I. Full Moon Rising - TransAtlantic (2) - SMPTe (Box Set, LP, Album, LP)
It kicks in before a minute. Can't help but think of Chris Squire on this song. I like this one a lot. Love the drums and bass,mellotron too. I like the mellotron when it settles.
Contrasts continue. Almost whispered vocals come in. Piano follows as the tempo picks up. Mellotron too. Lots of synths late. As I said in the intro I could do without this track but I don't mind it. It's kind of mellow with the focus on the lyrics. Nice guitar solo from Roine before 5 minutes.
Too much to like here for me to give it less than 4 stars. Still prefer the debut though. Nice comeback album guys. Somehow memories of things I did at the time, places I went become blurred. The big difference in anticipation factor was that where The Tangent have released a steady stream of albums since with at least one product every year since then, it's inevitable that my thirst to hear Transatlantic together again and with the same people was somewhat greater. Both of the bands made stonking and genre defining debut albums, both bands as far as I am concerned released a weaker sophomore set shortly after-wards.
The Tangent got their chance to recover which they did - admirably so and Transatlantic waited until now to have their shot.
The big question was, would they, could they do it again? It's a question that I am sure many others would ask, and a comparison I'm sure many others will have made and at the time of writing I see that this forum actually has a thread about which of the two bands is the best. At least with Transatlantic we were guaranteed our favourite people again.
However, I think that there are huge differences in personnel with Transatlantic. How so? And here I simply have to go straight for the horns by saying that the principal writer and obvious lynchpin in Transatlantic has come back to the project as a completely different person.
An openly converted and quite radical Christian believer with a mission, an established chain of successful Christian tinged solo albums behind him with a message which to quote the man himself is a "Whole nother trip". The album screams its trademark from the word go, that big fat synthesizer theme, urgent and in your face drumming, the bass running about all over the place with a fantastic sound!!
Big grin all across my face, banging my knees in time and then getting caught out - this is what I want, I've wanted it for years and now I've got it.
Welcome back. You have been gone too long. As the overture gives way to the first song, they surprise us and it's Stolt who is the first voice to appear, just as you expected the first long Morse note that starts so many of his projects. I am "in the zone" so are they and this album has kicked off with a glorious first impression.
I am not going to do a track by track analysis of this album besides which it's all supposed to be one long track which it simply is not. Suffice to say that it features dazzling musicianship, great tunes and throughout gives you that whole Transatlantic sound which is dear to so many of us who like our prog rock to be joyful and upbeat. It is just fantastic. And now is a good time for the "buts". The formula that worked so astonishingly well on SMPTe has been used and re-used again and again.
Despite the great input from Stolt and Trewavas on all Transatlantic material the fact is that Morse and Portnoy have such big and proud standing roles within the band that they simply can't be detached from all those other records they have made together V excluded for portnoic reasons Those great fat synth lines are also in the Morse solo work, the same with all the choruses and verses, the writing, the lyrics, the sound, the production are all so similar that its very difficult to really see what the nub of Transatlantic IS other than a well know trademark under which to sell yet more Neal Morse led material.
BUT the lyrics. I am not a subscriber to Neal Morse's new Christian lyrics. I'm not a Christian, and I'm not really planning on becoming one at 56 years old. And But within But, BUT I support Neal Morse's right to write about anything he wants, and if he believes in something enough, well it's his right, he might even say his duty, to write about it.
I've still listened to all his prog stuff since, enjoyed a lot of it, and sometimes repressed a few shudders of distaste about what he's saying, but overall can live with it because of the quality of the music.
On this album he sounds like a priest with his hands tied up. Sounds like a Vicar opening a village fete who has to "say something but not make it too religious", yet who desperately needs to convert this potential flock of secular people to come to Church.
So the direct references to "my Lord", "God" and "Jesus" have become references to "The Master", the "Giver of Life", the "True Breath" and I'm afraid that the people at the village fete who are waiting to get on with the mud wrestling and welly wanging are not in any way fooled by this thin disguise. In fact I find the lyrics rather blurry. I'm not sure what it's all about although it feels very Old Testament Noah stuff. I feel I'm being preached at, but don't really know what it is I'm supposed to be being taught.
And the lyrics are very thinly spread, lots of repeated lines, reprises and themes stated over and over all of which may be disguised or justified by saying "well it's all one long song" or could be cynically dismissed as "not enough marmalade for so much toast" I don't think either Transatlantic or The Tangent have ever given us something really new. Even from the off. Both of them have given us what so many of us wanted, tastes and flavours of the music we loved earlier in our lives with a sharp modern edge.
I don't think either band would claim to be great innovators, Trewavas and Tillison have been Album more innovative in other bands than these two hence I like the others less. Tangent have kept their styles moving around the central core of what they do from symphonic prog to straight Jazz fusion and Transatlantic have stayed exactly the same, straight down the line. Both these positions are understandable and even likeable.
Most of us hate it when "the band's we're in to start playing different tunes" which is all a part of our own inflexibility. Thank you for doing it to all of them. I remove two stars for the lyrics and give one back for just being such a damn fine band. My second review for this site. The intro part was far from the majestic intros that were featured on the previous two studio albums and to be honest I often skip it just to get to the good stuff.
The band doesn't progress their sound on this album but if you can accept it then it's quite an enjoyable ride indeed! Excellent but far from essential. I've listened to their two previous albums multiple times and I'm a huge fan of Mike Portnoy and Neal Morse in general, but the music just didn't stick with me.
I remember enjoying them well enough but not much more. Fortunately, that has all changed with "The Whirlwind". This album feels more structured and tightly composed than "SMPTe" or "Bridge across Forever" and the individual songs work well together in telling a cohesive if somewhat abstract story. There's also much more variety in the songwriting.
After the jarring intro to "A Man Can Feel", the next few songs take a softer approach, culminating with "Rose Colored Glasses", a characteristic Neal Morse ballad, with some nice guitar soloing added in. It begins with a beautiful piano flourish followed by some soft, plaintive vocals which are very reminiscent of Pink Floyd.
The volume gradually increases as the piano returns to provide a beautiful harmonic counterpoint to the vocal melody. As the volume rises, the tempo joins in and the soloing starts. The intensity grows and grows, then just when you think it can't get any faster, they crank it up to 11 for a few more seconds and cap off the song with an incredibly satisfying climax.
The final song, "Dancing With Eternal Glory" is actually my only real complaint with this album. Normally I love long, epic style tracks, but in this case I just feel like there's not enough material to justify the length, and the style is a bit too reminiscent of Neal Morse's solo albums.
It feels somewhat out of place when compared to the tightness and originality of the other tracks. All in all, despite the slight misstep at the end, "The Whirlwind" is still a great album and easily deserving of a spot in every prog fan's collection. We had the symphonic overblown wonderfulness, we had the catchy riffs and lyrics The Wind Blew them all awayso by the time of Out of the Night 31 minutes in I was truly hooked, and this continued through the next few tracks. Then it all went horribly wrong.
The closing tracks of this album are excruciatingly bad - I mean not just excoriatingly bad but excrementally bad. So bad I wanted to claw my ears off and reverse time so that they never existed and had never been recorded. Now I know Neal Morse is a bit of a god-botherer and a bit of a message is not to be unexpected but there is a difference between the subtle approach of, say, Snow or even Sola Scriptura and the closing 20 minutes of the Whirlwind which is pure christian polemic and suffers musically for it.
I guess the message is this - leaving religion out of it - if you are going to make a 77 minute epic I'm always impressed with the challenging task of creating concept albums, the time put into this one has certainly paid off! Plenty of great melody and carefully crafted solos to keep you hooked. I love Pete Trewavas' bass work. Each track has a unique feel, and I love the way the tracks transition.
I like the concept also. I think it's obvious that the chief proponent of "The Whirlwind" is Neal Morse. I love the second disc also, particularly "Spinning", and the Genesis and Santana covers! There really are almost no flaws in this album.
I just love it! And Transatlantic is well known for their epics. This being a 77 minute epic, how could I go wrong checking it out, even as my first Transatlantic studio album? Initially, this album didn't grab me until about Evermore. The opening had some appeal, and On The Prowl caught my attention briefly, but overall the first half seemed to drag on.
When Evermore rolled around, the jarring keyboards and guitars grabbed my attention, and I found myself enjoying the second half of the album much more. So, what have we here? Many references are made to something called "The Whirlwind", which is obviously a storm of some sort, but whether it is a literal storm or a metaphorical storm is up for debate.
Constant themes of Christianity abound throughout the album, and if I had to guess, I would say there was some themes about mankind losing faith or being swayed away from the ways of God. Some sort of apocalyptic theme seems to be lying underneath, and I even caught what sounded like a reference to global warming. Satan even makes an appearance. So my best understanding of the concept is some apocalyptic storm perhaps brought about by global warming has mankind clamouring for salvation.
With this in mind, I find the amount of people complaining about the last track surprising. So much of this album seems to resonate with Christian undertones which is expected with the direction Neal Morse has gone of late that some sort of resolution that is full of the glory of God is expected. I actually enjoyed it, for it was really a beautiful, joyous song - what could be more uplifting than being saved from damnation by the hand of one who has loved me since the dawn of time?
I'm not Christian, but I still have an imagination and am able to appreciate the track for what it is. After my first impression, and gaining some idea about what this album was about, I am able to enjoy it more than I was initially. It still does not resonate with me enough to be considered a masterpiece, and the opening, while much more enjoyable now that I am familiar with the concept and the music, still leaves me a little flat.
I feel like it is a little uneven for the 78 minute time commitment. Overall, I would give this album a solid three stars. Report this review Posted Thursday, December 17, Review Permalink bluegecko I had to wait a little before picking up this album. So I decided to wait for some of the review before picking it up. I immediately got the impression that I was going to like this album. There is definitively "Yes" influence in here. I like the way some of the themes or melodies are recurring or coming in later songs.
It is very well constructed and the flow from one song into another is seamless. The last third of that first CD seems a little weaker and the closer just doesn't leave me with a wow impression. It makes you wonders if they just spread it a little to thin for the sake of doing a 77 minutes song. Nonetheless the overall result is strong and solid. Now, the bonus CD? It offers 4 original tracks and 4 covers. The 4 original tracks are quite different from on another and have the merit of being more exploratory.
