Yes Issue 2019 Boxset ‘From A Page'(Featuring ‘Live In Lyon’) Digitally

YES has issued the 2019 boxset From a Page featuring Live in Lyon on digital platforms. The 4 tracks created as new content for the miniature five-piece box set of recordings from that era, are joined by a single edit of To The Moment complete with original Roger Dean Artwork.

Watch the video of the single edit for To The Moment here: 

All tracks were recorded by the line-up of Chris Squire, Steve Howe, Alan White, Benoit David and Oliver Wakeman:
1. To The Moment (6:09)

2. Words on a Page (6:18)

3. From the Turn of a Card (3:24)

4. The Gift of Love (9:52)

5. To the Moment (single edit)

Oliver Wakeman has personally overseen the preparation of the previously unreleased recordings which were mixed by Karl Groom and mastered by Mike Pietrini.

Buy the digital version of From A Page here: https://lnk.to/FAPLFL

The double CD album Live From Lyon was first released in 2010 and this edition restored “Second Initial” which was previously a Japanese only bonus track.  This is the first time this has been made available on digital platforms.

Oliver Wakeman says: “Following Chris Squire’s passing, I felt that the new music we’d created, but not released, should be heard and not sit unfinished on a shelf. And with Steve, Alan and Benoit’s enthusiasm for the project, I am proud to know that this music will get to see the light of day and, hopefully, be enjoyed by YES fans as a piece of previously hidden Yes history.” 

Alan White added: “I’m pleased to see a gem of YES history coming to fruition in the form of this mini box set. New songs from the past and I’m hoping we can find even more music in the archives for future releases.”

About Oliver Wakeman
Eldest son of prog legend Rick, Wakeman filled the keyboard role, once held by his father, with YES from 2008 to 2011. His work with YES includes the triple live album In The Present – Live From Lyon, Fly From Here and the From A Page box set featuring recordings from his time in the band and released in 2019. During his tenure with YES, Wakeman also toured and recorded as a member of The Strawbs.

Wakeman’s debut album (1997) Heaven’s Isle was inspired by the island of Lundy, and he has since released a number of solo and Oliver Wakeman Band albums.  He has also released several collaborations with renowned musicians, including Steve Howe, band mate to both Oliver and his father in YES for The Three Ages of Magick album, as well as uniting with another guitar legend Gordon Giltrap for the award-winning Ravens & Lullabies album, both of which are set to be part of an upcoming box set. Most recently Wakeman has been working on The Tales by Gaslight box set which contains classic albums Hound of the Baskervilles and Jabberwocky, plus a previously unreleased disc of recording from the never made third album from the trilogy made in collaboration with Clive Nolan. Each album is accompanied 16-page booklets including lyrics, previously unseen artwork and many stories behind the creativity from both Wakeman and Nolan. Tales by Gaslight will be released by Burning Shed on 23rd April available from www.burningshed.com/oliverwakeman

Buy the digital version of From A Page here: https://lnk.to/FAPLFL

Review – Clive Mitten – Suite Cryptique: Recomposing Twelfth Night 1978 – 1983 – by John Wenlock Smith

This 2CD set is a revisitation and reimagining of music originally performed by the band Twelfth Night in their early 1980’s incarnation before Geoff Mann left the group. The albums reimagined are ‘Live at the Target’, ‘Live (and Let Live)’ and ‘Fact and Fiction’ along with reworkings of tracks The Collector and Creepshow.

This album is progressive but not necessarily in a manner that you would expect, let me elucidate…

This is a bold, brave (and possibly foolish) concept that could trash your love for those early albums as they sound significantly different and altered here. Some might see this as a vanity project or even conceited, however, I see this a very bold musical statement that has much depth and character, plus a lot of imagination at play, to make something totally new and absorbing, standing as a testament to those fabulous years and times.

This is not easy listening, as in ‘popped up’ orchestral classics, instead this is rather more studiously applied music that uses minimalism and classical flourishes to bring out the themes that were somewhat hidden in the early albums.

Clive has single-handily pulled all this together during lockdown and has had musical advice from Geoff Mann’s wife Jane and from former band colleagues Brian Devoil, Andy Revell and Mark Spencer. With the arrangements textures and sounds, this sounds very minimalist so, if you like Steve Reich or any modern minimalist composers, this may find favour with you.

This really has been a labour of love for Clive, keeping him busy and occupied during some very lonely and hard times.

Although I am not a long time follower of Twelfth night, I find this album deeply satisfying as it has some very gracious and fine music to it, along with fabulous performances. The sound is very expansive and yet, somehow, very open with equal room given to each instrument. This is somewhat surprising seeing as Clive has used very expansive (and expensive) libraries of orchestral samples, originally recorded by a plethora of top London orchestral players, making this both highly impressive and also aurally confusing, as you’d swear there actually was a real live orchestra playing these parts.

