Gentle piano, with lovely use of the sustain pedal, leads us delicately into the clear soprano of Veronica Bordacchini as she commences the journey which could easily be the opening of an opera. Strings come in, and we sit back, relax, and bask in her wonderful vocals, so much so that when she hits the high notes and demonstrates her training we reach over and turn it up just a little more, so the music becomes all encompassing. It may be only just over two minutes long, but it is transformative, and then there is a slight gap, and the choir are back with Francesco Paoli singing the words "I Can Never Die", which leads us into the 10-act story inspired by the tragic mountain climbing accident which nearly killed him in 2021.

I actually think this album is a step up from the last two, which is not something I thought could happen as they have mixed the symphonic death with styles which are more classical and one can imagine fans of Nightwish or Epica enjoying how those bands have been joined together with Dimmu Borgir, and then influences from the likes of George Frideric Handel and Richard Wagner have combined to create something which musically is huge. A massive credit must go to Grammy-nominated producer Jacob Hansen (Volbeat, Epica, Arch Enemy) who mixed and mastered this as he has managed to make the quiet sections just that, while the massively over the top joining together of choirs, death growls and metal is insane. It feels like the listener is in the eye of the hurricane with the maelstrom going on all around, sheer chaos yet there is also order and continuity as while we do not comprehend what is happening there is a clear direction with loads of contrast.

Francesco is often the lead, with the choir playing an important part, with Veronica coming in at just the right moments to cut through the carnage. All those involved have played a major part, but it would be very wrong indeed not to call out drummer Eugene Ryabchenko (Banisher, Afgrund) as he is everywhere at once with hands and feet driving this album forward by sheer force of will. It leaves the listener exhausted, such is its majesty and power, and the only way to really pay homage to a magnificent work is by playing it on headphones, and very loudly indeed. The class shines through this from beginning to end, and at 43 minutes is both perfect and way too short as when in the zone the return to the real world is somewhat jarring, so the only thing to do is play it again.

3.5 stars. SENSITIVA IMMAGINE formed in Italy in 1975 and managed to release only one album in the great Italian tradition. I'm convinced that these young Italian guys once they've finished the recording sessions go out for pizza and girls and never come back. Have you seen some of these Italian girls? I don't blame them, but we are the ones to lose out music-wise. The only album they released was actually on cassette only and there is no reliable information as to the year they released it, other than most put it between 1976 and 1980.

The two band names that pop up constantly when talking about this album are LOCANDA DELLE FATE and GENESIS. Especially GENESIS, and to a fault really. And usually the GENESIS worship comes in the form of those Gabriel-like vocals but not here. It's the instrumental work that recalls the early moments of that great band. Mostly the guitar and keyboards. A five piece, and the singer thankfully sings in Italian, but he doesn't have the range of some of those classic Italian singers in RPI. I prefer the pastoral moments of this album, the beauty they created, but when they try to amp it up, it just doesn't work that great in my opinion.

On my original go around with this one 5 years ago I was constantly mentioning GENESIS in my notes as I listened to it. Only six songs and my top three includes track four, the longest at 10 1/2 minutes with samples of a car revving it's engine, then taking off, changing gears as it goes. Then the music kicks in. "Storia Di..." and "Harlem" sound too much like GENESIS, I prefer the final two tracks for my top three. The first of those is piano and vocals while the closer features some really catchy guitar work, and is a nice way to end the album.

A Neo prog vibe here too which is a coincidence more than anything, but this really was enjoyable, scratching that GENESIS itch. Not the most original sounding record though. The rating of 3.5 stars seems just right in my music world. If you like GENESIS though, please check this one out.

Despite the passing of 17 years since this band's last studio album release, their distinctive sound and style of prog is immediately recognizable: delightful blend of folk-infused storytelling not unlike bands like MOON SAFARI, NEEDLEPOINT, THE DECEMBERISTS, RISHLOO, JEAVESTONE, JETHRO TULL, Guy Manning, Khatsaturjan, and even Frogg Café.