But, quite frankly they are far from being exceptional. They have either a retro feeling to them or they somehow remind me of the late Beatles era. The covers are OK. I like "Salty Dog" as this song was unknown to me. So it does appears original to me at least!
I never really like the original. I like the remake of "The Return of Giant Hogweed", it somehow got stuck to my brain for weeks. I can't say that the remake is that great, I think it is just a reflection of the fact that the original is such a great song.
In fact, it made me dig my "Nursery Cryme" album and made me listen to it again. And as usual I prefer the original work. Ending this CD, is a long and boring cover of Santana that I usually just skip and believe me, skipping a tune is a sin for me! I listen to my albums whole!
But this might be just an echo that I am not a fan of Santana. If I would rate the LP package, I would hesitate giving it 4 stars. But I will discard the bonus CD from the rating and judge this album rating based on the main purpose of this release which is the 14 parts title song.
Based on that, 4 stars. In a good way that is - most so-called supergroups ends up as something far less than the sum of it's parts, but this is an example of the opposite. The foundation of this -long- concept album is symphonic progressive rock, with a firm foundation in the traditions from the heyday of this particular style.
Elements from other genres are blended in - fusion in particular - with the rock guitars and at times massive multiple layers of various keyboards. The organ is a key instrument, adding that vintage sound of the 70's, and I do think some 'trons are wheezing around the banck somewhere as well from time to time.
But this isn't about a band or an album solely looking back in time for inspiration. Transatlantic incorporates more contemporary musical elements to their brand of music as well. Not extensively so, but modern sounding keyboard layers is a part of this, and an emphasis on distinct moods and strong atmospheres from the neo progressive school of thought is another key element in this musical mix.
Aggressive bass lines and quirky drum patterns may not be something new in itself, but are other effects utilized to good effect. With a slick, modern mix and production the songs get their final glossing, slightly subduing the subtle dissonances and instrumental contrasts to make them non-obtrusive. Yet very much present if someone want to find them.
The end result is a stunning album, at least if symphonic progressive rock is a srtylistic expression you normally enjoy. Perhaps a bit too slick and contemporary sounding for die-hard fans of vintage Yes and Genesis, but it is a production that many will find truly magnificent. And without doubt a classic album, of the kind that will be regarded as such many decades from now.
Thank you! Hearing this album made me realise that I've been waiting a very long time for somebody to make an album just like this. First things first, if you're looking for an album which literally progresses the art of rock by introducing new and bizarre elements, I'm afraid to say you'll be disappointed with this output.
However, if you're looking for an incredibly well structured, well recorded album that borrows heavily from Yes, Genesis, ELP and King Crimson, there is no better place to look than right here. While the influences on show may be very obvious, and they may be the same influences we always see, I would argue that no band has ever created an homage to 70s prog that even comes close to the excellence of this one.
I think this next point is an extremely important one for potential buyers - I do believe that this album demonstrates the best work of all 4 musicians involved. I find these bands quite acceptable, but their discographies are somewhat patchy, particularly with Spock's Beard. And yet, the work of Stolt and Morse on this album is unequivocally superb. They really bring out the best in each other.
Morse's sugary ballads benefit immensely from Stolt's emotionally affecting guitar work in such a big way that I can honestly say Morse's songs here are my favourite of his career. Similarly, Stolt's optimistic, boppy sound gains much needed depth from Morse's intricate, layered keys. To speak of Mike Portnoy is to speak of a drumming legend.
I think it's fairly clear that the man has always delivered a dizzying set of beats for whichever album he has recorded. Here he is just as polished as always, perhaps even getting better with age. Incidentally, the actual sound of the drums on this album is second to none. Whichever engineer had the task of recording them should win some sort of prize i mean that seriously! The real surprise for me on this album is Pete Trewavas.
I am a fan of 80s Marillion, but being fair, the early albums had a very simplistic, 80s bass sound. No bass lines for him to prove his worth on. I never thought I would say that, but it's the god's honest truth. This album may not represent a true evolution for rock music.
What it does represent, however, is four talented men at the very highest summit of their powers, creating the single most respectful, majestic piece of symphonic prog ever created outside of the 70s.
Highly, highly recommended. PROS: You have a group of talented musicians, all of them already the masterminds - or sort - of their respective groups, all of them shining high in the prog paradise.
CONS: if you already own their groups or solo records, you can easily recognize their way. PROS: If you are set to start listening to Transatlantic, this is a good access point, since you will find an almost full palette of their capabilities Highlights: The disc 1 stands well in level, with some higher peaks Ouverture, The wind For the masterpieces, please refer to previous records! Report this review Posted Monday, January 4, Review Permalink dmwilkie I have been listening to progressive rock for about 38 years, since I was first enthralled by the Yes tracks 'Yours is no disgrace' and 'heart of the sunrise'.
In that time I have heard a wide variety of prog rock, but I have to say that I think 'The Whirlwind' is quite simply the best piece of symphonic prog ever recorded.
It is a magnificent epic with glorious symphonic themes weaving in and out, culminating in a superb climax. I did not think that 'All of the Above' would be superceded, but it has been, and I doubt if I will ever hear a better piece of extended prog in my lifetime.
