Progressive rock music discography & reviews

Time 2020-06-20 09:04:34

Web Name: Progressive rock music discography & reviews

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PROG ARCHIVES intends to be the most complete and powerful progressive rock resource.You can find the progressive rock music discographies from 11,192 bands & artists, 62,410 albums (LP, CD and DVD), 1,702,864 ratings and reviews from 63,259 members who also participate in our active forum. You can also read the new visitors guide (forum page).For a band who are on their fourth album, releasing their debut 'Mirror' as long ago as 2007, it seems a little mean topoint out that this is actually a side project of RPWL guitarist Kalle Wallner, but given he will always be associated withthem, it has to be done. However, unlike RPWL, and indeed unlike the band which preceded that one, Violet District(whose only album 'Terminal Breath' came out in 1992 ? I remember reviewing it at the time, god I'm old) this is not aband heavily influenced by Pink Floyd. To be honest, based on this album alone I wouldn't even call them aprogressive rock band ? I haven't heard the last two so don't know how they compare ? but here we have a melodichard rock outfit with, at best, some neo prog influences.So, although some RPWL fans may search this out due to the connections with that band, they may well turn away insome dismay as here we have an album where the guitarist allows himself full rein to hit power chords and simplyrock in a way which he restrains himself from doing in RPWL. When asked about the album title, Wallner says "It'sabout blind understanding. When you get the right people on board, there is no need for lengthy explanations. Youjust hit the recording button. And when you then give the right musicians the right music ? that's when they help youtake it to the next level. No need to convince anybody, no discussions. And no compromises are necessary. You justpump it out." This is certainly an album which has been pumped out, with a superb melodic hard rock performancewith great songs and licks, and a special mention must be made of singer Scott Balaban who strides acrossproceedings like a colossus. This may be his first studio album with the band, but he has been involved for a while,and indeed was the singer on the 2017 live album 'Liquid Live' and he is the perfect foil to Wallner. He also providedmost of the lyrics, and the result is something which is powerful and instinctive.This is a really enjoyable album from beginning to end, just put out of your mind that here is the guy from RPWL, asfinally this feels very much like a band as opposed to a side project and it is going to be fascinating to see where theytake it from here as they move solidly into melodic hard rock.MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password Blank Manuskript are yet another of those bands who have been happily going around releasing albums andsomehow never making it into my orbit until now. Formed in Austria in 2007, this is their third album, and I really amnot sure what to say about it, apart from I really like it! The quintet are Jakob Aistleitner (saxophone, flute, electricguitar, glockenspiel, percussion, vocals), Peter Baxrainer (electric and acoustic guitar, percussion, vocals), Jakob Sigl(drums, percussion, viola, tape, vocals), Dominik Wallner (piano, electric piano, organ, synthesizer, vocals) and AlfonsWohlmuth (electric bass, flute, bottles, vocals). It was Alfons who contacted me, and I am both pleased and dismayedhe did , as while I have really enjoyed it, I have no idea how to truly describe it and get across in words what it is like tolisten to. Lyrically it deals with the concept of loneliness versus the concept of community and works around that theme usingvarious scenarios from birth to death and musically it can be very delicate, at others almost overpowering: there weretimes when I found myself checking the player to see if I was still on the same album or if it has moved onto the nextone on my list. It is incredibly diverse, and there is the impression that these guys like to use a studio almost as alaboratory, adding and refining what they are doing. They are like a mini orchestra, but while some may think thismeans they are being symphonic (and they can be) this is way more experimental, with certain instruments taking keyroles in certain songs and not being used at all in others. It is incredibly diverse as they move from RIO toexperimental and avant garde though art rock and multiple other styles. They are very removed indeed to what Inormally think of as European progressive rock, and if someone had asked me to guess the country of origin I wouldhave definitely said the band was Russian as it has far more in common with the music I hear from there, which is farremoved from the normal Western progressive influences.It is timeless music which is very much of the present, but also invokes the days