Metal Related Genres — the ultimate metal music online community, from the creators of

Metal Related is a term used on Metal Music Archives (MMA) in regard to artists that, although they do not play metal themselves, still have a place within the metal scene.

On MMA the aim is to build up a complete picture of the metal music genre and its associated scene, and the Metal Related Genres umbrella sub allows the inclusion of related bands and side projects of metal musicians to be included in the site database, along with artists that exist on the fringes of the metal scene by including elements of metal in their music, but haven't ever made a fully fledged metal album. There are also sections for some of the more closely related genres to metal.

There are five sections to the metal related section on MMA: Hard Rock (encompasses heavy psych and heavier progressive rock and more), Hardcore & Crust (punk genres that can sometimes be metallic), Metal Related (releases with metal elements), Non-Metal (mostly a catch all for releases that don't otherwise fit, but also sometimes used for related bands and side-projects to be included on MMA) and Proto-Metal (artists involved in the early development of the metal genre). Each sub-genre is governed by its own rules and policies, some with dedicated teams and some handled by the site admins. More can be learned about each by listing their individual sub-genre pages.

Nothing is ever added directly to the parent Metal Related Genres page. It is merely an umbrella sub used to group the five child sub-genres in one place.

metal related genres top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

WISHBONE ASH Argus Album Cover Argus
4.56 | 26 ratings
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NEAL MORSE One Album Cover One
4.83 | 10 ratings
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QUEEN Queen II Album Cover Queen II
4.42 | 59 ratings
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SPOCK'S BEARD Snow Album Cover Snow
4.88 | 8 ratings
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JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
4.43 | 37 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
4.44 | 34 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
4.51 | 20 ratings
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KING CRIMSON In The Court Of The Crimson King Album Cover In The Court Of The Crimson King
4.34 | 87 ratings
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JIMI HENDRIX Axis: Bold As Love Album Cover Axis: Bold As Love
4.46 | 26 ratings
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KING CRIMSON Red Album Cover Red
4.34 | 92 ratings
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THE WHO Who's Next Album Cover Who's Next
4.43 | 28 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
4.33 | 69 ratings
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metal related genres Music Reviews

TRANSATLANTIC Bridge Across Forever

Album · 2001 · Metal Related
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When TRANSATLANTIC released its debut album “SMPT:e” in 2000 it was met with wild enthusiasm by both prog traditionalists as well as revivalists and the critics alike but had it not been heralded as one of the greatest prog albums of the second coming, it’s unclear if the team of Mike Portnoy, Neal Morse, Roine Stolt and Pete Trewavas would have continued. However since the album was a smashing success the band wasted no time crafting a follow up that was worthy in capturing the majesty of the debut without directly copying it. The answer was the sophomore release BRIDGE ACROSS FOREVER which quickly followed the very next year.

One of the main criticisms of “SMPT:e” was that it was a bit overly dominated by Neil Morse’s Spock’s Beard compositional style along with his vocal performances so the band made a deliberate attempt to have each member participate on a roughly equal footing thus making BRIDGE ACROSS FOREVER a much more diverse stream of music that like its predecessor featured a lengthy playing time of over 70 minutes with two massive sprawling compositions “Duel With The Deveil” and “Stranger Across Your Soul” which both featured multiple suites and clocked in over the 26 minute playing time. Together they sandwiched two shorter tracks with the tiny title track at nearly six minutes long a mere blip in comparison.

While very similar in construct, BRIDGE ACROSS FOREVER wasn’t just a mere clone of the debut although it was clear that TRANSATLANTIC didn’t want to stray too far from the goose that had laid that golden egg. While all the expected Yes and Genesis symphonic prog influences were in full affect along with the respective band member’s own projects ranging from Spock’s Beard, Marilion and The Flower Kings (Portnoy’s Dream Theater was the only influence least adopted), the band also experimented with new sounds which included guest musicians that added violin, viola and cello sounds as well as a bit of swinging saxophone and a beautiful backing vocal section referred to as The Elite Choir.