Everything just seems to come together, and Messrs. Morse, Stolt, Portnoy and Trewavas, have produced together something which is far greater than the sum of its parts.
I expected that 78 minutes would be hard going at first, but I was hooked from the beginning. Congratulations, guys! Six stars if possible! Expectations were very very high because the other TA albums were some of the nicest prog-stuff in the 00's. And I don't think you can really be disappointed in The Whirlwind.
There are all the elements of a decent prog epic here, such as the beautiful calm-down part Rose Colored Glassesa growing jam-section Is It Really Happening? All parts flow together nicely, though there is a clear little break between part six and seven. It's hard to name the highlights in this piece, for there are so many. The guys have also tried some new singing styles like Morse's metallic scream- like style in Lay Down Your Life. Lyrics are mostly from Morse, so if you don't like his christian-like lyricstyle then too bad.
I myself find the lyrics good and even heart-touching at parts. Musically the album is a nice packet. The main theme isn't that inspiring, but most other themes are great and emotional. There aren't many odd time structures, but that doesn't really bother because this album doesn't need them IMO. The second disc has its moments, but isn't really The Transatlantic Quality. It is still worth its price, as it has some nice covers The Giant Hogweed!! The bonus DVD is also nice and shows how much fun the guys had in studio.
Hopefully we'll have another TA CD coming out soon. I had never listened to nor heard of Transatlantic prior to this album, so I really had no idea what to expect, however, the instant I put this in my CD player, I fell in love with this fantastic, album.
The album starts off with an overture that covers pretty much all of the themes that will be heard in this album, and as soon as the music kicks in with the uplifting main theme, you're sucked in for a tight and compelling 77 minutes of music. Although this is Symphonic Prog, the music has a very different feel to that of Yes or Genesis. Simply put, The Whirlwind sounds very modern, but do not take this to be a bad thing. The concept of the suite is vague, and seems very metaphorical.
I read somebody's suggestion that it may be about global warming, and that seems to fit the best. The lyrics themselves are very good, and sung beautifully by Neal Morse. The songs flow seamlessly into one another, and you probably won't notice that the track has changed until a minute into the next song. So now to what people really want to know: how are the instruments? They are good, but I wouldn't go any farther than that.
Although there are some very nice guitar solos in the midst of the album, the instrumental parts aren't particularly "challenging," and can be understood after the first or second listen.
The variations in instruments is fairly static, with Roine Stolt's guitar leading most of the themes, with Morse filling out the background with his keyboards. There are some nice subtleties thrown in though, such as the occasional Mellotron in the background. So if not the instrumental parts, what is it that keeps me coming back to The Whirlwind?
Well, after listening to the album over 20 times, I've finally been able to pinpoint the reason. It's the repetition of the themes, the "continuity" if you will, that Transatlantic uses to connect all of the songs together that is really fabulous. You'll hear the main theme coming back at you many times throughout the album, sometimes very unexpectedly, sometimes with a different instrument, or maybe just subtly floating in the background while a new theme is laid over it.
If the separate tracks were forced to stand up individually, they would most certainly fail, but because all of the themes stretch out of their own songs and keep popping up throughout the album, each song succeeds in giving you something different, yet always reminding you that you're still in the middle of this massive song. There are some standout songs, but the highlight is the effect of the album when listened to in its entirety. The ending is also immensly satisfying, and one of the best I've heard in this genre.
I don't have many complaints about the album, despite the shear length of it. Some individual pieces may not appeal to everyone, such as the singing in "Lay Down Your Life," but it's such a small part that it's not detrimental to the whole.
To sum up, The Whirlwind is a really solid album, that will appeal to anyone who likes Symphonic Prog, however, this is not the album for lovers of extremely technical and complex music. In short, anyone who has any interest in modern prog should definitely check out The Whirlwind. When I heard that Transatlantic was reuniting for another album, I was ecstatic.
I figured that I would never hear new Transatlantic material. Thankfully, I was wrong, and not only did Transatlantic meet my high expectations, they exceeded them.
You can't have a large epic without an overture, so this album begins with a perfectly constructed overture. The overture contains many of the main themes that will be highlighted throughout the whole album, and I feel the overture itself is a good metaphor for the whirlwind itself, as the music gets more intense as it goes. The things of the world are temporary and will just be blown away by The Whirlwind that is bound to come.
This piece has a great groove and a cool organ solo from Neal. The purpose of this piece is to show that God is the one who is in control of the whirlwind and is using it as a test of sorts to try to make people turn to him and away from the things of this world. This piece is showing how alone man can feel when the whirlwind tears away all the things of this world and takes away all the things that he thought made him happy.
But, the whirlwind comes raging back, and they must continue to face it. This happens many times in life, where you feel you are finally free of your trials, you have a "sudden alright," but a new trial comes and once again you are back in the whirlwind. This piece of the epic is a great showcase of all four vocalists and it goes through several themes that have occurred so far in the epic.
However, I feel it fits in well with the concept because I feel it is a real life application to a whirlwind that we face- death of a loved one. But, it is by having the right perspective that we can look beyond the whirlwind to the true meaning of things. I believe this is a good centerpiece for the epic because it shows that there are real trials that are faced, but there is a hope if we just have the right perspective, which leads perfectly to the second half of the album, which basically outlines how to have this correct perspective.
