Metal Related Genres

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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
WISHBONE ASH
4.56 | 27 ratings
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NEAL MORSE One Album Cover One
NEAL MORSE
4.83 | 10 ratings
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JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
JIMI HENDRIX
4.47 | 39 ratings
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QUEEN Queen II Album Cover Queen II
QUEEN
4.42 | 59 ratings
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THE WHO Who's Next Album Cover Who's Next
THE WHO
4.48 | 29 ratings
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SPOCK'S BEARD Snow Album Cover Snow
SPOCK'S BEARD
4.88 | 8 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
NEAL MORSE
4.44 | 34 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.34 | 92 ratings
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KING CRIMSON In The Court Of The Crimson King Album Cover In The Court Of The Crimson King
KING CRIMSON
4.33 | 88 ratings
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PORCUPINE TREE In Absentia Album Cover In Absentia
PORCUPINE TREE
4.32 | 86 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.46 | 22 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.32 | 84 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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metal related genres Music Reviews

NEAL MORSE It's Not Too Late

Album · 2001 · Non-Metal
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lukretion
Neal Morse’s solo career started with a couple of albums that are quite different from the type of releases that will characterize his solo discography after he left Spock’s Beard in 2002. His first solo album, the self-titled album he released in 1999, bore only faint traces of progressive rock, focusing instead on a lighter pop-rock sound that only occasionally veered into prog territories. His follow-up release, 2001’s It’s Not Too Late, is even less prog-inclined. It is a largely acoustic album, built around simple, singer-songwriter tunes that prefer emotional directness and melodic accessibility over technical wizardry and structural complexity.

Oddly, this is an album that I like and at the same time dislike more than Morse’s 1999 solo debut. I like it better than his first album because it feels more honest and authentic. It does not try to strike a balance between Morse’s simple pop ambitions and his progressive rock “day job”, but it fully embraces his singer-songwriter sensibilities, presenting a collection of acoustic tunes written by Morse between 1980s and the months prior the release of the album. However, among the record’s 13 songs, I only find a handful of tunes that I can say I truly like. Most tracks are fairly anonymous and inoffensive light pop numbers that disappear from my musical memory as soon as the album moves on to the next song. Others are fun to listen to, but feel quite derivative and make me almost feel as if I were listening to a bar band rather than to one of the greatest prog rock musicians of our times (“So Long Goodbye Blues”, “Ain’t Seen Nothing Like Me”). Other tracks are just plain boring, as they lack a strong melody to carry them through (“The Eyes of the World”).

The tracks I fully enjoy are few and far in between. “I Am Your Father” is one of them. This is a song Morse had written with his old band from the 1980s, which in fact accompanies the singer on this re-recorded version of the tune. It is a very emotional pop-rock number, driven by Morse’s piano and powerful vocal delivery and enriched by some poignant lyrics about fathership. “Something Blue” is the other highlight of the record for me. It’s a more uptempo number graced by a gloriously catchy chorus that elevates the song to a different level.

There’s not much going on instrumentally throughout the album. Morse’s superb piano playing shines in some of the song and Nick D’Virgilio precise and sophisticated drumming is always a pleasure to listen to. But the songs feature intentionally simple and essential arrangements that leave little space for musical showmanship.

In short, there’s virtually no prog on this one, just a collection of simple and mostly acoustic tunes that are often pleasant, but rarely extraordinary. Morse is a great player, singer and songwriter, so it is really hard to find parts of his discography that are tout court bad, and It’s Not Too Late is no exception. Yet, this is probably among the weakest albums released by the man, and, unless you are a hardcore Morse’s fan or a completionist, you may want to skip this one and save your money for one of the other albums in Morse’s rich discography.

ANATHEMA Weather Systems

Album · 2012 · Non-Metal
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Peacock Feather
When you start talking about what is dear to you and loved to the depths of your heart and soul, it is always difficult to find the right words, epithets, metaphors to describe the feelings and emotions burning inside you. If We're Here Because We're Here stole my heart, used it a little and fed it, and then returned it to its rightful owner, then Weather Systems made this heart its own property.

All the best things start at the very end, and my introduction to Anathema began with the closing Internal Landscapes. I was blown away by how sensual it was, how genuinely sincere, and how the pathos was twisted to the maximum. I delayed my acquaintance with the album itself a little, coming to it gradually. I had already fallen in love with the Untouchable dilogy and the above-mentioned song, but I was afraid to be disappointed sometimes, even though I already knew that Anathema would be serious and lasting with me. And for the first time, I wasn't as impressed as I thought I would be.

