead & Rhythm Guitars

Erkki Silvennoinen: Bass

Anssi Nykanen, Sami Osala: Drums, Percussion

Review from amazon, revelationz.net

Northern Kings is a Finnish symphonic metal cover supergroup. The Kings are comprised of four vocalists, who are all frontmen of successful Finnish heavy metal bands — Marco Hietala from ‘Nightwish’ and ‘Tarot’, Tony Kakko from ‘Sonata Arctica’, JP Leppaluoto from ‘Charon’ and Jarkko Ahola from ‘Terasbetoni’. Each vocalist has his own trademark sound, including deep, satanic, operatic metal rock vocals. It’s all-consuming and larger than life.

The band masterminded the idea of recording their own metal versions of an electic selection of pop staples. Unlike most bands who try to reproduce the sound and arrangements of the original songs, the Northern Kings have deconstructed the arrangements, by coming up with their own renditions, most of which is backed with metal guitars, a full symphonic orchestral backing, and electronic enhancements.

The general vibe on the album is to give the metal makeover a fully orchestrated backing (string section, the works), with some electronic noodling thrown in . The metal guitars are prevalent, but there is the northern vibe of the band’s renditions. It’s not a gimmick, but it is very dramatic, very lush and grandoise sounding.

The sonic attack of the bands’ take on each song just blows you away. Unlike most artists or bands who record a cover, the version is traditionally inferior and not a patch on the original. It’s quite an accomplishment to take a song like Peter Gabriel’s ‘Sledgehammer’ or Lionel Richie’s ‘Hello’ and give it a new lease of life.

Hearing songs from a variety of genres and decades turned completely on their heads is an awesome way to spend the afternoon, especially when the tracks are tackled with such passion and no thought to consequence in forcing the listener to think outside the box.

You’ve heard these songs before… just never like this.

Delain - Lucidity (2006)

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Genre: Gothic Metal, Symphonic Metal

Release Date: 2006

Label: Roadrunner Records

-Miembros-

Martijn Westerholt - Keyboards

Charlotte Wessels - Vocals

Ronald Landa - Guitar, Vocals

Rob van der Loo - Bass

Sander Zoer - Drums

Miembros Anteriores

Ray van Lente - Guitar

Anne Invernizzi - Vocals

Roy van Enkhuyzen - Guitar

Tim Kuper - Drums

Colaboraciones

Marco Hietala (Nightwish, Tarot)

Ad Sluijter (Epica)

Ariën van Weesenbeek (God Dethroned)

Sharon den Adel (Within Temptation)

Liv Kristine (Leaves' Eyes)

George Oosterhoek (Orphanage)

Guus Eikens (Orphanage)

Jan Yrlund

Lucydity es el impresionante álbum debut de Delain, un proyecto único de Rock Gótico iniciado por el Tecladista Martijn Westerholt. (ex-Within Tempation). Él se ha rodeado de un número de músicos extremadamente talentosos tales como el Bajista Marko Hielata (Nightwish, Tarot), el Guitarrista Jan Yrlund (ex-Lacrimosa) y la vocalista Noruega Liv Kristine (ex-Theatre of Tragedy, Leaves’ Eyes).

Un número de renombrados músicos Holandeses de Rock tmbién contribuyeron al proyecto: La cantante Sharon den Adel (Within Temptation), el guitarrista Ad Sluyter (Epica), el baterista Ariën van Weezenbeek (God Dethroned) , el cantante George Oosthoek y guitarrista Guus Eikens (ex-Orphanage). Delain también tiene lugar para el nuevo talento: la Joven y relativamente desconocida cantante Charlotte Wessels (ex-To Elysium) contribuyendo con la mayoría de las voces en el álbum.

Imagina esto..Has sido parte de una banda por 5 años, y cuando finalmente terminan, eres incapaz de cosechar el fruto del éxito! Eso le pasó a Martijn Westerholt. Desde 1996 hasta 2001, él fue un miembro de tiempo completo de Within Temptation, por ahora una de las bandas de rock holandesas más exitosas e internacionalmente renombradas.

Mientras su hermano Robert y sus compañeros goth-rockers holandeses continúan en la conquista del mundo, Martijn fue forzado a dejar la banda por una enfermedad crónica. Pero el no se dio por vencido. Tan pronto como se recuperó físicamente comenzó a escribir canciones de nuevo, al principio fue sólo una manera de pasar el tiempo, pero con ello se sintió tan bien, que decidió hacer música a un nivel profesional, una música que era más fuerte día con día. Lento pero seguro, su idea para un proyecto musical empezó a tomar forma.

Martijn hizo una lista de músicos talentosos y empezó contactar con cada uno personalmente, mandándoles demos y haciendo llamadas telefónicas. Mas pronto de lo que esperaba su lista empezó a materializarse en un proyecto de talla internacional. Lo llamó “Delain”, inspirado por The Kingdom of Delain de “The Eyes of the Dragon(Los ojos del dragón) de Stephen King.