1. "A Hasty Departure" (6:28) interesting use of the Wild West-sounding upright "saloon" piano within/beneath the overall weave. (8.875/10)

2. "The Inn Of The Haunted Owl" (4:47) as the music of this album flows and coalesces I find myself filled with this strange feeling that I'm a part of an Ian Anderson-guided Tolkein adventure. Great song, so engaging, with a totally- awesome chorus and great vocal performance. (9.25/10)

3. "Dreams In A Brougham" (3:39) an instrumental interlude that provides a delightful and often hypnotically soothing emotional journey. Why don't more artists make this kind of sincere, honest music? For sure a top three song. (9.5/10)

4. "Chichikov Bogd" (4:19) so they want to bring Gogol into the picture, do they? Admirable! A dynamic song that picks you up and carries you away whether you were ready or not--especially in the GENTLE GIANT instrumental weaves between the vocal verses. (9.125/10)

5. "Mr. Tilly And His Gang" (3:09) a song that bears a remarkable similarity to a BEATLES' song of similar title: Mr. Kite" (8.875/10)

6. "Through A Rural Landscape" (3:03) another travelers instrumental--this time through some open soundscaped, piano-based slow-rolling hills. (8.875/10)

7. "The Feline Companion" (5:40) quite proggy with its heavy bass and thick syrup outpouring of Mellotron, the story continues--here with Patrik performing multiple voice parts. There's quite a little of the presence of vocal legend Freddie Mercury in Patrik's performance here. (8.875/10)

8. "Read All About It!" (4:17) has a pace and styling that is remarkably fitting for such a title and topic. The banks of choral vocals also seems surprisingly appropriate--giving the music even more of a stage musical feel. (8.875/10)

9. "Forgotten Qualities" (6:16) the sounds of stream water flowing with distant cave-played lyre or zither (Jon Gamble's bouzouki and mandolin with Patrik's acoustic guitar) opens this one before Patrik's bard continues to sing the story-- this time with some wistful sadness (despite singing about "a pretty day"). A powerful prog folk song. (9.25/10)

10. "The Three Heads Of The Well" (3:57) I ahve to admit to being quite surprised at the Yossi "Sassi" Saharon/Orphaned Land Middle Eastern direction the music of this song took, I like it! Great vocal from Patrik. (8.875/10)

Total Time 45:35

Though my only other Ritual album, 2007's The Hemulic Voluntary Band, did not receive super high marks in my review from 2011, the album has remained firmly planted in my brain and has received more frequent replays than I would have thought. Back then my Prog Folk ear was still under development (I still have little interest and/or patience for Jethro Tull songs, albums, or music--and, at the time, detested the genius albums of The Decemberists). While my developmentally-challenged brain still remains occluded to lyrics and their messages, I definitely have learned to appreciate the vocal instrument that Folk and Prog Folk artists are so reliant upon. Patrik Lundström is one of the good ones.

Based on the late Finnish cartoonist and children's author Tove Jansson (1914-2001)'s series of novels about the Moomintroll family, The Story of Mr. Bogd, Part 1 definitely runs along as one continuous story with some songs bleeding over into the next (or making their delineation points almost indistinguishable to the listener). Ritual's music has been my introduction to Ms. Jansson's writing and I have to say that getting to know this album has inspired me to start to get to know the Moomin series.

Musically, I truly appreciate the band's wonderful attention to detail and sincere emotional conveyance. I'll ask it again: Why aren't more bands/artists making this kind of music? We should be thankful! We should be rewarding this band!

A-/4.5 stars; a minor masterpiece of progressive music--the kind of music progressive rock should be making. To Patrik and company: I look forward GREATLY to the next installment of the Tales of Mr. Bogd and the Moomins but please take your time: make it as good as this one!

The Barcelona Canterbury Psi-Funk band's second studio album release of 2024, this one from November 22.

1. "Strength" (5:05) some of Eva's sultry pagan poetry played over Ozrics-infused funky psychedelic rock that sounds as if it were a cover of a classic 1960s pop song. Nice lead guitar solo from guest Tony Jagqar in the fourth minute. The presence of creepy Fender Rhodes and sitar add to the occult-esoteric mystique. A charming, promising, top three song. (9/10)

2. "The Hanged Man" (3:31) a percussion-entrenched instrumental that moves through two or three parts with layers of synths and heavily-treated piano washing over the top. (8.75/10)

3. "The Unnamed Arcane" (3:25) an instrumental that was resuscitated from the cutting floor of Tarot, Part I. (8.7/10)

4. "The Temperance" (4:26) another throwaway instrumental that they forgot to throwaway. (8.7/10)

5. "The Devil" (3:23) trying to inflect a little Zeuhl into the Canterbury soundscape? In the third minute Eva's spoken voice reverberates like a 1970s Elvira casting spells. (8.75/10)

