Trollheart

Okay, now I have a serious problem with this week's selection --- what do you mean, where was last week's entry? That's not important right now: we have bigger issues to discuss. Um. The thing is, that although this song is seriously cheesy --- like, Gorgonzola cheesy! --- it grinds my gears for an entirely different reason. Being a Science Fiction afficionado (yeah, okay: nerd. But as Professor Frink once said, Nerd stands for Not Even Remotely Dorky, so there!) it really bugs me that this song just hopped onto the sci-fi bandwagon that was going strong at the time, with films like Close Encounters and Star Wars, which in itself is not too evil. You expect this kind of thing, people jump on trends to make a quick buck.



I lost my heart to a starship trooper (Sarah Brightman and Hot Gossip) 1978

But what really annoys me is that the writers of this song (whose other major hit was as Typically Tropical three years prior with “Barbados”, another sterotypical(-ly Tropical) song) have and had no idea of the ideas and themes behind science-fiction, or the differences between various films and/or franchises. They cheerfully and with gleeful abandon mix metaphors, as it were, referring to Darth Vader (Star Wars of course) but namechecking Mars, which as every self-respecting nerd --- no, that is not a contadiction in terms! --- knows, has nothing to do with the movie: it was set, after all, in “a galaxy far, far away”! They then go further, talking about the Federation, which is either Star Trek (good) or Blake's 7 (bad), and compound their crime by mixing in references to Close Encounters of the Third Kind and Flash Gordon, for god's sake! Throw in the theme from 2001: A space odyssey and you have just about written “Sci-fi for dummies”, but without any understanding or care as to what all those little names and places mean in the grand scheme of science-fiction.

It's like the way they intended to "get a slice of the sci-fi action" was to throw as many related words at the song as possible, with complete contempt for and disinterest in how relevant each were to the other, kind of like someone who has no clue about football trying to make out they know all about the Premier League by dropping a few names: Messi? Isn't he with Man United?

Not to mention that it was an ignominous start for a career that would blossom and hit the very highest echelons for Sarah Brightman, later to marry musical composer supremo Andrew Lloyd-Webber and herself sing opera and classical music, star in films and shows, and go on to win hundreds of awards. I guess everyone has to start somewhere, but I wonder if she ever looks back at this single --- which got into the top ten --- and inwardly cringes?

Oh, and the song's crap, too, in case you were wondering.
Well, till next week, live long and, you know...

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Trollheart

Here's something from the heyday of Motown. This is Freda Payne, with “Band of gold”.

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Trollheart

Status Quo singing about something most of us dream about from time to time: other than those of us who already do live on an island, that is. And the worm doesn't count Ireland as one...

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Trollheart

Some people would call the worm a talking head: shows how much they know! Humph!

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Trollheart

Let's check out some more work from one of those people who make their living and indeed have made their name from tinkling the ivories. Our first installment of “Keyboard wizards” was less than successful, at least for me, since the album fell far short of my expectations. It was, however, the first time I had listened to Derek Sherinian's “Oceana”, so perhaps that lack of familiarity with his work was partly to blame. This time, I may not know the album backwards but I am certainly a lot more versed in it than I was the previous.

Originally, when I heard tracks off this via playlists I was less than impressed, but then, when you consider the album follows pretty strictly an established and well-known storyline, hearing selections from it out of context can be a little unsettling, and you only get the real experience by listening to the album all the way through, then you realise what an amazing job the artiste has done with a story that many would possibly consider tired and hackneyed, at least at this point. Hard to breathe new life into one of the old Sherlock Holmes mysteries --- in fact, perhaps the most famous of them all --- but I think a very good job has been done here. Plus, you get two keyboard wizards for the price of one: can't say fairer than that!

The Hound of the Baskervilles --- Clive Nolan and Oliver Wakeman --- 2002 (Verglas)


The problem, of course, remains as with all concept albums Often obscure, weird, hard to follow plotlines; sometimes it's hard to even trace the actual concept, even if you get the general idea. One sure way to make sure that the listener can follow the storyline though is to base your album around an already-established idea: a novel, a play, an opera. This is exactly what Clive Nolan and Oliver Wakeman did with this album, basing it entirely on the work of Sir Arthur Conan Doyle's greatest fictional hero, and the greatest of Sherlock Holmes's cases. Interspersing the music with spoken narrative, which can come at the opening to, in the middle of or at the end of the musical passages, the story of “The Hound of the Baskervilles” is condensed into just over an hour of music and narration, and it works brilliantly.

(Note: if you have not yet read, or seen any of the many films of, this story, and intend to sample it at some point, be aware that this album contains not only spoilers, but the whole resolution of the mystery. This is then reflected in my review, so if you don't want your enjoyment spoiled then avoid reading. You have been warned!)

Although it's the brainchild of Clive Nolan, who prog rock fans will know from his work with, among others, Arena and Pendragon, and the son of keyboard supremo Rick Wakeman, the album features a host of guest stars, including John Jowitt, Karl Groom, Arjen Lucassen and Bob Catley to name but a few. The narration is undertaken by the sonorous tones of one Robert Powell, who may be remembered for his stunning performance of Jesus in the miniseries “Jesus of Nazareth”, or if you're not that way inclined, you may recall him from his role as Dave alongside Jasper Carrott in “The Detectives”. The various characters are all voiced by separate people, giving the project a much wider and more inclusive feel, and you really do feel like you're stepping into the pages of Doyle's classic book.

All that's very well and good, I hear you say, but this is a music composition. What's the music like? Well, what would you expect from two such stars of the keys? Wakeman and Nolan have already successfully translated Lewis Carroll's “Jabberwocky” to a musical interpretation, so this should be just as good, although I admit I have not heard the previous outing: it seems hard to get, and again, Carroll is not the easiest to get into, especially his “nonsense poems”. Holmes is not a subject I have all that much experience with, though like most people I've seen a few of the movies (not, I should stress, the new blockbusters) and read one or two stories. This one, I'm glad to say, I did read, so I can follow the storyline easier, though even if you haven't it is set out in simple steps for you to follow.

Opening on eerie synth with the plaintive wailing of a great hound, it's Robert Powell's voice we first hear, intoning the prologue to the novel, recounting the warning about traversing the moors when it's dark, then big orchestral keyboard powers in with a dramatic overture, buzzing keys from both Wakeman and Nolan as, well, “Overture” gets going. Unlike many such introductory instrumentals though, this one is long, almost six minutes, and serves to lay the backdrop to the album. As you might expect on an album helmed by two keyboard players it's heavily keys-oriented, some of the playing giving the impression that there's an orchestra there, but I've found no evidence to support this theory, so must assume that the guys are just really versatile on their keyboards, which of course they are.

Powerful drumming from Tony Fernandez helps create the dark, oppressive air required for such a story, the keys getting into almost a “sabre dance” moment as the overture comes to the end, then harpisichord takes us directly into the introduction of the first chapter of the book, as Dr. Mortimer comes to talk to Sherlock Holmes regarding the death of Sir Henry Baskerville. Mortimer is played by Ashley Holt, who has worked with Clive Nolan before, and a very dramatic voice he has. The music swells behind him as the terrible tale is told, heavy keyboards and thumping drums, somewhat lightened by some flute from Ewa Alberling. Mortimer relates the tale of the appearance of the infamous and legendary Hound of the Baskervilles. I won't go deeply into the story, as it would take too long, but as the tale progresses the music gets suitably more frenzied and intense.

As Mortimer's story ends and Holmes agrees to travel to meet Sir Henry Baskerville, the keys fall back to harpsichord and Powell's narration returns as we move into “Three broken threads” with arpeggiated keyboards and violin, the latter from Jo Greenland, the tune quickly turning into a bouncy, keyboard-led chase theme with very proggy keys and galloping drums, some nice descending chord structures meshing with some choral vocals, then a faster, Genesisesque passage sliding into more Yes-style keys and some hard guitar from Threshold's Karl Groom bouncing off the edges. “Shadows of fate”, which follows next, is a breezy, laidback piece on piano whose narration recalls Jeff Wayne's “War of the worlds”, until Groom and Arjen Lucassen's guitars punch in, laying down an ominous, dangerous theme as Magnum's Bob Catley, as Sir Henry Baskerville, looks out the windows of the train and considers the plight of Seldon, the convict whom they have been told is loose on the moors. A marching, dramatic beat propels this song, Lucassen in particular putting in a great performance on the guitar, as you would of course expect. A nice relaxed synth and choral vocal passage provides some relief a little more than halfway through, then the guitars crank up again and Lucassen rips off a fine solo as Groom backs him.

