Christopher Ruel's Progressive Music Reviews

Shawn Lane: The Tritone Fascination

1999, Eye Reckon, ER-001

CyberHome(s): http://www.NoProblemHere.com

Shawn Lane is back with The Tritone Fascination, setting out to continue his demonstration of guitar, keyboard, and compositional prowess that he established with Powers Of Ten. This effort, though similar to Powers Of Ten, differs a little in style, feel, and compositional content. There is more content that has a straight ahead instrumental rock feel with a sophisticated composition and soloing angle. There are also some compositions that are more theme-centric that do not seem to strive for overpowering guitar domination. The result of this is some very accessible music. Shawn Lane's playing is once again astounding, as you might expect. But, there is also a very tactful balance between his outrageous guitar work and the compositional frame that he packages it in. The harder, driving rock tracks with scorching guitar work are balanced by some very soulful, sentimental, melodic themes that Lane develops on other tracks.

The album starts out with two straight ahead rock pieces that Shawn Lane rips to shreds with his guitar playing. Lane's coverage of Jimi Hendrix's "Peace In Mississippi" is probably better than the original. The lead guitar work is definitely alive and full of speedy patterns that are Lane's signature. But, don't try to get an impression of the entire album from the first two or three tracks. The album is diverse in nature and takes a change of direction on the fourth track, "The Way It Has To Be" that is slightly reminiscent of "Get You Back" in feel and emotion from Powers of Ten. "Tri--7\5" is the album's centerpiece with some of Shawn's finest composition, instrumental work, and thematic development, all brilliantly integrated with some unusual time signatures and outside harmonization. Several sentimental compositions follow that are theme-centric, beginning with "The Hurt The Joy". These compositions feature some well-felt playing by Shawn that makes for some very enjoyable, accessible listening material. "One Note At A Time" is one of the highlights on the album for me with its soulful, upbeat melodies that erupt into some speedy guitar runs that somehow manage to keep the relaxed, tranquil feel that characterizes the rest of the composition. The final track, "Epilogue, Bach", is another exceptional piece of music off of this album, as Lane demonstrates his comprehensive grasp on classical music and particularly the stylisms of JSB.

The Tritone Fasciniation is characterized by diverse, sophisticated yet accessible compositions, virtuosic, stellar instrumentation, fastidious production, and solid, theme-centric musicality. This is definitely my kind of music. If you liked Powers Of Ten by Shawn Lane or if you like world class musicianship, you should check out The Tritone Fascination. I don't know if I would say it is as good as Powers Of Ten, but definitely of that caliber.

1) Kaiser Nancarrow

2) Peace In Mississippi

3) Minarets

4) The Way It Has To Be

5) Tri--7\5

6) Art Tatum

7) The Hurt The Joy

8) Maria

9) One Note At A Time

10) Song For Diane

11) Epilogue, Bach (Ich Ruf Zu Dir)

I have waited a long time to get the music from the Powers Of Ten on CD because it is no longer in print. Sometimes when you buy a CD and first go to listen to it, there is an apprehension you have that the music will not meet your expectations. The live version of Powers Of Ten lives up to all expectations and will make you soon forget about any doubts you may have had prior to listening to it. Now that I have become so engrossed with Powers Of Ten Live, it is hard for me to remember that apprehension I once had when I first received this CD from Audiophile Imports.

Shawn Lane lays down some incredible lead work over the tasty collection of compositions contained on this live CD. The compositional depth and content are without a doubt world class. The guitar, piano, and drum work are all inspired and first rate. The feeling and style conveyed in this music transcends all of the incredibly complex mechanics that are involved.

Though the entire effort on this CD is superb, there are several tracks that just shine above the rest, in my mind, anyway. "Get You Back" is one of the best pieces of music I have ever heard. The depth and feeling in the melodies are simply art. There is no other way to put it. This single track embraces every quality that I look for when listening to music. The melodies are complex yet have that Mozart-like, simplistic appeal that makes them easily accessible. Yet the inherent complexity in the melodies makes one never tire of them. Musical genious. Shawn's immense depth of character shines forth in "Get You Back" as he struggles with the pain of love lost and resolves himself to relentlessly regain that lost love with every inch of his great soul. The balance in melody and harmony, and the instrumentation in "Get You Back" is absolutely awesome, not to mention the unbelievably fast guitar solos that balance the slower melody lines. You can listen to this track every day and never get tired of it. "Get You Back" to me is Shawn Lane's crowning achievement and definitive composition. Other incredibly great tracks include "Gray Pianos Flying", "Tri-Heaven", "Tri 7/5", "Rules Of The Game". Shawn uses outside melodies and unusual time signatures in these pieces and pulls it off seemlessly with ease, style, and grace. "Rules Of The Game" is an additional track that was not available on the original Powers Of Ten release. "Rules Of The Game" is an inspired, triumphant denoument that is suitable for the slow-motion, fairytale ending of any feel good movie, as well as the victory gallup of any Grand Prix. But really, this CD is so incredibly good from start to finish, it would be unfair to Shawn to single out tracks as I have done. These ones I have listed are my personal favorites.