The near 27-minute “Duel With The Devil” begins the album and is arguable the strongest track on board with five fully developed suits stitched together with all the right proggy glue to make the proper sound collage complete with all the symphonic prog pomp and excess that made “SMPT:e” stand out and usher the classic prog sounds of the golden years into a new millennium. While the two massive tracks are very much in vein of the debut, the two shorter tracks sandwiched in between were quite different. Although the 14 1/2 minute “Suite Charlotte Pike” shows a series of evolving concepts and nerdy prog workouts, at its core was a simple blues rock jamming session only embellished with the keyboard heft of Hammond organs, Fender Rhodes and piano.

The track that makes the least impact is the overwrought piano ballad of a title track which serves as an intermission between the heavier rocking tracks and multi-suite epic tracks but in reality is a bit too winy and unfortunately breaks the continuity of the epicness. Personally i could totally live without this one. The final “Stranger In Your Soul” concludes the album in a grandiose way with a six-suite 30-minute performance that goes for the symphonic prog jugular and delivers all the expected prog gymnastics teased out into a series of varying instrumental workouts and lyrical earnestness, once again mimicking the success of the debut’s appeal to the true proggers who just can’t get enough of those ridiculously long suites that in the vinyl years could’ve swallowed up a whole album’s playing time.

For my money BRIDGE ACROSS FOREVER is a worthy followup to “SMPT:e” but a serious step down in continuity. Whereas the debut just had a certain flow that was perfectly maintained through its 70 minute plus running time, BRIDGE ACROSS FOREVER just feels a bit clumsy in how it meanders from idea to idea without the proper connective tissues to pull it off. The two epic tracks are well worth the price of admission but the two middle tracks are less engaging and could’ve easily been nixed from the final cut. There was also a special edition with a bonus disc that featured everything from non-essential covers including a 15 1/2 minute version of Pink Floyd’s “Shine On You Crazy Diamond” as well as studio casts, demos and other non-essential material. When all is said and done, BRIDGE ACROSS FOREVER is an excellent followup but for my liking lacks the masterpiece perfection of the debut.


Album · 2000 · Metal Related
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The prog revival of the 1990s found the complex excesses of the 1970s return in full regalia with all the musical attributes that gained a loyal following as well as critics who couldn’t stand the fact that they couldn’t figure it all out in a single listening session but alas the independent fiery nature of the underground had prevailed against the money grubbing record industry that had systematically been dumbing all musical expressions down to a common single denominator. The 90s found a whole host of newbies such as Porcupine Tree, Anglagard and Anekdoten reinterpreting the classics of the past as well as newer metal bands like Dream Theater and Ayreon eager to cross-pollinate their more extreme excesses with the myriad styles of the prog history books.

With all these new bands rekindling the progressive rock scene, it didn’t take long at all for some of these musicians to start the musical chairs game of switching things up and forming new bands. One of the first supergroups to emerge around the beginning of the 21st century was TRANSATLANTIC which resulted when Dream Theater’s drummer Mike Portnoy had broken up his other project Liquid Tension Experiment once Jordan Rudess had left to join his main band. The project came to fruition as a true progressive rock project that eschewed the bombast of the Dream Theater metal heft and focused on the classic symphonic prog sounds of Yes, Genesis and other classic 70s bigwigs. The first member to join the team being Neal Morse due to the fact Portnoy had become such a huge Spock’s Beard fan. Also signing up was long-term Marillion bassist Pete Trewavas but when it came to scoring Portnoy’s top pick for guitar duties, Fates Warning axe master Jim Matheos didn’t quite work out.

When and was said and done, the role of guitarist was filled by none other than The Flower Kings’ mainman Roine Stolt and together this quartet of powerhouse musicians released a couple of the best supergroup prog albums in all of history before taking a hiatus. The first of these albums was the debut album SMPT:e which may look like a secret code for some computer software instruction manual but in reality simply referred to the member’s last initials. S-tolt. M-orse. P-ortnoy. T-rewavas. The :e part is what may throw that assumption off but was added because the initials SMPTE referred to The Society of Motion Picture and Television Engineers which is a global professional association of engineers, technologists, and executives working in the media and entertainment industry, thus providing a secondary reference for all those in the know when it comes tech talk.

