You sure reviewed it quickly, but it's always good that somebody does. Most albums take around 2 weeks to get reviewed and we are now in the second week and I'll do my review in the next couple of days. I expect everybody else would've done theirs by Sunday.

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

It is unusual to open an album with a lyric from someone outside the band, but Ambrosia has Nice, Nice, Very Nice, written in collaboration with American author, Kurt Vonnegut (adapted from the Bokononist Hymn on the second page of his novel, Cat's Cradle, published in 1963). Like many list poems, it makes an effective lyric, with references to seemingly unconnected characters, such as the lion hunter, a Chinese dentist and the British Queen. The song has a vocal arrangement similar to the British and Californian psychedelia groups of the mid-to-late sixties, with flowing harmonies and a relaxed intonation. Lead singer David Pack uses a calypso delivery, with rolling consonents, in keeping with Vonnegut's novel, which is set on the fictional Caribbean island of San Lorenzo. The track itself starts with hi-hat and open chords, developing into the instrumentation of early Yes. There are Spanish guitar parts, guitar and keyboard solos remniscent of Howe and Banks, and a Keith Emerson-style brass fanfare on synthesizer. According to Classics Rock, a website devoted to literary references in rock music, Vonnegut was pleased with the results and it certainly makes a sprightly opener.

2. What did you think of the opening tracks?

Time Waits for No-one also has a percussive intro, with more Spanish guitar - a trademark of the group. Punchy acoustic guitar creates a Groundhogs-type riff, while the band's own lyrics are sung in a less mannered but equally strong technique. David Pack is clearly a capable lead singer. Variety comes in the form of complex harmonies, touches of jazz guitar with piano, hand claps (Alan Parsons?) and whooping. Added to these is a guitar solo which sounds like Alan Parsons Project alumnus, Ian Bairnson. Hold On to Yesterday continues the Steely Dan jazz feel, before a lilting vocal over piano and organ, along with excellent harmonies, creates an atmosphere reminiscent of Pink Floyd's Dark Side of the Moon (that was also engineered by Alan Parsons). An instrumental passage combines guitar with mellotron strings, while there is another distinctive Ian Bairnson-sounding guitar solo. Overall, Hold On to Yesterday is a brilliantly constructed piece and is one of the best tracks on the album. It gives the impression that, although credited as engineer, Alan Parsons had a hand in the production. Hold On to Yesterday's influence extends to Celtish-inspired British rock bands such as Love & Money and Mostly Autumn.

3. What did you think of the later tracks?

As the title sugests, World Leave Me Alone is a blues track with loud acoustic guitar and plenty of reverb. Pack provides a superb guitar solo and an unexpected phased vocal. The intro to Make Us All Aware makes good use of stereo and the production with grand piano and bass drum sounds like Rupert Holmes's for John Miles' Zaragon. Beach Boys harmonies give way to harpsichord psychedelia before segueing into clean synths and piano. Ambrosia's token slow ballad is the short Lover Arrive, which sounds a bit like Simon and Garfunkel. In Mama Frog, the band have attempted to write a nonsense verse, along the lines of Lewis Carroll's The Jabberwocky, hence its inclusion as a reading, along with curious synthesizer and percussion effects, before the end of the track. Strangely, Mama Frog is a near perfect impersonation of Captain Beyond, in jazz mode, and would have been better if the song and poem were separate. Indeed, The Jabberwocky (’Twas brillig and the slithy toves did gyre And gimble in the wabe) serves little purpose other than to give attention to a great writer, carry the AP mark and fill a gap.

If Hold On to Yesterday is a great track, Drink of Water is a minor masterpiece on which to close the album. It is a symphonic piece with plaintive voice and organ, big Fifth Dimension chorus, soaring guitar solo and melodic instrumental passage. The ending is nicely unpredictable and the group finish on a high point with their best track.

4. Did you like the vocalist? Hate him/her? Any impressions?

David Pack is an excellent singer, similar to the great Brad Delp.

5. Did the music (only) generally appeal to you, or not?

There are not any instrumentals, although they may have been a good idea. Curiously, all the tracks are relatively short too.

6. Did the album get better or worse as you listened to it (first time)?

It is consistently strong throughout, although the reading of The Jabberwocky sounds like filler.

7. What did you think of the lyrical content?

Using words by Kurt Vonnegut and Lewis Carroll implies a reluctance to come up with their own lyrics, but the band's songs are fine. Maybe there were time pressures.

8. Did you like the instrumental parts?

David Pack is not just a strong singer, but can play guitar and keyboards to a high standard. Keyboard player Christopher North is no slouch either. Credit should go to the rhythm section for always avoiding the obvious.