The album will take several listens before you get the concept fully. This is a journey of discovery that you must be willing to undertake for yourself. As with any journey, the joy is not only in the destination but also in the completion the journey itself, and this is a most enjoyable one, in my opinion. The use of strings and oboes (and all manner of other artificial wind and string instruments) is both beguiling and confusing as you forget that this is all artificially created, lovingly crafted for sure but all bogus, artificial and man-made. The album has passages of great beauty, especially on the opening track Part One: Live at the Target which has an extremely dramatic violin section and some great percussion interludes, along with a vibrant violin and French horn passage that really grabs your attention.

Reimagining and recomposing means taking the music apart and remaking it again differently, yet keeping the same sentiments as the original. A difficult task to be sure, not only challenging but also very worthy as these pieces show clearly. This project has been in Clive’s mind for 40 years but it was only during the first lockdown that he was finally able to address the question of what if? and realise his ambitions. Personally, this album makes me want to go and explore those original albums and discover their magic for myself. Thankfully, a lot of this is available on bandcamp or from Twelfth Night directly so I can discover it for myself.

This project has not only inspired Clive to look at the early days of Twelfth Night but also to compose suites that include works by his favourite prog artists, like Yes, Supertramp, Genesis and Rush, amongst others, and he already has plans for at least two more albums of equally innovative re-compositions of classics, all of which are in the planning and creation stages. I, for one, am very much look forward to hearing those when they emerge.

For now, though, this remarkable album shows the fabulous imagination and talent that Clive Mitten has and which he lent to all this fabulous music that he was a major part of all those years ago. He has shown great skill and bravery in refashioning this music in such a unique and vibrant manner. This really is an amazing album of music, look out for the Mission Impossible theme that he weaves into Part Two: Live (and Let Live), which was apparently a favourite of Geoff Mann, Clive lovingly working this in to honour his departed colleague.  

Each part of this album addresses a different period of the band in a unique manner, listen with your ears open and find the beauty that is within these pieces. The use of melody and harmony, syncopation and dramatic dynamics all stand up clearly in these musical pieces, it is all fabulous stuff, challenging, absorbing and, above all, rewarding and dignified. Part Three: The Collector is simply magnificent, taking a live favourite and making it completely new is inspiring and fine testament to a great song.

The abstract album cover is actually a sketch by Geoff Mann, originally created for the ‘Fact and Fiction’ album but never actually used. Clive Mitten you, sir, are a genius and I applaud your commitment and efforts in making this fabulous music. Respect is well due.

Released 2nd April, 2021

Order direct from the Twelfth Night website here:

Shop » Twelfth Night

Review – Liquid Tension Experiment – LTE3 – by John Wenlock-Smith

This is the long awaited (and long time in coming!) third album from Dream Theater spin-off fusionists Liquid Tension Experiment. A band formed out of the prog metal legends and who recorded 2 albums with the nucleus of Mike Portnoy (drums) Jordan Rudess (keyboards) and John  Petrucci (guitar), aided by Tony Levin (bass and chapman stick). Although, to be honest, Jordan only actually joined Dream Theater after the second LTE album and then, as we all know, Mike left in 2010 and further LTE activity looked decidedly unlikely. Well that was the case but two things happened that led to the resumption of activities, these were the worldwide covid virus and the cessation of all touring activities and the other was Mike drumming for John’s latest solo album, ‘Terminal Velocity’. This led to a window of opportunity opening to reconvene LTE once again and cut some new music together. Same crew, same members, just 21 years later…

How wonderful to hear from these folks once again, welcome back my friends to the show that never ends, as ELP once sang.

There is one major change though, the album receives its release through Sony/InsideOut rather than Magna Carta, the label that hosted the first two Liquid Tension Experiment albums in 1998 and 1999 respectively. And, of course, Mike left Dream Theater in 2010, moving onto pastures new. The desire for all to reconvene and record together never really went away, these four musicians have exceedingly high regard for each other’s abilities and enjoy the freedom to make a different type of music together.

Well, that is the backstory to the album let us have a listen to what you can expect from this third instalment of LTE.

The album has a run time of just over 61 minutes, although there is another 50 odd minutes of music on the deluxe  CD version. I have not heard that yet, so I can comment, except to propose that this will probably be in a similar vein to the main album, just with longer tracks allowing even more musical virtuosity.

The album opens in rip roaring fashion with Hypersonic coming off the grid like a supercharged Bugatti Veyron firing on all cylinders. The band certainly show that they mean business with bass, drums and guitar spearheading a three pronged sonic attack. The track fair thunders along with barely room for breath, aside from a few keyboard interjections from Jordan, who layers his synths across the maelstrom the other three are creating. It really is an highly impressive opener indeed although you could say it’s a bit of a marmite piece, if you like it, you’ll want to stick around for the rest of the disc however, if it is not to your taste then that’s fine, go and listen to something else and leave the rest of us here in musical ecstasy. That said, after three minutes 15 seconds of this ultra-fast beat, they take a breath and slow things down intensity wise and allow John some room to play a solo passage along with some subtle bass from Tony and support from Mike, Jordan’s stabbing keyboards also providing some great dynamics to the piece. Jordan plays some flowery synth lines in the closing minutes before John and Tony play a dual passage line together preceding the resumption of the frenetic opening first passage. This piece is simply awesome and a great song to start with.