A walking organ melody opens “At home in the mire” as Holmes and Watson meet Stapleton, the naturalist, voiced by Paul Allison, who tells them about his favourite place, the moors, and the mire where one misstep can result in disaster. The music moves into a fast, keyboard melody until what is generally the “Baskervilles theme”, the progression that opened the album and formed the backbone of the “Overture” returns, then the fast keyswork resumes, with guitar again from Karl Groom. The “Baskerville theme” is now incorporated and built into the main melody, and follows it as it runs along, carrying the song, with trumpeting keys from Nolan until Powell returns to advise that a long low moan has echoed across the moor --- the Hound!

Interestingly, Nolan and Wakeman seem to have chosen not to assign an actual voices to Holmes, this possibly being because the Sherlock Holmes stories are all written from the journal of Dr. Watson, and though Holmes speaks it is usually in the voice of Watson, so seeing Robert Powell as the narrator, and therefore essentially Watson, there is no real need to hear Holmes's actual voice. “Run for your life” is in fact the first ballad on the album, sung by Tracy Hitchings as Beryl, Stapleton's sister, who warns Sir Henry Baskerville to return to London at once. The song actually swings between soft ballad and more uptempo racer, and I must say Hitchings certainly sounds like Kate Bush to me! Groom's guitar reinforces the sense of desperation and urgency in Beryl's request, really more a demand, then a plea, as she tries to convince the heir to the Baskerville estate to leave this place.

Sir Henry, of course, is completely bewitched by the woman's beauty, leading to the first real ballad, as he sings “Picture of a lady”. Catley does his usual fine job, backed by Nolan on the piano, with more lovely flute from Ewa Alberling, some soft arpeggios on the keys from Wakeman and choral vocals, a little acoustic guitar, but it's Jo Greenland's mournful violin --- perhaps mirroring the use of the great detective's instrument of choice when he wanted to think a problem through --- that opens “The argument”, with three vocals, the first from Allison as Stapleton arguing with his sister Beryl, then Hitchings as the lady in question, and joined by Catley as Sir Henry. Great orchestral keyboards form the framework of the piece, with deep, rolling drums and heavy organ carrying it along, growing in intensity as the argument gets more heated. The vocal harmonies on this are quite excellent, each character crossing over the next, each vocalist complementing the other.

Powell's narration, missing for the last two tracks, comes back to fill in the story as the short track “Second light” tells of the butler at Baskerville Hall looking out into the night as if trying to see something on the moor, and in fact answered by a light which echoes back from the dark wilderness. It's a short keyboard piece, but carried on the sumptuous tones of Powell as he advances the plot, and introduces Seldon, the criminal who has been said to have been loose on the moors. Some whining guitar from Karl Groom adds to the tension of the piece, then church organ and measured booming drums bring in “Seldon”, introducing Ian Moon Gould as the eponymous convict, the song racking up in tempo, carried on trundling drums and heavy keyboards with some sharp slices of guitar from Arjen Lucassen, a pretty cool solo from him that carries the first minute into the second, joined then by Groom as they mesh together to take the guitar passage into the third minute, Seldon growling out his defiance, his refusal to be captured and returned to prison.

Nice bit of acoustic guitar from Groom then, backed by low keys from Nolan until Wakeman comes in on the organ and rips off some serious arpeggios and solos, and as we move into “Death on the moor”, Holmes is discovered to be in fact on the moor himself, watching without having told Watson that he was even there. A pomp-rock, uptempo keyboard melody carries this tune, as the two friends are reunited in curious circumstances, but there is little time for explanations, as a deadly cry cuts through the night air, and the pair rush to find someone lying dead on the ground. Checking his clothing, they deduce that it is their charge, Sir Henry Baskerville, obviously murdered by the dread Hound.

As the song reaches its climax though, they find that they are mistaken. This is not the heir to the Baskerville manor, but Seldon, the criminal, who had been given some of Sir Henry's old clothes by the butler. Relieved, they go to see Laura Lyons, in whose direction they have been pointed by the butler, grateful that he is not to be fired. This leads to the second ballad, another piano extravaganza with the part of Laura Lyons sung by Michelle Young. The mystery of Sir Charles Baskerville's death is beginning to become clearer, as this previously unknown mistress of the old lord is brought into view, and Powell as Watson narrates the plan to confront the Hound, now known to be controlled by Stapleton, the naturalist with a jealous and violent temper.