9. What did you think of the production?

Typical of American AOR and progressive rock bands of the time, Ambrosia is clean, but not at all sterile. The album was produced by luxury studio owner Freddie Piro and engineered by Alan Parsons. The latter's mark is all over this album, but when he took control of the next record it was slightly less dynamic. So, Piro may be due credit for the compelling and driving nature of Ambrosia.

10. How well do you already know the band/artist?

In the seventies, I thought Ambrosia were a mushy AOR group, like REO Speedwagon, Chicago or Journey with Steve Perry, and on this basis I never gave them a second hearing . . . until now. In fairness, I know little about REO Speedwagon, while Chicago and Journey were exciting in the early days. Having ignored them for so long, this album is a revelation to me.

11. What sub-genre, if any, would you assign this music to?

American progressive rock with an AOR feel.

12. On repeated listens, did you find you liked the album more, or less?

It just keeps getting better.

13. What would you class as your favourite track, if you have one?

Drink of Water, followed very closely by Hold On to Yesterday

14. And the one you liked least?

The reading of The Jabberwocky. It is far from terrible, but is unnecessary.

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

Some bands, like Captain Beyond for example, appear with a flourish. Ambrosia are the same in that the debut is so strong, they must have struggled to meet their own high standards. So, in short, the answer is no.

16. Are you now looking forward to hearing other albums by the band/artist?

Definitely. So far I have heard the second album several times and it has all the elements, including some magnificent standouts, but lacks the drive of album one. David Pack's solo album of 1985, as one would expect, has fine songs and vocal performances, but the eighties production is one of the worst examples I have ever heard.

17. Did you get, thematically, the idea behind the album if there was one?

Insofar as Alan Parsons seemed to be trying to make his own album.

18. Did the album end well?

Extremely well. Drink of Water is a great track, but it also has an unpredictable ending.

19. Do you see any way the album could have been improved?

Only in that they should have had more of their own songs.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

The criticisms are minor and Ambrosia is an astonishing album with few weaknesses.

Overall Album Rating: 9.0 out of 10. I was going to give it 8.75, but hearing this is like ignoring a girl at school and finding she blossomed as an adult and was with someone else.

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

Of how diverse the band were musically and I wasn't quite expecting the Caribbean flavour on the opening song either. There was a good harmonious feel to the vocals as well and the album had an off-beat AOR meets progressive rock feel from its start.

2. What did you think of the opening tracks?

"Nice Nice, Very Nice" may have been a bit too offbeat for an opening track and its musical style reminded me in some way to the type of thing that Spock's Beard could put out. "Time Waits for No One" as EP said had a Yes feel about it and what I refer to a breezy British sound of the early 1970s but never in a really flowing manner, but that didn't detract from it in any way..

3. What did you think of the later tracks?

"Make Us All Aware" generally starts of as safe sounding track and has a melodic warm feel about it and some diverse bits added in and the type of track that I really like. "Lover Arrive" is one of the best tracks on the album and "Drink of Water" is a strong closing track.

4. Did you like the vocalist? Hate him/her? Any impressions?

As ET said I saw all three artists labelled as the vocalists but then saw that David Pack was the lead vocalist. The vocals are good but I wouldn't put Dave Pack on the same level as say Brad Delp that had been mentioned by Big Ears.

5. Did the music (only) generally appeal to you, or not?

Defintely impressed me and initially I thought the album was going to be one of those offerings where despite the musical diversity on board, most of the tracks would end up sounding like a compilation album rather than one focused album, but amazingly the whole thing sounded like just one album.

6. Did the album get better or worse as you listened to it (first time)?

First time I wasn't overly impressed, the second I was impressed and it's an album that offers so much to the listener.

7. What did you think of the lyrical content?

The song titles were quite boring in terms of the quality of the music but the lyrics I noticed had some clever twists here and there.

8. Did you like the instrumental parts?

Couldn't fault it and I'd say the keyboards really stood out for me here.

9. What did you think of the production?

One of the album's highlights and Alan Parsons certainly had his stamp on this album and brought the best out on an AOR meets prog band.

10. How well do you already know the band/artist?

I just knew their third album which I haven't heard in more than 10 years.

11. What sub-genre, if any, would you assign this music to?

Pogressive rock with a strong AOR slant, a style that was quite popular at the time with US bands but I have to say few did them as well as this complex wise.

12. On repeated listens, did you find you liked the album more, or less?

I mentioned this earlier so yes a strong yes here.

13. What would you class as your favourite track, if you have one?

Tracks I like are "Holding On To Yesterday" which has the trappings of a great 1970s commercial sounding track. "Lover Arrive" and "Drink of Water"

14. And the one you liked least?

There was nothing bad on the album but I guess "Mama Frog" was the song that felt out of place on the album.

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

Didn't initially feel like a debut at all, as it seemed too contrived but then on a second listen the spontaneity of certain aspects of it could pass for a very accomplished debut album.

