**** Without a Net by the Grateful Dead – No Drugs Necessary to Enjoy This!

First, of all, I am not much of a dead head. I have never seen them live. I don’t do drugs. However, this is a really good concert. Phish is better, but the Grateful Dead was a good prototype. There is more to Without a Net than just humdrum scatterbrained sound. The Grateful Dead are definitely talented, and their improvisational skills shine through on Without a Net. Is this the Dead’s best? I’d have to say, “No.” However, this one is up there as being one of their better efforts.

What interested me in this disc was the Grateful Dead’s inclusion of “Eyes of the World” on the band’s greatest hits compilation from the Arista Years. I later learned who Branford Marsalis was, and that would happen to be that he has been one of the most influential musicians ever; captured in this song on saxophone. I figured that since Eyes of the World was so good on the Greatest Hits compilation that it would be worth it to pick up a copy, and I figured right. I can’t say that is true for some of the other albums by the Dead.

I have to admit Jerry Garcia’s voice sounds rather worn out, no doubt due to drug use. However, the voice does have a bit of charm to it.

Another highlight is the Grateful Dead’s version, “Mississippi Half-Step Uptown Toodleloo,” which at times is quite emotionally evocative, at least for me, though I have never crossed the Rio Grande, or any of those other rivers.

This is a stand out disc from the Grateful Dead’s mediocre Arista years. It is good from start to finish though I would hesitate to call it great. This time period may be compared to the Rolling Stones releases late in their career, where the disc usually has one good song, and yet the Dead put out a really good album. However, this disc stands out from this time period as being worthy of purchase.

What is really great about Without a Net is that I have had it since High School, probably 1996 or so, and it still entertains me.

*****World Play by Soul SirkUS - This Rocks Hard from Start to Finish. This Isn’t Popular Because Why?

This cd goes great in rock and prog mixes. It has been in the mix of my hundred disc changer now for a few years (at least 4). The local rock station WPXE could probably have played Soul Sirkus and been a part of making a new band popular. The problem with Soul Sirkus is that they never got the promotion necessary to make it big.

World Play, the band’s only album to date has a few well know session names in it, such as it Neal Schon, Jeff Soto (temporarily sung) and Deen Castronovo, both of which played in the mega popular band Journey. Also, that this music has music that was salvaged from an album with Sammy Hagar is apparent. Just listen to the album through, it sounds like it could have been one of Hagar’s best works. I can only guess that Sammy Hagar walked away from this group to have a chance to play with the guitarist Joe Satriani, in Chicken Foot. This album is better than Chicken Foot, IMHO.

This band makes also me think of Van Halen, or Chicken Foot. The singer sounds like somewhere between King’s X and Van Hagar.

Honestly, Soul Sirkus probably would have gone under my radar had not Virgil Donati played on tour with them, replacing Deen Castronovo. Donati is one of my heroes, as I champion the underground virtuosos in progressive metal, jazz, and rock.

Last, but not least, if you like the harder side of Van Hagar –Van Halen with Sammy Hagar on vocals -, then get this album.

*****The Kindness of Strangers by Spock’s Beard – Excellently Written Prog That Isn’t Showy

A part of the reason why people who aren’t musicians listen to music that is not good (the popular junk that is on the radio) is because progressive music is often quite showy, especially prog metal.  Usually, half of the prog in prog it that it is about the guitar solos.  If you are looking for solos that will wow you, there aren’t any on The Kindness of Strangers.  The music doesn’t even rely on high speed licks.  What makes this prog in my opinion is that the song writing is superior.  Someone could probably pull this album out from the shelf 500 or 1,000 years from now and would still find it as enjoyable as I am as I write this review while listening to the album.

The songs are beefy on the song craft, very catchy, very diverse, and very mature.  It is easy to listen to a lot of Spock’s Beard and not grow fatigued.  This isn’t children’s music though the content is not over the top with risqué topics.  It would appear that Neal Morse has been a champion of wholesome music even before he became Christian.

Really, the hardest part about listening to an album like this one from Spock’s Beard is that it is extremely good music - catchy, hip, etc. - music, but despite being so awesome it never got popular.  Neal Morse is to music is as, Vincent van Gogh is to art.  If you ask me, this is every bit as good as the ever more popular Phish.  However, I don’t believe the front man, Neal Morse, would put up with the drug use that Phish puts up with at their shows.  However, why Neal Morse isn’t nearly as big as Phish perplexes me.