Then, the big grand finale, "Dancing with Eternal Glory," brings the message home and ties the whole album together.
It is an expression of the beauty and true majesty of eternity and life beyond the whirlwind. Especially meaningful to me is the idea that God has always been there in the whirlwind helping us through and trying to show us the right way and give us the key we need so we can partake in this Eternal Glory. We can all be partakers of this Eternal Glory if only we endure life's trials and seek out God through the whirlwind.
This album, at its core, is deeply religious, which isn't hard to believe since Neal Morse is involved. The surprising thing is that the rest of Transatlantic is not as religious as Neal is, and yet they allowed such a strong Christian message in this album. There has actually been some controversy about this since many were hoping that this album would allow for Neal to express his creativity without promoting his Christian message that has been such a big part of all his solo albums since leaving Spock's Beard.
However, I believe that Neal feels so strongly about his religious convictions that he can't help but include them in any project he works on and that those who are offended by it just have to not listen to Neal anymore unfortunately. Obviously the other guys in the band were fine with the lyrical content and even contributed to it, so I'm sure they are all happy with the finished project, and the message isn't as blatant here as it is in Neal's solo albums except perhaps in the last piece, "Dancing With Eternal Glory".
But, I don't have a problem whatsoever with the lyrics which could have to do with the fact that I'm a Christian myself. What I can say, is that I feel this album is a huge success.
I focused on the lyrics in my review, but the music is also incredible. Pete Trewavas really impresses me with his bass work on this album, it is consistently amazing throughout the album. Roine Stolt has some amazing guitar solos peppered throughout the album some of the best in my opinion come in the middle of "The Wind Blew Them All Away" and "Out of the Night". Mike Portnoy is amazing on drums as usual and I always love Neal and he continues to shine on this album.
I also want to point out the last half of "Is It Really Happening? I love the creativity that abounds when these four individuals get together to create music and I hope to hear a lot more from them in the future. There is a sense of fun in this record that is infectious and that is part of what I love about what Transatlantic brings to the table.
They can be goofy and fun in one moment and heartfelt and passionate the next. They truly have a love of the progressive rock of the seventies and that shines throughout the album as well.
I can't wait to see these guys in concert in April and I love everything that they are involved with. This album is most definitely a masterpiece and I expected nothing less from the creative forces at work behind it.
Report this review Posted Thursday, January 28, Review Permalink godfrey11 A couple of months before Transatlantic announced The Whirlwind, I became a huge fan of their music. Not only this, but they were making a 77 minute song. A prog-lovers dream. As soon as the release date was out, I counted down the days from about 67 until finally, the CD arrived at my house.
No sooner said than done, it was in the CD player, and a new musical journey was about to begin. One minute and thirty two seconds into the first track, the ambient sounds explode into the one of the many recurring themes heard throughout the CD.
The instrumentals are perfect, and the first vocals are sung by Stolt! Then, Neal comes in and sings the chorus. Much like Bridge Across Forever, the vocals are shared between all four members. There are time signature changes although not as many and lots of instrumentals. The main difference is that there are a lot more guitar solos, and a lot less keyboard solos.
While this may throw off some prog lovers, it didn't do anything to me. Roine Stolt is one of the best guitar players of today. He never overdoes the solo work, and has many creative ideas. The first has the best vocals on the album "we will cross that bridge and enter into life An incredible guitar solo follows. The second song I mentioned has the best instrumental on the album. The first half of the song is slow, and repetitive, but by the end, there are double bass drums, shredding guitar and smoking bass and keyboards.
This is the climax of the album, and the highlight. Transatlantic really lived up to their previous two albums. After 10 years of waiting, they return with the best album ofand one of the top 10 of the decade. My patience in awaiting the album and in waiting to review it have not been in vain. This is, quite simply, symphonic prog at its most grandiose and will appeal to all fans of the sub genre and also, of course, fans of the bands that make up the component parts of the supergroup.
What other band could, I wonder, come up with a single slab of music lasting some 77 minutes long, and not only get away with it, but also confound all of those critics who instantly assume anything lasting more than a few minutes must be overlong, self indulgent, and, by extension, rubbish? Because they do, by and large, get away with it. Certainly, there are some, few and far between, moments that stand out as filler, but mainly the piece de resistance comes across as it should - a grand homage to the genre itself.
Neal Morse is, of course, the main driver behind the piece, certainly in regard to the lyrics and vocals, and there is no doubt that his conversion to Christianity drives the lyrics throughout. Is that a bad thing? I don't think so, and certainly I regard his thoughts and moods as poetically relevant as were, for example, Jon Anderson's mystical musings in Yes and his solo career - in other words, they most certainly do not get in the way of the album itself.
This album most certainly does need to be played on a good system to fully appreciate all of the intricacies and noises produced. As regards CD2, I have enjoyed the four original pieces, none of which could possibly be described as essential, but are most certainly enjoyable. As regards the band's tradition of covers, these are, as usual, hugely enjoyable. Special mention goes to Giant Hogweed, which is quite simply a massively fun tribute to the whole music of that period, but especially A Salty Dog, which I regard I.