when the British progressive scenewas exploding and the idea was for each band to push boundaries in their own way as opposed to all becoming clonesof each other. It is refreshing, joyous and progressive in its' very truest sense. This is not for those who want theirprogressive rock to fit in certain constraints and styles but is one for those who remember when the term was atruism as opposed to a name to describe a genre. Definitely one which progheads need to discover.MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password In the late eighties I became increasingly aware of lesser known prog rock bands. Like most I was familiar withand a fan of Yes, Genesis, Rush, Pink Floyd, ELP and King Crimson(in other words all the usual suspects). At somepoint I began to wonder what else was out there and was made aware of a few more bands when my ex stepmother gave me a copy of the harmony encyclopedia of rock. There were plenty of well known bands in there and a few lesser known ones. In the back of the book were even more lesser known bands. I would scour through these entries and look for the words "progressive rock." One band mentioned was Caravan. Another was this US band who were(if I remember correctly)mistakenly identified as being from New York. Pavlov's Dog were actually from St. Louis. One of my cousins is from that US city and actually knew people who knew the band(she herself having met them on one occasion). Of course I knew about them from this rock book. I then purchased a two on one record album of the first two Pavlov's Dog albums from a mail order music catalog(I have no idea which one since this was a very long time ago).When I first put the needle on the vinyl on the first song("Julia") I thought I had it on the wrong speed. This isbecause David Surkamp has an unusually high pitched voice. I have even seen the band referred to as BlueOyster Cult on laughing gas. This aspect of the music is one that people will either accept or be turned off by. The songs themselves are rock and even hard rock with lot's of blaring mellotron. There is also synthesizer, violin and great guitar work. First up is the aforementioned "Julia" which is a rather meloncholy mellotron drenched power ballad. After that we get "late november" which is a bit more rocking with the refrain "it just goes to show you never know, what's in your heart what's in your soul." This album is just pure seventies all the way with not just the sound but the lyrics. Next up is "song dance" which has a very catchy guitar riff possibly reminiscent of Led Zeppelin or even early Rush although not really sounding much like either one of them. The next track is "fast gun" which has a very infectious ascending violin and keyboard melody with David Surkamp's often shrill voice leading the way. Rounding out side one of the album is "natchez trace" which is another up beat rocker. The first two tracks on side two "theme from subway Sue" and "episode" are a bit more subdued(especially "episode")and provide a bit of a respite from the more intense tracks from side one. Next up is the instrumental "preludin" which seques neatly into what is probably the most epic sounding track on the album, "of once and future kings." This last track features a section with vocals that are a bit lower in register than the rest of the album and is probably from one of the other singers on the album(although I haven't found any information to confirm that). Overall, this will come across as an unusual album to most who hear it for the first time due to the falsettosounding vocals of the lead singer(according to a close source this was his natural range and not falsetto).Depending on your tolerance for the vocals you will either like this album a lot or very little(if at all). While I dofind them to be an aquired taste they are something you get used to if you give the album enough time. I oftenlike music that is a bit on the wild side anyway so I had no real issue with it. A solid four stars from thisreviewer(although as mentioned your taste and tolerance will depend on your acceptance of the vocals).MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password Review N� 347In a career spanning far more than 30 years, few critics will dispute that Fates Warning has been one of the mostinfluential progressive metal bands. Some critics would go further. Their ability never to allow their music tostagnate, constantly evolving by embracing innovative additions to their sound, makes of them the most influentialband in the genre. So, as one of the true pioneers of the progressive metal genre, since bursting onto the scenethree decades ago, Fates Warning have never stood still. They were always prepared to develop their sound andpush the boundaries of their chosen craft. They've maintained a massive respect and loyal following from the musiclovers across the all globe.'FWX' is the tenth studio album of Fates Warning and was released in 2004. This studio album carries on thetradition. Listening to this album there's a sense of energy, verve and creativity running throughout this album,whith the usual trademark of Fates Warning. One of the big plus points for me with this band is that very few oftheir albums sound alike. Thanks to Jim Matheos' unique guitar style and Ray Alder's pristine vocals, they've animmediately recognisable sound. Still, each album comes with a slightly different mixture. That makes of FatesWarning a true prog metal band.There's been no such thing as a 'bad' Fates Warning release. They just tend to have different levels of appeal todifferent listeners. As a result, fans of the band tend to have very different personal favourites. 