This may be Deep Purple's greatest album, and if not it still certainly has their masterpiece on it: the brilliant epic Child in Time, a ten-minute musical journey featuring my favorite guitar solo of all time. Blackmore plays with such emotion on this track, not to mention speed and technicality, it just amazes me. Gillan's vocals are so awe-inspiring it is hard to believe. It is not natural how well he sings here. The dueling guitar/organ solo in Speed King is quite fine too. My second favorite track, however, would have to be Hard Lovin' Man, which also includes a brilliant solo by Blackmore.

Rightfully proclaimed one of the first true heavy metal albums, In Rock is one heavy mother. Blackmore moves to the front of the mix, while Lord creeps further below (but still with a strong presence). Let us not forget Gillan's first (and one of his best) appearances. Another must get.

All in all, one of the greatest hard rock albums of all times. It is a landmark of rock 'n roll music. 5.0

I saw two other PA users review Stereolab albums so I decided to review one of my favorites by this art pop six-piece.

This is where all those consolidated sounds and styles in Stereolab's earlier albums suddenly splintered, separated and were given their own space (they hinted at it in Mars Audiac Quintet, but here it sounds charged). They still approach each song with the heavy hand of a rock sensibility (as opposed to their later smoother electro-jazzy- groovy-esoteric stuff), and cram it with experimental and inventive arrangements. A grab bag of unpolished gems. Equal parts orchestral pop, proto-punk, moog rock and funk, without actually adhering to any prefab formula. Yet to a lot of people in a lot of ways, it's the only Stereolab LP where you don't have to develop a whole new philosophy about the structure of popular music in order to appreciate it. But your parameters are challenged and broadened anyway. Take "Spark Plug", a funky number with meat, its groove offset by the robotic chant "auto production / auto organization". Or the buzzing Suicide pulse of "OLV 26", given a melodic warmth. Or the odd rhythm coupled with a Steve Reich-like vibraphone trance in "Tomorrow is Already Here". Like I said, it's heavy-handed. This ain't EZ listening. Even forays into schmaltz like "Monstre Sucre" have a weighted off-kilter quality. While tunes like "Metronomic Underground" and "Emperor Tomato Ketchup" are so catchy, so instantaneously addictive, you'd never guess they were built around riffs lifted from Yoko Ono songs. Everyone should own this, even to see just how influential they were. Subversive in its intelligent sense of fun.

4.5

Most of this CD is great, reminds me very much of the better works the band Yes put out in the 90's which isn`t surprising since three (that I know of) members have worked with Yes in the past.

The big concern for me wasn't about what the music was going to sound like as I expected it to be great, more so I was concerned what the vocals will sound like would they attempt to try and clone the Jon Andersons style (I hoped not) They only sound like Anderson a bit in the harmony vocals, but the lead voice is more like a mixture of Rabin and Anderson in its application with a slight Peter Gabriel sound to his voice (hard to explain what I mean you need to hear it)

There's the odd "throw away" song that to me wasn`t adding to the rest of the collection of well written pieces "INFORMATION OVERLOAD" went over my head I`m afraid .. but the rest of the CD is well played well executed prog rock which sounds very experienced yet fresh and not too overly ambitious. I especially liked "Look inside" and 'Brotherhood of Man".

This is not the Next "Close To The Edge" but it certainly is a pleasant surprise 4.0

Godley and Creme left 10cc at the beginning of the sessions and Eric Stewart, Greg Gouldman and Paul Burgess would give us Deceptive Bends. Obviously, they gave the world a great gift by doing so. I am quite sure that the annoying musical trickery that ruined Sheet Music (excluding "The Wall Street Shuffle") and most of The Original Soundtrack (definitely excluding "I'm Not in Love") was a Godley & Creme thing. Instead, Graham Gouldman and Eric Stewart were excellent songwriters who, at this point, needed to lose the shadow of the trickery to stick with the real thing. The result, Deceptive Bends, features the good sides and has lost the bad sides of the 'old' 10cc. This brings it closer to Supertramp, Wings, or ELO with a witty sense of humour.