16. Are you now looking forward to hearing other albums by the band/artist?

This complex blending of AOR and prog is not overly my thing, I normally prefer the two styles seperate or at least offered in an easier listening tone such as Kansas and Styx. But I'd say of its style I can't imagine too many other albums around this time being better than this.

17. Did you get, thematically, the idea behind the album if there was one?

Didn't notice one, but that's not say that there wasn't one.

18. Did the album end well?

"Drink of Water" is a slowish finishing track and worked really well.

19. Do you see any way the album could have been improved?

Not really as its diversity was its saviour and strength.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

I think its cohesiveness as I mentioned earlier as its really strong point, it's actually a real skill to present an album of great instrumentation and diversity and then get it to hang together really well as one cohesive album. Just yesterday I was listening to Lucifer's Friend third album I'm Just a Rock N Roll Singer which is an album that is ruined by its lack of cohesiveness, despite its obvious initial qualities.

Overall Album Rating:

Very Impressive 8.5 out of 10

No-one compares to Drap Delp; I think he is the best American rock singer. I just meant David Pack is similar in style and better than most of that ilk.

Do you like Lucifer's Friend, US? I am a John Lawton (with Uriah Heep) fan, but I cannot get into Lucifer's Friend at all.

Yer he's great but I'd say Steve Perry, Jimi Jameson and especially Bobby Kimball were even better, but then again all four offered something different.

I love the debut which is a dark proto-metal release and Banquet which is easily their best and most cohesive proggy release but the rest of their stuff never quite cuts it, but John Lawton is a great vocalist and he suited Uriah Heep well when he joined, despite being very different in style to Dave Byron.

Yes, Bobby Kimball is good - I even liked the Far Corporation.

I always liked Far Corporation and I always think of myself as the only person on the planet that likes their cover of "Stairway to Heaven" Bobby Kimball brought a power to the end of the song that Robert Plant just didn't have in his voice.

I would like to hear Bobby Kimball sing Stairway to Heaven with Led Zeppelin.

He's a Toto man and not a Led Zeppelin man, not sure if I could see that working.

Okay, with Back Country Communion?

Is this in relation to Bobby Kimball or are you suggesting this as the next album to be reviewed?

Bobby Kimball. Who and what is next?

I thought you were suggesting a Black Country Communion album to be next reviewed but I guess I read that wrong now. As for Bobby Kimball being in that band. I couldn't say as I've hardly heard any of their stuff, they're on a list of mine to hear though and I know its a band with Glenn Hughes in.

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

Although I truly hate the title of the opener --- it just seems so contrived --- the song itself is not bad. I got a strong sense of listening to Kansas again to be honest, and I think the two bands are quite similar in style.

2. What did you think of the opening tracks?
Again, I hate the title but even now the song is going around in my head. It's very seventies prog, and the next one up, "Time waits for no-one" is a great exercise in turning what seems at first to be a fast song into a relatively slow one.

3. What did you think of the later tracks?
The album definitely picked up with "Holdin' on to yesterday", can see why it was a single, and then "Make us all aware" is almost AOR in some respects. "Mama frog" is weird though: it has sound effects and an atmosphere Fish would later reconstruct for his "Raingods with zippos" album on, strangely enough, the track "Chocolate frogs". And it has Lewis Carroll's "Jabberwock" poem narrated halfway through. I think I like it though.

4. Did you like the vocalist? Hate him/her? Any impressions?
Were there two? Cos the vocalist on the opener sounded like he was Indian or Pakistani or something, whereas the rest was sung in a "normal" voice, and of that normal voice I liked the singing. The opener, not so much.

5. Did the music (only) generally appeal to you, or not?
Yes, especially the guitar work, though as in many prog albums of this period the organ and keys tend to swamp the music. In fairness though, not as much as some bands.

6. Did the album get better or worse as you listened to it (first time)?
Very much better. I wasn't initially blown away by the first two tracks but when "Holdin' on to yesterday" came up the game changed, and it just got better from then on.

7. What did you think of the lyrical content?
It's pretty much of the time. Opener has a message about everyone being brothers under the skin, second track advises us to use our time responsibly, and so on. Oh, and there's "The Jabberwock" too!

8. Did you like the instrumental parts?
N/A

9. What did you think of the production?
Very crisp and clean, but sure it's Alan Parsons innit?

10. How well do you already know the band/artist?
Not in the slightest.

11. What sub-genre, if any, would you assign this music to?
Progressive or maybe even pomp rock, to some degree. Verges a little into AOR at times. Again, bit like Kansas.

12. On repeated listens, did you find you liked the album more, or less?
Yes, I enjoy it a lot more now when I listen to it again. I think I've heard it five or six times now: I find I'm actually looking forward to "Mama frog" now!

13. What would you class as your favourite track, if you have one?
"Holdin' on to yesterday", "Make us all aware" and the closer, "Drink of water".

14. And the one you liked least?
Nothing really. I've even come to really like both "Mama frog" and "Nice nice very nice".

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?
For a debut this is, to quote the Batlord, pretty bitchin'. Mind you, it does pull in a lot of influences from bands at the time, so it's not what I'd call too original, but a very good first effort.

16. Are you now looking forward to hearing other albums by the band/artist?
Not really. It was good but I wouldn't actively seek out more of their work. Mind you, if I heard it I wouldn't turn it off. But there's so much to listen to!

17. Did you get, thematically, the idea behind the album if there was one?
I don't think there's a general theme, other than maybe live and let live?

18. Did the album end well?
Very well. I enjoyed "Drink of water" and thought it closed the album very effectively.

19. Do you see any way the album could have been improved?
Not really, other than the Indian/Pakistani voice on the opening track; that was a bit annoying.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?
Quite cohesive for what it was.

Ratiing:8.5 out of 10

OK Ant we're just waiting for your review then I can publish this month's league table. I can tell you scores are high and at the moment it looks like Ambrosia's pushing Hawkwind down from the old mountain grill!

OK while we wait for Ant's wisdom, I think it's come back around to me, and I'd like to introduce you to a band who are no more...
http://www.progarchives.com/progress...4001432009.jpg

The Great Divide by Ice Age

They only released two albums before changing their name and then splitting up, but this is one of the best prog metal albums I've heard in a very long time. It's a little hard to get so if anyone needs to be set up let me know.

Everyone ok with this? Everyone got it? Anyone need it? Helooooooooooo..... five days and no posts? Hello? Is there anybody in there? Just nod if you can hear me: is there anyone home?
http://2.bp.blogspot.com/-70qT14-Rql...house_6720.jpg

That's because we're waiting on Anteater, or do you want to go on?

Well I think we should move on. After all, he's had what, three weeks or more now to review it. Maybe he's just busy with other stuff, but there hasn't been a post from him in about a week or more so I think we should head on and he can catch up. I won't publish the table till he gives his review of Ambrosia, but it's pointless in my view holding everything up for one person. Unless that person is me, of course! ;)

So do you need the album PM'ed? It is hard to find... Mind you, I think it's on Spotify.

Well I'll do mine over the weekend and hopefully most reviews will come in the rest of this week and early next week latest.

Sounds good. I'll be interested in what you think of these guys.

Sorry ya'll....was on vacation and had no 'net access whatsoever. :P

No problem Ant. Get your review in when you can and as you can see we're going with my rec for Ice Age next.
Welcome back!

http://pixhost.me/avaxhome/81/42/00104281_medium.jpeg

1.What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

*remembers the first time Nice, Nice Very Nice spun through his speakers*

....groovy!!

2. What did you think of the opening tracks?

The Force was strong with these ones: 'Nice Nice...' was an interesting yet creative Vonnegut-derivative, and the following two cuts, 'Time Waits For No One' and 'Holdin' On To Yesterday' are both classic 70's Westcoast songs with some great proggy touches (especially loved the violin in the latter of these two first time I heard it: easy to see why it was a hit!).

3. What did you think of the later tracks?

Interesting to say the least: the further you get into the record, the more the band's dark side seems to come out. Lots of beautiful moments too lined with pathos, particularly the opening verses in 'Make Us All Aware' and that shimmering middle section in 'Drink Of Water'. Instant classics, ya know?

4. Did you like the vocalist? Hate him/her? Any impressions?

Vocal duties were mostly split between David Pack and the bassist Joe Puerta if I recall. Both are great vocalists who specialize in different registers, and sound glorious when they harmonize together too!

5. Did the music (only) generally appeal to you, or not?

Very very much so! I'm a sucker for L.A. Westcoast rock stuff (as well as a lot of what gets labeled as yacht rock), but Ambrosia also bring in their love of bands like King Crimson and Gentle Giant to the musical playing table and thus my interest in the music is doubly intensified.

6. Did the album get better or worse as you listened to it (first time)?

My initial listening experience was quite awesome, and I though it actually got stronger and stronger as it went along. My feelings haven't changed much since then!

7. What did you think of the lyrical content?

Varied with no particular theme overrunning or uniting the record per-se, but there's an element of fantastical pathos that sort of permeates the general atmosphere. This debut occupies its own unusual otherworld in a way, which isn't a quality you'll find in this band's peers of the time I think with the exception of perhaps Starcastle.

8. Did you like the instrumental parts?

Indeed I did. I recall being actually surprised at just how tight these guys sounded. They spent a couple years after forming trying to secure a record deal, so I suppose they had plenty of time to get their chemistry just right.

9. What did you think of the production?

Gorgeous: you can almost reach out and feel these songs. It's an interesting quality that only a few producers really seem to bring to their albums: of those producers, Alan Parsons is considered one of the best on the planet for a reason: his engineering approach is the stuff of legends at this point.

10. How well do you already know the band/artist?

Sorta: they had a couple of hits after all. Like a lot of people did (and still do) I used to write these guys off as just another soft-rock band without much substance....and goddamn it if I wasn't wrong as wrong could be. Discovering just how much depth these fellas had made me re-evaluate how I approached music from the ground up, and I've become more open minded as a result.

11. What sub-genre, if any, would you assign this music to?

Progressive Westcoast Rock, or perhaps soft AOR with artsy tendencies, lol!

12. On repeated listens, did you find you liked the album more, or less?

Like the best fungi, it just grows on you more and more the longer you own it.

13. What would you class as your favourite track, if you have one?

Drink Of Water: it's the kind of quintessential American prog cut that others could only aspire to surpass back in the day. Atmosphere supreme...

14. And the one you liked least?

Don't really have one, but I still think 'World Leave Me Alone' is probably weaker than the rest by a thin margin.

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated? (Note: if the album is or was NOT a debut, ignore this question or put "n/a")

Debuts should always be given some leeway: new bands need an opportunity to grow after all. These guys were so damn strong starting off though that even I, as a huge fan of them, don't think they ever topped this album despite coming close in places on future output.

16. Are you now looking forward to hearing other albums by the band/artist?

Heard 'em all already. They still tour apparently, so if they ever put out another record, I'd be all ears of course.

17. Did you get, thematically, the idea behind the album if there was one?

These songs are connected more in atmosphere than in some sort of arbitrary thematic device, but there does seem to be a fixation with this particular album on themes relating to man's perception of time and a longing to travel to places beyond the familiar and mundane.

18. Did the album end well?

They saved the best song for last, so I'd say hell yeah it did!

19. Do you see any way the album could have been improved?

Not really.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

This record is so cohesive (even if there's no overarching theme) that it might as well be considered a textbook example of how to craft a great pop-rock oriented progressive album that starts strong and holds onto that consistency all the way to the finish line.

In short: this record does what it does exceptionally well. Thus, it's getting a rating that reflects that prowess.

Overall Album Rating: 9.5 out of 10.

http://upload.wikimedia.org/wikipedi...lbum_cover.jpg

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in? Fuck me! I did NOT expect anything this good. It just pounds right at you, no time to get acclimatised or ease your way into the album. Power from the word go.

2. What did you think of the opening tracks?
The first track really hit me square between the eyes. A brave move to have the opening track on your debut album run ten minutes, but I think it's a gamble that pays off. The song has everything, and by the time it's over you're more than ready for more. "Sleepwalker" has a little less of the wow factor but still a good song, then "Join" gets everything rocking back up again.

3. What did you think of the later tracks?
For me, this album never flagged once. I was truly floored by just about every track. "The bottom line" is pure grinding rock, whereas the title track is one of the best progressive rock epics I've heard in a good while. Then "One look away" is a gorgeous piano ballad that still manages to pack a punch. Hey, what more could you ask for in an album?

4. Did you like the vocalist? Hate him/her? Any impressions?
Incredibly strong voice, with a growly power in his vocal chords that at times reminds me of a heavier, proggier Meat Loaf. Josh Pincus is in fact so strong a vocalist that it seems there are no backing vocals required on the album, and the rest of the band just leave him to it.

5. Did the music (only) generally appeal to you, or not?
Most of the songs are preceded by long instrumental intros which really shows how proficient this band were, without descending into technical wankery, which they definitely do not need. Great keyboard work from Pincus, in addition to his storming vocal performance, and Jimmy Pappas keeps the hard raw edge on the music by virtue of his quite excellent displays on the frets.

6. Did the album get better or worse as you listened to it (first time)?
Much better. I kept waiting for a bad track, but none came.

7. What did you think of the lyrical content?
As ever I find progressive rock lyrics often obscure, but they are well-written, and give the impression that this album may be following a concept of sorts.

8. Did you like the instrumental parts?
There are two instrumentals on the album. The first, "Spare chicken parts" is guitar led, has some nice effects and is weird but in a good way. Certainly shows the talent of Jimmy Pappas off. Another brave decision to include an instrumental that runs for almost nine minutes! The other one comes near the end and is initially a showcase for Pincus on the piano, on which he does shine, but then Pappas takes over with the guitar and it really takes off. I do like both, but I prefer "Spare chicken parts" of the two. Man, it even has a drum solo which pulls in a line from "2001", and that works perfectly!