'FWX' stands as amix between the more electronic sounds of their last release 'Disconnected' and the melodic accessibility of'Parallels'.As on Fates Warning's albums, the main driver is Alder's vocal performance, which is excellent as usual. Alder's voicecarries a melodic line that is memorable and catchy. The compositions on this one are based on the collaborationof the three remaining members. Jim Matheos provides the guitar parts, which are for the most part full ofmelodies. He does bring his heavier side here as well. Moreover, Matheos handles the keyboards in 'FWX', whichare used to accent certain parts and help in the forming of bridges here and there. The rhythm section on 'FWX'handles its duties well. Vera and Zonder form an excellent rhythmic section upon which Matheos's guitar work canliterally shine on the album.One thing that we shouldn't expect in a Fates Warning's album is the overplaying. This is the case with 'FWX' too.The melancholic atmosphere is present on 'FWX'. It's formed on the instrumental work of the players and isemphasized by Alder's vocal performance, which seems effortless. Certain songs sound accessible, being aprogressive album. Still, 'FWX' demands the listener's attention and quite a few full listens before one canunderstand it and value it as a whole.'FWX' represents a semi-return to more traditional song structures in contrast to the depth conceptual work oftheir previous releases. The album begins with 'Left Here', a mid-tempo track mixed with acoustic and electricguitars. The programming and effects adds a classy touch without overpowering the song. The best thing of FatesWarning is Alder's voice. He adds to Matheos's music warmth and longing. 'Simple Human' is a heavier track. Again,Alder brings power to the vocals. The song isn't all that exciting but still is Fates Warning. 'River Wide Ocean Deep'is an ambient track with effects of a female Arabian-like voice. 'Another Perfect Day' is an acoustic driven slowsong. It's not very metal, but still is a progressive music. 'Heal Me' is quite varied in dynamics and emotion and hassome great added sounds and instruments. The vocal performance is perfect, as usual. 'Sequence' is short and oneof the heaviest and more traditional metal tracks. The chorus tends to get a bit repetitive but doesn't spoil theoverall quality of the track. 'A Handful Of Doubt' is another ballad-like song, very emotional. It begins with theacoustic guitar driving the song and then opens up to the full ensemble in the middle of the song. 'Stranger (With AFamiliar Face)' is the heaviest, or most up tempo track. This song almost has a return to the 80's power prog soundbut it's great nonetheless. 'Wish' is another very ambient track. There is an excellent piano section on this track andwe have a Matheos' good guitar solo.Conclusion: Fates Warning doesn't make 'bad' albums. Whether 'FWX' is one of their best albums will depend ifyou like the emphasis they have chosen this time around. 'FWX' might not be one of their best albums, butpersonally I'd rate 'FWX' as one of their most coherent and consistent albums since 'Parallels'. It's true that overall,it isn't very exciting. However, Matheos puts a lot of effort into making the songs as structured with good breadthand depth by including programming and other sounds than traditional metal. All in all, this is a very maturerelease. In reality, 'FWX' is a prog metal album that balances prog and metal in a simple and catchy way, beingheavy enough for the tradicional heavy metal fans and progressive enough for the prog-rock/metal addicts. In myhumble opinion, there just isn't a weak moment on the whole album. The production is pristine perfect andpolished with the typical Matheos' feel and emotion. So, once again, these veterans of the American progressivemetal scene have put out a highly recommendable release.Prog is my Ferrari. Jem Godfrey (Frost*)MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password This album by the crossover / neo-prog group Kino was basically blamed for the pop-influences on this 2005album 'Picture'. I myself am discovering the vinyl re-release of InsideOut in 2020 and I am quite surprised byhow this criticism endures when so many celebrated