MENU
Progarchives, the progressive rock ultimate discography
Progarchives, the progressive rock ultimate discography

ROBERT REED

Crossover Prog • United Kingdom


From Progarchives.com, the ultimate progressive rock music website

Robert Reed picture
Robert Reed biography
Robert Reed needs little introduction, a talented multi-instrumentalist that has been creating delightful prog music since his early days with CYAN as well as the FYREWORKS, then forming the brilliant and still strong MAGENTA, as well as the recent KOMPENDIUM project featuring a busload of prog superstars (HACKETT, HARRISON, DONOCKLEY, DUNNERY, BEGGS, COLLINS, BARRETT, JAKSZYK, MITCHELL among many others).

A thorough multi-instrumentalist on both guitars, bass and a vast variety of keyboards, as well as adept on percussion when needed, REED is also a composer and producer of high repute. So when he considered the solo album option and figuring out that a true solo album is when you do everything yourself, Reed had the challenge of saluting one of his heroes, the mighty and legendary Mike OLDFIELD (also still going strong what with his recent "Man on the Rocks" release). "Sanctuary" is his first solo album and as such, he plays each and every instrument with obvious glee and mastery, fueled by the Tubular Bell inspiration.

Robert Reed official website

ROBERT REED MP3, Free Download (music stream)


Open extended player in a new pop-up window | Random Playlist (50) | How to submit new MP3s

ROBERT REED forum topics / tours, shows & news


ROBERT REED forum topics
No topics found for : "robert reed"
Create a topic now
ROBERT REED tours, shows & news Post an entries now

ROBERT REED Videos (YouTube and more)


Showing only random 3 | Show all ROBERT REED videos (10) | Search and add more videos to ROBERT REED

Buy ROBERT REED Music


Sanctuary IISanctuary II
Import
Imports 2016
Audio CD$22.98
$26.13 (used)
SanctuarySanctuary
Import
Imports 2014
Audio CD$12.49
$12.48 (used)
Right Now on Ebay (logo)

More places to buy ROBERT REED music online Buy ROBERT REED & Prog Rock Digital Music online:
ROBERT REED has no upcoming shows, according to LAST.FM syndicated events and shows feed

ROBERT REED discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ROBERT REED top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.95 | 148 ratings
Sanctuary
2014
3.86 | 78 ratings
Sanctuary II
2016
4.33 | 3 ratings
Belerion
2016

ROBERT REED Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ROBERT REED Videos (DVD, Blu-ray, VHS etc)

ROBERT REED Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ROBERT REED Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 11 ratings
Willow's Song E.P.
2014
4.67 | 6 ratings
Marimba E.P. (excerpt from Santuary II)
2016

ROBERT REED Reviews


Showing last 10 reviews only
 Sanctuary II by REED, ROBERT album cover Studio Album, 2016
3.86 | 78 ratings

BUY
Sanctuary II
Robert Reed Crossover Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Welsh musician, producer and composer Robert Reed is mostly known for this association with female fronted proggers Magenta (as well as the large-scale if somewhat forgotten Kompendium project from 2012 that boasted the contributions of Steve Hackett, Nick Beggs and Mel Collins amongst others), but he also issues solo releases, currently focusing on a set of primarily instrumental `Sanctuary' works, the second release under that banner we find here arriving two years after the striking 2014 debut. The first album was frequently influenced by Mike Oldfield's classic era of works (completely by Reed's own admissions, though!), and the artist again takes a multi-instrument approach for another grand two-part vinyl length suite of symphonic passages filtered with Celtic and folk flavours, alternating acoustic/electric sections and chanted world elements, all meticulously weaving together with a careful sense of purpose and flow.

In addition to embracing Mike Oldfield's approach (as well as utilizing drum and recorder contributions from former Oldfield collaborators Simon Phillips and Les Penning), there's a rich and wide variety of influences peppered throughout `Sanctuary II' that should be pointed out, so that this project is not merely dismissed as simply some hero-worshipping remake. Looking at some of the highlight moments, the welcoming magical keyboard fanfare alongside crashing percussion that opens the album almost instantly reminds of the more uplifting moments of Yes and in particular Rick Wakeman's grandiose earlier solo works. Warm hand claps and Reed's reaching Flower Kings and dramatic David Gilmour-like guitar strains weave between female- chorus worldly chanting vocals, twinkling pretty chimes and Angharad Brinn's sighing ethereal voice.

There's plenty of soothing and reflective classical elegance and spiralling folk arrangements with flamenco-like ravishing guitar runs, whimsical recorder, fancy accordion and prancing madrigal flute-lifted interludes, with a cool fusion of heavier guitar bite and Simon Phillips' pounding drumming surprisingly emerging in a few brief moments. A spirited folk whimsy dances through Steve Hackett-flavoured ruminative acoustic strums, and overall throughout the two-part set there's still plenty of epic guitar climaxes and joyous synth trills that instantly remind of Reed's own Magenta band. All of these elements together prove to be infectious on multiple repeated listens, and it's hard not to be charmed and won over by this frequently uplifting and joyous piece of music.