6. "The Tower" (3:16) now back to the 1960s--like something from a female-fronted psychedelic rock band like the or Ultimate Spinach, It's A Beautiful Day, Pan & Regaliz, Carol Of Harvest, Earth And Fire, or perhaps Jefferson Airplane. (8.875/10)

7. "The Star" (5:00) a spacey New Age Gong or Steve Hillage song. Lots of Ozric bubbles, erps, stretchy weirditudes and oolite plurnies with and gentle keyboard and guitar apreggi floating around in and around the soundscape. A top three song. (9/10)

8. "The Moon" (5:54) Eva's vocoder voice with more soft-core Ozric-Gong-Hillage sounds built over a straight 1965 psychedelic rock foundation. (8.75/10)

9. "The Sun" (4:42) a decently constructed 1960s pop song with great bass play, Mellotron, and heavily treated (and nicely arranged) vocals from both Xavi and Eva singing in unison. Lead guitar in the fourth minute is performed by guest Tony Jagwar. My final top three song. (8.875/10)

10. "The Judgement" (5:56) sitar and acoustic guitars and dreamy ethereal female whispervocals dominate this simple almost-Prog Folk song. Sounds a lot like the music that Mediæval Bæbes' Katharine Blake continues to make. (8.875/10)

11. "The World" (7:12) another pointless, meandering, needlessly drawn out pseudo-POPOL VUH-like jam with strummed and picked acoustic guitars, sitar, treated piano, and heavily-reverbed female vocalese (mostly aaah's) that achieves non of the transportive/transcendent effect of Florian Fricke's ground-breaking band. (12.75/15)

Total Time 51:50

While still of excellent sound quality and very consistent in terms of sound and stylings when compared to Tarot, Part I, the music here feels more "supplemental," less developed, polished, and/or finished. There are far more minutes of instrumental music--a lot of it what feel like "background msuic" jams--and less of Eva's wonderful vocal stylings and arrangements. Where Xavi and Eva rushed to get this out to the public? Was this really the finished product they wanted to share with their admiring audience? After the delightfully high quality and consistency of Tarot, Part I--on which the band felt like it had grown (since their self-titled 2020 debut)--I had expectations for Part II that are here sharply disappointed.

B/four stars; a decent collection of what feels like unfinished psychedelic covers of classic 1960s hit songs.

3.5 stars. Lars Hollmer will need no introduction to RIO fans out there, considering he was a founding member of Sweden's own SAMLA MAMMAS MANNA, and part of the various off shoots of that band. He had a nice solo career as well, and part of that was his LOOPING HOME ORCHESTRA project I quite enjoyed. This was indeed his final album before passing of cancer in December of 2008. He was diagnosed with severe lung cancer in May of that year. This album was released in 2008 but recorded and mixed between 2001 and 2007.

There are some guests on here like Michel Berckmans on bassoons, english horn and oboe. Next to Lars playing mostly accordion, keyboards, melodica and more, Berckmans is next in line with his performances. Santiago Jimenez adds violin and Andreas Tenberg adds cello, and they both also play throughout this 50 minute album along with Michel and Lars. We do get some guests on single tracks like Morgan Agren on drums, Coste Aptrea on mandolin and Ulf Wallander on tenor sax. Hollmer has three of his grandchildren singing on one song while one of those also sings on the track "Alice".

Having his grandchildren on here, and including on the front and back cover art an inside look at the Chickenhouse which was the studio where Lars lived was sentimental. It's been a long time since I've been so fascinated with an album cover, plus the back when you open it up. All the pictures and items on the walls, the instruments, people etc. just so much to take in. Combine that with the top half of the pictures where we get such a contrast. I mean it couldn't be more perfect. Easily in my top ten of favourite album covers. Then when you open the liner notes and see the two panel picture of the Chickenhouse from outside on a blistering cold morning. Just so reflective and nostalgic, like Lars knew his time was coming to an end.

We get 16 tracks of mostly accordion led music, and this is a melancholic record, so sad a times. Especially that closer that tugs on my emotions with the strings dominating. And while I feel that this is a special album considering the circumstances, the music here is 3 stars in my world. My top two are the back to back "Paztema" and "Prozesscirk". The first mentioned is the first track that I really liked. And a lot of that has to do with the tenor sax from Wallander who I remember from guesting on some of those THE FLOWER KING records. The next song is a little different too with the strings, bassoon and piano leading the way. "Snab"(Fast) is the one with Morgan adding some beats plus this one is brighter and more uptempo than the rest. Lots of piano. "Alice" is somewhat happy with vocals that blend in with the music and mandolin from SAMLA's guitarist Coste Aptrea, and lots of accordion.