The second song is called Beating The Odds and opens with some furious riffing from John before Jordan lays down some fabulous synth lines. There is a very strong groove to this track which opens out with some very fluid guitar before a punishing riff is played over which Jordan solo’s wildly using his keyboards to stage his own aural assault on the senses. Everything is flawlessly backed by the inventive and impressive rhythm section yet, even in all the mayhem, there is still an extraordinarily strong melodic element here at play. This is all impressive stuff musically.

Liquid Evolution follows, which is basically a duet between bass and keyboards. This piece lays off the bombast and urgency of the earlier tracks to create a different, and more chilled, vibe to it. After the energy of the first two pieces you welcome the change of pace and the chance to both catch your breath and also to pick your jaw up from the floor where the opening salvo of the first two tracks have probably put it! It makes it far subtler in both pace and tone but still packs an impressive groove.

Then it is back to the overkill and surging power with fourth track The Passage of Time, with its sinewy riff snaking outwards. This one gives Mike some space to show off his impeccable timing and chops whilst Jordan adds some excellent piano parts. It really rocks out for sure, although its brutality is tempered by melodic sensibilities making it an impressive calling card, only made better by John’s atypical solo. That guitar riff is so brutal and powerful though that it almost melts your face off, were it not for Jordan’s interjections to anchor the track in melody. Again, the more I listen to this, the more I hear the interplay of the instruments and the overall melody that the track offers.

Track 5 sees the return of Chris and Kevin in Chris and Kevin’s Amazing Odyssey, a duet between Tony and Mike, giving a chance for Tony’s bass to take centre stage on par with the pounding drums of Mr. Portnoy once again. This is a shorter track but is still worthy of the space afforded to it, it is a joy to hear the fine bass playing of Tony Levin so lucidly.      

Gershwin’s Rhapsody In Blue is next, but probably not in a format that you are familiar with. Basically, it gets the full LTE kitchen sink experience and gives ‘over the top’ a new meaning. The track is shamelessly overblown and all the better for it too! there are some fantastic sections to this performance making it probably my favourite on the whole album. The song is long too at 13:16 however, there is not an ounce of excess fat on this piece, it is all killer no filler (as it were).It really belongs to Jordan whose keyboards glide effortlessly through the song, retaining its melody amidst all the grandiloquence of the track, utterly fabulous stuff.

Shades of Hope is totally different and far more chilled, opening with piano and a floating guitar line, played very fluidly here. This piece bleeds emotion for its complete duration, an exceptionally fine track indeed.

Key To The Imagination closes out the album, it has a recurrent heavy guitar riff running throughout against which Jordan is playing some great synth fills and orchestral voicings along with John’s sweet guitar lines. Tony holds down the bottom end in his usual eloquent manner whilst Mike’s drum hold this mix together. It really is really very good indeed and gives equal room for each player to shine in their respective field and brings things to a great end with its almost middle eastern sounding tone, it really impresses.           

Well, that 61 minutes went by fast and I was sure impressed by all that I heard. I urge you to give it space in your listening as here we have four maestros all playing at the very top of their game, taking chances and making some utterly fabulous music.

Miss this one at your peril!

Released 16th April, 2021.

Order from Burning Shed here:

LTE3 (burningshed.com)



Review – John Petrucci – Terminal Velocity – by John Wenlock-Smith

This is the second solo album from Dream Theater’s stalwart original member, and guitarist, John Petrucci. It arrived after a brief time delay of merely fifteen years or so after his first solo album, ‘Suspended Animation’, released way back in 2005.

Mind you, a lot has happened in John’s world since then, firstly a major change occurred when his buddy and drum legend Mike Portnoy left Dream Theater (the band he had formed with John in their Berklee College of Music days in the 1980’s).

This was a major upheaval and change, although it was one that all parties survived and consequently flourished. Mike got involved in Neal Morse’s musical career (after Neal himself left Spock’s Beard). He also joined Flying Colors, successfully created several albums and concert videos with the outfit. Latterly Mike formed a new band, Sons of Apollo, with whom he has recorded two studio albums and one live set.

Well, it has been nearly two decades since that initial split but this album sees John, and Mike reuniting, with Mike providing the thunderous drumming that accompanies this album. Mike reached out to John during lockdown and they convened at Dream Theater HQ to track and record this all-instrumental shred fest with John on guitars , Mike on drums and Dave La Rue of Flying Colors and G3 providing the bass support for the album.

So, what is it like you may reasonably ask? Firstly, it is all instrumental, playing out as a guitarist’s dream and the album is, as Jordan Rudess told me, all heavily focused on the tonal qualities of John’s guitar,

All the songs are succinct and brief apart from two tracks that are over 7 minutes in length and each piece of music balances John’s searing guitar work with some fine melody. Some of the tracks are rather heavy but melody is not forgotten, John can certainly play, and is not shy on that score either, the playing is showy when required but it the song that matters most here.

John is playing as well as I have ever heard him play, he bends, taps and plays flurries of notes at will on these pieces, all ably supported by the superior rhythm section of Mike and Dave who are revelling in this music that they are a part of. I think there is a good mix to the styles being used and a good use of dynamics, light and shade that really makes the guitar tones stand out clearly, as most of the tones used are clean with sporadic use of effects.

Happy Song, for instance, opens with a very joyous bounce to it, with John doubling guitar parts making this song very Satriani-esque at times but it echoes Joe’s use of styles well. This track is a total winner to these ears and is aptly named as it is a very happy piece of music indeed. It is possibly my favorite track on the album as it is so upbeat and excellently executed, John showing just how fluid he is as a player.

Gemini opens strongly as well with a flurry of notes dancing across the fretboard and great rhythm support in a harder edged piece that has some fine guitar with delay used to great effect. The song branches out with an acoustic Flamenco part in which Johns show some real skill before the electric guitar once again takes centre stage to deliver a blistering guitar solo. There are some strong techniques used that sound utterly fabulous.

The bluesy sounding Out of the Blue is superb, John getting the chance to lay back and play with some real feeling and tap into the blues to prove just how versatile he is in that arena too.  The first of the longer tracks is The Way Things Fall, which is, again, a rollicking little number that fair pulses along on a good bass line with John laying down a very melodic guitar line. Snake In My Boot has a great riff to it, all accompanied by some utterly mesmerising guitar playing.

The final track, Temple of Ciradia, has even more fine fiery playing at hand with some very Ritchie Blackmore like tones being used to great effect. The playing is fast and flawless towards the end of the piece and ends on an excellent drum beat from Mike.

This collaboration has been a winner all round, whether it leads to any further activities has yet to be seen but, it is a first step in restoring a relationship that was fractured if not fully broken. The fact that they used Lockdown and this virus to make it happen is remarkable. Much respect must be given to all parties for making it happen and for making such a great album of fine guitar led musical mayhem.

Released 28th August 2020

Order from Amazon here:

Terminal Velocity by John Petrucci: Amazon.co.uk: Music

Glass Hammer Unveil New Vocalist And Become First Prog Act To Announce NFT Drop

Fred Schendel (Left,) Steve Babb (right) Glass Hammer co-founders

Veteran US prog band Glass Hammer  have announced their new vocalist and their debut NFT drop.

The band are working on the follow-up to 2020’s well received ‘Dreaming City’  which will follow on from the previous release’s concept. Steve Babb and Fred Schendel have divulged that singer Hannah Pyror, who first featured on last December’s digital release, ‘Matter of Time’, will feature on the new album.

“Production of Glass Hammer’s follow-up to Dreaming City is underway,” bassist and vocalist Steve Babb tells us. “This will be Part II of a trilogy. Songs are still being written and rewritten, tracks are being recorded, demos obsessed over—you get the picture. The album is tentatively titled Skallagrim – At The Gates Of Deception.”

Concurrently the band are teasing the new album by joining the world of NFTs. NFTs, or non-fungible tokens, are unique files that live on a digital ledger called a blockchain and are able to verify ownership of a work of digital art (although not full ownership). Buyers can display the digital artwork they represent and may be able to resell later.

Ten Glass Hammer NFT’s will be minted of a pre-release mix of the track Anthem To Andorath, Hannah Pryor featuring as lead vocalist.

“Only ten of these will ever be released,” explains Babb. “The song will show up on the album, of course, but not in this form. The purchasers will find their names listed in the credits of our new album, and there may be other goodies attached as well. We’re really just learning about NFTs, but they’re very interesting as a new way to sell music, not only to crypto-collectors who may have never heard of Glass Hammer but to prog-rock collectors and superfans who’d like to own something truly exclusive,” Babb goes on to add. “I believe that Glass Hammer are the first prog act to use NFTs.”

Glass Hammer is not new to the idea of limited collectibles. Babb adds, “Our very first album (1993’s Journey Of The Dunadan) was first sold as a collectible—a limited edition art print and a gold foil CD on QVC, giving us a massive amount of exposure early on. Though I think it’s too early to say whether or not NFTs will change the music business, it still makes sense for Glass Hammer to make our music available wherever it can be sold.”

You can find the Glass Hammer NFTs at this link:

Glass Hammer Marketplace on OpenSea: Buy, sell, and explore digital assets

THE PINEAPPLE THIEF ANNOUNCE DETAILS OF THEIR ON DEMAND STREAMING EVENT NOTHING BUT THE TRUTH

EARLY BIRD TICKETS ON SALE NOW

The Pineapple Thief have announced they will be releasing an “on-demand” live performance event, entitled Nothing But The Truth

The show will be broadcast on 22nd April from 6pm UK time and available on demand until 6pm UK time on Monday 26th April and tickets are on sale now – full details below. 