By all accounts, TRANSATLANTIC was the real prog deal delivering an unforgiving slice of modern contemporary prog operating within the classic standards, namely uncompromising compositional majesty with little regard to time lengths, commercial palatability or modern trendiness. SMPT:E immediately goes for the prog jugular with the whopping 31-minute opener “All Of The Above” which featured no less than six distinct movements all tied together through interconnecting motifs which brought aspects of all the members on board into a much greater sum of the parts. Upon a single listen, it’s obvious that TRANSATLANTIC was all about enhancing the strengths of each musician rather than the watering down of great talent which unfortunately is often the case in rock-based supergroups. If that wasn’t enough, this 77-minute plus listening experience features not only one but two more epic tracks that both exceed the 16-minute mark.

While TRANSATLANTIC certainly ticked off all the boxes of the prog check list with inspiration from the classic era ranging from epic Yes-like classically infused compositional fortitude, Pink Floydian space rock moments and the pastoral folk-flavored moments of classic Genesis to the more modern symphonic prog approaches of Morse’s Spock’s Beard and Stolt’s Flower Kings. Add excellent diverse dynamics, irresistible melodies laced with Beatles-esque harmonies, time signature workouts and instrumental gymnastics without sacrificing the emotive expressionism and it’s no wonder why TRANSATLANTIC hit the ground running on full steam and has remained relevant in the decades since this debut hit the scene. Many have rightfully proclaimed that the first two early TRANSATLANTIC albums are amongst the best progressive rock albums ever created. I certainly can’t argue with that.

Despite the pompousness that exceedingly lengthy tracks can exude, TRANSATLANTIC avoided all the pitfalls on SMPT:e with an emphasis on keeping the music accessible with irresistible almost ear-wormy hooks that if crafted into shorter chunks could easily qualify as brilliant pop rock but what TRANSATLANTIC so successfully mastered was the ability to craft a series of brilliant melodies and harmonies and thought provoking lyrics and teased them all out into epic symphonic prog masterpieces that found a series of varying ideas strung together like a string of pearls that sparkles in the sun. Every one of these four guys was really firing on all cylinders with excellent musicianship while performing highly engaging compositions of epic proportion. This is one of those albums where no single person steals the show as its the careful and thoughtful weaving interactive instrumentation that makes this one so utterly divine.

If nothing else, TRANSATLANTIC proved that the prog revival scene was no fluke and provided the perfect example of how prog was in no danger of burning out any time soon as the odometer was changing to a new millennium however this music goes well beyond merely proving prog was still a force to be reckoned with as TRANSATLANTIC went well beyond the call of duty in crafting some fo the most compelling symphonic prog ever recorded and although the following “Bridge Across Forever” was roughly of equal caliber, this quartet of prog heroes certainly raised the bar so high that few have been able to match including the band itself on its later albums. There also exists a special edition that features a bonus disc with alternative mixes of “My New World” as well as some demos and a couple pointless cover songs and hardly essential but this original album collection of five ridiculously strong tracks is nothing less than a masterpiece through and through.

NECRONOMICON Tips Zum Selbstmord

Album · 1972 · Proto-Metal
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While some early Krautrock bands were aiming for tripper’s paradise and seeking the ultimate escapism to a distant destination far removed from the trials and tribulations of 20th century Earth, others opted to embrace the tortuous pain and expel the rage through a heavy rock form of progressive rock that cast the vitriol out as pure acceptance of the doom and gloom that was plaguing the fast-paced society of the 1960s that had just ceded into the 1970s. NECRONOMICON which took its name form the H.P. Lovecraft novel was the epitome of taking the tripped out kosmische world of Krautrock into a heavier garage rock, even proto-punk style fueled by despair and dismay.