This will be going with my 4 star cds because of the pictures and sentiment, despite the fact I'm not that into the music. By the way the Chickenhouse was where bands like VON ZAMLA, SAMLA MAMMAS MANNA and ZAMLA MAMMAZ MANNA recorded their albums but also MIRIODOR recorded some of their "Parade" album there. And I have no doubt that was a thrill for them, being big fans of these Swedish bands I mentioned.

'Seventh Son of a Seventh Son', the seventh studio album by metal legends Iron Maiden, has been on my playlist for well over a year by now. Not sure what to score it, it's been an album I've constantly come back to over and over. It's good. Sometimes it's really good. But sometimes it's regarded as one of Iron Maiden's best releases, and I think that's where it hasn't quite met my expectations.

It's famously referred to as the album where Maiden went more progressive and experimental, not only in song structure but by the use of keyboards. But for me, I don't know. I just can't get into this as easily as I could 'Powerslave' or 'Somewhere in Time'. The commonly referenced keyboards are really nothing more than some backing chords over the guitar harmonies.

Regardless of that however, the musicianship is still of a high standard, and as always, praise goes to Bruce Dickinson's soaring vocals. Despite my thoughts on the album as a whole, there are still some bangers here. In particular, 'Infinite Dreams', 'The Clairvoyant', 'The Evil That Men Do' and closing track 'Only the Good Die Young' are all classic Maiden tracks.

And at barely 45 minutes in length, it's an easy enough album to listen to in one sitting. It's just really not the album I'd choose to listen to in the first place. Sorry Maiden fans. I love the band, and I DO like this album, just not as much as I feel I'm supposed to.

An exclusive look at how this CD came to be:

"Shit guys! The annual fan club CD is due! Quick, chuck some radio edits of our new album onto a disc, that'll do!"

I mean, 'Six Degrees of Inner Turbulence' is a masterpiece, and so there's no faulting the music here, on which is essentially a sampler of said album. But radio edits? As if you'd ever hear of these on any radio stations, anywhere, ever!

'Four Degrees...' is probably one of the most pointless fan club CD's out there, but whatever. It's Dream Theater, therefore it's a must-have for any die-hard fans such as myself.

Opeth is a band that really needs no introduction, so I'll try to keep this brief. They're one of the giants of progressive metal with some of the best albums ever in that genre. Their run from 1996-2008 is nigh unimpeachable.

But ever since Mikael Åkerfeldt decided to move the band away from metal with their 2011 record Heritage, I've been less taken with their music. None of the albums since then have been bad, but they've all just kinda lacked that ineffable spark that makes a truly great record. It's been a lot of decent, fairly heavy retro-prog, but Opeth doesn't really stand out from the field in that particular style. There's even a difference between their recent stretch of records and 2003's Damnation, their first foray into non-metal. Damnation feels much more like classic Opeth than, say, Sorceress. Damnation's contemplative folkiness suits Mikael's voice and songwriting better than his recent attempts at drawing from acts like Uriah Heep and Jethro Tull (or at least Tull's heavier stuff).

The Last Will and Testament, Opeth's fourteenth full-length album, sees the band return to something closer to their classic mid-aughts sound, making this their strongest release in a while. The album tells the story of a wealthy family and their sordid secrets in the form of the reading of the recently-passed patriarch's will. Seven of the eight songs on this record are titled "§1-7".

"§1" has a tense and foreboding opening that wouldn't feel out of place on a song by Åkerfeldt's BFF Steven Wilson. When the verse starts, it's refreshing to hear Mikael growl again, and the increased weight and muscularity of this music is a major improvement over recent efforts. Eerie Mellotron and dashes of jazzy electric piano provide good textural contrasts. 

A sweet string arrangement closes out "§1" before launching into the storming opening of "§2". The organ tone in quieter moments calls to mind Zabriskie Point-era Pink Floyd, providing yet more solid sonic variation to the death metal passages that surround them. Narration of the titular will is sprinkled in. It's part of the story, I understand, but it can still be somewhat distracting. Thankfully, it intrudes relatively infrequently.