This is a "must have" in the collection for any guitar enthusiast. Shawn Lane defies genre and his immense talent slathers this live effort. The music and leadwork are complex, but the complexity has a gravity that grows each time you listen to it. This is one that the most critical musicians will not grow tired of listening. On a scale of one to ten, Powers Of Ten Live gets a 10 ... to the 10th power in my book. This makes the permanent rotation and is top shelf right up there with Maker's Mark! This is music fit for gods. BUY IT!... NOW!!!

1) Introduction

2) Esperanto

3) Gray Pianos Flying

4) Black Market

5) West Side Boogie

6) Eqpilogue For Lisa

7) Illusions

8) Get You Back

9) Not Again

10) Drum & Guitar Solo

11) Tri-Heaven

12) Hard Case

13) Drum Solo I

14) Drum Solo II

15) Tri 7/5

16) Introduction Of Musicians

17) Rules Of The Game

Steve Morse returns once again in Split Decision with his three piece ensemble including Dave LaRue and Van Romaine, giving us more of the guitar wizardry and diverse style that we have come to expect from him. The effort is comprised of clean, rich tonal texturing, complex melodies and thoughtful compositions in the flavor of eclectic progressive rock that Steve Morse helped to pioneer. The purely instrumental compositions consist of well-balanced dynamics, melodies, harmonies, and sparsely occurring faster sections. One of the aspects of Steve Morse's compositional style that strikes me in a good way, is that he has reached a level of maturity in his composition that he does not need to prove his technical capabilities with a lot of unnecessarily fast and overwhelming guitar technicianry. Morse instead focuses on striving for melodic invention and compositional vision, which are much more difficult objectives to tackle and make the music enjoyable to listen to. But, don't take me the wrong way, Steve Morse is still a guitar wizard with all the technical proficiency we have come to expect from him on Split Decision. However, there is more stress put on compositional content and stylistic diversity, which suits me just fine.

As far as standouts go on Split Decision, there are too many good instrumentals here to narrow the field. The diversity in style across this effort will surely lend different compositions as favorites to different listeners based on their personal preferences. However, the tracks that appealed to me most were "Busybodies" with its classical overtones, "Great Mountain Spirits" with its supernatural feel, "Moment's Comfort" with its rich, inventive, relaxing melodies, as well as all of the remaining tracks on the second half of the CD.

If you like virtuoso guitar work in the context of uninvasive compositional content, then Split Decision will find a good home in your collection. I am especially impressed with Steve Morse's compositional maturity on the latter half of Split Decision. These slower compositions have an epic feel of greatness to them that reach deep into the soul where Morse pulled them from. Their compositional content ensure that they will stand the test of time and outlive any near-sighted musical trends.

Structural Damage joins Steve Morse once again with Dave LaRue and Van Romaine in Morse's 1995 release. The Steve Morse Band compiles some complex, guitar-centric compositions that are characterized by explorative melodies, chordal harmonization, and time signatures. Structural Damage consists of the signature Steve Morse sound that is a fusion of progressive melodies, driving rhythms, and speedy string slinging. Morse demonstrates more technical domination of the fretboard while venturing off the beaten path with progressive chordal arrangements and harmonies. Once again, Morse covers many different styles and genres in his compositions, as we have now come to expect from him.

The compositions that struck my fancy from Structural Damage were "Smokey Mtn. Drive" with its bluegrass roots, "Slice Of Time" with its Bach-ian classical overtones, and "Foriegn Exchange" with its rich-textured acoustic chordal harmonies.

Though Structural Damage is impressive in its progressive and explorative content, it seems to me that much of the material is technical in nature and may not be easily accessible to a wide listening audience. But, I am sure that to an educated, guitar-oriented audience, this music will satisfy the expectations that this audience has for Steve Morse.