While the appearing themes are perhaps not quite as memorable as those found on the first album, and the large increase in constant vocals (especially in the first half) perhaps challenges claims that this is an `instrumental' project, `Sanctuary II' is hardly a poor effort by any means, and one that improves immensely once the instrumental melodies settle in. Certainly those who loved the first album will find plenty to enjoy here, and it's a victory for lovers of varied, colourful and lavish symphonic music with a worldly flavour, another confident work of great inspiration exquisitely delivered by Mr Reed and his musical friends.

Four stars.

 Sanctuary II by REED, ROBERT album cover Studio Album, 2016
3.86 | 78 ratings

BUY
Sanctuary II
Robert Reed Crossover Prog

Review by M3g52

5 stars Personally, despite some references, this begins to not be Mike Oldfield, but the work of a worthy follower.

What we have here is the very talented multi-instrumentalist, producer and composer Robert Reed, (Magenta, Kompendium, Kiama) with its continuation to "Sanctuary" purely Oldfield 2014. Produced, mixed and directed by Rob, and this time joined the original production equipment technician "Tubular Bells", Tom Newman and Simon Heyworth, who have helped the album a cleaner sound. Sanctuary II (2016) has the rare peculiarity of sounding like an album of Oldfield without it easy to find the exact references. The technique of striking melodic progress is there, the risky combination of instruments of all kinds also still in force, and especially the singing voice still carries that clean and expressive electric guitar ... but still sounding Oldfield, we do not know very well what melody referenced, and that can be a great virtue for those who want to see Reed get away from the canon and tinkering on your own. Making a complicated exercise in imagination, perhaps we could understand Sanctuary II as an album Oldfield would have composed if his instrumental epic stage had not been completed.

Reed Sanctuary II gives an air sometimes more rock, sometimes more folk than the first album. Or what is the same, the ends are accentuated. In progressive rock slope it contributes the notable presence of Simon Phillips, essential Oldfield ochentero battery. While it is not yours an instrument that can be left an imprint too personal, their interventions are timely and refreshing. On the other hand, Robert Reed has had another collaborator Oldfield, Les Penning, flutist category here contributes to several playful passages

And let's not forget the excellent vocal solos Angharad Brinn that leads to soft guitars. And the chorus Synergy Vocals always present surround us.

And all this achieved, which is in my opinion, that while "Sanctuary" was a formidable album, "Santuary II" as a sublime album. With what we were is the commitment of Robert Reed to fulfill the desire of the old Mike: someone to take over and continue composing instrumental long in which the listener can dive. It has taken years anyone to carry to term this idea so explicitly, and we can only hope that in the future and more than likely Sanctuary III (apart from the probable recording of the live performance by the end of 2016), Robert Reed be able to continue delighting without being in the shadow of the giant. Gradually it is achieving.

 Sanctuary by REED, ROBERT album cover Studio Album, 2014
3.95 | 148 ratings

BUY
Sanctuary
Robert Reed Crossover Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars Robert Reed, main composer of both the female fronted symphonic prog band Magenta and his sophisticated side-project Kompendium, is a very busy man these days! In addition to those two acts, he's not only helped out with bands like Touchstone and Materya over the last couple of years, but he's painstakingly worked away on this solo project `Sanctuary', and it's simply the absolute crowning achievement of an already wonderful career. Taking inspiration from Mike Oldfield's `Tubular Bells', Mr Reed has crafted two side-long suites of (mostly) instrumental music that effortlessly and seamlessly transitions through a mix of symphonic, world, new-age and light ambient styles, with even a bit of chanting and brief Celtic elements as well.

Over the course of the album, Reed slowly introduces a large variety of instruments and soaring themes, building on and moving between them in varying tempos back and forth. Symphonic prog grandness, medieval flavours and acoustic ruminations are most prominent, as is his majestic guitar playing, and the music takes on a deeply spiritual quality throughout, especially suitable as we're currently in the Christmas season. Mike Oldfield's defining album is constantly referred to in promotional materials for the album, and while it's an easy comparison, there are just as many moments that call to mind Gryphon or even Fruupp at their most sweeping. But one thing that is clear is how much of a labour of love this project has been for the artist, as he has poured his heart and soul into every second of it.

Recorders float through the beginning of the two-part self-titled epic, stirring acoustic guitar plucking weaving with rising electric guitar strains and cymbals crashing with power. Whimsical madrigal melodies are introduced by way of classical guitar, trilling flute and announcing triangle, a cooing choir, striking mandolin and sprightly acoustic guitars dance around triumphant chimes. Strains of `Hallelujah' cry in rapture over charming lute, a Celtic jig is strident and purposeful, and a very brief cheeky nod to `God Rest Ye Merry Gentlemen' will raise a smile! The second part incorporates spirited hypnotic chanting, tolling bells, pretty pipes, regal symphonic passages with blissful twinkling ambient reflections before victorious electric guitar soloing closes the piece in a hugely bombastic and victorious manner.