En Julio del 2005, Delain firmó un contrato de grabación con !Roadrunner Records!, la última etiqueta del metal y el socio ideal para Delain por sus contactos internacionales y su conocimiento del género. Muy pronto, Delain empezó a grabar su álbum debut en Alemania, Finlandia, Suecia y en los Países bajos con Oliver Phillips y el mismo Martijn en el escritorio de la producción, mientras Stefan Helleblad (Opeth, Rammstein and Dark Funeral) hizo el mezclado final.

Delain es una banda excepcional por que desde que este proyecto empezó, Los músicos y vocalistas en Lucidity (los cuales son muy variados) dejaron toda su marca plasmada. “Quise alentar la interacción entre los diferentes músicos,” dijo el líder del proyecto Martijn. Pero a pesar de su papel prominente, él dió suficientes espacios para contribuciones personales. “Pienso que es importante crear una vivencia positiva en el estudio, tenía la última palabra con respecto a todo el sonido, pero me cercioré de que mi ego no se interpusiera en el mejor resultado final.”

A pesar del hecho de que Delain es, primero que nada, un proyecto, Martijn y la talentosa Charlotte Wessels hacen la base de la banda, Martijn escribió la mayoría de las canciones, mientras la característica voz de Charlotte le dan a Delain su propia identidad. Su sereno y dulce sonido difiere de la mayoría de las voces de Opera del estilo muy típicas en el genero gótico. Martijn conoció a Charlotte por casualidad cuando ella tenía 18 años. Él no estaba en busca de una vocalista líder en este tiempo, así que sólo le preguntó sobre escribir letras y partes vocales. Pero cuando la escuchó cantar unos cuantos tracks en el estudio, se impresionó tanto que de inmediato le preguntó si quería unirse a Delain.

Lucidity contiene algunos duetos interesantes: Liv Kristine canta con Marko Hielata en ‘Day For Ghosts’ y con Charlotte en ‘See Me In Shadow’. LA peculiar voz de Sharon den Ade es un gran contraparte para la intensa voz de Marko en ‘No Compliance’, mientras la voz gutural de George Oosthoek combina muy bien con la voz pacifica de Charlotte en otras pistas.

A pesar, o debido a, la diversidad de músicos y vocalistas en el álbum, las canciones en Lucidity forman una unidad atractiva. Las características musicales de Delain son los prominentes teclados, coros deslumbrantes y cambios de tempo, adherido con guitarras “Heavy”, baterías rápidas y poderosas y grandes melodías. “Amo la música hermosa, melancólica y poderosa, incluso la eufórica, pero lo más importante para mi es la vibra que una canción tiene ” explica Martijn.

El lanzamiento del álbum será precedido por el lanzamiento del primer sencillo “Frozen”, que contiene los mismos ingredientes de la mayoría de las canciones de Lucidity: coros pegajosos, rasgueos fuertes, solos de guitarra, coros, pero también un cambio más suave y melódico. En resumen, es una gran probada de todo lo que Delain tiene para ofrecer.
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Gary Moore - Wild Frontier (1987) [2003 Virgin Remaster]

GARY MOORE

1952-2011

On Sunday 6th February 2011 musician Gary Moore died in his sleep of a heart attack while on holiday in Spain.

Acknowledged as one of the finest guitarists that the British Isles has ever produced; Gary Moore’s career dated back to the sixties. Moore graced the line-ups of several notable rock bands including Thin Lizzy, Collosseum II and Skid Row, to name but three, and to this year maintained a highly successful solo career.

Format: flac + cue + log

Genre: Rock

Release Date: 1987

Label: Virgin Records

Gary Moore - guitar, vocals

Neil Carter - keyboards, vocals

Bob Daisley - bass

The drums are sequenced with a drum machine, but the programming is uncredited in the liner

notes of the album
Additional engineer: Chris Porter.
Additional producers: Pete Smith, James "Jimbo" Barton, Mike Stone.


Wild Frontier is a 1987 album by Gary Moore. His first studio album after a trip back to his native Belfast, Northern Ireland in 1985, this album has several songs about Ireland and even the music itself is steeped in Celtic roots. The title track was intended to be sung by Phil Lynott, however Lynott's death in January 1986 prevented that. The album is dedicated to the memory of Phil Lynott, with the words "For Philip" on the rear cover. This album contains the hit "Over the Hills and Far Away", which reached #20 in the UK as well as a cover of the Australian band The Easybeats' hit of the middle of the 1960s, "Friday on My Mind".

"Over the Hills and Far Away" was covered by the Finnish symphonic power metal band Nightwish on their 2001 EP of the same title, and Swedish viking metal band Thyrfing on their album Urkraft.
This album attempted to repeat the pop-metal formula of Gary Moore's 1985 album, Run for Cover, but falls short for various reasons. First, the songwriting wasn't quite up to par and except for "Over the Hills and Far Away, the title track, and "The Loner" - a beautifully moody guitar instrumental, Moore seemed to be going through the motions. Second, and most fatal was the decision to use a drum machine throughout the album; a failed experiment which just plain sounds wrong. Still, this is hardly a bad record, just slightly disappointing. ~ Eduardo Rivadavia

UK remastered reissue of the Irish guitarist's 1987 album includes three bonus tracks, 'Loner' (Extended Mix), 'Friday On My Mind' (12 Inch Version), & 'Out In The Fields' (Live). Virgin. 2003.

Allmusic Album Review: Billboard