And so we move into “Waiting”, a breathy, moody synth piece which gives a final spotlight to Bob Catley as Sir Henry, then Groom's heavy guitar blasts in, kicking the sense of ominous dread and anticipation up several notches, Allison as Stapleton also coming in and Hitchings adding her voice as his sister, who has, if I remember correctly, turned out to be his wife. Guitar really drives the mood of this piece, as Groom and Lucassen set the scene with overlapping vocals creating a backdrop of tension and wariness as the hour draws closer when all will be revealed.

Resolution comes with “Chasing the Hound”, tribal drums and celtic rhythms with flute and whistle as the album, and the story, draws to a close, the sense of excitement and the adrenaline almost palpable as the Hound is slain, Stapleton escapes but is presumed dead as he has disappeared into the unforgiving mire, and Sir Henry takes his place as master of Baskerville Hall. Rumbling bass from John Jowitt helps draw the scene as Holmes and Watson confront the Hound, shooting it dead and return to Stapleton's house to find the naturalist gone.

With a final flurry on the keys from both Nolan and Wakeman, trundling drums and guitars going off all over the place, the album powers to its emphatic conclusion, bringing to an end one of the finest and best-constructed concept albums I have heard in quite a long while. Each vocalist does his or her job to perfection, both acting and singing, and when they join together in ensemble pieces they are just amazing. The musicians are unbeatable, painting the canvas upon which this masterpiece is painted, and Powell as the narrator binds everything together, keeping the listener up to date on what is happening in the story, for those who have not read the novel.

A fine job, a fine album, a fine cast and I look forward to future collaborations between Clive Nolan and Oliver Wakeman.

TRACKLISTING

1. Overture
2. The curse of the Baskervilles
3. Three broken threads
4. Shadows of fate
5. At home in the mire
6. Run for your life
7. Picture of a lady
8. The argument
9. Second light
10. Seldon
11. Death on the moor
12. By your side
13. Waiting
14. Chasing the Hound

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Trollheart

Big hit back in the 70s for a girl whose name we could do with these days here in Ireland! This is Sunny, with “Doctor's orders”.

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Trollheart

All right now, all together: Who ya gonna call?

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Trollheart

This mortal coil --- Redemption --- 2011 (InsideOut)


I just love the story behind this album. Horrible news, to be told you have cancer and that you can expect to only live another five years maximum, but how swings the pendulum from despair to delight when that diagnosis is revisited and you're told you're free of the biggest bane on human existence in the last few hundred years? Such was the story of keyboard player and guitarist Nick Van Dyk, and the relief he (and, presumably, his bandmates) felt, this brush with approaching death only to be given a second chance, led to the title of the album, and its composition.

Now, according to the man himself as he states on the Redemption website, the album is not about him and his struggle with the news of his cancer, and his eventual release from its grasp, and I can respect that. As he says “I didn't want to write a concept album about me”. Of course. But that notwithstanding, there's no avoiding the heavy focus on the human condition and the mortality of people in this album, and there's equally surely no doubt that Van Dyk's experiences coloured many, if not all, of the songs here, as he wrote all the lyrics himself, alone. Surely something of his dread and fear and eventual resurgence of hope and finally relief and delight must have seeped into the lines as he wrote these words?

The album cover is phenomenal, and could be interpreted a few ways, but I may hold off on deep discussion about it, as I've just decided I think it's worth keeping for inclusion on “The secret life of the album cover” on some future date. This is progressive metal band Redemption's fifth studio album, and following the practice --- whether intended or accidental I don't know --- of releasing a new album every two years, it comes on the heels of 2009's “Snowfall on Judgement Day”. It also comes packaged as a special edition, which contains covers of songs that are, in the words of the band themselves, “A Collection Of Songs Originally Recorded By Other Artists That One Would Not Expect Would Be Performed By A Progressive Metal Band.” My copy features these, but as I usually don't include extra, additional, bonus or special tracks in my review, I'll just tip a nod to them at the end.

As it is, the album opens hard and heavy, as you would expect from these guys, with “Path of the whirlwind” both metal and progressive enough to have you thinking in terms of bands like Shadow Gallery and Kamelot, some really great proggy keyboard runs from the man who has been reprieved, and Nick Van Dyk leaves us in no doubt as to how happy and relieved he is to be free of cancer, and how he intends to use his second chance to the fullest of his ability. Great guitar solo from Bernie Versailles, and Ray Alder's vocals are as ever gruff and raw, while never dipping into growl or “unclean” territory. This guy can sing! The opener is a fast, riff-laden monster, and gets us well back into the swing after being the requisite two years without a new Redemption album. Come to think of it, the band name is sounding quite prophetic now, isn't it?