Available in a number of formats, including both vinyl LP and a beautiful DVD-Audio set, Robert Reed may have initially used `Tubular Bells' as a starting point of this work, but this is not some mere imitation or uninspired remake. It's a love-letter for a time when the album form was looked upon with the potential to be a grand artistic statement. It may have it's roots in the Seventies, but it still sounds vital and fresh now, and every single theme Reed introduces throughout this epic is impossibly moving and momentous. It's one of the most captivating, distinctive and special progressive releases of 2014.

Truly music for kings and queens, gods and us mere mortals, Robert Reed's `Sanctuary' is thirty-nine minutes of sheer musical bliss, and a true sanctuary for the heart, spirit and mind!

Five stars.

 Sanctuary by REED, ROBERT album cover Studio Album, 2014
3.95 | 148 ratings

BUY
Sanctuary
Robert Reed Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Robert Reed has been a prog mastermind for quite a while now, having first discovered him with his first group Cyan as well as working on the Fyreworks album, showing off his qualities as a composer and arranger whilst being well mannered on guitars and keyboards. His Magenta project is still running strong, his musical partnership with the amazing Christina Booth having dished out some memorable albums (Seven, Metamorphosis, the 27 Club). Recently, he has corralled some of the finest prog artists and released the terrific Celtic-infused Kompendium project. Being a manically prolific musical mind, he has finally resolved any solo album urges by honoring us with a tribute to Mike Oldfield and his Tubular Bells methodology. Now some may find that predatory and rather uninspired but I beg to differ, as I know of very few outright Tubular Bells cloning, even though artists such as Colin Masson or Amarok (the Polish band) will gentle poke the style espoused by the Ommadawner. Some negative minds might feel that 3 versions of TB from the master himself I more than enough, so why bother? Well, Robert Reed is not Mike Oldfield, he has every right to create an obviously unapologetic homage to whomever he feels is worthy of such acclaim. Oldfield was Reed's inspiration to make music, so this remains a quasi-religious experience for him that we should all applaud.

"Sanctuary" is a nearly 40 minute affair (a cool DVD shows you how it was done) that needs little enhancing explanation, the two long tracks follow the fluid orchestration, whereby additional instruments are layered onto the original theme, acoustic and electric guitars inviting the bass to enter the fray and blending in a variety of keyboards to expand the melodies, swerving by a few clever detours such as the mandolin, glockenspiel and voice choir sections. By bringing in Oldfield stalwarts Tom Newman as co-producer and Simon Heyworth doing the mastering, the sound will be pristine as such an immaculate exercise demands to be.

Part 1 (20:41) "I worked hard to make the melodies stand on their own. I wanted to capture the emotion that Mike Oldfield managed to communicate through his playing" states Mr. Reed on his website and the importance of his mentor is entirely justified by the manner in which Robert captures his emotion in playing such glittering music. The main theme, repeated in a myriad of variations throughout the disc, sets the tone that will permeate the album. Electric guitar is the spotlight instrument and it utterly dominates the score. The Synergy vocalists do a phenomenal background canvas, the recorders offering up pastoral vistas, the sweet acoustic guitar weaves its country magic. The bass led section is an outright copy of the original which is okay mainly because the original was so good. Bouncy, hopeful and luminescent, the arrangement seeks out newer pastures and yet keeps to tradition. Spell-binding!

Part 2 (18:09) starts off with Moerlen-era Gong marimba/vibes that recall "Percolations" in a way, acoustic guitar, mandolin and flute entering the realm. BTW, Pierre Moerlen was an Oldfield sideman on a few albums, so this should come as no surprise. The judicious use of the tubular bells is a clever detail that only heightens the pleasure. Reed rips a seductive spark from his electric axe as the piece accelerates into bass/tympani overdrive. The main theme is underscored in a kaleidoscope of variations, the guitar carving the way. In typical fashion, the ebb and flow is grandiose, gushing and cinematographic, the voice chanting "Oh maka-che, maka- che, maka-chukala" sounds perhaps fraught with cliché but this only parallels the original script. Reed screwdrives his guitar-centric lead with ardent poise, screeching high and dry, showing off a skill he always has had in his back pocket. The marimba waves are magical, the road ahead glistening with sensation and amazement, the sublime voice of Angharad Brinn (check out the video I posted) seduces with unbridled ecstasy, a gentle Celtic lullaby propelled by a rather brilliant bass run and as such, is one of the finest moments on this recording. The outro reaches its natural climax with more background choir and a series of slippery solos (has there ever been a master of slippery guitar like Oldfield? Yeah, the humble Robert Reed!) And like Queen enjoyed stating on some of their albums, NO SYNTHESIZERS WERE USED in the making of this album.

One of the finest covers adorn the jacket, as well as supplying a DVD that offers various surround mix options as well as a few technical videos. A great deferential package from the man!

4.5 sonic asylums

Thanks to tszirmay for the artist addition. and to NotAProghead for the last updates

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives