Swazi I saw Edman fronting the Touch "reunion" (sic - only one original member) at Firefest a few years ago, and it is curious cause apart from the sad look he was quite voiceless at least that day, and boy Touch/Craig Brooks pipes are indeed hard to follow....
George, most likely you would be very disappointed after you saw this band play live, at least with Göran Edman as their frontman. I am sorry to say that he is dreadful on stage with a great voice, but with as much charisma as a broom.
Î think Alessandro is the reason why all Frontiers releases sound similar after a while. A fact that recently has been complained quite a lot about on this site. Well, not much of a surprise ... he produces most of them ...
I agree to everything GtJ said above, except that I am not that convinced of Alessandro's "capable" voice.
For some reason I've always preferred 'Magical Mystery Tour' and 'Abbey Road' over 'SGT Pepper's' when listening to late period Beatles, but this album is a hands down monument of progressive pop and where would rock music be without it?
There seems to be at least 2 other Sue Saad And The Next unreleased tunes in circulation, NOT included among the bonus tracks on the Renaissance reissue: "Kamonbaybeh" (B side of a few editions of the Gimme Love/Gimme Pain single and also of the Won't Give It Up US one) and "Double Yellow Line" off the Roadie OST!
To set the record straight, Saad's contributions to the Looker OST (Looker single and its b side Highwire) and the Radioactive Dreams OST (4 tracks) were all credited to Sue Saad only, not SSATN.
Who would've thought.. a Beatles album here on GDM. But Malcolm is dead right, this LP changed the game for the rest of the pack to follow. 'With A Little Help From My Friends' and 'Lucy In The Sky..' are genuine classics. Enough said.
I'll edit it then. I remember reading some stories about how the Non Christian and Christian factions of the band essentially caused the band to fracture. It must have been difficult on the 'Audio Visions' tour. Oh to be a fly on the wall.
"O Father"'s GG intro features from 00:20" a passage from the latin hymn "Dies Irae". This dark and chilling theme was previously used in rock by UK band Argent on the song "The Coming Of Kohoutek" and in OST world by Wendy Carlos for the famous "The Shining" flick opening sequence/main theme!
I have to totally agree with George on this one. I assume this would have originally been released around 1991. And it's one I would have played a bunch if it had been and I'd actually heard of these guys. I just ordered the debut (never heard anything on it), so I can't comment on it yet. But this is pretty great stuff. I agree that it has a production that is missing these days. My one regret with this album is that it was actually recorded long ago rather than being a new band who managed to record an album that sounds like this. Not too many albums come out these days that capture this sound (FM comes close, I think).
As for the material, this falls right into the territory that was occupied by Michael Bolton, Paul Sabu / Only Child, Giant, FM, possibly Strangeways, and probably Dare (not as familiar with them as I should be). Possibly The Storm, but that's more a case of similar quality rather than actual sound. I'll throw Sammy Hagar in there too, as King sounds like a more refined Hagar at time (I think Sabu sounded kinda like Sammy as well). That's all pretty heady company, but I do think this album compares favorably with those of the artists I mentioned. Time will tell, and we're hearing this close to 30 years after the fact. But I think you can throw it in the mix with those albums from long ago and be assured that it'll fit nicely and give you some songs you haven't played hundreds of times.
So, if you're the type of person that likes to discover new music but is not overly impressed with most of what is coming out these days, I believe this is one you should investigate.
Like all of their recent albums, this is as good as it gets when I'm in the right mood for it. I'd give it the same 9.0 that I'd give everything since 'Come To My Kingdom". I like the keyboards in this one quite a bit; they're quite impressive in several places. It may be a little lighter than some of their albums, but not by much to my ears. I think the arrangements are just a little less dense overall. I don't hear as many absolute killer tracks as a couple of albums have had - the kind that would have been radio hits back in the day. But this is definitely another winner by these guys.
Great selection! I love especially Van Halen ( I enjoy also Women and Children First, almost like the legendary debut), Aerosmith (ah, Rocks!!!!!!!!) and Cheap Trick!!!! I like also Ted Nugent, but personally I prefer Double Live Gonzo!
By this point, their 3rd effort – they had adopted a more commercially oriented sound. The incorporation of big pounding drums (check out ‘Be With You’) and a thicker production arrangement made for an arena-like projection, similar to what Heart was up to in the mid-80’s. However they didn’t leave their hard rock roots behind them, both ‘Don’t Matter What You Say’ and ‘Hot Stuff’ are chargers with extra edge. You can never go wrong with the pipes of Darby Mills at the helm.
Having the prolific Beau Hill onboard and enlisting the help of some proven industry musicians boded well for this second album. Notable Tracks: ‘Comfort Of Strangers’ with it galloping tempo, female background singer and catchy chorus. The opening single worthy melodic hard rocker ‘Here Eyes Don’t Follow Me’. ‘Shameless’ is just straight up hard charging. Pop metal is keenly explored on the spirited ‘Before I Get Old’.
How have you missed to review this up until now George?
Excellent album. JSS has never sounded better than how he sounds here imo. Cheyenne is a treat to the ears and one of the finest AOR songs I have ever heard that justifies the purchase of the CD alone.
Alessandro is a very talented individual especially when it comes to producing and mixing. He has listened a lot of music and he's one of the most hard-working and recognizable figures in the scene at the moment. I consider him one of the best producers of his generation. He's also a great keyboardist as well as he possesess a very capable voice. I'm not too fussed about his songwriting though plus I think he is not doing good to his career with all this recent overexposure, being a part of litterally everything that comes out.
After spending a bit of time researching the Tiger Lily label this week, I found out that Stonewall were based on Long Island, and were in fact the Studio 'House Band' for Roulette Records. The album was recorded over 9 days in February 1974, but wasn't released by Tiger Lily until 1976. That would make sense, because all of Tiger Lily's other known releases came out in 1976 also. We probably should change the year from 1974 to 1976 accordingly, as well as the cover art.
Rostoned, I'm thinking that Terry (@WB ) didn't even know about those additional tracks. Come to think of it, many of WBs' releases have never included bonus material. They've just taken the original album, and run with it.
Laurie And The Sighs oddly released a non LP single in 1980 with two unreleased tunes, a Roy Orbison cover on A side and an original tune "Sympathy" on the flip side. To add confusion the artwork of this UK/German only seven inch reminds of the LP artwork even if it is not featured on it! Also a mystery and a disappointment why the WB CD reissue did not feature this two tracks as a bonus, since they were originally on Atlantic too.......
I believe the guy second from left on the front cover is Erik Cartwright, who joined Bux after they briefly reformed in 1974 following Punky and Mickie leaving for pastures new. Cartwright joined Foghat in 1981.
Craig Hull also plays on the 1983 LP for Warner Bros, by a bloke called Josh Leo, the album being 'Rockin' On 6th'. Might be worth having a look for this, as the songwriting credits includes Wendy Waldman, Bryan Garofalo, and a host of big name contributions. Check out Discogs. Thanks to Chris Mayek for the find.
For me Pomp is epitomized by Roadmasters "Sweet music", Zon "Astral projector". They are also among those albums that I just can't get tired of.
Great to see Avalon in the list, awesome album.
Starcastle, great Pomp/prog.
Saga's "Silent knight"....Their best imo. Among so many Good albums in their catalogue. Favetrack; Help Me Out. Had Never heard Everest before. Checked it out after reading the article....All I can say; thanks for that One!
Little river band can be proud of having 3 great singers in the same band.And when they sing altogether is like hearing angels from heaven haha....
Graham goble is an amazing composer ,he hasn´t done a bad song in all his career!
Silent knight is a work of art ,and for me the album that defines their sound.Worlds apart is near but i always felt that this album is special.
Turn off the lights ,relax , and don´t loose any detail ...keyboard heaven
I'm with Carl on this one this album Infinite is not one to avoid IMO but one to enjoy...Everyone's taste differ so make up your own mind. I for one love this disc and give this band a hell of a lot of credit putting out albums this good in their 70'S.
Here's Pete Pardo of Sea Of Tranquility's review for a different opinion on it.
Where's the excitement then? I don't hear it. Yeah they aren't going to sound like they did in 1972 or 1984, but this is run of the mill stuff and as a Purple expert that's my take. There's probably three tracks here worthy of classic Purple. The rest doesn't even come close.
Not an album to avoid at all, it's great that they are still putting out solid albums after so long in the business.They don't sound like anyone else and this is worthy addition to their catalogue. Of course it won't appeal to everyone but I truly hope people with any interest will at least give it a try rather than taking the review above as their decider.
At the time I thought this was RRs last really good album. When Breaking Curfew came out after it I was more than a little disappointed, but in time I grew to kind of like that album too..even going as far as finally getting BC on CD. The version of Neruda I bought later when eventually released on CD actually has 3 bonus tracks a coupling of Light In the Tunnel/Human Race one being slightly shorter than the album version and one slightly longer and the two being coupled together instead of the Tunnel & Power sequence on the original album. The other extra tracks are White Hot and Lunatic Fringe one each from their previous two releases. The later releases released as Tom Cochrane & Red Rider had Tom stepping into the limelight a little more but personally (rightly or wrongly) I kind of count Breaking Curfew as the last Red Rider album per se - even though they are all stored next to each other in the old racking.