Having released their latest studio album Versions Of The Truth in September 2020, the band’s worldwide touring plans to support the release of the album had to be put on hold, but the band were eager to be able to still perform for and connect with their fans across the globe and so the idea for a full band performance event was hatched. The Pineapple Thief’s Bruce Soord explains “I’ve always said that The Pineapple Thief is equally about the studio and the stage so it was obviously disappointing that we haven’t been able go out on tour especially as we were excited to be able to perform the new album “Versions Of The Truth” live for everyone.  So being able to do this film, especially under the circumstances, was invaluable.

We all knew we did not want to shoot a film of us standing on stage staring at an empty room.  We wanted something special, something ‘cinematic’. So, together with George Laycock (from Blacktide Phonic/Visual who has filmed all our recent music videos) we hatched a plan. It was a lot of work for one show. But it was worth it. And it was great to be playing in the same room with the band again. We ended up making something unique and something very, very special that I am proud to have been a part of. I can’t wait for people to see it.”

Watch the trailer here:

Drummer, Gavin Harrison adds “Nothing But The Truth” is a highlight for this band in terms of captured performance. 

After many months of planning and rehearsal we went to a top sound stage studio and recorded the show that we were meant to do in Covid times (but had to cancel).

Filmed and recorded in the highest quality under controlled circumstances it does represent the band and the songs in a way that is so different to a ‘live gig’ or ‘live album’. We thoroughly enjoyed the process of making it and hope you enjoy this one-off very special event.”

Fans can expect to see The Pineapple Thief at their very best performing songs from across their illustrious catalogue including for the first time live, the new album Versions Of The Truth.

NOTHING BUT THE TRUTH SHOW & TICKET DETAILS

WHERE: https://www.pineapplethief.com/thetruth 

EARLY BIRD TICKETS:  $14.25 (that’s 25% off ) for Early bird tickets purchasers available now until Monday 12th April at 11pm UK time – available here https://www.pineapplethief.com/thetruth

GENERAL TICKET PRICE: Ticket Price $19 (or the equivalent in the local currency, the streaming platform supports every currency). Tickets will remain on sale until 4pm UK Thursday 22nd April  – available here https://www.pineapplethief.com/thetruth

HOW MANY TIMES CAN I WATCH THE FILM? Ticket holders can log in and watch the concert as many times they wish within the on demand period.

The Pineapple Thief, one of the leading lights of Europe’s experimental rock domain, led by post-progressive mastermind Bruce Soord and reinforced by Gavin Harrison (King Crimson) on drums, released their latest studio album Versions Of The Truth on September 4th through Kscope.

Their 2018 anthemic release Dissolution garnered worldwide acclaim from both media and fans, earning them their highest UK album chart entry to date (#36), #1 UK Rock and Metal, #22 German album chart, #4 Netherlands Platomania album chart and #14 Finland album chart. It took them on two extensive European headline tours (including many sold-out nights), and their biggest headline show to date at London’s prestigious O2 Shepherd’s Bush Empire, plus a first ever and hugely successful tour of North America.

With the release of their new opus, The Pineapple Thief have raised the standard yet again by delivering, quite possibly, one of the most important albums of 2020. Versions Of The Truth created a conceptual progression from Dissolution – a contemplation on our ‘post truth’ world. Lyrically the album tackled a more personal reflection on how there can be more than one ‘version of the truth’, the impact it can have on our lives and the people we love.

Versions Of The Truth is Gavin Harrison’s second album as a full creative member of The Pineapple Thief alongside Soord, bassist Jon Sykes and keyboard player Steve Kitch. His presence has again helped bring writing and recording into sharp focus – a fresh dynamic added to the band’s previous creative process.

MAGNUM: EARLY CLASSIC ALBUMS REISSUED ONTO VINYL – Available For Pre-Order

The melodic hard rock band Magnum was formed back in 1972 by Tony Clarkin and Bob Catley. They developed a hard rock sound that sat somewhere between heady art rock and commercial pop.

They released their debut album, Kingdom of Madness in 1978. Though their debut album charted at #58 in the UK charts and received positive reviews. It wasn’t until the release of their third album, Chase The Dragon in 1982 that they saw commercial success. The album spawned a handful of hit singles in the UK, notably “Soldier Of The Line”, “Sacred Hour” and “The Spirit”.

After decades of live performances and twenty-one albums, later their early albums plus an additional live album will be reissued onto deluxe vinyl by Renaissance Records.

The albums Kingdom of Madness, Magnum II, Marauder, Chase The Dragon, and The Eleventh Hour are due to be released on April 28th. These deluxe 180-gram gatefold LPs will include extra incentives such as trading cards of the original band, lost photos, lyric sheets, and a poster that comes with the albums when you purchase them directly through Renaissance Records.

Pre-orders for these Magnum reissues are available now from renaissancerecordsus.com.

About Renaissance Records

Founded in 1993 by former Aerospace Engineer John W. Edwards who had a passion for music and a new idea to form a recording label. He focused on the reissuing of classic rock and classic country LPs on CD for the first time. Renaissance Records soon signed licensing deals with EMI-Capitol, Sony Music, Universal Music Group, and BMG/RCA/Arista. The record label has released recordings from artists such as Rick Springfield, Pure Prairie League, Blue Oyster Cult, Gamma, Roxy Music, and Judas Priest.

‘Kingdom of Madness’ Track List

1.In The Beginning

2.Baby Rock Me

3. Universe

4.Kingdom Of Madness

5.All That Is Real

6. Bringer

7. Invasion

8.Lords Of Chaos

9.All Come Together

‘Magnum II’ Track List

1.Great Adventure

2. Changes

3.The Battle

4.If I Could Live Forever

5. Reborn

6.Everybody Needs

7.So Cold The Night

8.Foolish Heart

9.Stayin’ Alive

10. Firebird

11. All Of My Life

12. Lonesome Star

‘Chase The Dragon’ Track List

1.Solider Of The Line

2.On The Edge Of The World

3.The Spirit

4.Sacred Hour

5.Walking The Straight Line

6.We All Play The Game

7.The Teacher

8.The Lights Burn Out

‘The Eleventh Hour’ Track List

1.The Prize

2. Breakdown

3.The Great Disaster

4.Vicious Companions

5.So Far Away

6.Hit And Run

7.One Night Of Passion 8.The Word

9.Young And Precious Souls

10.Road To Paradise

‘Marauder’ Track List (Live Album)

1.If I Could Live Forever

2.The Battle

3.Foolish Heart

4.In The Beginning

5. Reborn

6. Changes

7.So Cold The Night

8.Lords Of Chaos

OLIVER WAKEMAN & CLIVE NOLAN Launch Lyric Video for Coming to Town from Jabberwocky Tales by Gaslight 3CD Box Set Out 23 April

Oliver Wakeman and Clive Nolan release a lyric video for Coming to Town taken from their box set, Tales by Gaslight – out on 23rd April. The track is taken from the first album in the box set Jabberwocky and features Bob Catley (Magnum) on vocals and the late Peter Banks on guitar. Oliver says: “This is a fun upbeat track which I have always enjoyed playing live and it became an ever-present song in my bands live set. Revisiting the original for this box set reminded me of what a great job Bob Catley did with his vocal performance, and it is always lovely to listen to Peter playing a wonderful guitar solo.”

Watch the video here:

Jabberwocky, released in 1999, was based on the famous Lewis Carroll poem. It was followed by The Hound of The Baskervilles (2002), inspired by the Sherlock Holmes novel penned by Sir Arthur Conan Doyle. The project was always intended to be a trilogy of musical interpretations of literary classics, but an album inspired by Mary Shelley’s Frankenstein was shelved because of a lack of record company funding.

Oliver Wakeman reunites with Clive Nolan after 20 years to issue a 3CD Box Set – Tales by Gaslight featuring remastered versions of their ‘future prog classics’ Jabberwocky and The Hound Of The Baskervilles along with a new disc Dark Fables.

This box set package also includes a third disc, featuring previously unreleased pieces that were intended to complete the trilogy. This third disc, Dark Fables, contains over 30 minutes of music conceived for the abandoned Frankenstein album.

Unusually for the time, the first two albums featured a host of guest performances, including narration by Wakeman’s father Rick and actor Robert Powell. Former YES guitarist, the late Peter Banks, Magnum vocalist Bob Catley and singer Tracy Hitchings appeared on both albums. Ayreon mastermind Arjen Lucassen lent his talent to The Hound of the Baskervilles along with members from the bands IQ and Threshold. The unique artwork was created by Rodney Matthews for the original Jabberwocky release. Peter Pracownik was the creativity behind The Hound of The Baskervilles artwork 20 years ago and has returned to this trilogy by lending his talents to the new Dark Fables artwork.

In keeping with the spirit of the two previous albums, the new recordings feature the talents of, amongst others, Gordon Giltrap, Paul Manzi (Arena, Oliver Wakeman Band, Sweet) Andy Sears (Twelfth Night) and David Mark Pearce (Oliver Wakeman Band). Also included is an original reading of the Jabberwocky poem by Rick Wakeman.

The Tales by Gaslight box set contains 3 CDs each with 16-page booklets including lyrics, previously unseen artwork and many stories behind the creativity from both Wakeman and Nolan. The first 250 box sets will also include a 4th limited edition numbered art print of the box set cover signed by Clive Nolan and Oliver Wakeman. 

Tales by Gaslight will be released by Burning Shed on 23rd April. Pre-order it here: https://burningshed.com/store/oliverwakeman

About Oliver Wakeman
Eldest son of prog legend Rick, Wakeman filled the keyboard role, once held by his father, with YES from 2008 to 2011. His work with YES includes the triple live album In The Present – Live From Lyon, Fly From Here and the From A Page box set featuring recordings from his time in the band and released in 2019. During his tenure with YES, Wakeman also toured and recorded as a member of The Strawbs.

Wakeman’s debut album (1997) Heaven’s Isle was inspired by the island of Lundy, and he has since released a number of solo and Oliver Wakeman Band albums. He has also released several collaborations with renowned musicians, including Steve Howe, band mate to both Oliver and his father in YES for The Three Ages of Magick album, as well as uniting with another guitar legend Gordon Giltrap for the award-winning Ravens & Lullabies album, both of which are set to be part of an upcoming box set. 