To be honest, the whole Weather Systems is built on the same patterns, both its own and the patterns of the last album. All the songs follow basically the same canons, the same pattern, but that doesn't mean, damn it, that the album is monotonous and bad. I think I was able to see such an elusive feature of this album, as a complete immersion inside myself and inside the band itself, to be precise, inside Danny himself, who again became the author of almost all the songs on the album, only The Storm Before The Calm was written by John Douglas. No wonder Danny himself says that it is difficult for him to listen to Weather Systems, since the lyrics on the album are very personal for the older of Cavanaghs.

The deep emotionality of the release at some point completely conquered me, and I could no longer resist the endless beauty of this almost masterpiece. Neither the extraterrestrial majesty of Untouchable, nor the perfect embodiment of femininity in the person of Lee Douglas and her solo part in Lightning Song, nor the duality of The Storm Before The Calm (for a reason it is so different from the other songs on the album, due to the direct involvement of the drummer already mentioned above), nor the softness and lightness of The Beginning and the End, nor the epic melancholy of Internal Landscapes. Truly, there are no passing compositions for me here, Weather Systems have long, deeply and reliably settled in my heart. This is the best album of Anathema of the new period, which is slightly inferior to Judgment, but by a large margin wins over all other albums. I just don't know what words to choose for this album, these songs, when there is only one endless delight burning in my mouth.

ANATHEMA We're Here Because We're Here

Album · 2010 · Non-Metal
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Peacock Feather
For 7 long years, Anathema did not release anything big and new, but during this period the band held many concerts, which resulted in the reconciliation of Danny and Vinnie, as well as as many as 2 concert DVDs, on one of which, for example, a whole Comfortably Numb was covered. And in 2008, the band released a good acoustic compilation, Hindsight, in which the old hits of the band were transformed in a softer light (although, it would seem, much lighter), especially for Fragile Dreams and Angelica. Well, not about this collection, but about the album, which presented the band in a new, fully formed guise of the apostles of light, love and goodness, and if you are not sick of the combination of these 3 words in one sentence, then most likely, you will definitely have a good relationship with the new Anathema.

From the very first notes of Thin Air and the first lines uttered by Vinnie's gentle voice, you are immersed in this bright, sunny atmosphere, you feel that love is really freedom in time and peace. The meeting with the inevitable is delayed by the restless and nervous, but awesome Summer Night Horizon, which is a kind of light greeting to the beginning of the noughties, and then... the infinitely magical and touching Dreaming Light, my personal favorite, Everything, from which the stingy male tears of happiness strive to spill, the truly angelic song Angels Walk With Us, in which the vocals are performed by the notorious Ville Valo from HIM, and the epic A Simple Mistake with almost the best crescendo in the history of the band. And the overall impression of the album is not at all spoiled by either the frank filler Get Off Get Out, or the slightly delayed instrumental Hindsight, which closes the album (although this will still affect the final score). To tell you the truth, if I were in the guys' shoes, I would have made Universal the final song. Of all the songs of Anathema written by Vinnie, this one is his best work. At its core, it really feels like the final chapter of WHBWH, summing up everything Cavanagh/Douglas have had to say over the past 7 years.

By the way, a remarkable fact: all this splendor was mixed together by the maestro Steven Wilson, known to you all from his work in Porcupine Tree, No-Man, Blackfield and many other bands/projects. We're Here Because We're Here is by all accounts a great album that has already become a lifetime classic among the band's fans. If the guys would get rid of Get Off Get Out – I would give this work an unquestionable top ten or close to it.

ANATHEMA A Natural Disaster

Album · 2003 · Non-Metal
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Peacock Feather
A really telling name was chosen for the album by members of Anathema. It was born, by the way, in a conversation between Danny and Duncan Patterson, when they reconciled with each other. As stated by the Cavanagh brothers, at the time they were in a closed confrontation with each other for personal reasons, and this at some point led to the fact that Danny wanted to leave the group. Fortunately, this did not happen, moreover, the third of the Cavanagh brothers returned to the band after a long absence – Jamie, Vinnie's twin brother, who took over as bassist after the departure of Dave Pybus. Nevertheless, the inner state of Danny is absolutely accurately reflected in the new material, which is almost entirely written this time by the eldest of brothers (only Balance is co-written with Vinnie and John Douglas).

I see Natural Disaster as the album that became a kind of point of no return for the band. This LP of the "new" Anathema is unique in that, unlike the subsequent bright and optimistic albums, A Natural Disaster attracts exactly some kind of alienated, slightly gloomy, sad atmosphere. Against this background, the names of the first 2 tracks look very ironic, with such a sign! Although, maybe the band meant exactly the perfect harmony and balance that they finally found on this album.