"§3" kicks off with a complex and flashy bit of riffage and a bit of jazz flavor. When the verse finally emerges, the rhythm is groovy and rolling. The strings can border on overbearing at moments, but the underlying strength of the composition carries this piece past that distraction.

Jittery bass and a slinky, Middle Eastern-tinged guitar line give "§4" one of the more unique openings on this album. That said, it's also one of the passages that most reminds me of some of their more recent and unimpressive work, especially on Sorceress. About halfway through this song, though, there's a lovely flute solo played by Ian Anderson of Jethro Tull. (Upon looking into it, he also provides the spoken narration on four songs.) "§4" ends pretty strong, with Opeth's heavy and creepy elements trading the spotlight in ways that complement each other.

Things are relatively quiet, though taut, in "§5"'s first moment. Twangy acoustic guitar and angelic backing vocals lend this a unique character within the context of the album. The buildup to this song's metallic section is gradual and natural, and I feel the need to reiterate just how good it is to hear Åkerfeldt's growls in new music. The band incorporates some spooky synth flourishes, and the string arrangements?though again quite forward?feel more appropriately prominent.

"§6" fades in on a slow, growling organ pattern just before high-energy drums give this song an abrupt injection of pep. I really like the contrast of the speedy drumming and more deliberate organ and guitar in these opening moments. The rest of the band eventually catches up, and synthesizer and guitar both get their chance to shine with a pair of flashy solos. An extended quiet section closes things out, and it features some Gilmourian jazz noodling that really helps cool things off.

The will itself (though not the album) ends with "§7". There's an immediate sense of dread in its first seconds. Sparse verses, featuring both flute and narration from Ian Anderson, shifts into what might be my favorite passage on the whole record. A downward synth pattern almost sounds like a siren, adding to the weight of it all. This really feels like a fitting climax to such an important document.

Closing things out is "A Story Never Told". Airy clean guitar turns into a Camel-esque bit of mellow prog (again featuring Ian Anderson's flute). This is the sort of non-metal Opeth excels at. It's contemplative, folky, and melodic. Their attempts at heavier prog on recent releases always felt a little underbaked. They seem all-or-nothing in their musical heaviness.

I went into The Last Will and Testament blind, having purposely avoided the pre-release singles. I also went in somewhat skeptical, based on Opeth's recent track record. I will say I'm pretty happy overall. I wouldn't put this on the same tier as Still Life or Ghost Reveries, but it's an enjoyable return to form for one of the most important modern metal bands.

Review originally posted here: theeliteextremophile.com/2024/11/25/album-review-opeth-the-last-will-and-testament/

After 2011's very acceptable "Fly From Here", which gave Yes' career back some steam, three years later a new release was on the horizon, "Heaven & Earth", the band's nineteenth album and first with Jon Davison on lead vocals replacing Benoit David for health reasons. And the overall feeling the album leaves is that of a wasted opportunity considering the level of its members, with no memorable elements or major attempts to go beyond commonplaces and self- indulgent at times.

The opening "Believe Again" and the resilient "Light of the Ages" are partly spared from the musical orphanage, songs that, although they don't deliver what they seem to promise, have some elaboration and count with the very interesting guitar contributions of Steve Howe, and the beautiful acoustic melody of the emotional "To Ascend" that Jon Davison (yes, it's not Jon Anderson...) sings in the best "Wonderous Stories" style, surely the best piece of the album.

Otherwise, with the very discreet participation of Chris Squire on bass and Alan White on percussion and despite the commendable efforts Howe makes from his place to give more technical richness to the structures, bland and depigmented melodies predominate, such as "The Game", "Step Beyond" and "It Was All We Knew" of accessible AOR- style sonorities, the discreet half-time between soul and blues of "In a World of Our Own", or the jazzy tinges of the concluding "Subway Walls" whose promising orchestrated keyboards by Geoff Downes and some instrumental efforts in between, are not enough to tip the scales positively.

"Heaven & Earth" must be one of the least fortunate albums in Yes' discography, and it is inevitable to wonder how far it makes sense to stretch a brilliant career whose golden years had already passed decades ago.

Expendable.

2/2.5 stars

Review Nº 842

"Pressure Points" is the second live album of Camel and that was released in 1984. It was recorded at the Hammersmith Odeon, London, England, and was also released in the same year. Initially, the album was released only with ten tracks but in 2009 it was released as an expanded edition with sixteen tracks on a double CD. My review is about this last one.