About Clive Nolan
Aged just sixteen, multi-instrumentalist Nolan became the youngest musician (at that time) to gain an A.L.C.M. composition diploma from the London College of Music. At university he studied composition, orchestration, musical arrangement and conducting, gaining a BMus and MMus. He has played a prominent role in the development of progressive music, as a member of Pendragon since 1986 and as a member of Shadowland (1992 – present), Strangers on A Train (1993 – 1994) and by forming his own band Arena in 1995.

Nolan’s interest in rock opera extends beyond his collaborations with Wakeman. In 2008 he wrote She, based upon the novel by Sir H Rider Haggard, and two musicals Alchemy and King’s Ransom. This year will also see the release of a new ‘Viking Inspired’ album Song of the Wildlands, as well as the new Arena album The Theory of Molecular Inheritance.

Tales by Gaslight – Release 23rd AprilPre-order the boxset here: https://burningshed.com/store/oliverwakeman

Review – The Vicious Head Society – Extinction Level Event – by Martin Hutchinson

You’ve got to love a good ‘balls out’ Prog-Metal album, one that comes flying at you like a monumental behemoth and knocks you into tomorrow.

Irish guitar vistuoso Graham Keane’s project, The Vicious Head Society, did just that with 2017’s debut release ‘Abject Tomorrow’ and, after much soul searching and a difficult gestation, he returns with ‘Extinction Level Event’, an absolute leviathan of a release, full of music of maturity and a primeval brilliance.

This collection of nine epic tracks takes me back to the anticipation of new albums by Dream Theater and Haken in their early days and shows just how far Graham has come in four years.

Nathan Maxx returns on vocals. Graham adds that “his voice was the perfect fit for this more modern sound. He was able to deliver versatile and very emotive vocals for every song.” Likewise Klemen Markelj is back on drums along with Pat Byrne of Hedfuzy on bass. Nahuel Ramos is also back to offer some keyboard solos and there are guest appearances from Australian virtuoso Chris Brooks and violinist Shelley Weiss. In addition, Graham wanted to have a dedicated growler for this album and after hearing Andy Ennis’ work with Overoth, he reached out and asked him to jump on board.

Graham discusses his new album, “In very basic terms, Extinction Level Event is an album about the end of the world. This is a concept that has been explored in various other forms of media but on this album, I wanted to explore personal stories about how people might react to knowing their demise is imminent.”

“It tells the stories of 7 different people facing the end, how they process the event, what meaning or impact their lives have had. It asks what they cherish, what grudges or ill will they hold on to. Will they face the end with dignity? Essentially, the album asks the same question of us, the listener. Grief and loss are never far away… are we willing to carry bitterness, anger and resentment to our death or are we willing to let go? Conversely, are there people in our lives that are deserving of forgiveness?”

‘Extinction Level Event’ is most definitely a prog-metal album for modern times, taking all that was great about the genre in the early nineties and noughties and bringing it bang up to date with scalpel sharp guitar and potent vocals. The energetic and compelling rhythm section drives the album along, giving it an almost widescreen and visceral feel and scope.

It’s well known that I’m not generally a fan of growling, ‘cookie monster’, vocals but they work on this album and I actually like them, look, I’ve never said that before! When I mentioned this to Graham he told me that, “I only use them as part of a story telling device and, writing a song about a serial killer requires it!”

Each track is a perfectly crafted piece of music where every note and every word has its place but Graham never fails to let loose with some utterly amazing guitar work and Nahuel’s keyboards give everything a coat of pure class.

The album contains two superbly immersive instrumentals that give a bit of tangential musical exploration to the album but, generally, it is as in your face as you could ever want from a prog-metal release. Of the other tracks, it is difficult to pick favourites as they are all superb but, if you pressed me, I’d have to go with title track, and opener, Extinction Level Event, the sublime On a Silver Thread and Hymn of Creation, an utterly perfect way to close out the record.

The best music is always a journey that envelops the listener, gathers them up and takes them on a hell for leather adventure of the mind and soul and this album is no different. Graham’s songwriting abilities are top notch and he has gathered a stellar set of musicians around him to make his vision a reality, they are surely a creative force to be reckoned with.

‘Extinction Level Event’ is shaping up to possibly be the best prog metal album of the last few years at least, I honestly don’t think I’ve had a prog metal album hit me so hard since Haken’s ‘The Mountain’. It is a rare occurrence to get an album nowadays with not one track on it that I don’t love but Graham and the rest of The Vicious Head Society have absolutely nailed it with this release.

Released 28th May, 2021

Order direct from the artist here:

Home | The Vicious Head Society (bigcartel.com)

John Wenlock-Smith Interviews Jordan Rudess

John Wenlock-Smith – Good afternoon Jordan, how are you doing now?

Jordan Rudess – Hello John, yes, I am doing fine thank you. We are all safe and well as can be at this moment in time.