This band emerged from the city of Aachen perched next to both the Dutch and Belgian borders and was formed in 1970 by Walter Sturm (guitar, vocals), Norbert Breuer (guitar, vocals), Gerd Libber (bass), Harald Bernhard (drums) and Fistus Dickmann (organ, synthesizer, vocals). Although the band stuck it out to 1981 albeit with a rotating lineup, NECRONOMICON only managed to release one sole album titled TIPS ZUM SELBSTMORD which lugubriously translates as “Tips For Suicide.” Laced with heavy downer guitar riffing, stone cold vocal angst and eerie droning frosted over exquisite bass grooves, punk fueled guitar heft and bluesy solos, NECRONOMICON took the newfound nihilism of bands like Black Sabbath and added the more appropriate Krautish accoutrements with folky interludes and heavy psych organ runs.

With lyrics exclusively in German, it may be impossible to tell for non-speakers but this band was all about getting real with lyrics that ranged from ecological degradation to nuclear disasters. The album title is a dead giveaway that rather than drifting off into la-la land that this band was more interested in looking the atrocities of the world dead on and releasing the pent up rage in bouts of guitar-fueled heft with all kinds of extra touches including Bach inspired organ majesty, unpredictable tempo and mood changes and a sense of melancholy more common in modern day metal genre such as funeral doom or depressive black metal. In addition to the rich array of instrumental sounds, the band displayed a clever mix of angsty hard rock vocals mixed with eerie and spooky wordless vocals that evoked the haunting of the death and destruction which symbolized the global destruction that was becoming all too familiar.

This confrontational stylistic approach makes TIPS ZUM SELBSTMORD one of the most unique albums to emerge in the entire Krautrock scene and with an original pressing of only 500 copies has also become one of the most sought after gems in the collector’s underground. Luckily the album has been reissued on numerous occasion with the most obtainable on the 2004 edition from Garden of Delights which features a whopping four unreleased bonus tracks that nearly double the album running time. The dynamics of the album are perfectly paced as punk fueled garage rock gives way to lush pastoral folk and keyboard dueling yields to sizzling guitar solos and forward thinking 80s style keyboard electronica. Add to that nice flowing songs that give way to frenzied time signature freak outs. The lead vocalist often sounds like the German version of David Bowie just to give a comparison.

While the album cover art may seem a little hokey and primitive, the music contained within is anything but. This is some seriously well-thought out Krautrock that nurtures hook laden melodies and then dresses it all up with punk-fueled angst and depressive organ-drenched despair. The compositions are quite sophisticated with intricate changes that never feel forced and how the band managed to squeeze in all the stylistic shifts is a testament to the band’s creative genius. This is an excellent little obscurity and should be on top of Krautrock lists far and wide but like many underground gems, still remains unknown to the masses. I love everything about this album however there are moments when the vocals are a bit goofy especially when dude suddenly breaks into falsetto (think King Diamond) and reaching the high notes. Luckily this is rare and the strengths of the album far outnumber any minor gripes. TIPS ZUM SELBSTMORD is just shy of making a perfect masterpiece.


Album · 1971 · Proto-Metal
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MY SOLID GROUND was the brainchild of a young 14-year old guitarist Bernhard Rendel who had a brief moment in the limelight with his band’s one and only album released in 1971 although his success was limited to his native Germany. Originating from Rüsselsheim near Frankfurt am Main, Rendel was blessed to have parents who nurtured his talent and even allowed him to practice his craft at home. HIs parents were so supportive in his efforts of joining in on the burgeoning Krautrock party that they even assisted in organizing the events for their underage son.

Formed in 1968, MY SOLID GROUND was pretty much the solo work of Rendel who provided guitars and vocals and the band went through meany lineup changes before the team of bassist Karl-Heinrich Dörfler, drummer Andreas Würsching and Ingo Werner on organ and piano would record the band’s sole eponymously titled album which was released in the autumn of 1971. Although popular in Germany for a short time due to the band appearing on live radio broadcasts as well as winning second place in an amateur competition hosted by Sudwestfunk (SWF) Radio, MY SOLID GROUND has remained one of the more obscure Krautrock bands over the decades at least until the modern era when such bands have found a revived popularity thanks to the wide ranging influence of the internet.