Although just under five and a half minutes long, “Path of the whirlwind” concerns itself more with instrumentation, allowing keys and guitar as well as of course the solid rhythm section to take centre stage, with Adler's vocals, while always indispensable, a little more to the background of the song. “Blink of an eye” then is a galloping rocker, almost more in the vein of power than progressive metal, guitars leading the song in as Adler's vocal takes over and we hear the first real inferences to Van Dyk's recent illness: ”I can't believe my ears/ I can't believe my eyes/ The silence disappears/ It's my time to die.” Some great keyboard solos from, it would appear, Greg Hosharian, who is credited with them, and the thing powers along on a big, heavy, epic groove, then the tempo kicks up even higher for “No tickets to the funeral”, with a seriously heavy guitar opening and a certain sense of frustrated regret tinged with determination that the person dying be remembered well by his friends, and by the world. Don't we all want the same?

Great guitar work in this, and it's really a showcase for Versailles as he twists and wrings every last trick out of his instrument, Chris Quirarte's drums pounding after him like the pursuit of demons from Hell, and speaking of Hell, “Dreams from the Pit” is a nine-minute cruncher, Hosharian's keys merging with those of Van Dyk as the guitar winds up again and takes us into a hard-hitting metal opus, Adler's the voice of a tortured soul trying to understand the visions that assail him. Of course, Redemption are known for long tracks --- “Something wicked this way comes”, from their eponymous debut, runs for over twenty-four minutes, and the title track to “The fullness of time” clocks in at over twenty-one --- so nine minutes is not that long, for them, but “Dreams from the Pit” is only beaten out by the closer as the longest track.

There's a nice piece of piano halfway in, joined by some expressive, strummed guitar as the song slows down, the drumbeat now measured and steady as a human heartbeat, then it sparks back into life with a soaraway guitar solo that lasts over a minute, before Adler roars ”I've been judged/ And I've been found wanting/ And I'm worthless!” as the song powers towards its conclusion on the back of increasingly heavy drums and chugging guitar, ending abruptly. An atmospheric, progrock style keyboard intro invites us, it would seem, into Hell, as “Noonday devil” gets underway, and it's not long before Versailles is grinding his guitar through the song, with flourishes from Nick Van Dyk on the piano, a more stripped-down vocal from Ray Adler and the song ends on a hopeful note as he growls ” I won't be given up for dead!/ I'll focus on the road ahead.”

Expansive synth opening then to “Let it rain”, which I think may be as close as this album gets to a ballad, even a power metal one. Seeming very much to focus on Van Dyk's diagnosis, it's a nice, restrained (for Redemption, that is) slow ode to hope, as Adler sings ”Can the lessons learned/ Unburden the struggle/ For one fortunate enough/ To have the chance/ Fortunate enough to start again?” Very moving, and some very effective keyboard backing, and the sense of hope continues as the song nears its end, with the lines "I'm seeing what I can only hope/ Is light ahead/ I'm standing with an / Ever-growing faith/ That now is not my time.” Lovely piano solo with some fine deep choral vocals, and I'd put this as the standout on the album so far.

Despite a heavy guitar opening, “Focus” seems to slide into its own smooth balladic groove, and while not as much a ballad as the foregoing, it's still pretty low-key for these guys, and showcases some really good keyboard work, as well as a strong and determined vocal from Adler. The song also features some more fine piano work, Van Dyk's fingers flying across the keys like those of a man with a new reason to be happy, which of course he is. More powerful guitar work, but the song really rides on the keyboards, and I do find this track very Shadow Gallery, especially their latest album.
Another slow, atmospheric opening then to “Perfect”, with some really impressive vocal harmonies in a mid-paced rocker examining how the constant search for perfection can lead us to miss the important things in life.

Although not written as such, that I know, this album can be seen to be divided in two parts. The first seven songs all mostly deal with the approach of, understanding and to some extent acceptance of death, while the last four seem to be more in the vein of rejoicing in triumph over death, if only temporarily (for we all die). It's almost like a journey, from denial to acceptance to deliverance. In fact, it could almost be in three parts, with the tracks “Focus” and “Perfect” creating the midsection, that point where it would seem peace is being made, affairs being tied up before the great news breaks.

