Brazen Abbot - Bad Religion 1997

Format: ape + cue + log

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)

Format: ape + cue + log

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)

Format: flac + cue + log

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

Format: flac + cue + log

Genre: Progressive Rock

Release Date: 1971

Label: Castle Records