Full Moon Rising - TransAtlantic (2) - SMPTe (Box Set being one of the finest covers of any band's original music ever. The singing and playing on this are simply quite exquisite. I will not give this the ultimate five stars, but it most certainly rates as being 4. Highly recommended and a very welcome return by one of the genres true legends. But, with almost half a century's worth to digest, it's easy to be jaded and aver that no entity working in that medium in this age holds a candle to the giants of yesteryear who cultivated the movement.
I'm talking Yes, Genesis, ELP and sundry other headstrong heroes who made unquestioned masterpieces that still hover in the upper echelons of every prog hall of fame list worth a hoot to this very day.
Yet if I'm honest and maintain intellectual perspective regarding such matters I have to add Transatlantic to my roster of greats without reservation. This prog supergroup has not only met expectations but exceeded them. Their debut was decent, their second was outstanding and "Whirlwind" is better than both put together.
Maybe they should go pro. This towering epic is a modern marvel of composing, arranging and performance. Rarely has an hour and eighteen minutes of uninterrupted music elapsed so quickly and without my experiencing at some point an overwhelming desire for the artists to "get on with it. Somehow these talented friends have found a way to leave their egos in the studio parking lot and collectively create a cohesive, entertaining piece of symphonic prog that will stand the test of time.
I tried my damnedest but failed to find a single note to knock. This is greatness no matter which angle you approach it from. They start with an overture, the beginning of which sounds like the band's trademark mothership descending into our choking planet's atmosphere, picking up random snippets of earthnoise. An ingenious pump organ rendition of the central theme plays, followed by a full ensemble version.
Overtures can be tiresome but this one benefits from thoughtful editing. Bassist Pete Trewavas' contributions to the first two albums were no more than par for the course but the incredible tone and forceful aggressiveness he displays all the way through is extraordinary. He's as good as Squire and Rutherford and I don't bestow that accolade lightly. It's no secret that Transatlantic often dabbles in the spiritual realm and, in the case of Mr.
Morse and Roine Stolt in particular, they tend to promote a subtle Christian content within their collective wordsmithing. That aroma wafts about this effort, too, but direct references to Jesus and scripture are nowhere to be found. Dettagli Brani. Tutte le offerte 4 Nuovo 4 Usato 0 Altri venditori. Prezzo e spese di spedizione.
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CD Audio. Numero supporti:. Disco 1 1 All Of The Above. Full Moon Rising. October Winds. Camouflaged In Blue. Half Alive. Undying Love. Tool - Lateralus The Who — Tommy Dream Theater — Awake Iron Maiden — Somewhere In Time Rush — Metallica — Master Of Puppets Black Sabbath — Paranoid Iron Maiden — Killers Dream Theater — Train Of Thought Pink Floyd — Atom Heart Mother Dio — The Last In Line Iron Maiden — The X Factor Metallica - …And Justice For All?
Pink Floyd — The Wall Metallica — Ride The Lightning Dio — Holy Diver Iron Maiden — Piece Of Mind Marillion — Marbles Timesbold — Timesbold Astral Doors — New Revelation Iron Maiden — Powerslave Pink Floyd — Meddle Deep Purple — Machine Head Journey — Infinity Iron Maiden — Virtual XI Led Zeppelin — Physical Graffiti Iron Maiden — Brave New World Mercyful Fate — Melissa Accept — Balls To The Walls Machine Head — The Blackening Fleetwood Mac — Rumours Patti Smith — Horses Robert Plant — Pictures At Eleven Rush — Moving Pictures The Doors — L.
Woman Pain Of Salvation — Remedy Lane Rush — Hemispheres Frank Zappa — Sheik Yerbouti Anthrax — Among The Living Iron Maiden — Iron Maiden Dream Theater — Octavarium Metallica — Death Magnetic Iron Maiden — Dance Of Death The Beatles — Abbey Road Megadeth — Endgame Nirvana — Nevermind Manowar — Kings Of Metal Led Zeppelin — Led Zeppelin I Iron Maiden — Rock In Rio Ramones — Ramones Queen — Queen Queen — Sheer Heart Attack Queen — Innuendo Venom — Black Metal Pain Of Salvation — Scarsick Robert Plant — Fate Of Nations Prong — Cleansing Queen - The Works Metallica — The Black Album Metallica The Cure - Disintegration 2.
Interpol - Turn on the Bright Lights 3. My Bloody Valentine - Isn't Anything 5. Joy Division - Unknown Pleasures 6. The Clash - London Calling 8. Nas - Illmatic The Cure - Seventeen Seconds Common - Be The Strokes - Is This It The Veils - Nux Vomica Outkast - Aquemini Sufjan Stevens - Illinois Weezer - Pinkerton Daft Punk - Discovery Talking Heads - Remain in Light Fleet Foxes - Fleet Foxes The Shins - Oh, Inverted World Gang of Four - Entertainment!