1) Sacred Ground

2) Good To Go

3) Dreamland

4) Barbary Coast

5) Smokey Mt. Drive

6) Slice Of Time

7) Native Dance

8) Just Out Of Reach

9) Rally Cry

10) Foreign Exchange

11) Structural Damage

Steve Morse offers us an eclectic collection of guitar instrumentals that span a gambit of genres and run a gauntlet of technicianry on his 1992 release Coast To Coast. Morse's playing is nothing short of spectacular as he demonstrates his proficiency across the many styles that his arsenal encompasses. Morse demonstrates tonal mastery with the tones he couples to his playing that articulate the precision in his playing. Morse's virtuoso guitar work and the backup instrumentation is tactfully balanced resulting in a coherent format for Morse's impressive chops.

There are a number of tracks of interest on Coast To Coast. The album opens with the blazing and clean pattern lead work on "User Friendly". "Collateral Damage" follows with more speedy fretboard work that is balanced with some of Steve's trademark progressive melodies. "Runaway Train" is a sizzling, finger-picking extravaganza that demonstrates Morse's grasp on the Chet Atkins country-picking variety of instrumental guitar playing. This track has some impressive finger work that follows some attention-keeping changes that take many unexpected directions into unusual harmonization for this genre of music, but not so unusual for Morse. "Long Lost" has some epic-feeling melodies that the guitar work centers around, another good cut. Morse lets the tiger out of the cage on "The Oz" that features a catchy theme and another blistering, clean lead that will dishearten the most eager wanna-be guitar slingers. Coast To Coast closes with a classically influenced composition "Flat Baroque" that demonstrates Morse's depth in composition with his ability to fuse different genres and breadth that coherently spans multiple genres simultaneously.

In summary, there is good reason that Steve Morse gets the constant critical acclaim that he does. Coast To Coast is yet another solid footstep in the Steve Morse journey that has established his legacy. No progressive collection would be complete without it.

1) User Friendly

2) Collateral Damage

3) Get It In Writing

4) Morning Rush Hour

5) Runaway Train

6) Long Lost

7) The Z

8) Over Easy

9) Cabin Fever

10) Flat Baroque

What can we say about you Ron Thal? You are bizarre, unconventional, and probably off your rocker. But, there is genius in your madness. Bumblefoot is a collection of diverse and boundary-stretching tracks that are intended to broaden your musical experience. There is some good guitar work here, but the striking aspect of this album is the composition and not the techniques that Ron deploys, but rather the psychological effects he achieves with them. Ron Thal goes where no guitarist has gone before, and none are likely to go again. If you like the music in video games, commercials, or dimented movies, you are sure to like this CD. Be forewarned, this CD will take several listenings for you to ajust to the style and composition. Ron Thal has a unique view of the world that shows through in his music. That view is sometimes realististic, sometimes captures the off-beat or the bizarre, sometimes surreal, but always has an unexpected optimistic side to it that becomes more striking because of the other aspects that contrast this sparing optimism so boldly.

Bumblefoot opens with the title track that sets the climate and makes it very clear what you are in for. The bumbling bassline establishes the mood and feel that is like some awkward troll or Scuzzlebutt creature from the South Park cartoon (my favorite episode!), but then becomes a little more intricate and gains some depth of character with the guitar work that ensues. Bumblefoot then turns toward the sun from the shadows under a troll's bridge in the track "Orf". There is still a dark overtone to it, but there is now a ray on sunshine bursting forth from the clouds. "Scrapie" follows with a very uplifting melody and progression that sharply contrasts the tortured riff that the track opens with. And, so the album continues on in this fashion, changing from shadow to light, from sin to redemption, from sickness to health, from depression to elation, and from sadness to happiness. But, there is always an eery, disoriented feel that is only mastered by Ron Thal. Thal make's "Ick" feel good, probably better than it really does, and this is probably my favorite track, though I appreciate the salvation given in "Fistulous Withers" too.

And, just to give you a sense for Ron Thal's dimented nature, all of the tracks have titles that are equine health disorders. Ron's wife is a veterinarian, so there is probably some connection here that is known only to Ron, and maybe his dear wife. Are these the emotions that horses undergo when they experience these terrible health problems and recovery from them? We may never know because horses can not talk and therefore will not tell us... but maybe they have told Ron who has some strange ESP abilities with horses? ... !!! The purely instrumental tracks definitely convey that tormented feeling that you have when you are sick and tired of it. But, Ron is not a pessimist and always heals you before he is finished imposing the torture of illness on you and taking you with him as he indulges in his morbid fascinations.

