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Wednesday, October 26, 2016

Steve Hackett - Spectral Mornings (Deluxe Edition)

When Steve Hackett left Genesis in the summer of 1977 after an amazing three-night performance they did at Earls Court Arena at the time they were promoting their eighth album, Wind and Wuthering he knew he wanted to move on and see what he will do next as a solo artist. He always wanted to push forward with the release of his debut album, Voyage of the Acolyte released in 1975.

His next album in which was his third after the release of Please Don’t Touch was Spectral Mornings. It’s considered one of his best albums that he released in the late ‘70s. The album was recorded in the winter of discontent in the Netherlands in a studio called Phonogram Studios. He and his band mates worked day and night recording the album and you can imagine the intensity making this whilst not getting much sleep.

Even though the work was hard and difficult, Steve knew something special had happened with Spectral Mornings. Originally released on the Charisma label and reissued in a 2-CD/DVD release that features the new stereo mix done by Steven Wilson that gives it a clearer sound from the original mix, it was part of the 10-CD/4-DVD release of his years with the Charisma label from 1975 to 1983 entitled Premonitions released last year, it shows not just his playing, but it was the way that he knew where he wanted to go.

You can the sense of humor with the dosage of the Music Hall with a bluesy harmonica roar done by Hackett himself along with vocals and walking into the streets of Brazil with a bossa-nova and having a blast on his comedic timing throughout The Ballad of the Decomposing Man. Taking inspiration from the memoirs of Lord Dowding who was the commander in chief of the battle of Britain, goes into deep dark territories as Hackett channels his inner Crimson ideas as Nick Magnus uses the synths for the war background noises and turned into a mini-operatic feel about one day returning after the war is over one day with Tigermoth.

Not only it’s a progressive album, but it shows Steve’s opening to the doors of world music. On The Virgin and the Gypsy, it’s not only a beautiful track with folky melodies, but walking through the Asian landscape and you can close your eyes and visiting the country and witnessing historical landscapes thanks to his brother using the Chinese bamboo models of the Flute. Steve would use the Koto and with help from Nick of the Novotron bring an ambient atmosphere on The Red Flower of Tachai Blooms Everywhere.

The ticking sounds from Hackett’s guitar and Nick’s keyboards as John Shearer’s drums comes bursting through where Genesis could have gone, is a walk through this clockwork-like mansion with a puzzling tunnel by knowing where the right location is to be free from this maze on Clocks – The Angel of Mons. The three bonus tracks on CD 1 contains single versions of Every Day which to me is Steve’s homage to Kansas, Clocks – The Angel of Mons, and The Caretaker was a humoristic joke from the mind of Peter Hicks.

In the bonus track, he is complaining along with some nasty coughs in the way, the loud noise and the mess that the band did while working on the album. It’s funny and again Steve has an amazing sense of humor when it comes to music. The 2-CD/DVD set contains a foreword note by Steve himself along with an interview with him about the making of the album from the 20-page booklet by Mark Powell. It contains photos of him, single releases, and in the package, promo tours, and posters for his tour promoting his third album.

If you love the original 5-piece era of Genesis, then this is something that needs to be in your shelf, big time of where the band could have gone to before going ‘80s pop. Spectral Mornings is for me in my opinion one of my favorite albums from Hackett himself and it’s a crowning gem.

Tuesday, October 25, 2016

Syd Arthur - Apricity

From the moment you hear the mid-tempo running sound of the drums, synths, and the vocals of “Nowhere to run/the world will find you/six degrees of separation from you/I’m not moving until the sun shines on me.” You get the feeling that someone is watching you and you are on the run from the wolves of prey and hiding from them until the sun is up to make sure that the coast is clear on the title track. It’s quite interesting and a new direction from the realm of Canterbury’s own Syd Arthur.

This is their fourth release on the Harvest Records label and while it is a diverse album, they still carry the progressive touch throughout their music. I’ve been a big champion of Syd Arthur’s music since 2012 when I read about them in an issue of Prog Magazine and bought their second album, On and On. And the rest is history. They have supported acts including Paul Weller of The Jam, Sean Lennon’s band The Ghost of a Sabre Tooth Tiger, and Yes.

They have been very busy lately during those few years to be the headlining act with such amazing bands/artists for those three including performing at SXSW (South By Southwest) and Coachella. You can’t deny these guys. There is absolutely no way in hell you can’t deny them. They are damn good. When I listened to their new album entitled, Apricity, I was nearly in tears from the moment I put the CD on.