Viktor Vaughn - Vaudeville Villain Outkast - ATLiens Sparklehorse - Vivadixiesubmarinetransmissionplot Grandaddy - The Sophtware Slump Justice - Cross Mobb Deep - The Infamous Interpol - Our Love to Admire Dirty Projectors - Bitte Orca Stars - Set Yourself on Fire The Ramones - The Ramones Reflection Eternal - Train of Thought Pavement - Crooked Rain, Crooked Rain Vampire Weekend - Vampire Weekend Pixies - Surfer Rosa Weezer - Weezer The Blue Album The Cure - Wish The Smiths - The Queen is Dead The Shins - Chutes Too Narrow Editors - The Back Room Kanye West - The College Dropout Wolf Parade - Apologies to the Queen Mary Pulp - Different Class The National - Boxer Death Cab for Cutie - Transatlanticism The xx - XX Arctic Monkeys - Humbug Jay-Z - The Blueprint Red Hot Chili Peppers - Californication Queens of the Stone Age - Songs for the Deaf New Order - Movement The Decemberists - Picaresque Blonde Redhead - 23 Gang Starr - Moment of Truth Animal Collective - Strawberry Jam DeVotchKa - How it Ends Joy Division - Closer GZA - Liquid Swords Mogwai - Young Team Nico - Chelsea Girl Smashing Pumpkins - Siamese Dream Rufus Wainwright - Rufus Wainwright Radiohead - In Rainbows.
En dan naar aanleiding van het aflopen van een decennium Ik denk dat het de eerste keer is dat ik zo'n klus maak: ik kan er wel blijven naar staren en ermee schuiven, op een keer moet je toch beslissen dus dit is 'm Top Frank Zappa — Hot Rats Funkadelic — Funkadelic The Feelies — Crazy Rhythms The Clash — London Calling Camel — Camel Tortoise — Tnt The Triffids — Born Sandy Devotional Fela Kuti — Gentleman John — Gris-Gris Santana — Caravanserai Eyeless in Gaza — Photographs as Memories Frank Zappa — Apostrophe Daniel Lanois — Shine Wipers — Youth of America Neil Young — The Beach Pylon — Gyrate Chrome — Half Machine Lip Moves Killing Joke — Killing Joke Burning Spear — Marcus Garvey Herbie Hancock — Headhunters Warren Zevon — Excitable Boy Brainticket — Cottonwoodhill Frank Zappa — Overnite Sensations Funkadelic — Cosmic Slop Steely Dan — Aja The Clash — Sandinista Underworld — Dubnobasswithmyheadman Talk Talk — Spirit of Eden Serge Gainsbourg — Histoire de Melody Nelson Tuxedomoon — Desire David Bowie — Ziggy Stardust The Clash — The Clash Cale — Troubadour John Coltrane — Blue Train A:We Are Devo Smashing Pumpkins — Siamese Dream The Associates — The Affectionate Punch Television — Marquee Moon Cocteau Twins — Victorialand The Strokes — Is This It?
Magazine — Real Life Kate Bush — Never For Ever Jimi Hendrix — Electric Ladyland Wipers — Is This Real? Tortoise — Standards Guru Guru — Kanguru Essential Logic — Beat Rhythm News Mission of Burma — Vs. The Stranglers — The Meninblack Japan — Quiet Life The Upsetters — Super Ape The Doors — The Doors Devo — Freedom of Choice Blurt — In Berlin Alpha Blondy — Jerusalem Fairport Convention — Unhalfbricking Transglobal Underground — Psychic Karaoke The Cure — Pornography The Raincoats — The Raincoats Al Di Meola — Elegant Gypsy Tinariwen — Aman Iman: Water is Life Public Image Limited - First Issue Butthole Surfers — Locust Abortian Technician Japan — Tin Drum Air — Hz Legend Thelonious Monster — Beautiful Mess Suicide — Suicide The Cure — Disintegration Eels — Beautiful Freak wat opvalt: meer tiger jaren platen dan ik had gedacht Ik heb ook een poging gewaagd, volledig realiserend dat ik waarschijnlijk direct na het plaatsen van dit bericht mijn bedenkingen zal krijgen.
Maar een mens moet wat. Nick Drake - Pink Moon 2. Jeff Buckley - Grace 3. The Doors - The Doors 4. Morphine - Cure for Pain 5. Morphine - Good 6. Ben Christophers - My Beautiful Demon 8. Soul Coughing - Ruby Vroom Neil Young - Tonight's the Night Timber Timbre - Timber Timbre Tim Buckley - Goodbye and Hello Townes van Zandt - Townes van Zandt John Martyn - Solid Air The Doors - Strange Days Blackalicious - Blazing Arrow Black Star - Black Star Daniel Lemma - Morning Train Cannonball Adderley - Somethin' Else Alela Diane - The Pirate's Gospel Neil Young - After the Gold Rush Gang Starr - Step in the Arena Nick Drake I.
Full Moon Rising - TransAtlantic (2) - SMPTe (Box Set Made to Love Magic The Doors - L. Buffalo Springfield - Buffalo Springfield Again LP) - Blues Run the Game Neil Young - Time Fades Away Ward - Transfiguration of Vincent Smooth - Mecca and the Soul Brother The Doors - Waiting for the Sun Nick Drake - Bryter Layter Sonny Rollins - Saxophone Colossus Jeru the Damaja - Wrath of the Math Townes van Zandt - Our Mother the Mountain John Martyn - Bless the Weather Leonard Cohen - Songs of Leonard Cohen The Notorious B.