The MY SOLID GROUND album is for all intents and purposes two completely different albums with the first lengthy 13 minute track “Dirty Yellow Mist” providing one of the coolest tripped out psychedelic rock tracks of the whole Krautrock era and the rest of the album featuring shorter guitar driven hard rock songs that sound more out of the English or American scenes than what was going on in Germany’s psychedelic scene but nevertheless they are performed so well and capture the essence of the heavy rock verging on proto-metal of the early 70s that despite the recipe for disaster somehow works quite well as the band still incorporated tidbits of psychedelia within the standard rock compositions such as on the heavy psych “The Executioner” which adds plenty of tripped out Krautiness to the mix.

One of the most misleading aspects of this album is the ridiculous album cover which features a cast of cartoon pigs holding up the band on its boldly scripted moniker but despite the rather uninspiring cover art, the music contained within is anything but. More than anything Rendel had a keen ear for tight rhythmic drives, catchy melodic ear worms and a sense of production values that allowed the individual instruments to play well together. While the opening sprawler is right out of the “Saucerful Of Secrets” playbook, the second track “Flash Part IV” jumps into something more akin to Sir Lord Baltimore while “Handful Of Grass” is more of a folk tune with mid-tempo acoustic guitars and piano runs but for the most part MY SOLID GROUND delivered a run of solid guitar heavy rockers.

While the band was supposed to continue on, Rendel had a difficult time keeping members and they dropped out one by one until he returned with a new lineup after moving to Frankfurt and lasted until 1974 but never managed to release a second album. Rendel scrapped the whole rock star dream and went the academic route where he became a music lecturer at Mainz University as well as a producer and composer. With a renewed interest in all things prog in the 21st century, this MY SOLID GROUND album found a second coming with a remastered reissue emerging in 2001 on the Alcinious label which featured the original album as well as an album’s worth of extra material that Rendel had produced over the years and in the process almost doubling the album’s length. Despite the silly cover art and the stylistic consistency, this one surprised me that i liked it so much.

The strength of this one is clearly the strong melodic hooks that work whether the band is in full-on psychedelic mode or rocking the house with heavy guitar laden heft. The album may be inconsistent in stylistic approach but more than makes up for it in strong material. Don’t let the stupid looking album cover detour you from exploring MY SOLID GROUND because it’s much more than the ground that’s solid here. While the remastered bonus tracks are mostly different mixes and alternate vocal tracks, the original full length version of “Flash” at 25 minutes is a highlight and well worth the time. It mixes the space groove of “Dirty Yellow Mist” with jazzy drumming, classical piano rolls and a faster tempo and in a way summarizes all the disparate styles on board. One straight outa the underground and into timeless classic mode. Perhaps not the absolute highlight of the Krautrock scene of the 70s but one of the better melodic rock ones.


Album · 1971 · Proto-Metal
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Wow! I did a search for this band twice on this site and got nothing. I created a page for them, wrote a bio, and then found there was a page already somewhere. Searched again and it came up right away. Go figure!

So, anyway, here we have a band from Japan lead by their guitarist with aspirations for playing loud, heavy music in the vein of Black Sabbath and Led Zeppelin, and then got told by their record label to add some ballads and a cover song in hopes of broadening their potential audience. The result? The band split up!

Let's see. What do we have here then. The first track, "Grease It Out" certainly shows the band's desire to play loud and heavy. While Black Sabbath influence is likely there, the riffs sound closer to their compatriots Flower Travelin' Band although vocalist Juni Lush (credited as Joko Lush in my CD copy) has more of a hard rock voice. It's a pretty killer track for some straight forward hard/heavy rock of 1971.