neo-prog groups have become equally easy to listen to(Mystery for example). Furthermore, the neo style keyboards are soaring here and the symphonic guitars of JohnMitchell (of Arena fame) can get quite heavy. The band does focus on song-writing and offers no randomsequences of instrumental passages that deviate from the overall atmosphere of the song. There are some niceinstrumental passages and the overall fairly melodic song-writing reminds me a bit of 21th century Kayak - albeitKino has a more dreamy sound-pallet. Some of the hooks are really memorable, like for instance the openingmelody of 'All You See' or the keyboard riff of 'People'. The opening track is a neo-progressive tour the force aswell. The solo's of Mitchell sound reminiscent of his work with Arena of that same time. His vocals are a bit morelively and expressive than on the more recent Lonely Robot albums, but his vocals still sound a bit like a backingvocalist doing frontman 'duty'. Though I really like most songs, the album could perhaps have done without itsmost accessible songs ' Leaving A Light On' and the cheesy 'Room for Two'. The fine production of the albumdoes sound slightly dense (as in contrast to spacious) and the vinyl remaster isn't that different from the original.The quality of the vinyl is fine. Listeners of the vinyl can also consider listening only to side 1, 2 and 4, skippingsome of the more poppy material. All in all a rather unoffensive and rather enjoyable offering of a side-projectband (by former members of It Bites, Arena, Marillion and Porcupine Tree) that perhaps wasn't even meant to bea 'supergroup' in the first place. MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password If we decided to disregard Heaven's Open - I choose to believe it's nothing else than a finger pointed towards Virgin label - it'd occur Mike Oldfield came back to form in early 90s. Amarok was a powerful statement in itself, and kicking off his new Warner contract with Tubular Bells sequel meant a lot at the time. Although I don't think anyone expected it to MIRROR the original!It's not an outright plagiarism, mind you. Structures are largely the same - piano intro followed by tremolo picked, poignant motif, then touch of bluesy slide guitars, then rockier "fuzzed to 11" section and so on. Sometimes he changes chord progression, at other times he picks a parallel scale, but in the end the feeling is similar. So there is a very clear pattern, but we still have much variety when it comes to arrangements, instruments, that sort of thing. New melodies, at times, drift off in a completely different direction, or at least Mike fooled me time and time again. So that must be said before all else. Some of us are looking for unique music experience on every occasion and don't fall for cheap tricks. Some of us don't see rearrangements or modal shenanigans as a genuine act of composition. Especially if the most distinctive ideas come up again after 20 years - you might find it bothersome or dishonest, and I get it.But can we deny its charms for that reason only? Shall we turn our backs to beauty simply because the music follows his own well-established blueprint?And yes, there are moments worth a bunch of spins. I always found "Sentinel" very potent and refreshing. Some of the credit goes to production as it's very clear, dense and liquid - a quality shared by majority of his 90s records. It has a very special, New Age feel to it, even more so than Crises and Discovery Era. Mike provides variety with dozens of sounds, be it Midnight Express style synthesizers in "Dark Star", tribal rhythms & clapping in "Sunjammer" (another highlight) or frolic, balls out keyboards in "Altered State" (mirroring "Piltdown Man").As in the original, Tubular Bells II goes for a number of moods and atmospheres. I hear the simple men of Pacific islands rejoice on the beach, contemplative choirs in "Weightless" (I dubbed its counterpart "kite over Copenhagen 1800s") and triumphant conclusions. "The Bell" is obviously led by Master of Ceremonies, the great Alan Rickman; even if less ambiguous than Part One finale in 1973, this one infuses tons of unadulterated joy. Not bad, not bad at all!Much can be said about each track. I haven't even mentioned all the hidden gems, such as fantastic celtic motifs in "The Great Plain" or grandiose bagpipes in "Tattoo", but it's hard to go over 60 minutes long album. There's A LOT of music to explore and digest. I like it very much, even more so than Voyager and Guitars - another underrated albums from the era.So when it comes to rating, my heart says 4, but I have to take account of shared structures with the original. Tubular Bells 1973 are idiosyncratic, mysterious and deep. Tubular Bells II tried to achieve it with imitation, if not replication. You can't copy ideas and expect them to carry as much weight. In the same time, it doesn't mean you won't enjoy this one. On the contrary - you'll marvel at its beauty