Eric B. Gang Starr - Hard to Earn I. Full Moon Rising - TransAtlantic (2) - SMPTe (Box Set Ben Christophers - The Spaces in Between Amos Lee - Amos Lee Thug Life - Volume 1 The Doors - Morrison Hotel Michael Jackson - Thriller Dez Mona - Hilfe Kommt Deltron - Deltron Bert Jansch - Bert Jansch Typhoon - Tussen Licht en Lucht Morphine - The Night Michael Hurley - Armchair Boogie Micah P. Hinson - Micah P. Hinson and the Red Empire Orchestra Alexi Murdoch - Time Without Consequence Buddy Guy - Sweet Tea Atmosphere - God Loves Ugly Norah Jones - Not Too Late Anthony Hamilton - Southern Comfort A - Straight Outta Compton Syd Barrett - The Madcap Laughs Lif - I Phantom CunninLynguists - Will Rap for Food Intuition - Stories About Nothing Jay-Z - Reasonable Doubt Scarface - The Diary Immortal Technique - Revolutionary Volume 2 Amy Winehouse - Back to Black The Roots - Game Theory Niet zo slecht denk ik.
Aan de rangschikking moet men niet te veel waarde hechten. Ik ben vanaf nummer 15 eigenlijk willekeurig bezig geweest. Daarnaast moest ik tegen het eind aan veel platen weg moeten strepen, waaronder een aantal platen van The Roots, CunninLynguists, Pharcyde, Patty Griffin etc.
Voornamelijk Hiphop platen, dus dat scheelt. Voor iedereen die er zin in heeft een gortdroge lijst met andermans favorieten door te spitten: alstublieft Ik ben van plan om hier ook een jaarlijkse traditie van te maken, het lijkt me vooral leuk om volgend jaar te kijken in hoeverre mijn smaak veranderd is.
Wipers - Youth of America Talk Talk - Spirit of Eden Ride - Nowhere Sonic Youth - Daydream Nation Eric's Trip - Love Tara The Sound - From the Lions Mouth Can - Tago Mago Morphine - Cure for Pain Built to Spill - Perfect from Now On The The - Soul Mining Lou Reed - Berlin Love - Forever Changes Sonic Youth - Dirty Radiohead - Amnesiac The Fall - Perverted by Language Wipers - Is This Real?
Elliott Smith - Elliott Smith Black Emperor - Yanqui X. The Doors - The Doors The Rolling Stones - Beggars Banquet Cannibal Ox - The Cold Vein Nick Drake - Pink Moon Sonic Youth - Goo Oneida - Rated O Lou Reed - Transformer David Sylvian - Secrets of the Beehive Zion Memorial Orchestra - Horses in the Sky Nine Inch Nails - The Fragile Led Zeppelin - Led Zeppelin Talking Heads - Fear of Music Wipers - Over the Edge Madvillain - Madvillainy John Cale - Music for a New Society Gridlock - Trace The Loyalist - Redemption Zion Memorial Orchestra - Born into Trouble Massive Attack - Mezzanine Agalloch - The Mantle Voor het derde opeenvolgende jaar heb ik, zonder te vergelijking met de vorige, mijn top albums aller tijden gemaakt.
De hoogste exit is Amy MacDonald, die stond vorig jaar nog op De hoogste van de 26 nieuwkomers is XTC op 5. Een nieuwe poging: Update jazz, ep's, live-albums en soundtracks niet meegenomen in de lijst evenals nu al die enkele releases die ik erg goed vind.
Artiesten 1 keer een vermelding. You Will Get Well Soon Smashing Pumpkins — Adore 3. Joanna Newsom — Ys 4. Tori Amos — To Venus and Back 5. Patrick Wolf — Wind in the Wires 6. Rilo Kiley — More Adventurous 7. Wye Oak — The Knot 8. Goldfrapp — Felt Mountain 9. Flowing Tears — Serpentine Tori Amos — From the Choirgirl Hotel Patrick Wolf — The Bachelor Tori Amos — The Beekeeper Flowing Tears — Jade Patrick Wolf — The Magic Position Tori Amos — Boys for Pele Theatre of Tragedy — Musique Tori Amos — Abnormally Attracted to Sin Alela Diane — To Be Still Abba — The Visitors Kate Bush — Aerial Slowdive — Souvlaki Goldfrapp — Black Cherry Tori Amos — Strange Little Girls Kate Bush — Hounds of Love Rilo Kiley — Take Offs and Landings
Wake Up - Girl Thing - Girlthing (CD, Album), Falling - Various - Roadkill (CD), I Love You Much Too Much - Connie Francis - 19 Original Albums & Bonus Tracks (CD, Album), Tanan-janako - M. Rakotozafy - Sarebak Ikoka (Vinyl), Allegro, 7 - Beans Feat. William Parker & Hamid Drake - Only (CD, Album), One Step Closer - The Doobie Brothers - Best Of The Doobies - Volume II (Vinyl, LP), Irina - Paul Severs - 30 Jaar Paul Severs - Zijn Grootste Hits (CD), Waiting - Madonna - Erotica (Cassette, Album), Cleaning Windows - Squareheads (4) - Squareheads (CD, Album), Louie Louie - The Kingsmen - Louie Louie / If I Needed Someone (Vinyl), Wild Man Blues - Jelly Roll Morton - Jelly Roll Morton (Vinyl)