"Love That Binds Me" is a mid-tempo, blues-based, bummed out dude song that includes piano. It is very clearly a song heavily influenced by Led Zeppelin's "Since I've Been Lovin' You", most obviously in the lyric "Yes, I'm working everyday from early in the morning, babe / Til late at night everyday / It's such a drag, baby". On its own, I'd say the song would be pretty good, but the derivative lyrics just shout "copy cat!" and I'm afraid it loses points for that.

Thankfully, the next track is "Love Is You", another heavy rock track with some cool riffs and mood. One thing is for sure, guitarist Tsutomu Ogawa is pretty good at coming up with heavy rock riffs!

Alright, "Reminiscence" is next and it begins like a classic Vanilla Fudge song with organ and hard guitars, then shifts into a slower gear with acoustic guitar and electric lead. This is out first real slow and sentimental track. I'd say it could have worked out alright except that Lush's vocals are not very lush. He sounds like quieting down makes it harder for him to hit the notes right. For that, there are a few flinching moments.

And now the cover of "I Shall Be Released", which is missing the final "d" in the official track listing. This is country western folk ballad and a pretty good effort for a Japanese band. However, it sounds off and totally unnecessary for the album. Sure, lots of bands had to have that one track that showed their "other side" back in the day, but as this is a cover I think there are other bands who could have done a better job and this band could likely have written a better song for them to play and record.

"Gonna Take You" sets us back on course with another heavy rocker, and that's three pretty cool heavies out of the first six tracks. The lyrics however once again show the band borrowing from their overseas influences and they sound like they just cut and pasted lyrics from a Led Zeppelin song (which the mighty Zep actually took from someone else). "I'm gonna bring it on home to you / I got my ticket, I got that load / Gone up, go higher, all aboard / Take my seat a-right way back / Watch this train goin' down the track". It seems that even though the band is capable of creating some pretty good rockin' music, there's a problem with lyric writing and sometimes I think with the vocal delivery. Fortunately, the lead guitar parts get a fair bit of emphasis and run time in the songs.

And so we reach the 12:12 epic ballad, "Song for My lady (Now I Found)" with acoustic guitar, flute, strings, the works! It reminds me a little like a cross between Deep Purple's "April" from their self-titled third album and The Moody Blues. And here is where I feel like the lyrics are similar to early Scorpions' lyrics. Alright, you are writing a ballad in a second language and trying to make it meaningful and also flow with the rhythm of the music. But something is just missing for English ears. Perhaps it worked for Japanese audiences of the early seventies. I don't know. Again, the music is actually pretty good. I'm alright with the progressive nature of this longer track and in fact it has more musically advanced than much of what we heard up to here. My main beef is the efforts of Juni Lush to try to imitate western singers instead of developing his own style more. Here he sounds like a fan of Rod Evans.

To wrap it up, this is a band that probably could have made a much better second album but they were discouraged early on and left us with this one slab of vinyl. There are some good heavy tracks and some half decent other music. Just for my money, more work was needed on the lyrics.

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NEAL MORSE Morsefest! 5015

Movie · 2017 · Metal Related
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Morsefest! 2015 is a live release by US musician Neal Morse. Morsefest! shows are without a doubt the most special Neal Morse shows that a fan could attend – a two day event with a different Neal Morse set each night. Morsefest! 2015 was released on either a 2x blu-ray or 4 x CD/2x DVD package in 2017. Strictly speaking it is The Neal Morse Band playing on the release – Neal Morse, Mike Portnoy, Randy George, Eric Gillette & Bill Hubauer – but Morsefest! 2015 was released under just Neal Morse's name likely due to the event's focus on his albums ? (2005) and Sola Scriptura (2007).