The opening track "Good Morning Judge" is not very special, but the following three ? "The Things We Do for Love" (the wonderful hit single, a classic), "Marriage Bureau Rendezvous" and "People in Love" ? are all pure gold. "Modern Man Blues" is very different, more rocking, less harmonious, but its rhythmic changes stay within the limits of good taste. The lyrics of "Honeymoon With B Troop" turn annoying now and then but the music is very good. It is followed by a hilarious piece called "I Bought a Flat Guitar Tutor", a more ordinary (but still good) number titled "You've Got a Cold", and finally the magnum opus of the album, "Feel the Benefit" which sure is overlengthy, but sounds good enough to carry the listener through all the way.

Despite not having heard each of those so far, I am very sure that Deceptive Bends is one of he best 10cc albums in my opinion. The quality of the music on this album is very high. Recommended for everyone who likes Breakfast in America, A New World Record, or Band on the Run. It also helps if you like "I'm Not in Love." Stay away if you are looking for a '70s British Mothers of Invention album. At this point that band no longer existed. If you play this you will feel the benefits. 5.0

IN BRAZIL THEY CAN PLAY FOOTBALL, AND THEY CAN MAKE MUSIC, WOW!

Luiz Alvim is a Brazilian keyboardist and composer with a background in classical piano. He has performed live and recorded with a diverse range of artists. Progressive rock is often defined by intricate compositions, virtuosic performances, and a willingness to push boundaries. The LAB Experience, led by Luiz Alvim, takes this philosophy to a new level by completely omitting guitars, one of the genre's most fundamental instruments. The result is an album that challenges conventions while maintaining the depth and complexity that fans of progressive music crave. The album consists of a mix of original compositions and reinterpretations of previous works, enriched by contributions from various guest musicians.

Well, as a huge vintage keyboards aficionado it took very little time to get excited about this instrumental first album by The LAB Experience (only keyboards, bass and drums), what a great sound, and what a skilled musicians.

The first 3 tracks A Long Time Ago, m.a.r.i.k. and Parallel Dimensions deliver bombastic mid-tempo beats featuring dazzling synthesizer runs and swirling Hammond organ, backed by a powerful and dynamic rhythm-section, the interplay is awesome, often Japanese Gerard (the era as a trio) comes to my mind.

The fourth composition The Mind starts with a fat synthesizer sound, then the music delivers more variety, with several breaks, including Mellotron violins, blended with a fat bass sound and propulsive drums, and a short but swinging bass solo.

Next Future Dreaminess, first an ominous spacey climate, like horror soundtrack, then accellaration with Hammond, followed by soaring strings and slow rhythm, spacey synthesizer flights. Halfway a mid-tempo beat and lots of keyboard pyrotechnics, fuelled by a powerful bass. In the second part a break with Mellotron violins and a growling bass and propulsive drums, how exciting.

Then the epic composition Astral Zenith. It opens with a majestic Hammond organ and tremolo Leslie sound and concludes with tender piano runs, in between lots of shifting moods (from dreamy to bombastic) featuring Vintage Keyboard Heaven: Mellotron violins eruptions and soaring Mellotron flutes, dazzling pitchbend driven Minimoog synthesizer flights and spectacular Hammond organ soli, topped with amazing work on bass and drums, wow!

And finally the short The End, a beautiful piece built around tender Grand piano, tastefully blended with soaring Mellotron violins, dreamy bass work, and a churchy Hammond sound.

What a stunning debut album, highly recommended to all keyboard aficionados!

For me this kind of new bands is the reason that I stil write about prog since 1992, obrigado Luiz!

Recorded in December of 1974 in Oslo's Arne Bendiksen Studio with Jan Erik Kongshaug sitting behind the engineering console, it was released during the following year by ECM--perhaps as late as September. Many consider this album as a defining moment--even one the crowning achievements--of Manfred Eicher's ECM label.

A1. "Oceanus" (10:58) a very cool, very fresh sound with Jon Christensen and Ralph Towner keeping busy on their respective instruments while Eberhard Weber almost drones away on his bowed electric bass (or cello) and Jan Garbarek fills the front with periodic exhalations from his sonorous tenor sax. The quartet amps up the intensity and volume a bit in the fifth minute before Ralph enters into a jazzy 12-string solo. I'm hard pressed to tell you whether or not the syncopated rhythm 12-string work is the same track with Ralph playing it all at once or whether there is a completely separate track dedicated explicitly to each (lead and rhythm). Jon Christensen's infinitely-nuanced cymbal and snare work is so patiently deployed, responding to Ralph's guitar work that it almost feels as if the two were joined at the brain. And Jan and Eberhard's contributions are so respectful, so reactive and ego-less. (I think that would be the quality I can claim to like best with regards to Jan's saxophone playing: his patient response to both external and internal "calls to action.") Brilliant and enjoyable song despite lacking much in the way of melody. (Weird to think that Eberhard's drone-like bass notes may have been the most melodic in the song--at least in terms of a Western sensibility of what is "melodic.") (18/20)

A2. "Visitation" (2:32) an exercise in Nature and primordial recreation. (4.333/5) A3. "Drifting Petals" (6:56) Ralph on solo piano playing a playful, gentle, introspective pastoral tune is joined in the second minute by Jan's flute. In the third minute, drums, reverberated fretless electrified bass, and Ralph's 12-string guitar step forward to creepy-crawl an exercise in hypervigilance--one that each of these ECM masters are completely up to task. The whole-band dynamic interplay in the fifth minute--both loud and soft--provides a real emotional peak. And the return to gentle piano arpeggi and guitar flute for the final minute is a display of sheer perfection in symmetry. (13.75/15)

B1. "Nimbus" (6:25) here is where I see fodder and inspiration for Pat Metheny's own solo acoustic guitar work. My favorite song on the album: it's absolutely gorgeous music. After 2:30 of exquisite solo acoustic guitar work the band is slowly coaxed into joining Ralph: first Jan's flute, then a slow entry of Jon' beautifully nuanced drumming, along with more tracks of Ralph's guitars and two tracks of Eberhard: one on bowed cello and one on upright double bass. Once full speed has been reached Ralph's awesome 12-string play is met face-to-face with Eberhard's dynamic double bass play and the entry of Jan's perfectly-balancing tenor sax. I don't always like Jan's work (or that of any saxophonist) but this is amazing--and powerful! Great, rousing band interplay over the course of those final couple minutes. Wonderful music even acoustic musicians can make thanks to the magic of multi-tracking! (10/10)

B2. "Winter Solstice" (3:58) Ralph playing near-Spanish style classical guitar with Jan meeting and matching him all along the way with his soprano sax. Man! These two are so in sync--so attuned! And both are definitely putting their full virtuosity on full display. Though I'm not such a fan of the melodies chosen/played by the two, I am so incredibly impressed by their astonishing timing in conveying them that I can't help but be won over. Standing ovations for this one! (9.75/10)

B3. "Piscean Dance" (3:33) funk in acoustic jazz?!? Jon Christensen and Ralph are definitely trying their best to demonstrate its possibility! Definitely a song that both impresses and endears both artists to me even more. (9.3333/10)

B4. "Red And Black" (1:12) electric guitar, volume-controlled whale sounds from Eberhard's electrified bass, and Ralph's acoustic guitar explorations--all coming together as if purely intended as an exploration of a certain sound possibility. (4.375/5)

B5. "Sand" (4:07) droning (and, probably, heavily-effected) sustained bowed cello notes joined by double bass notes with soprano sax splatterings and, eventually, Jon's funky drum play and effected 12-string guitar strums and gentle pickings all come together to create a sound palette that sounds remarkably similar to that which Corrado Rustici, Elio D'Anna, Percy Jones, Renato Rosset, and Narada Michael Walden will be creating for their 1976 NOVA album, Vimana. (9.33333/10)

Total Time: 40:57

I am emotionally and mentally blown away by the music Ralph and his virtuosic friends (and Manfred Eicher's production crew at ECM) have created for this album!

A/five stars; a masterpiece of some of the finest, most creative guitar-centered acoustic jazz you are likely to ever hear.

Much of what I think here is similar to what I said in my 'Pictures from the other side' review. No matter how much I listen to the main track I fail to find it 'Proggy' enough. Yes, there are the subtleties, but given 24 minutes one expects more of an memorable journey with a grand finale. I mean, it's all very listenable, but it doesn't really grab you. 'All around the World' seems to end up being blues number, which just leaves me cold. 'Cyan' is an instrumental which developes into a Steve & John Hackett type of song, which is good. Ultimately, despite the musicianship and production being superb, they can't hide what is ultimately a weak primary track.