Ron Thal's mastery of emotion in music is unparalleled. The musical styles that he brings in and integrates to achieve his intended emotional effect is nothing less than brilliant. This is not music... This is art. And, like most good art, you will have to stretch your boundaries to appreciate it!

There is no doubt that Ron Thal is out there and probably off the deep end. But, give it a shot. You will never look at the world the same way again.

1) Bumblefoot

2) Orf

3) Scrapie

4) Blue Tongue

5) Limberneck

6) Q Fever

7) Strawberry Footrot

8) Ick

9) Malignant Carbuncle

10) Rinderpest

11) Strangles

12) Fistulous Withers

Ron Thal's follows up his earth-shattering, boundary-stretching Bumblefoot with Hermit that continues Thal's exploration of tonal, timing, and thematic arrangement relationships for the purpose of effecting psychological impact on listeners with the music as a medium. This time around, Thal has added his vocals to the list of vices that he uses to actuate your synapses with impulses they have never before encountered, nor were they ever, in a million years of evolution, designed to be exposed. If this is your first listening to Ron Thal, there is nothing anybody can say to prepare you. Just brace yourself and hear it through.

Ron Thal makes a full-frontal assault on your psyche, adding his twisted vocals and clever lyrics to his off-beat musical style. Normally, I have a general disdain for vocals, unless the message is a good one or the vocals are extraordinary. However, in the case of Ron Thal's Hermit, I have had to expand my boundaries of acceptance to include messages that come from a very unusual angle or are very amusing. Though, Thal's vocals are really not too bad, it is the lyrics that make the vocals justified. And, it actually helps the eery Ron Thal mood that he voices his message with his own, unique vocals that really convey the emotion behind the lyrics.

Honestly, if I had not listened to Bumblefoot prior to Hermit, I might have just given Hermit a cursory listening and passed it off. But, what I learned from the strictly instrumental Bumblefoot, was that Ron Thal has some very interesting ways of capturing human emotions with his instrumentation, tones, arrangements, and phrasings that he deploys so tactically to this end. So, having this in mind when approaching Hermit, it is definitely helpful because it makes a listener quicker to pick up on these things the second time around. My take on Ron Thal is that you can't look at the chops, tones, and guitar work he utilizes in his compositions for their own value. But, you do have to look at the way that he arranges them to see what emotional effect they convey in the context of the rest of the composition. To me, Ron Thal is not about guitar chops and technicianry, he is about emotional impact on your psyche through composition... and now lyrics. But, his guitar capabilities definitely widen the scope of emotions that he is able to convey. And, this is just my view of things and I wouldn't want to state it as Ron's purpose, because only he can say what that is!

So, now on to the hunt! Hermit opens with an instrumental composition, "Zero", that arpeggiates some chords based on outside-sounding harmonies that carry Ron's disillusioned emotional baseline to the listener. The title track, "Hermit", ensues with Ron's signature, unpredictable changes that make drastic transitions between widely varying musical themes, liberally mixing up heavy-handed, crunching riffs with more sensitive themes for the purpose of emotional contrast. If it strikes you as severe, that is probably the intended effect. Read the lyrics and you will understand! So, Thal continues once again in this fashion of drastic contrast to assault your psyche and senses to get your attention on his message.

My favorite track that is aimed at a certain breed of guitarist, "I Can't Play The Blues", is a track that many musicians will probably find amusing because it ridicules the egocentric guitar hero. Ironically, to satire the egocentric guitar hero, Ron must deploy some pretty speedy and progressive runs to paint the image... very clever cover, Ron! Another notable track that rubbed me the right way is "Rowboat". Thal drags you down into a very disillusioned state for so long that when he finally gives you redemption and freedom from the chains, you will appreciate it that much more. And, "Rowboat" is the vessel that Ron uses in Hermit to cast off those shackles of oppression with its feel good transition and theme that pulls the entire perspective into the sunlight, and throws in some witty humor to wink at you knowingly. If not for this brief ray of sunlight, we might not know that behind all of Ron Thal's satirical and drastic views of the world, there lies an optimistic heart. But, with all the pain, turmoil, and disillusionment he drags us through, we appreciate it that much more when we see it.