JWS – Lets talk about ‘LTE3’ (The forthcoming new album from Liquid Tension Experiment) that is due out in April, I have a download of it and I think it is a fabulous set of pieces, I really like it.

JR – Oh I am glad that you like it. I was not quite sure what you were going to say but I like a lot too. I am enormously proud of what we managed to get done, especially with this pandemic. It allowed us a window of opportunity to allow LTE (Liquid Tension Experiment) to be once more. It has only taken us twenty years in which a lot has changed but some things have not changed much at all really. We are still the same musicians, just a bit older now but still willing to try this experiment once again. Hopefully the response will be positive from all quarters, like the Dream Theater fans and the fusion fans too.    

JWS – I Like it, the opener Hypersonic is certainly fast and furious, was that deliberately so?

JR – Yes, we wanted something that would either attract or dispel the listener, I think that we succeeded on that score.

JWS – I agree, I think it set you up for all that is to come. I especially like the track Rhapsody In Blue, a reworking of a piece previously played live.

JR – I have always liked that Gershwin piece, although it has been so long since we last did that song that I had to rethink my approach on keyboards to do it.

JWS – Well I think it is a stunning take on what is a classic musical piece. What other songs do you especially like? I see you have your piano right there, play me something please will you?

JR – With pleasure, this is the song Shades Of Hope (Jordan then proceeds to play this jaw droppingly fantastic piano line from the song, his playing is impeccable and for an audience of one!)

JWS – Wow! thanks Jordan, that was fabulous. I have just bought an 88 key digital piano for myself ,although It will be years before I am anywhere near proficient.

JR – Well, keep playing, is what I would say to you. I started when I was 9 years of age and I am now 64 but I still love music as much now as when I first started, possibly even more so truth be told.

JWS – I am looking forward to getting the new album. I am going to get the 2CD version with the extra tracks on it, those sound interesting, although I’ve yet to hear them.

JR – Oh you will like those I think, we got to do even more wild playing for those.

JWS – So how did those sessions work out?

JR – Well, we recorded it at Dream Theater’s New York base of operation. I kind of thought it might be odd for Mike (Portnoy) as he’d not been there since he left the band but he was totally cool with it all and even offered some memorabilia for the complex. But, overall, it was just great fun, four friends who value each other musically and socially. Tony (Levin) brought his famous coffee machine again to keep us going, it was all such a great vibe. I think the results honour the commitment made by each member to the proceedings.

JWS – Did you use your normal Dream Theater keyboard set up?

JR – Pretty much, although I did tweak a few sound settings. John (Petrucci) pointed out that my sound was a bit stale sounding and, as he is the master of tone, I listened to his suggestions and we got to the sound that we felt was what we wanted.  

JWS – So will there be any opportunity for some live LTE shows? Possibly when covid is over and activities resume normally?

JR – Well I certainly hope there would be but only once we have sorted out activities for the main band. We are all busy, Mike is always busy with either Neal Morse or his own projects, as is Tony with all that he does. We are all remarkably busy hence the twenty years gap between ‘LTE2’ and this new album.

 JWS – Have you been active during lockdown Jordan?

JR – Yes, I have been busy with my sound company and I have also recorded a new solo album. I have also been busy with my Patreon site, using it to connect to other people. Depending on their support level, they can access tutorials and even have a one-to-one conversation. My latest solo album ‘Chapter In Time’ is on bandcamp only.

Check it out, it is just me playing mainly piano pieces and a few textural keyboard sounds to create some ambient type of music. I think you might like it, is mellow and chilled, good to relax to or listen to in the background. 

JWS – I also saw your performance of Tarkus on the recently issued Keith Emerson tribute concert. That was some performance of the whole of Tarkus!

JR – Thank you, Tarkus is an important piece for me, that is the track that stopped me being just a classically trained pianist and made me want to rock out. So I owe Keith Emerson a huge debt of gratitude for that song, it was a privilege to be able to honour him in that way.

JWS – I agree, I have also got that on CD and I have your own version on ‘The Road Home’ album.

JR – That’s a good album, I like that one, with some great players, Neal Morse, Rod Morgenstein and Kip Winger, Nick DiVirgilio, and Ron ‘Bumblefoot’ Thal, amongst others. I had a lot of fun with that album paying tribute to some of my influences.   

JWS – So what does the future look like for you, apart from this new ‘LTE3’ album? oh, very impressive artwork by the way!

JR – Yes, I think it is terrific too. For me, it’s more Dream Theater, once we can get back together safely and tour once again. I am 64 now and still love this life and I appreciate every day that I get to live it too.

JWS – Jordan, my time has gone so all that remains for me is to say a huge thank you for making the time to speak with you. I have really enjoyed my time with you, I wish you well for this album and hope to see you live at some point in the not too distant future.

JR – Thanks John for a great interview, all the best to you too, my friend.

You can order Jordan’s solo album here:

A Chapter In Time | Jordan Rudess | jordan rudess (bandcamp.com)

And you can pre-order LTE3 here:

LTE3 (lnk.to)