While the focus is indeed on those albums, with ? played in full on night one and Sola Scriptura in full on night two, the set is varied with various extra tracks. The Neal Morse Band had released their debut album The Grand Experiment earlier in 2015 and that album also gets a fair airing across the two nights, particularly in the first half of night one with The Call, the title track and the limited edition bonus track New Jerusalem gets played, while Waterfall was featured on night two complete with some instrument changes for various band members. Three Spock's Beard songs are also brought out, Go the Way You Go on night one and At the End of the Day and Wind at My Back on night two, the latter two featuring Nick D'Virgilio first on drums then co-lead vocals. An edited version of Transatlantic's near eighty minute whole album epic The Whirlwind closes the second night, with further guest vocals by D'Virgilio and guitar by Phil Keaggy, who also makes an appearance on night one and was the support act for the event. Finally the band brings to the live stage for the first time a lesser known Neal Morse epic called A Whole Nother Trip, which appeared on his first solo album while still a member of Spock's Beard amongst what was otherwise a bunch of pop songs. There is also a cover of the song MacArthur Park, originally released by Richard Harris, which has been given the prog treatment by Bill Hubauer on challenge from Mike Portnoy. Neal Morse hates the song apparently and always swore he'd never cover it, but there you go. Hubauer sings lead on it.

The main draw to the Morsefest! 2015 live release is of course the full performance of two of Neal Morse's best known albums. ? is basically one long song in and of itself and is treated like the crowning piece of what Morse describes as a night of epics – a fair description when the shortest song is about seven and a half minutes long. For me personally the performance of Sola Scriptura is the key focal point of the two night show though. That's my personal favourite Neal Morse album, not to mention the one that really got me into his music. It's also one of his heaviest and most metal works which along with various parts of The Neal Morse Band's music gives a metallic edge to those otherwise symphonic progressive rock fuelled double concert.

Morsefest! 2015 is one heck of a show if you're into progressive rock. The scope is tremendous not just through the double show but each night's set is over two hours a pop as well. The amount of musicians on stage at one time goes far beyond the core band – far too many to recite in a review. Suffice to say there's a lot of people involved to pull this off. The sound and picture quality of the blu-ray release is excellent and you certainly get a lot of music for your money. The only fault with the set is that one listed bonus feature called Prog Jeopardy is completely missing from the release. Not sure what the story is there, perhaps it was planned and had to be cut for some reason and they forget to change the inserts before going to the press, who knows? But you weren't buying this for the bonus features anyway right?

There are several of the Morsefest shows released by the time of writing this review in September 2020 so which one holds the most appeal to each fan will of course be different. 2015 was a no brainer for me due to my particular love of Sola Scriptura. Someone else may think 2014's focus on Testimony (2003) and One (2004) or 2017's Testimony 2 (2011) and The Similitude of a Dream (2016) to be better options for them. Regardless any Neal Morse fan owns it to themselves to pick up at least one of these releases for his most special and exclusive concerts.

PORCUPINE TREE Arriving Somewhere...

Movie · 2006 · Metal Related
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Focusing on the more metal-oriented material from Deadwing and In Absentia - though notably steering it back in a more rock-oriented direction in order to allow this material to sit a little more comfortably beside the "indie prog rock" stylings of Stupid Dream, Lightbulb Sun and Recordings (picks from all of which surface here). Fans of their earlier psychedelic and space rock styles might be disappointed that those aren't represented, but on the plus side there's a liberal sprinkling of rarities here such as the glorious Buying New Soul as well as Revenant, So-Called Friend and Mother and Child Divided, those three songs having only appeared on various special editions of Deadwing. Not the definitive Porcupine Tree live experience, but a pretty decent one nonetheless.

BLIND FAITH London Hyde Park 1969

Movie · 2006 · Proto-Metal
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Blind Faith -London Hyde Park 1969 dvd. An excellent concert.Quite simple concert.A beautiful day and a hundred thousand people in London´s central Hyde Park listens Blind Faith in their first big gig.Absolutely wonderful.For me the historic value of this concert.Rating 4,0 stars for me.Concert will be held 07/06/1969.Performers lineup eric clapton lead guitar,steve winwood phenomenal vocal and keyboards, rick grech on bass and of course phenomenal ginger baker on drums.This is an example of the unique combination of two large groups of Cream and Traffic rights in the Great introducetd in London´s Hyde Park.Really very interesting concert series watch it again on dvd.I highly recommend.