OK. And, one final track that is notable is "Every Time I Shake My Head". This track is notable to me because of the musical styles that Thal pulls from including the smooth jazz Christmas guitar genre that one might hear in the mall around December. It really is impressive that Ron hears music whereever he goes, identifies the emotions that people correlate with that music, and then he deploys that music in a capable manner to achieve his desired psychological affect... which is usually pretty disoriented, if not dimented!

I think to enjoy Hermit, you have to approach it for what it is. Don't try to analyze Ron's technique and guitar capabilities for their own value. Just listen to the music and forget what you know about technique and theory and all of that. Ron can play, but don't get distracted by it. If you can do that, the message will find its way to your ear and you might remember why you became so interested in music in the first place... because it captured or drove your emotions! And, that may just be what Ron Thal is really all about.

1) Zero

2) Hermit

3) Fatback

4) Freak

5) Sweetmeat

6) I Can't Play The Blues

7) Gray

8) Unsound

9) Goodbye

10) Rowboat

11) Hangup

12) Every Time I Shake My Head (It's Like Christmas)

Steve Vai: The Elusive Light And Sound Vol. 1

2002, Favored Nations

CyberHome(s): http://www.Vai.com

Steve Vai's release The Elusive Light And Sound Vol. 1 is a compilation of tracks that were previously recorded for the soundtracks of the various movies for which Vai has composed music. Though the music spans a number of different movie soundtracks, the tracks are all characterized by Vai's progressive, hard-edged guitar work. There are no surprises on this CD and if you have seen any of the movies from which the tracks are from, you will recognize the music from those movies. The soundtracks also include some of the dialog from the movies that lead into Vai's guitar work.

The CD features a lot of signature Vai axe work in the aggressive, biting Vai style of progressive instrumental rock. The legendary "cuttin' heads" duel from the Crossroads movie is included in the lineup of movie soundpieces. The Paganini caprice excerpt is probably the highlight of the compilation as a historical milestone where Vai demonstrated his technical capabilities and gained broad exposure to the general listening population with this segment from the Crossroads movie. (for those of you who are old enough to remember that!) It is kind of neat that you can now listen to this segment without having to sit through the movie to get to it, as is the case with any of the other tracks that you will now be able to listen to without having to pick them out of the movies. The "Celluloid Heroes" track is another highlight of the CD, though not lead guitar intensive, it is a well-produced track with good musical vision.

By now, most of you probably are already familiar with Vai's guitar work and composition. If you like Vai's studio albums, you will want to add this one to your collection to round out your Vai library. There is a lot of good guitar work by Vai on the CD. The only drawback is that some of the voice-overs from some older, goofy movies, like Bill & Ted, are included and you'll have to tolerate them to hear the guitar work that ensues or accompanies.

1) Celluloid Heroes

2) Love Blood

3-6) Music From "Crossroads"

7-8) Music From "Dudes"

9-16) Music From "Bill & Ted's Bogus Journey"

17-18) Music From "Encino Man"

19-40) Music From "PCU"

It took me several listenings to Contact by 7 For 4 to get a handle on the musical vision of bandleader Wolfgang Zenk. The reason for this, is that Zenk integrates a number of different philosophies and musical approaches in the music that combine to form an unusual style. Contact is definitely guitar-centric and this is the first thing that is going to attract the listener's attention and focus. But, Zenk has an unusual repertoire of axe chops that are not from the standard progressive collection that one might expect for guitar-intensive music, but are instead from all over the musical map. This was the first adjustment that I needed to make to acclimate to the music on Contact. However, once I got a handle on what was and was not there in the guitar technique and vocabulary, I was able to begin to relate to the musical vision that lay behind the guitar work. And, therein lies the value in this album, Contact. What is good about this album is that it has a style and feel that is different and refreshingly new, something that is truly difficult to achieve.

After I overcame my initial prejudice to what I originally was thinking were shortcomings in guitar work, I came to realize that the phrasings and techniques were in fact carefully selected and orchestrated by Zenk to achieve a unique sound that satisfyingly fulfilled the musical vision on Contact. (I was at first a little over-critical and biased based on expectations from other music. When something is new in nature, though, you have to abandon your older preconceptions to appreciate it.) The musical vision and styles deployed to achieve that vision can be described as diverse, inventive, widely accessible, upbeat, energetic, alive, aggressive, soulful, witty, constantly shifting, and satisfyingly melodic and resolved, though the harmonization and rhythms are complex enough to keep a musicians interest. What really makes the music work for me is the unending changes that go in unexpected yet very pleasing directions both in rhythms and themes. The track "E-Gyptian" is the prime example of this shifty, multi-genre, attention grabbing yet well-resolved nature of the composition of 7 For 4 that drives home the musical ideas with the inspired guitar work of Zenk. "E-Gyptian" clearly demonstrates the musical genius of the band with the collage of musical styles that are seamlessly integrated defying conventional musical wisdom. Other standout tracks that make this CD worthwile are "X-Dreams", "Tokamak", "La Provence" (I really liked the progressions, changes, and solo work on this one... clever, accessible stuff), and "Rushian".

