Voice Mail is the second solo album by the English rock musician John Wetton. Initially released on 17 June 1994 in Japan only, it was re-released internationally as Battle Lines with the same musical content but different artwork. John Wetton was an English singer, bassist, and songwriter. He rose to fame with bands Mogul Thrash, Family, King Crimson, Roxy Music and Uriah Heep. Following his period in Uriah Heep, Wetton formed U.K., and later — after a brief stint in Wishbone Ash — he was the frontman and principal songwriter of the supergroup Asia, which proved to be his biggest commercial success.
One of rock's more elaborate, beguiling and strangely rewarding concept albums, this double-vinyl classic stars the ever-theatrical Peter Gabriel as Rael, a Puerto Rican street punk who descends into the New York underground to experience a series of surreal adventures. ("It seemed that prancing around in fairyland was rapidly becoming obsolete," Gabriel explained to his biographer.) Bassist Mike Rutherford, however, wanted to base the band's last album with Gabriel, who'd announced his intention to leave Genesis, on Saint-Exupéry's The Little Prince.
This record is UK's sophomore studio album. It is still very progressive, and less fusion that the previous one. Jobson's keyboards still have futuristic elements and they are sometimes intense, dramatic & floating; Jobson also uses here an omnipresent vintage organ a la ELP or Triumvirat, so that the overall sound is less modern than on the previous album…
In many ways, the extravagance of this package equates the profligacy of the prog rock combo themselves. After all, how else but on a triple-LP collection could one hope to re-create (and/or contain) an adequate sampling of Yes' live presentation? Especially since their tunes typically clocked in in excess of ten minutes…
On his third album album with Asturias composer Yoh Ohyama would make a slight stylistical turn. Akira Hanamoto was no longer a member of the band, instead Ohyama introduced two string instrumentalists, Udai Shika on cello and Tatsuya Murayamy on viola.The new album, titled ''Cryptogram illusion'', was released at the fall of 1993 on the King label…
Whether on his own or with his Project, Alan Parsons vacillated between arch artiness and immaculate soft pop. With The Secret, his first album in 15 years, he veers decisively toward the former. The opening pomp of "The Sorcerer's Apprentice" – which is indeed the Paul Dukas composition, here presented as a collaboration with Genesis guitarist Steve Hackett – is a bit misleading. While Parsons doesn't avoid other old-fashioned prog tropes – parts of Todd Cooper's lead vocals on "One Note Symphony" are delivered through a robotic effect – he certainly dresses these affectations in adult contemporary threads.
Genesis started life as a progressive rock band, in the manner of Yes and King Crimson, before a series of membership changes brought about a transformation in their sound, into one of the most successful pop/rock bands of the 1980s and 1990s. In addition, the group has provided a launching pad for the superstardom of members Peter Gabriel and Phil Collins, and star solo careers for members Tony Banks, Michael Rutherford, and Steve Hackett…
Welcome to P52, Prog magazine's second cover CD for 2017. You don't get much bigger than Steve Hackett, here with Hungarian jazz band Djabe, lending a new twist to Steve's own The Steppes. Or Oceans Of Slumber, who boldly take on the Moody Blues' Nights In White Satin in emphatic style. Or Japan/Porcupine Tree keysman Richard Barbieri, with new, jazz-flecked solo fare, and of course Touchstone and Ghost Community, who weigh in with some grand, melodic music. Elsewhere, the UK's Beatrix Players add melancholic beauty, and Multi Story complex intrigue. New Australian bands Anubis and Hemina show there's some exciting new music being made Down Under, and Jug Bundish do the same for Costa Rican prog.