9. What did you think of the production?
Very clear, very professional and pristine without being sterlie. This is more impressive when you realise that Pappas is the producer as well as guitarist.

10. How well do you already know the band/artist?
I downloaded this ages ago, and it sat on my hard drive, unnoticed and ignored until I needed something different to review for "Bitesize" and thought what the hell, I'll give this a go. I can tell you, I was surprised in the most pleasant way possible. Never heard of them prior to this.

11. What sub-genre, if any, would you assign this music to?
I think it's heavy enough to qualify as progressive metal.

12. On repeated listens, did you find you liked the album more, or less?
Gets better each time I listen to it.

13. What would you class as your favourite track, if you have one?
"The bottom line", "Spare chicken parts" and the title track
14. And the one you liked least?
I think "Sleepwalker" is just missing that killer edge. Still a great song even so.

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?
To my mind this album is phenomenal. The fact that it's a debut, not to mention only one of two they recorded, even moreso.

16. Are you now looking forward to hearing other albums by the band/artist?
Sadly Ice Age only released one album after this, whereafter they changed their name to Soulfractured and after releasing two EPs split up. I bought the second album but have not yet been able to lay my hands on the EPs, though I believe they changed their musical direction a little. Still, I'd love to hear more but this is sadly all there is.

17. Did you get, thematically, the idea behind the album if there was one?
Seems to be a rejection of industrialisation and progress which is taking us too far, and a return to, or hope for a return to, simpler times, yet running within that the realisation that this is not an achievable goal.

18. Did the album end well?
Yes. I wouldn't call "To say goodbye part 2" one of the strongest tracks on the album but it's a good powerful closer and ties up the themes of the album very well. The soft piano ending bookends the album between that and the opening barrage of guitar and keyboard, and ties in with the lyric.

19. Do you see any way the album could have been improved?
Only that it should be better known and Ice Age still around...

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?
Yes I think the thematic ideas running through most of the songs tie the album together quite well.

Ratiing:9.8 out of 10

Too late to join the album club, no? Next album, maybe? :rolleyes:
FYI, I refuse to download anything illegaly. If there's an album that can't be found on Spotify or streamed at last.fm, don't wait for me to review.

Not too late really. So far we've all had or been able to swap between us the albums we review. If you have a problem downloading illegally, and can find whatever we're reviewing on itunes or buy the CD, fair play to you if you have the resources to do that. But if you do join and you find yourself in a position whereby you don't feel ethically able to get the album in question please let us know so that we don't hang around waiting for you.

If you want to do this week's album, it's "The great divide" by Ice Age, as you can see above. We use the template above too so you need to stick to that format.

Thanks
TH

I don't have the money to buy a lot of albums, since I don't have a job. Therefore I prefer streaming the music. I found this week's album on Spotify, though I think I'll wait 'till you/we've voted for the next one. :)

No problem. Give it a spin though: you should like it. :thumb:
I also have no real job, being a carer who essentially gets paid the same as someone on the dole (!) so I download or use sites like Megaboon, where I can buy albums for a dollar or less. I did my time buyign a huge stack of albums then CDs in my youth, so I don't feel like I'm cheating anyone, specifically...

I read somewhere that Spotify, Pandora and others pay royalties in ten thousandths of a cent.

Well as I say the way I look at it is, back when I were younger I had no choice but to buy the music I wanted. Sites like we have now did not exist, and unless you taped something off the radio or had a mate with the album you had to buy what you wanted. When Audiogalaxy and Napster hit the scene I went crazy, downloading everything I could. Now I use cheaper music sites, Grooveshark, Spotify, YT and torrents to get what I want. I feel for the artists if they're not getting paid what they should but believe I did my bit to support them over 25-odd years, and no longer have the money or the freedom to spend as I did.

Trips into town took place almost every weekend and I would come back with a bag of records or CDs. Now I can't do that so what Spotify et al give the artists doesn't really bother me. That may sound harsh but hey, I'm older now with bills to pay and I can't afford to just buy CDs I think I might like at twenty euro a pop.

I just meant that anyone who thinks they are doing right by the band by using Spotify, may not be doing as good as they think. Unless that band is Metallica. I rely a lot on YouTube, who are covered by non-disclosure eagreements, but they won't be any better than Spotify or Pandora.

There was a slogan along the lines of, 'Home taping is killing music.' It didn't and I bought most, if not all, of the albums I recorded anyway. After that I bought them again on CD, but stopped at the remasters and bonus tracks etc. I have even bought CDs and got home to find they were mastered from vinyl.

I admit I've downloaded albums that I could not find or were out of print, along with a few bootlegs, but I do not see record companies going out of business because of me.

I use Spotify to stream albums that I may buy later, or that I probably won't buy anyway. I would probably buy more CDs if I could.