As I’ve mentioned earlier, it’s a diverse album and while they want to keep the Progressive and Psychedelic touch, it has an early 1980s vibe to their music and I absolutely love what I’m hearing. There’s also a different line-up in the band. Fred Rother left the band as the Magill’s brother, Josh takes over Fred’s duty on the drums. Syd Arthur for me, is not just a band, it’s more like a family unit that keeps the wheels going for the end of time.

Coal Mine starts with a fade-in awakening between keyboards and epic guitars. Enter in the acoustic/electric melodies and deep into the jazz-like rhythm with a dancing groove along with the violin. It’s a futuristic kicker and with melodic guitar lines/rhodes, you are the bird flying away into the sea and bringing some kind of treasure and knowing that what the world has become, is not what you think.

Plane Crash in Kansas is back into the mind of their second album. It feels as if it’s a continuation of First Difference. With some ‘60s organ, guitars, and incredible drum work by Josh as the rising beats get into some touches like something straight out of the John Hughes films in the 1980s from The Breakfast Club with No Peace. The afterlife can be an emotional turn as it tugs your heart with another rising rhythm from the drums, guitars, vocals, and synths as lyrical touches hit you inside to space and the sacrifices we make.

I’ll meet you on the other side/said it’s gonna be alright/brother don’t you cry said it’s gonna be right/I’ll meet you on the other side said it’s gonna be alright/there is a trap door to my heart.” You can’t write amazing lyrics like that with a journey into the afterlife of outer space for the Sun Rays. The ominous yet eerie ambient noise grows into an alarming yet mourning tone as you head Into Eternity.

Keyboards and Guitar handle the melodic warmth as your life is looking forward as you are on the top of the mountain to see the sun in all of it’s glory and knowing the next chapter is ready for you. The music nails it down to know your future is ready for you looking out. Rebel Lands is another mid-tempo beat. Swarming guitar introduction and drums set to the tempo of another dystopian atmosphere of a young man who’s from a troubled time and witnessing what is happening right now in his country.

He wants to get away from it and start a new life by travelling and focusing on not making this mistake and knowing it’s going to be okay. Syd Arthur takes you into the militant drums, oceanic waltzes, and taking you into the distant places thanks to the acoustical folk-like rhythm before kicking into a driving beat for the Seraphim. It’s very classical thanks to the string-like keyboards setting this aqua adventure.

The thumping beats keep on growing and growing. Here on the instrumental, Portal, the synths reminisce at times of Devo’s late ‘70s/early ‘80s style of the Post-Rock and Psych approach to take you on another journey to where you never seen before in your lifetime while Evolution draws into a heartbeat bass drum effect and echoing reverb effects of the vocals. With eerie hopes for love and sorrow, it still grabs more and more for swirling guitars to come flying in.

Dark, somber, art, and psych, Syd Arthur show there is no sign of stopping and the sound is essential and emotional. This here is another follow-up that needs some more recognition and deserves my stamp of approval that they have come a long, long way. Get ready for another journey with the band and hold on tight for Apricity.

Monday, October 24, 2016

Opeth - Sorceress

This is Opeth’s 12th studio album released this year entitled, Sorceress. It’s been many years since Opeth released their 2003 album Damnation and it was a radical departure from their Death Metal roots and moving forwards into the Progressive territory. Some people may not be happy with the moving away from their early days and into that sound. And it’s become a dividing line in the sand whether to accept their Death Metal or Progressive Rock sound.

Now for me, I love both of them (Death Metal and Progressive sounds). And Mikael Akerfeldt is moving forwards and he is not going back and not everyone has to like it and everybody has an entitled to their opinion. He is also a very busy man alongside with Opeth by working with Steven Wilson on the project they did with Storm Corrosion and working with Steve Hackett on Genesis Revisited II. With the release of their new album, it’s diverse and it flows very well.

It is folky, proggy, and metallic. It is all connected like a giant smoothie. You have Will O The Wisp which is a moving 3/4 time signature waltz in a beautiful yet dark sounding in the style of the late ‘70s/early ‘80s of Jethro Tull’s Folk-Rock era while Sorceress 2 features gentle acoustic melodies with a prog-folk background featuring the mellotron. Mikael’s vocals are double-tracked through a leslie speaker in the styles of Black Sabbath’s Planet Caravan.

Chrysalis is heavy rock at its finest. I love how the duel between Fredrik’s guitar nad Joakim’s blaring organ followed by Mikael’s riffs are just like a match between who will in the race in the styles of a Deep Purple groove of the MKII-era while Era is a fast driven styles of the New Wave of British Heavy Metal (NWOBHM) with fast rumbling guitars and galloping drums delving into the night sky.

Strange Brew features solos between Mikael and Fredrik. It features an ominous opening with double-tracking vocals followed by an insane midsection as Opeth go into Interstellar Overdrive. Meaning Fusion meets Rock Progressivo Italiano (RPI) before ending in crying battle of the guitars. Taking inspiration of Family’s second album, Entertainment, The Seventh Sojourn which sounds very much like an Ingmar Bergman film, features middle-eastern rhythm and lead acoustic guitars.

And a string section also as you as a listener can imagine yourself walking through the Isles of the Egyptian Deserts and seeing the pyramids before ending into a Floyd-sque finale of the styles from The Narrow Way from the Ummagumma album. The Wilde Flowers is an homage to the archetype of the Canterbury scene of a group between Caravan and the Soft Machine. But this track isn’t Canterbury related.

More of spirited and vital approach of a harder rock sound turned into the finale twists of Radiohead’s OK Computer-era as the opening track gives Opeth an homage to Ennio Morricone in the styles of the spaghetti western scores of the late ‘60s vibe as if it’s a continuation of the final chapter of The Man with No Name who is now gravely old, is returning for one last battle on Persephone.

I also enjoyed how on the title track there’s this fuzztone sound probably either on the guitar and the organ. It’s this sonic harsh tone from the fuzzing pedal box and not just with the heavy riffs that goes with it, but the textures in the styles of Mike Ratledge as A Fleeting Glance features the harpsichord with whispering vocals along with a structure of the early Floyd and Medieval-Psych rock for the first few minutes.

Opeth know their influences very well. The closing track, Persephone (Slight Return) is a nod to Jimi Hendrix but it shows that the sorceress has calmed down as the haunting piano fades into the darkness. I enjoyed this album very much and while I’m not a big Opeth fan, this is another crowning achievement for them and it’s not just Mikael’s band, they work together as a team.

The Far Meadow - Given The Impossible

The Bad Elephant Music label has now been one of my favorites this year. With not just The Fierce and the Dead, Trojan Horse, The Rube Goldberg Machine, Matthew Parmenter, and Mike Kershaw to name a few. It’s always looking through to see what the label would cook up something special in their experiments of interesting releases. One of them has landed on my lap is a five-piece symphonic progressive rock band from London called The Far Meadow.

They have released their second album this year entitled, Given the Impossible and with a different line-up change it considers; Marguerita Aleandrou on Lead Vocals, Paul Bringloe on Drums, Keith Buckman on Bass, Eliot Minn, and Denis Warren on Guitar. I can hear influences between Magenta, Yes, Cardiacs, Moulettes, MoeTar, U.K., and Frank Zappa.

The music is comprehensive, wacky, and vivid. For me, Marguerita is very much like a new Captain of the ship as she takes the listener on The Far Meadow’s ship to explore other worlds. Prove It Then opens the album with a gentle walking acoustic folky melody. The lyrics are very Randy Newman-sque before resonating with the drums and guitars before seguing into Hang On.

It makes you feel that you are embarking for lift-off with melodic and weird rhythmic beats thanks to the odd time signatures they would do as Marg and Eliot share a vocal in one of the sections of the compositions. It has a Knifeworld direction. Eliot’s vocals comes to mind at times of Kavus Torabi in that little moment. Then the Industry knocks the door down with a hardcore punch.

It feels like The Far Meadow recorded this composition in Pee-Wee’s Playhouse or on a flying ship with a Danny Elfman approach a-la Zappa and Cardiacs with the Moulettes thrown into place. Keith’s Bass is the engine and the engine sounds like going through a clockwork museum as Marg’s voice resembles Christina Booth (Magenta) and Moorea Dickason (MoeTar). The Piano concertos to Yes-like synths it’s one of those moments that you makes you want more.

I also love in the song Dinosaurs where in the midsection of the piece Warren is honoring the styles of Robert Fripp thanks to Eliot’s swirling synths and channeling the twists and turns of the eras of King Crimson’s Red and THRAK while A Gentle Warrior is dealing the story about the Bombe machines of the Wrens (WRNS) at Bletchley Park. It was a electromechanical device that was ahead of its time, that was used during the First Battle of the Atlantic with decoding Naval Enigma messages by helping with allied forces against U-boats.

The music itself tells the story about what was going on as keyboards at times bring to mind a Pan Flute a-la Gheorghe Zamfir. The 15-minute epic, Himalaya Flashmob is a conceptual piece about an adventurer who challenges herself to climb a peak up in the mountains of the Himalayas. But the challenges she goes through are difficult with a limited low on oxygen and deteriorating rapidly in the worst conditions. But she’s not alone.

I love how there are Yes-like boundaries in there but the mysterious midsection, in the ambient scenario, we have moving piano improvisation from Eliot as Eric goes into survival mode on his guitar with a Gilmour-sque vibe in the essence of Pink Floyd in their later years. The band give Eliot a chance to go into some soft, warm, jazz improve of a ballad with a tribute to the late great Keith Emerson as Buckman’s Bass is waiting for the moon to rise on Letterboxing.

The Seamless Shirt is the finale on the album. Not only it pays homage to Simon and Garfunkel’s Scarborough Fair for a few minutes, but the beats are driven and armed to go for one more drive to see where The Far Meadow will had into next. Given the Impossible might be worth you alley that you might want to take note to see where they have come a long way and this is an album that not just took me by surprise but it almost made me want to go again, again, and again.

All in all, an album that is worth checking out and highly a must listen to album if you love not just the wacky side to The Far Meadow's music, but a symphonic and driven beat.

Wednesday, October 19, 2016

Dewa Budjana - Zentuary

It’s always neat when a package from MoonJune Records is in the mail for me. I know my ear is always ringing for something exciting. One of those artists I’ve always championed is Dewa Budjana. With five albums now in the can, he never disappoints me with his virtuosic guitar playing. This year, he’s released his sixth album entitled, Zentuary. Released on Steve Vai’s label, Founded Nations Entertainment and produced by Dewa himself along with his company Museum Gitarku and MoonJune Asia, it’s a perfect combination to be on Vai’s label.

Dewa brought some helping hands including Bassist/Chapman Stick Tony Levin; Keyboardist, Pianist, and drummer Gary Husband, and Drummer/Pianist Jack DeJohnette. But there’s more. It’s not just a 2-CD set release, he has Danny Markovich (Marbin), Guthrie Govan (The Aristocrats, Steven Wilson), Risa Saraswati, and the Czech Symphony Orchestra to name a few. Dewa is lending a helping hand to show support and believe me, they got his back, big time.

The term, Zentuary came from combining the words “Zen” and “Sanctuary”. It’s a lifelong journey that Dewa has embarked on through his musical path. He’s come a long, long, long way from where he is. It’s an emotional adventure between the happiness, sadness, and rising up to the difficult challenges he’s come through. Listening to this album, you can just see that he’s been there from day one and as I’ve always say, there is no stop sign for Dewa Budjana.

I picked a few highlights on the album that I picked that showed Dewa is not doing this for himself, but he wants to give the artists creative freedom and do whatever they want throughout their improvisations. Rerengat Langit (Crack in the Sky) which is Dewa’s take of Stick Men’s composition based on poems by Tony Levin, sees Risa Saraswati going through spoken dialog in the styles of Jane Birkin.

The music itself it has a late ‘60s/early ‘70s touch with a Serge Gainsbourg feel in the vibes of Histoire De Melody Nelson. Uncle Jack gives DeJohnette, an intense acoustic piano work that you could have jaws-dropped at the right moment while Dear Yulman shows Dewa paying tribute to not just John McLaughlin, but paying tribute to the Mahavishnu Orchestra.

The melodies and sitar arrangements are realistic followed by the synth-spacey atmospheres contacting home from the outer limits in the styles of the Dance of the Maya. Danny Markovitch does a guest appearance on one of the tracks which is Ujung Galuh. His curved soprano sax is in full front as he takes the listener followed by Dewa, into a trip into the islands and filled with love as the immense and deep evocative composition of Suniakala featuring the Czech Symphony Orchestra and Guthrie Govan to the front, an awe-inspiring moment.

Guthrie is not showing off, he is taking you by the hand through his fret improvisational solos and going through each of the several doors he opens to the listener and finally seeing a giant light that is glowing brightly before an acoustic finale done by Dewa himself. Manhattan Temple is a trip down back to the Big Apple featuring Tim Garland’s sax journey through the streets of New York followed by the fast-revolving moog synth by Gary Husband. And near the end of the last few minutes of the composition, Budjana and Levin fade off into the nighttime sky between guitar and upright bass near the end of the composition.

Zentuary is a memorial, spiritual, and honorable release from Dewa Budjana. He’s never let me down through his guitar playing. He is still going on and I hope he continues to do more for the years and years to come. My top 30 albums of 2016 is really going to have some competition this mid-December and he’s definitely going to be on the list. 

Monday, October 17, 2016

The Anchoress - Confessions of a Romance Novelist

This is for me one of the most promising multi-instrumentalist and vocalist where the combinations between Art Rock, Indie Pop, and Alternative Rock are in one. Here name is Catherine Anne Davies, simply known as The Anchoress. Her debut album entitled, Confessions of a Romance Novelist released back in January of this year on the Kscope label, is one of my favorite albums this year. With help from co-producer Paul Draper of Mansun, it delivers, it catches, and it reaches, and touches you.

With receiving word of mouth from MOJO, Prog Magazine, The Quietus, and NPR, followed by winning this year’s Limelight award for the Progressive Music awards, she is definitely getting a lot of recognition and in my opinion, she is talented, emotional, and touching. I knew right from the beginning hearing some of the sample tracks including watching a music video with her duet with Paul Draper on the ‘80s ominous synth-art rocking delivery of You and Only You on (no pun-intended) YouTube, I knew I had to buy this album.

And I did. It’s these stories that are song written and it’s all in Catherine’s brain and she’s good at brainstorming through her lyrical boundaries. The homage to the Funk-Rock groove styles of early Stevie Wonder from the golden-era of the 1970s a-la Motown style with a team up between him and Jeff Lynne to create a soulful pop ascending deal with the occupation on not making it towards the big time with the Chip On Your Shoulder.

The up-tempo beats on dealing with while being stabbed in the back, revenge can come at you with a heavy price as a dish served cold thanks to some amazing catchy melodies that Catherine does on What Goes Around and the psychedelic wonders of reminiscing of the Beatles thrown in of the damage they caused towards of an abusive relationship with Doesn’t Kill You. The Anchoress digs deeper into risky and heavy subjects in her lyrics and she nails it.

On the Tim Burton-sque lullaby turned ‘60s punching percussion rhythm, punching guitar rhythms, organ, clapping sections, and vocalizations deals that once you get married, you find out that you are living in one big gigantic lie that you’ve been fooled the entire time with One For Sorrow and leaving the loved one who finds out is nothing but letting their loved ones down with intensity on P.S. Fuck You.

Again, Catherine digs, digs, and digs deeper into the roots of these situations. She can hit those notes in her voice that is right in front of your face including the last moment of life as to say farewell to your only child who sang to you and knowing there’s no turning back of the struggle of moving on and ominous chord progressions on the piano for Bury Me.

All in all, Confessions of a Romance Novelist is one of the most powerful, emotional and heartbreaking albums I’ve listened to. I can quite imagine this as a film score that Catherine wrote along with Paul Draper to witness what is happening behind the novelist eyes on what she sees. I can’t wait to hear and see what Catherine Anne Davies will think of next.

Sunday, October 16, 2016

Yes - Tales From Topographic Oceans (Definitive Edition)

It’s one of those challenging albums that grows on you. It’s up there with Captain Beefheart’s Trout Mask Replica, Electric Light Orchestra’s Out of the Blue, Magma’s Mekanik Destruktiw Kommadoh, and Jethro Tull’s controversial magnum opus, A Passion Play. Yes’ sixth controversial album released both in the UK and in the States between 1973 and 1974, has divided lines in the sand between fans whether they will appreciate it or not. It also marked the beginning of the end of the Progressive Rock genre.

When this album was released during that time period, it was savaged by some of the critics, but it went gold in the UK selling 5 million copies that skyrocketed in the charts at number 1 and at number 6 in the Billboard charts. But this was also the album that Rick Wakeman would later leave in disgust during one show he would eat some curry in Manchester during the promotion of the album and would later would release his classic live album recorded at the Royal Festival Hall, Journey to the Centre of the Earth.

But let’s get to Tales From Topographic Oceans. For me, it took me a few listens to adore this album. When I first heard this when I was in College, I didn’t like it. I thought Yes had crashed their boat with these insane ideas of making these songs 20 and 18-minutes long in four tracks. I thought they had run out of steam. But then, I listened to it again and again. It’s one of those albums as I’ve mentioned, that grows on you.

Sure it’s pretentious, it’s self-indulgence, it dinosaur music, but I love each and every bit of this. This year, the 3-CD/Blu-Ray set of the Definitive Edition shows that it is finally getting the recognition it deserves thanks to Steven Wilson’s new stereo and 5.1 mixes of this album. This was three years in the making for Wilson to do thanks to his amazing mixes he’s done with Jethro Tull, Gentle Giant, King Crimson, XTC, and Steve Hackett to name a few.

It’s a big challenge for him to do this ambitious project to clean it and make it clearer to make the instruments come in front. You have the original flat transfers, the UK and US needle drop vinyl transfers, instrumental mixes, single edits, studio run-through’s, and a rare live recording of a performance in Zurich, Switzerland in 1974. Wilson himself has done another spectacular job of giving Tales another chance.

Taking the inspirations of Paramahansa Yogananda’s Autobiography of a Yogi, thanks to a conversation Jon Anderson and King Crimson’s Jamie Muir were having during Bill Bruford’s wedding. The book tells the story of a spiritual journey with different levels and divisions between the Hindu scriptures. The music tells the story of going a magic carpet ride between these worlds that you’ve never seen before thanks to the amazing artwork done by Roger Dean.

I love how the intensity throughout the section where it becomes this weird-out improvisation between Chris Squire’s wah-wah Bass, Howe’s guitar, and Wakeman going into a frenzy on the Moog before relaxing into the atmospheric voyage on his Mellotron on The Ancient Giants Under the Sun. With mixtures of classical between Sir Edward Elgar as to prepare for the next adventure and stop-and-go moments, you can close your eyes and the thunderous moments that hits like at you with voltage coming at you out of the blue.

Alan White who took over Bill Bruford after his departure to join up with King Crimson during the Close to the Edge tour in 1972 on drums, is still killing it on the kit and he’s not trying to be Bruford, but he knows where the band wants to go into next during those moments in the compositions. It’s evidential on Ritual Nous Sommes Du Soleil.

Anderson’s scatting, followed by the speed-driving rhythm between Squire, Howe, White and Wakeman, it’s spectacular of heading back to our home planet. The voice and Howe’s melodic guitar, sends chills down my spine before the avant-garde twist in the last 7-minutes of the piece which shows White in full force on the percussion and drums.

He is not just all over the place, he can bang those percussions like a cannon going off before the nightmarish Mellotrons and chaotic Synths come into place. It is the “Holy Shit” moment right there! It’s insane, unexpected, but mind-boggling at the same time. The vocals and instruments are very clear. Gone now is the first two minute ambient introduction of The Revealing Science of God (Dance of Dawn) as Anderson sings “Dawn of light lying between a silence of solo sources/chased amid fusions of wonder/In moments hardly seen forgotten.

The harmonizing vocalizations, and setting off for an adventure setting for lift-off, it is a wonderful way to start it off with a bang. The watery yet beautiful effects take you into the deeper dark caves for a chance of searching for one self is where my arm-hair went up a notch on dealing with the impressed mind for The Remembering High the Memory. This was an amazing reissue that the Pangyeric label has done along with the other Yes albums (Close to the Edge, Fragile, The Yes Album, and Relayer) have done.

For me, it’s a perfect gift for Hanukkah, Christmas, or for your birthday. The set contains the mini-LP formats including the original LP gatefold sleeve which includes the lyrics and story of the album along with the band performing the promotion of this album. A 20-page booklet features liner notes done by Sid Smith, notes about the audio sources of the album and the set up information of the Blu-Ray disc.

It contains pictures of the band, tickets, rough draft sketches by Dean of the stage sets for Topographic Oceans, posters, a Hot Air balloon to each venue of the ’74 American tour, and New York area shows between Nassau Coliseum and Madison Square garden of a full-page advertisement, and international LPs. I have enjoyed what Wilson has done with this album.

And I’m very pleased with what the New Stereo Mixes has accomplished to as I’ve mentioned get the recognition it deserves with some clarity and cleaning up from the tapes. And as Jon Anderson says, “And I do think very well, that the song might take you silently that move fast/they tell me/there’s some rainbow alternate tune.