more than once, I think.I know I did. MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password Roy Harper refers to Come Out Fighting Ghengis Smith, his second studio album, as a skeleton in his closet and rarely, if ever, played any of these songslive in concert. On the whole, it's not quite the disastrous album that Harper would have us believe. Sure, it's his first of album ofsocial protest that's a bit awkward as words supersede the importance of the music, but it's quite listenable, mostly, in anotherof Britain's sixtie's acoustic based folk rock albums. The lead off track "Freak Street" is more noteworthy for it's topic offreaky Greek Street in Soho during Roy's tenure at the celebrated, at the time, folk club Les Cousins The song features choruses that morph into Arabian scales raga in boththe music and vocals and is interesting in it's oddness, but it's straight up acoustic folk rock arrangements of "You Don't NeedMoney", "Ageing River" and "In A Beautiful Rambling Mess" that follow that put's Roy back on solid folk rock footing with songs similar to the ones foundon Roy's debut album Sophisticated Beggar, but they're not quite on par with that album's song quality. A bit of the sophomore albumsyndrome is showing. "All You Need Is", despite it's heavy handed condemnation of women who use their sex and sex appeal to get ahead, is amarvelous baroque synthesis of swelling strings with a jazz like stand up bass and drums accompaniment, and is the highlightof the album. "Circle" is a long dissertation on the evils of social conformity, while the title track states all the trials awaitingsomeone who's born into "the system." Heady stuff but a bit verbose and long winded. Still, it's like nothing else from Roy'sBritish folk revival buddies from that era like Bert Jansch or Wizz Jones. Skeleton in the closet? I would say that Come OutFighting Ghengis Smith is more like a sleeping man in the bedroom. Forgettable but harmless if awakened. 3 stars. MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password Take The six wives of Henry VIII to space.Literally, that is how you are going to feel when you hear this album, from the magnificent intro to the epic finale. Rick Wakeman melts the classic textures, sounds and changes of that album with modern sounds that add a new dimension to his music (spacesynth breaks included!). I really like the guitar work, which reminds even Mike Oldfield in some passages (e.g. Arsia Mons).This is a concept album, as the musical ideas, song tittles and overall feeling seem to tell the listener a story, but this is an instrumental album, so all you have to do is sit, relax, close your eyes and let the music create your particular martian story.Overall, I am giving 4.3 stars to this, as I don't find it perfect, but it is the best album Rick Wakeman has composed since 1973, no less, no more.Recommended for all fans of classic progressive rock and an essential work.MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password Fuzzy Duck Fuzzy Duck Heavy ProgReview byOLD PROGI discussed, one evening, what Heavy Metal was (or, rather, what a Metalhead would have listened to) in the early 70'swith a person who was in the middle of his musical journey at the time. In addition to the usual names he mentionedme the Fuzzy Duck. I got the CD as soon as I could. I have to admit that I was struggling to see them as a fullProgressive Rock band. "We are the usual", I thought. "Another band halfway between Progressive and Hard Rock. Soit's Heavy Metal, for 1970/1971," I convinced myself. The strange thing was that the CD included 4 bonus tracks notwith the classic lineup (Paul Francis, Mick Hawksworth, Roy Sharland, Graham White) but with Garth Watt-Roy whowrote three of the four bonus tracks. Among them "Double Time Woman" that I already knew (but I didn't know was aFuzzy Duck song) which is 100% Hard Rock / Proto Heavy Metal. The album is easy to review. Except for "Mrs. Prout" (which is very jazzy) the rest is a Heavy Rock with Progressivearrangements and very fast rhythms (for the time and the musical genre). Having said that, it should be immediatelynoted that Fuzzy Duck prefer to write Rock songs with a lot of guitar and organ, intricate parts of bass and very lineardrums (despite being very technical) and vocal parts that enter the head immediately. In this sense they are closer toHeavy Metal than progressive. However, they cannot, today, be included among Heavy Metal bands. At least ... 