From the first time I did not understand this album, I honestly admit, and I thought about putting it off until better times. The only thing that attracted me was the unusual Closer, and even then it was unusual because of the very skillful use of the vocoder. Later, however, the beauty of Natural Disaster began to unfold for me like a lotus bud. And here you are already clinging to the soul and pathos of Harmonium, and soulfulness of Are You There? (in which Danny again turns to the topic of losing a loved one), and the piercing aggression and darkness of Pulled Under at 2000 Meters a Second, and the hopelessness of the title song (Lee Douglas finally sings solo!), and the serenity of Flying, and the unexpected instrumental about 11 minutes with a well-chosen title Violence simply amazes with its mixture of the entire sound of the album, where sentimentality and aggression collide with each other and form a kind of yin and yang. By the way, in addition to Vinnie, on this album, Danny himself sings solo on 2 songs at once (Are You There? and Electricity), and what's funny, some reviewers confused the voices of Vinnie and Danny (although objectively they are completely different)!

On Natural Disaster, the band went even further from its musical past, but it adapts some ideas from there and turns them into new, unique things, like, for example, it happened with the aforementioned Pulled Under at 2000 Meters a Second, but the trend remained the same: Anathema continued to modify its musical vector, and it seems that on A Natural Disaster, they finally found the necessary and convenient sound. The verdict is simple: despite a couple of tracks (Balance and Electricity), which in my subjective opinion are rather boring, the album is really great, and I love it almost as much as the previous two.

ANATHEMA A Fine Day to Exit

Album · 2001 · Non-Metal
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Peacock Feather
With that creative vector that Anathema has formed, it was hard to guess which way the band would move on the next release. And so it turned out that the Liverpudlians decided to try to experiment not only with the sound, but also with the format of the material, because they planned to make a concept album, the first in their career. The essence of the concept is the progressive movement of the lyrical hero down the spiral (almost like in Trent Reznor's 1994 masterpiece The Downward Spiral) straight to suicide. Sounds intriguing, doesn't it?

However, do not rely on chewing the meaning and plot from the mouth of Vinnie or anyone else from the group - the canvas of Anathema is cut into unequal pieces, which, with all the desire and perseverance of the listener, will not reveal the true storyline. And band members themselves, it seems, did not fully understand exactly how and in what order to listen to the compositions they wrote; in the 2015 remaster, the intro of A Fine Day, which was thrown out of the original release, is added, which resembles Panic in its nervousness and despair, and the original songs are mixed in a radically different order (for example, the same Panic and the Pressure opening the album are located in the middle of the album). However, I personally prefer to listen to the album in the original order.

And how are things going, actually, with the music? It was just a wonderful alt-prog-rock record. As you know, all the best of 2000' alternative starts with one name – Radiohead. This infection, which I do not like with every fiber of my soul, has turned heads of our Liverpool heroes. Another thing is that I really like the ideas of Radiohead, but the way they implement these ideas, I'm sorry, I can't stand it, and I'd rather listen to the Radiohead-esque album from my favorite Anathema, who made these ideas in the best possible way. By the way, even now this album is often underestimated and not remembered at the mention of the name of Anathema, and I can not even find any explanation for this phenomenon. Although, probably, the matter is in several existing factors, the main of which is that 2 years before A Fine Day to Exit, Judgement was released. The uneasy fate of the successor to the great album also befell A Fine Day to Exit. Moreover, the focus on alt-rock confused even many fans of the band's last 2 albums. And very wrongly, because this album, despite the concept that runs through all the songs as a leitmotif, is full of treasure. These are the first 2 songs, slow Pressure with a haunting chorus and Release with a slight touch of electronica, and wonderful alt-rock Leave No Trace, written by Vinnie, and psychedelic-evil Underworld and Panic, and tragic Barriers (again a duet of Danny Cavanagh and Lee Douglas) and the title song. Anathema also did not forget about the concept itself, and their lyrical hero ends... (?) And then the Liverpudlians cut the story short, leaving it up to us to interpret the end of the album, whether the hero really killed himself in the cold ocean or decided to wait. The answer to this question will be given 16 years later, but this is already another story.

In the end, we have a unique work in the Anathema discography, which is underrated by the fans, but no less beautiful in its melancholy and depressive nature, and I think the band has finally reached maturity on this album. And although between Judgment and A Fine Day to Exit, I would still prefer the former for, let's say, greater ambition and elegance, the feeling that this work did not come from here, A Fine Day to Exit is valuable precisely for the band's attempt to do something extremely separate from the rest of the work and at the same time deeply beautiful.

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NEAL MORSE Morsefest! 5015

Movie · 2017 · Metal Related
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adg211288
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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Warthur
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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stefanbedna
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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progshine
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. www.insideout.de

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