RIVERSIDE Reality Dream

Movie · 2009 · Metal Related
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My polish girlfriend gave me this DVD on my anniversary in May, I really didn't know what to expect of the band live cause I only knew their studio recordings. Like I always do, I watched the bonus DVD first, I like to see backstage footage, interviews and extras much more than the proper live presentations on most of the time (maybe the only exception is Live At Wembley by QUEEN).

The first DVD is the show itself, and it's a very good recording, both audio and video, and seeing them live male me wonder how good is Mariusz Duda, cause as a bass player myself, I know how hard is to play some lines while you sing, Mariusz dows a fantastic work live, as the whole band.

I think it's a great buy for any prog rock fan, this polish band deserves more light on our '70's' world.

NEAL MORSE Live Momentum

Movie · 2013 · Metal Related
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Kev Rowland
One of the disadvantages of living at the end of the world is that these days I get most of my promos as downloads, which generally isn’t too much of a pain but here I find myself reviewing a DVD set where I haven’t actually seen the DVDs! Okay, so this has been released as a double DVD (more than 4 hours), along with a triple CD set and it is the latter that I am reviewing. This recording took place on October 11th, 2012 at The High Line Ballroom, New York, and captures the band in incredible form. I have no idea how many live recordings of Neal there are in my collection, from duetting with NDV through Spock’s Beard and Transatlantic and of course his solo work, but there are one or two. I have seen him in concert with SB as well as on the ‘Testimony’ tour and have had the privilege of interviewing him a few times as well, so I guess you can say that I am a fan.

I greatly respect the way that he decided to stand up for what he believed in (even though I don’t share those beliefs), although I still regret that SB never had the chance to tour ‘Snow’ which is easily their finest work. I have never given anything that he has been involved with a bad review, and there is no reason at all to start now as this triple CD set (2 hours 45 minutes) is as close to perfection as one could hope to hear. When it came to choosing the musicians to form the band he brought in close friends Mike Portnoy and Randy George and then used YouTube for the audition process! He ought to do that more often, as during “Sing It High” he gets it right when he says that the guys are “Sick”. Adson Sodré (guitar, vocals), Eric Gillette (guitar, keyboards, percussion, vocals) and Bill Hubauer (keyboards, violin, sax, vocals) do a stunning job. Mind you, it’s handy when you have three multi-instrumentalists in a band as it does mean that you can spread the wings. Vocally they are all in fine voice as well, just listen to “Author Of Confusion” to see what I mean.

Both Adson and Eric really riff and shred as the need requires, and this is probably the heaviest that Neal has ever sounded as he works his way through material from throughout his career: this is much more than just a live rendition of the latest album. The suites from ‘Testimony’ and ‘?’ work incredibly well and it is the longer sections that really allow Neal and the guys to shine. There are four songs more than twenty minutes long and one more than thirty!

But, for me one of the major highlights sees Neal taking a back seat, literally. One of my favourite live albums that feature Neal is ‘One Night in New York City’ by Yellow Matter Custard. This was a band put together by Mike Portnoy to play Beatles’ numbers, and the line-up was completed by Neal, Paul Gilbert and Matt Bissonette. The whole purpose of that band was to provide a new take on classic numbers and have fun at the same time. Well, on “Crazy Horses” Neal takes over on drums while Mike becomes the frontman, and everyone has an absolute blast. Mike says that when he first heard the song when he was five years old that it was the heaviest song that he had ever heard, and the band certainly do it justice. I defy you to listen to this and not smile throughout. There are some people who don’t enjoy what Neal does, and feel that he hasn’t dramatically changed since he left SB, but I sincerely hope he keeps going in this vein for the rest of his very long career as I love it.

So there you have it, a five star review for a DVD set that I haven’t even seen. But to me they are just an added bonus as this triple CD set is just mindblowing.

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