99% ofMetalheads take you crazy if you propose it as a Heavy Metal band. As in the case of Wishbine Ash or Uriah Heep (tostay in Great Britain) it seems obvious to me that placing Fuzzy Duck is not easy. In my opinion, they are doing well inboth musical worlds. Another problem with Fuzzy Duck is that they only produced this album and two singles before itbroke up. So we cannot know in which direction they would have evolved. The songs, then, are all written andarranged very well, so much so that citing one song or another as an example of the style and sound of Fuzzy Duck isvery difficult, without doing wrong to another song. I can, however, say that they seem to me more successful (but, Irepeat, they are all extraordinary songs): "Just Look Around You", "More Than I Am", "In Our Time" and, but it's abonus track on the CD (and only came out as a single) "Double Time Woman"."Fuzzy Duck" still sounds fresh and engaging today, a sign that, in 1971, it must have been truly a masterpiece. Themusicians show that they have a really above average technique and the production is nothing short of perfect, notjust for 1971. The idea of preferring the exaltation of power, instead of technique, is really a good choice, because itenhances both musicians and songs. Ultimately ... "Fuzzy Duck" is a really good album, the birth of a trulyextraordinary band. A masterpiece to be rediscovered, both for Proghead and Metalhead.MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password or, what happens when you're stuck in between two legendary albums.Mike didn't fiddle about and quickly followed his landmark debut Tubular Bells with another tranquilizing record. Hergest Ridge, named after a hill looming over recently acquired cottage, clearly brings peaceful vibes to the table. The introductory theme succeeds in setting the tone for the album, with delicate interplay of whistled melodies, gentle glockenspiel and incredibly tasty mandolin lead. Slow, but consequential buildup culminates with solemn trumpet and reassuring guitar strumming. I like how Oldfield manages to pour out sweet melodies without sounding naive or self-indulgent. I believe the trick lies in timely placed contrasts, be it wailing guitar leads, uptempo sleigh bells or cloudy tubulars appearing in crucial moments.I applaud Mike for improving compositional skills. I'm no expert on music theory, but transition between motifs is almost seamless and general flow is much, much smoother than it used to be. It's especially pleasing on Part One, where pretty much every idea comes at a right time, no filler, no hesitation. Fans of unraveling, self-referencing and "logical" pieces will surely like this one. Yet on the other hand, cohesion comes with a price - Tubular Bells is known for variety and numerous themes hiding around every corner. Hergest Ridge is also interesting, but obviously Mike didn't aim as high this time around.You see, Hergest Ridge really conveys Herefordshire imagery, vividly painting grassy slopes, vast pastures and river valleys. Abundance of unplugged instruments and soft segments reinforces this picture, so even if I've never been there (admittedly), the music makes me think it's a calm place, sparsely populated and contemplative in its nature. Part Two takes the same direction at first. One of my favorite moments comes 3 minutes in - that catchy, acoustic guitar melody accompanied by mandolin and female choirs, likely Sally Oldfield's work. For some reason it reminds me of Incantations, maybe the feel is somewhat New Agey. In any case, Part Two remains interesting throughout, but I have to single out that metallic, chaotic section at 9:30 or so. It probably depends on the mix and speakers, but the last couple of times I didn't enjoy it much, rather found it tiring and unimpressive. Especially the first minute or two - before guitar solo comes in - almost spoil Part Two for me. I'm all for sonic experiments, but some of them are destined to fail imho. Cacophony somehow gets "better" later on, but it's fair to say that section swallows up a big chunk of Part Two, as it ends at 15:00 or so. Thankfully it all calms down before coda. That last bit of Hergest Ridge is very picturesque and emotional. Sally's vocal theme is brought back beautifully and symphonic tones shine so bright. As far as endings go, this one is decidedly more structured and rich than "Sailor's Hornpipe" from the debut.It seems "structure" is a keyword to Hergest Ridge. Lavish melodies and explicitly British sceneries make this album more of an "Ommadawn's precursor" than "Tubular successor". Narratives aside, I believe it's a really precious piece of art, encompassing worlds of symphonic, prog, classical and even world music. Mike Oldfield moves skillfully between these genres, defining his unique style at the age of 20. Don't miss it, sit back, enjoy.MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.You are not logged, please complete authentication before continuing (use forum credentials).Forum user Forum password To buy Progarchives.com custom items: t-shirts, beer steins, coffee mugs, mouse pads, bumper stickers, go to http://www.zazzle.com/progarchives, select the ones you like and checkout(PayPal support). All orders are handled by Zazzle from invoicing, printing to shipping.Thanks in advance for supporting us and for spreading the purple prog !

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