I think we can see some clear similarities between "Pressure Points" and their sixth live album "Camel On The Road 1981". So, let's see why. Both live albums are divided into two distinct parts, the old tracks that belong to the 70's and the new tracks that belong to the 80's. However, while "Pressure Points" is an album more varied with songs from several Camel's studio albums, "Camel On The Road 1981" is essentially a live album based on their eighth studio album "Nude". Buy the other hand, "Pressure Points" is an official live album released in the same year that it was recorded, and "Camel On The Road 1981" is an official bootleg only released in 1997 when it was recorded in 1981.

The line up on "Pressure Points" is Andrew Latimer (vocals, guitar and flute), Ton Scherpenzeel (keyboards), Christopher Rainbow (vocals and keyboards), Richie Close (keyboards), Colin Bass (vocals and bass) and Paul Burgess (drums). Besides them, "Pressure Points" has also, and fortunately, the presence of two ex-members of the band, Mel Collins (saxophone) and their founding member Peter Bardens (organ). But they only appear on a few tracks.

So, my version of "Pressure Points" has sixteen tracks. The first thirteen tracks are the new tracks and the last three tracks are the old tracks. The album is divided into 2 Discs. Disc 1 has nine tracks: The first track "Pressure Points" was released on "Stationary Traveller". The second track "Drafted" was released on "Nude". The third track "Captured" was released on "Nude". The fourth track "Lies" was released on "Nude". The fifth track "Refugee" was released on "Stationary Traveller". The sixth track "Vopos" was released on "Stationary Traveller". The seventh track "Stationary Traveller" was released on "Stationary Traveller". The eighth track "West Berlin" was released on "Stationary Traveller". The ninth track "Fingertips" was released on "Stationary Traveller". Disc 2 has seven tracks: The first track "Sasquatch" was released on "The Single Factor". The second track "Wait" was released on "I Can See Your House From Here". The third track "Cloak And Dagger Man" was released on "Stationary Traveller". The fourth track "Long Goodbyes" was released on "Stationary Traveller". The fifth track "Rhayader" was released on "The Snow Goose". The sixth track "Rhayader Goes To Town" was released on "The Snow Goose". The seventh track "Lady Fantasy" was released on "Mirage".

This live album was the last sign of Camel's life until 1991. It mainly contains pieces from their 80's albums. Even if the majority of the material comes from the 80's, and as all we know, this wasn't exactly a high point in the band's career, a phase in which Camel's albums could no longer match the earlier classics, but the selection of songs is good enough to provide a very good and interesting listening, especially because and fortunately most of the songs are from their better albums of the 80's, especially "Nude" and "Stationary Traveller". Even from what is in general considered the weakest of all studio albums of Camel "The Single Factor", one of the few great tracks on that album is included with "Sasquatch". So, we have here almost all the respective highlights of Camel in the 80's united on one single live album, apart from some tracks from the classic era. The pieces are pretty close to the respective originals, but overall they seem to be played with a lot more pressure, especially Andrew Latimer's cutting guitar comes into its own better than in the studio recordings. The sound quality is good and the booklet contains an interesting outline of the band's history.

Conclusion: As I wrote above, "Pressure Points" has two distinct musical parts, the new and the old tracks. In relation to the new tracks I think we can see some similarity with "Camel On The Road 1981". All the live versions are good but they aren't as different as they should be, and in my humble opinion, they brought practically nothing new to this live album. The old tracks are three of my favourite tracks of Camel and I must confess that they're all great live versions. Here, we have also the participation of Mel Collins and Peter Bardens, which is a value added to this live show. "Rhayader" and "Rhayader Goes To Town" are absolutely great versions and where the main interesting thing on this live performance is the presence of the saxophone of Mel Collins. For me, this is the first time I can hear "Rhayader Goes To Town" performed with the sound of a saxophone. "Lady Fantasy", behind be one of the most beloved tracks of their fans, is the closing theme and is the highest point on this live performance. "Pressure Points" is, in my opinion, a better live album than "Camel On The Road 1981" is. However, it isn't as good to be rated with 4 stars. As happened with "Camel On The Road 1981" lacks to it some creativity, energy and capacity of improvisation. Yet, if you like, as me, of Camel's sound of the 80's and you need to have a live album from that period, "Pressure Points" is a good purchase.

Prog is my Ferrari. Jem Godfrey (Frost*)