It's difficult to know what to say really. The overriding thing for me is that much of it isn't strictly Prog, but then what is Prog? If the sound is too familiar then we'll criticise it for not being new, but the vehicle here seems to provide the basis for Love songs/Ballards, which surely isn't Prog. Whatever, if you listen to the album a lot then you'll find plenty of Prog subtleties to enjoy, as both the production and the musicianship are first class. The real winner here, and perhaps the most important musical instrument being used here is Peter Jones's voice, which never fails given the tasks thrown at it. These are heightened with the accompaniment of the female voice of Anghared Brinn, and when the pair of them sing together it's absolutely faultless. Overall, it's a pleasant enough listen, but probably not what you are expecting. Sadly, I feel that I can only award it 3 stars because I don't feel that there's enough of what I define as 'Prog' music to justify giving it more.

With the auspicious and revitalizing "Burn", it seemed that the winds were blowing again in Deep Purple's favor but, as in other occasions in the band's history, particular situations ended up influencing the final result of the following album, "Stormbringer" (1974), the ninth of their discography. The personal problems of Ritchie Blackmore immersed in a hard divorce process derived in his little implication in the creative process of the album, assumed mainly by David Coverdale and Glenn Hughes, inclined towards more Funky and soulful sonorities in demedro of the hardrock rispidness.

Although, as in "Burn", the auspicious beginning with Blackmore's guitar deployment in the homonymous and robust "Stormbringer" (the best song of the album), the proposal is nevertheless heading towards more accessible harmonies, as with the cloying "Love Don't Mean A Thing", the innocuous "Hold On", or the inconsequential "You Can't Do It Right", accompanied by the lightened boogie rock of the agitated "Lady Double Dealer" and "High Ball Shooter", the latter featuring one of the sporadic appearances of Jon Lord's hammond on the album.

And both the peaceful semi-ballad "Holy Man" with Hughes' spirited vocals, the misty half-time of "The Gypsy", and the melancholic "Soldier of Fortune" with Blackmore's delicate acoustic arpeggios and the best Coverdale on vocals, balance a little more a work that Blackmore belittled with insulting terms.

A few months after the recording of "Stormbringer", whose imposing cover is a colored adaptation of a photograph of a tornado in Minnesota (USA) in July 1927 complemented by the winged horse 'Pegasus' from Greek mythology, the irascible man in black would leave Deep Purple for the first time to form Rainbow.

2.5/3 stars

What a fun album! The most exciting DB live collection you can find, in my opinion. The man himself is in great voice & in an even better mood, and his band simply smoke. Thanks to master drummer Dennis Davis (who does wonders throughout) the climactic third part of 'Station to Station' sounds incredibly funky, and let's not forget lead guitarist Stacey Heydon, who joined Bowie just for this tour and was never heard of thereafter. Who needs Earl Slick when you can have Heydon? In the hands of this particular band, 'Stay' sounds about three times as exciting as the original studio version, and Bowie's performance of 'Word on a Wing' (which I always skip when listening to STATION TO STATION) finally acquires the depth it so sorely needed. It's a pity the 1976 live band never attempted 'Wild is the Wind'; I would have loved to hear Carlos Alomar's elegant guitar stylistics, which also dominated the delightful 'Golden Years' - another '75/'76 tune that's missing here... Alomar seems to be taking a back seat; during the set's highlights (such as 'Queen Bitch', 'Panic in Detroit' and 'Diamond Dogs') it's Stacey Heydon's heavily distorted guitar that stands out. Tony Kaye gets to play the piano part that was devised for 'Life on Mars?' by his eventual successor in Yes - wonder how he felt about that? As you can imagine, he leaves out most of Rick Wakeman's rococo flourishes, and generally speaking his keyboard accompaniments are subtle but highly effective.

Are there any problems with this collection? Well, I guess you could claim that 'TVC15' goes on for a little too long (though it features a splendid little bass solo by George Murray) and the same probably goes for 'The Jean Genie', the final number... (And if I have to be perfectly honest, I should add I could never stand 'Rebel Rebel'.) But let's be grateful for what we've got! Was Bowie still in the throes of addiction when this was recorded? If so, you just can't tell; he sounds like a man who's fully in his element.