God, I remember that! "Home taping is killing music! And it's illegal!" :D They didn't envisage the kind of piracy they'd be facing three decades later, did they? Like you I taped albums to see if I liked them then bought them if I did: it wasn't the same, back then, having just a tape with blue ink listings of the tracks. You wanted the album with the sleeve, notes, lyrics and so on. But then of course back then you were talking a fiver for an album; not so much to have to spend.

Gotta admit: whoever designed that logo, damn good job! :thumb:
http://t-shirtguru.com/product-image...hirtaday-2.jpg

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?
Much heavier than I expected it to be, but then after reading about the band being influenced by the likes of Dream Theater and Queensryche that explained everything. The band were pretty impressive over the opening track of 10 mins.

2. What did you think of the opening tracks?
"Perpetual Child" is a rocker and a strong track, despite the obvious 90s Rush influences. "Spare Chicken Parts" was a good instrumental for a song so long,

3. What did you think of the later tracks?
"The bottom line" really stood out for me in the later part of the album. Overall I couldn't find a fault and enjoyed the piano focused "One Look Away".

4. Did you like the vocalist? Hate him/her? Any impressions?
Josh Pincus is a strong vocalist and I've already mentioned that he reminds me a lot of Dennis de Young in his vocal style.

5. Did the music (only) generally appeal to you, or not?
Yes as I love Dream Theater and I like long instrumental intros which show the proficiency of the band. Also as far as I'm concerned there is nothing wrong with musical wankery either, but then again I'm a power metal nut, so I like that kind of thing. But saying all that, I'm not a big fan of instrumentals on their own and like there to be some kind of singing. I also thought the keyboards and drumming here were good as well.

6.Did the album get better or worse as you listened to it (first time)?
Got stronger, but I don't think they needed an almost 9 minute instrumental this early on the album.

7. What did you think of the lyrical content?
I thought the lyrical content quite good and with some good touches here and there.

8. Did you like the instrumental parts?
I really liked the band's metal sound on the album and as per usual I couldn't find fault with the instrumentals of the band at all.

9. What did you think of the production?
Very good and solid throughout, couldn't fault it in any way.

10. How well do you already know the band/artist?
Had never heard of them before.

11. What sub-genre, if any, would you assign this music to?
Progressive metal.

12. On repeated listens, did you find you liked the album more, or less?
About the same and remained steady for me throughout.

13. What would you class as your favourite track, if you have one?
"The Bottom Line" probably my favourite, "Spare Chicken Parts" I enjoyed it for an instrumental and the title track was good.

14. And the one you liked least?
No really weak tracks but "Sleepwalker" was a weaker second track.

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?
It's a strong debut for sure, but I do think there was too big an influence of their influences coming through. The lead singer amazingly at times sounds like Dennis de Young of Styx.

16. Are you now looking forward to hearing other albums by the band/artist?
Read that they only have one more album, but yes I would like to give it a listen and also to spend more time with this album their debut.

17. Did you get, thematically, the idea behind the album if there was one?
It's all about industrialisation a progress, but I know that because Trollheart told me so.

18. Did the album end well?
"To Say Goodbye Part II" is amongst one of the strongest tracks on the album. Overall the album encompasses a real range of heavy powered to softer sounding tracks and does both equally well.

19. Do you see any way the album could have been improved?
If it were 10 mins shorter, it would be an even better album.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?
The album seemed tight and focused beginning to end and was cohesive in every way.

Ratiing:8.5 out of 10

You really heard Denis De Young, did you? I must listen to more Styx. I definitely heard Meat Loaf, with that growl and touch of anger in his voice that makes you worry he's gonna come over and beat you up for sleeping with his girlfriend, but that he'll explain it to you in detail first (and with, more than likely, a seventy-piece orchestra!) so that by the end you'll understand and even agree with him.

Glad you enjoyed the album though. Pretty mindblowing, I felt.

Well Dennis De Young never got quite so growly but the essence of his voice is almost the same.

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

My first impressions were that the band reflect the best of Dream Theater and Shadow Gallery, so they were good.

2. What did you think of the opening tracks?

Having said the above, Perpetual Child begins with a monotonous cliched prog-metal guitar sound, which drowns out interesting keyboards. When the vocals appear, the track develops sparce Andy Summers/ Alex Lifeson guitar chords and a Rush-sounding passage. The third shift is into a Kansas/Styx-like section, due in part to singer Josh Pincus, who brings to mind a combination of Steve Walsh and Dennis De Young. Ironically, the long rambling experimentation becomes interesting in the final seconds with a rising synthesizer and guitar passage. Overall, there is a lot of complexity.