I know this is not how the album is written, but it could certainly be interpreted in this way, and if so, then “Begin again” surely starts the cycle of renewed hope, though in fairness the lyric doesn't quite bear that out. It's a powerful song though, driven on Versailles' burning guitar and Adler passionate and strong as he sings that ”All we can do/ Is try to become whole again”. Great keyswork and a really progressive passage as the song reaches its climax, ending abruptly and ushering in what is definitely a song of hope and defiance. “Stronger than death” is just what it implies, a heart and a will to go on, a refusal to give in, as Adler sings ”I won't pay the ferryman/ I won't be taken to the other side.” A rock cruncher in the best Dio tradition, it rattles along on hard guitar and swelling organ with Adler's vocal determined and unbowed.

The closer is, as mentioned already, the longest track, over ten minutes of the epic “Departure of the Pale Horse”, opening on solid, swooshing keyboards and jingly guitar with a real message both of hope and surprise as Adler sings ”I'm half surprised that I'm still standing/ I've returned to the road/ That I was on/ Before this happened/ The Pale Horse skulks away/ Its rider empty-handed.” Could there be better words of vindication? However there is a real sense of humility and mortality too in the lyric, as he declares ”It's not about some act of courage/ I only did what I was forced to do.” A real progressive metal masterpiece, it's been well-worth waiting for and caps a really superb album that has more personal experience in it that anything I've heard in a long time.

I have to say, despite his claims that the album is not about him and his ordeal, it's been a privilege to have accompanied Nick Van Dyk and Redemption on this painful and difficult journey through a personal Hell, and to have emerged out the other side stronger and wiser. They can rightly be proud of this album, and I would say that it should stand as one of their best to date, which is not to denigrate any of their previous outings, but this has the ring of something real, something terrifying, something fragile and human about it, and, though almost an interloper in their private world, I thank Redemption for having afforded me the opportunity to walk this dark road with them, and emerge with profound relief into the sunlight.

Footnote: As I mentioned, there is a second disc of covers, but I don't usually review these. I won't be changing this policy here, and as a result I didn't even listen to the extra tracks --- at least, not for the review. I may later, but right now I don't really have an extra thirty-five-odd minutes to spare. So for now, for those who want to know, a quick rundown of what those cover versions are:

“Funeral for a friend/Love lies bleeding” --- a ten minute version of the Elton John classic
“Jane”, by Jefferson Starship
“Hold the line” by Toto
“Edge of the blade” from Journey's “Frontiers” album
“Love to love” --- seven minute version of the UFO song
and
“Precious things” --- over seven minutes of the Tori Amos song.

TRACKLISTING

1. Path of the whirlwind
2. Blink of an eye
3. No tickets for the funeral
4. Dreams from the Pit
5. Noonday devil
6. Let it rain
7. Focus
8. Perfect
9. Begin again
10. Stronger than death
11. Departure of the Pale Horse

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Geekoid

Wow, trollheart, I've been particularly enjoying this week's journal posts from you, especially the one on "the Hound of the Baskervilles." Your journal has become like a favorite daily radio show for me. It's nice to take a few minutes to just slow things down and read your reviews, even when I'm not head over heels over the music.

One thing I've been really appreciating is your ability to notice certain things about the everyday listening experience that most people take for granted; things like how concept albums' plotlines tend to be hard to follow. Hopefully this all makes sense, but... they're the things that tend to spring up in my mind for a moment as observations that should be "obvious," and then, just as quickly, they're gone in favor of concepts and analyses, which I think is a real shame; those details are the little things that start conversations beginning with "have you ever noticed...," and the kinds of things people like to read about in books; that keep people engaged. It's a relatable and inviting quality that makes one feel like they left having read something worthwhile and satisfying, and even almost tangible. Thanks for that.

Trollheart

Thanks Geekoid! Great to know my journal is fulfilling a need for someone; love your idea of it being like a favourite radio show! Cool! I try to make my reviews as interesting and thoughtful as I can, while still concentrating on the music, and as I mentioned about concept albums, I can name a few (mostly reviewed here by me) where I really spread my hands and said to myself "WHAT concept? I can't follow this!" Really quite annoying, when you look at great concept albums like "The Wall", "The lamb", "War of the worlds" and to a lesser extent, "2112", where you can clearly follow the story; why can't modern concept albums do this? Even Gazpacho's "Missa Atropos" --- which I love and did review --- lost me after one or two songs. Maybe I'm just getting old(er)? Or maybe you really do need the sleeve notes to keep track?

Anyway, thanks for the comment and hope you continue to enjoy the journal. If there's something you'd like featured, ask away!

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Trollheart: Signature-free since April 2018