If you like this one, I encourage you to check out the Flower Kings, Phish, and Transatlantic.  Of course there are other good similar progressive acts, but I will keep my list short, but I would put this music also in the same category as the Gypsy Kings, Soulive, Jimmy Smith (really the organ stands out), and Medeski Martin Wood.

So what do I think of most when I listen to this cd?  I think of song craft that is awesome from start to finish.  I also think of organ, because the Neal Morse is a vocalist/organ player.  However, while he does stand out as the front man in Spock’s Beard, the whole band comes across as awesome.

The hardest part of listening to this band is when Neal Morse converted to Christianity, and formed the Neal Morse band, which played Christian music that was absolutely terrible.  I think of the song that said, “In the name of Gd you must die,” which was supposed to be mocking the idea of slaying someone in the name of Gd, but that song never came across as was intended, and it ended up sounding like Neal Morse was serious about happily slaying people for fun in the name of religion.  Once on his Christianity binge he broke up Transatlantic, and Spock’s Beard.  Now, I am glad that he is back and into with Transatlantic.  I am also sure he would not hesitate to put out a new Spock’s Beard at some time in the future.

*****Surfing with the Alien by Joe Satriani – Weep Techno Engineers, Satch Is Better than Machinery

If you are looking for a fan of Joe Satriani, I am not.  I like this Satch disk.  That is it.  Yes, it is true; I didn’t much care for his more recent work with Chicken Foot much too.  (Though I reviewed Chicken Foot first, I have been more familiar with Surfing with the Alien, since high school c. 1996, which I got after liking The Extremist.  However, I no longer like The Extremist).  I have never heard anything else of Satch’s, other than Surfing with the Alien that I liked or didn’t bore me.

I am positive that he is a phenomenal guitarist, but it is just that I never seem to like the music he solos over.  When Satch is king, he spoils the stew.  He usually sets it up so that he is the star, and the other instruments just support him.  He is a hog of the good music on his albums and usually I hate that, but this album despite being the guitar virtuoso at the center of attention, as if he is only person at the show is any good, this album is really good, really.  This is Joe’s best work so far as I know.  I do know a Satch fan who thinks Surfing with the Alien isn’t his swansong though, but as far as I know this is his best.

My favorite song on the album is track 4, “Always with Me, Always with You.”  Usually, I am not a fan of slow music, but this song is great.  Think Tears of Sahara if you are a Tony MacAlpine fan, oh yeah I forgot Tony MacAlpine has consistently put out better music than Satch, and suffers from obscurity.  This is a problem for many musicians, but I digress.  Track 4 is so lyrical, and Joe leaves nothing aside in the song that could hide his anything but perfect playing.  No computer techno beats could touch a song like this one.  It takes a human musician’s touch to make music like this.  You can’t program something as good as this for programming can’t account for the inflections of one’s touch on their instrument (provided that you are a good musician).

Just like a 5 star album should be, every track is awesome.  No second on Surfing with the Alien is wasted, start to finish, well almost, track 6, “Circles” is terrible.  That one almost got by me because my 100 disc shuffler usually never plays track 6 on any cds.  I have to wonder if the engineers where paranoid about the number 6.  666 the number of the beast or even the number 6 on its own sometimes creeps people out.  As I write my reviews, I usually have the disc in player while writing.  Oddly enough, at this point in the review track 6 came on, just as I was musing over how this disc is flawless.  Lol!  I have had this disc in the player for probably more than a year and never heard track 6 once, as usual, due to the weird engineering of whoever made my (actually, my wife’s) disc changer contraption.

***** Fire Garden by Steve Vai – Highly Recommended Progressive Rock Soul Music

What separates Steve Vai from the other leading brands are that able to shred faster than him is that he is better able to put his soul into his music.  I realize that I am invoking supernatural powers to suggest Steve Vai is just a better musician than the competition.  I am a spiritual person and I hope that is okay with my audience.  If you don’t believe in Steve Vai’s supernatural powers, I suggest seeing him live.  He puts on a good show, and you will see progressive rock soul music looks like.

While I owned some of Vai’s music prior to when the Ultra Zone came out, the Ultra Zone is what got me into him.  I would imagine that Fire Garden would have captivated me just as much as the Ultra Zone had I experienced it first.  My first experience with Steve Vai was Sex and Religion, and when I was in high school, I thought that album was just terrible, but now I love it.  Sex and Religion has very little shredding and is about song craft, but not usual song craft.  It is more like song craft from planet q.  That album, Sex and Religion, actually turned me off to Steve Vai, and it wasn’t until one of my friends played Ultra Zone, c. 2,000, for me that I was hooked.

I wish I had got Fire Garden earlier.  It has been in my 100 disc changer for many years now.  It is a true favorite of mine, even to the extent that I would probably have a difficult time getting along with someone who wasn’t able to appreciate this album for its greatness, technicality aside.

Fire Garden - like every five star album should be - is superior quality music from start to finish, while at the same time providing a lot of music.  Vai has a lot to say on this one with his guitar, and if you get it, I don’t think that you have to be some sort of genius to appreciate this one.  IMHO this one has been good from start to finish year after year.  It didn’t require me to adjust my musical taste to appreciate it.  It wasn’t hard to get into.  It is a readily accessible work art.  What more can I say?

 

 

***** Bridge Across Forever by Transatlantic - Unbelievably Awesome!!! Never a Dull Moment!!!

This album remains among the somewhat hidden treasures of today’s musicians. I love a good secret, as long as nobody gets harmed in the process.

If this album had been cut when the Baby Boomers were young, I predict that this band would be filling stadiums. Transatlantic is better than The Who, or The Rolling Stones, and might be considered on the elevated level of a timeless band like Led Zeppelin, or Jimi Hendrix. I love that though. It would be a shame if Transatlantic filled stadiums full of beer drinkers throwing up and doing drugs. Transatlantic is a lot like Phish. However, fans of Phish are almost always drug users as well as music aficionados. If you listen to Transatlantic, then you will probably find that drugs are not cool at all by this band.

The songs on this album are too long to make it readily accessible by the regular America crew. I would definitely opt to see Transatlantic live though for that reason. It is really good music that would only attract an intimate audience. Most people just can’t stand for songs that are long, but I can assure you that though these songs are long, there is never a dull moment.

Bridge Across Forever is even better than Transatlantic’s first album, “SMPTe,” and I give both albums a 5 star rating. I don’t just hand out 5 star ratings like most people. If an album gets 5 star rating from me, then that means something.

So who is this album not for? I would have to say the masses of teenagers, and frat boy college students, that are merely looking to fit in because they feel uncomfortable listening to anything except something that has promotion, and national attention that only major label records can afford. As Rush says in their very famous song Subdivisions, its “Be cool or be cast out,” and I would figure that a Rush fan would dig this, but not someone who listens to Rush only when they are on the radio. If you seek Rush, then I hope you find Transatlantic.

I like this album because at times it is very jazzy, and then at other times it is very rigidly written. Also, unlike many albums I like this album sounds beautiful in the way that level headed person would perceive. It is an album where the musicians have taste, and it is not so difficult to play that compression dominates the sound.

This is moderately complex music though this is prog rock. It is not musicians showing off their chops. Every note has its place, and though there is jamming there isn’t a single superfluous note on the entire album! There are very few albums I could give such high praise to. However, when this was released it could still be said that usually if a Dream Theater member is on an album, or in this case a former Dream Theater member, then there is no filler on the album.

**** Live at Budokan by Dream Theater – Spotty. Buy It If You Are A Fanatic. Skip It If You Are Not.

This was my first indication that the album 6 Degrees of Inner Turbulence was not a total loss. Score proved that without a doubt, and so did 4 Degrees of Radio Edits. Score is a 5 by any standard, and those that criticize are not correct, they are wrong, but that is not this album.

Now, I know that I am in the minority, as most fans loved 6 Degrees of Inner Turbulence. My major criticism of that album, 6 Degrees of Inner Turbulence, is that the songs on it are too repetitious. For some reason on Live at Budokan, songs from that album don’t bother me as much.

There are definitely some tracks on this one that are not as good as they could have been. If they took Live at Budokan into the studio, and worked some magic, I might have loved this album. For example, “In the Name of God,” has an absolutely incredible guitar solo, but LaBrie is a little lacking on that song, and there are a few times when it sounds like the show nearly falls apart given a little improvisation. That is how this album goes. Usually, it is not perfect like a studio album, and Dream Theater is the type of band that needs to sounds perfect, or else they sound like they are playing under their own ability levels!

Sometimes Jordan’s keyboard sounds cheesy, sometimes John Petrucci’s guitar sounds cheesy, James LaBrie’s voice sometimes sounds awesome, other times it needs some help, and the bass is almost non-existent. Mike Portnoy comes across very well.

This is not an essential Dream Theater album IMHO. With Dream Theater, you can expect to hear flawlessness, especially with their studio albums, but as usual, and with Live at Budokan, the live albums Dream Theater releases are spotty.