Sleepwalker is an improvement, walking a fine line between the prog metal of Dream Theater and jazz rock. The interation between keyboards from Pincus and Jimmy Pappas's guitar is very fast. Join begins like Kansas at their most AOR. At the halfway mark is a harmony guitar and keyboards sequence, reminiscent of Thin Lizzy. Again, and infuriatingly, the track becomes most intriguing in the final minutes with a jangling Rush-like passage.

3. What did you think of the later tracks?

Spare Chicken Parts, an instrumental, has a heavy guitar intro, followed by a complex jazz rock sequence. After four minutes and a funky little synthesizer passage, it becomes similar to UK with Allan Holdsworth, before introducing a fast drum solo (Nick Mason-ish drum sticks on bongos). The guitar and keyboards are extremely tight, with Pappas being incredibly fast, making me wonder why he is not a household name. Drummer Hal Aponte is a tasteful, but unorthodox and unpredictable drummer, particularly in his use of cymbals. He uses double-kick drums, without relying on them. Imagine DT with Colosseum II-era Gary Moore on guitar and you have got Spare Chicken Parts. Towards the end of the solo (5:58), the voice of an 'astronaut' from 2001: A Space Odyssey, says, 'Open the pod bay doors please Hal.' It's a judicious little masterstroke in a wonderful track.

Ice Age veer away from jazzrock with Because of You and its chiming off-kilter riff (early Status Quo, Big country and a smidgen of U2). The Bottom Line has an Ian Crichton-type (Saga) vocal, while Pappas and Aponte cut loose with an old-fashioned seventies-sounding hard rock passage. Despite the inconguous lyric, it is an excellent toe-tapping track. The way the band speed up and quieten down is especially effective. Ice Age begins with what could be Tangerine Dream on steroids and an excellent crooning vocal from Pincus. There are more Eddie Jobson-ish keys constituting the second of three ten minute-plus epics. In the late nineteen-seventies, One Look Away might have made a hit single in the US. Miles to Go returns to a jazz guitar feel.

Although To Say Goodbye Parts 1 and 2 are two separate tracks, which combine to close the album on a lengthy piece, it is the first shorter part which is most interesting and full of ideas. Part 2 is need of editing.

4. Did you like the vocalist? Hate him/her? Any impressions?

I liked him and he makes a good job of the title track, but he can be a bit wearing at times.

5. Did the music (only) generally appeal to you, or not?

In my opinion, the instrumental Spare chicken Parts is the best track on the album with its jazz-rock inclinations.

6. Did the album get better or worse as you listened to it (first time)?

The album improves beyond the halfway mark, but the final few tracks become repetetive and lack dynamics. Pincus is by no means a bad singer, but his voice can become a bit grating with over-exposure.

7. What did you think of the lyrical content?

Sometimes the lyrics jar with the music, but it works and the songs are strong.

8. Did you like the instrumental parts?

The musicians are tight and fast. Pincus is the lead singer, but he is also an outstanding keyboard player. The guitarist Pappas is underrated and should be better known.

9. What did you think of the production?

Clean, although the bass guitar could be boosted and the album is in need of editing.

10. How well do you already know the band/artist?

I had heard of Ice Age, but never heard them. I read somewhere that they sounded like Styx if they played progressive metal, which I discovered is not far from the truth. By coincidence, I was listening to The Grand Illusion by Styx (1977), when TH suggested this album.

11. What sub-genre, if any, would you assign this music to?

Progressive metal, but it is not helpful. Ice Age are definitely in the tradition of DT and Shadow Gallery.

12. On repeated listens, did you find you liked the album more, or less?

I was impressed by The Great Divide from the outset and my opinion has not changed.

13. What would you class as your favourite track, if you have one?

Spare Chicken Parts and The Bottom Line.

14. And the one you liked least?

To Say Goodbye Part 2.

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

There are bands who make one or two strong albums and disappear (Captain Beyond, Alphataurus) and Ice Age seem to be one of them.

16. Are you now looking forward to hearing other albums by the band/artist?

I have heard the second album and it is as good as the first. It is a pity they did not make more, especially as some bands have recorded far too many.

17. Did you get, thematically, the idea behind the album if there was one?

I wondered if it was about the search for the North-West Passage.

18. Did the album end well?

It closed on a bit of a whimper. See my comments on editing.

19. Do you see any way the album could have been improved?

Ice Age are further victims of the urge to fill a CD with 75 minutes of music. Although I am a fan, Dream Theater have the same problem.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

There was more hit than miss. After a cliched 'prog-metal' opening track, the band reveal that they have much more than one string to their bow. At heart they are a typical American progressive rock band in the style of Kansas, Styx and Saga (I know the latter is Canadian), but with Mahavishnu/Colosseum jazz-rock inclinations.

Overall Album Rating: 8.5 out of 10.

Apologies for the delay. :shycouch:

Thought about it a little, and I figured this album club thing might not be for me. I guess we can say I'm out.