And though my overall impression of the CD is favorable, there were two tracks that left something to be desired for me. The vocals on "Catking" didn't seem to help the CD and I would have been happier with a strictly instrumental album (but you must take into account my general disdain for anything but virtuoso vocal efforts)... so nix the vocals next time guys! ;) "Highlands" seemed like it was a near facsimile of the Genesis song "The Lamb Lies Down On Broadway", though maybe a better rendition than the original... but if you're gonna pay tribute, why not just call it by its real name?

The guitar style that Zenk deploys is an unusual style and may take a few listenings for guitarists to absorb. There are obvious elements of advanced technique, but there are also simpler elements that are less advanced that are used more for musical effect rather than guitar domination and heroism. The common thread in the style is the vision, feeling, and emotional content that underlies the techniques utilized. I listened to this CD a number of times trying to sort this out before I could put it into a frame of reference. Zenk pulls some advanced techniques and speedy type sequencing into his style and also draws from simpler, but well-felt type playing, making the resulting style encompass a very wide, yet cohesive scope. Finally, I went up to the 7 For 4 website to find this confirmed when reading Zenk's influences who included widely-ranging guitarists including the technicians Vai, Howe (Greg, I am assuming), Gambale, and Methany, as well as the more gutsy-oriented players, Gilmour and Knopfler... all good influences. The overall sound of Contact might be described as what might happen if some progressive guitar work, swing jazz composition, neoclassical exposition, and multi-genre tid-bits had been integrated with the best musical compositions of Genesis, though I wouldn't want to pidgeonhole the style that narrowly because there are many more stylistic elements to the music than just Genesis. (And, when I say multi-genre, I mean within the same composition and not simply different compositions that articulate different genres.) It is very cool in some places on this album how these different stylistic elements transition from one to the next... very clever!

My suggestion to listeners is to detatch themselves from analyzing the guitar work the first few times through Contact, and instead focus on the music as a whole and the vision that is being impressed on the listener. Then, once you have a grasp on that musical vision, look at how the guitar work is utilized as a tool within the composition... artistry. The value of Contact lies within the musical vision and the album is not an exhibition of guitar prowess for the purpose of guitar heroism. The heroism of the guitar work is comprehensible once you understand how the guitar work is applied to achieve the musical vision. Forget about guitar technicianry for its own sake, this is good music intended for pleasurable listening! (though it is guitar-intensive too!) This is diverse and new stuff, give it a chance to settle in and take root.

Zenk's chameleon, sonic shape-shifting style of composition and guitar exposition is an accomplishment that all guitarists should check out, understand, and come to terms with. When the musical vision exceeds the sum of the technique and the resulting sonic canvass transcends the mechanics involved, what you have is musical genius. And, that is just what is clearly demonstrated on the better tracks from Contact. I hope that further efforts from the group will continue to develop this aspect of their music because the tracks "La Provence" and "E-Gyptian" are so superb in their musical character that they convey a type of deep insight into the psychological aspects of music that very few musicians have ever touched upon, and fewer have mastered.

Good job guys! A solid effort from start to finish! And, a very enjoyable listen!!! ... This one is going in the disc changer in my car. This is very entertaining music and I highly reccommend Contact by 7 For 4. This new band, 7 For 4, is one of the brightest new stars in the firmament of 21st century progressive music.

1) X-Dreams

2) Tokamak

3) La Provence

4) E-Gyptian

5) Highlands

6) Rushian

7) Rockalaxy

8) Catking

9) Subspace Distortion

Faraz Anwar: Abstract Point Of View

2001, Gnarly Geezer Records, GCCD-002-1

CyberHome(s): http://www.GnarlyGeezer.com

Some albums you might listen to are immediately perceivable for their musical scope and vision. Other albums, such as Abstract Point Of View, require time to settle in and time for adjustment to a fresh, new perspective. Always zeroing in on the guitar technique to give me clues to the relative prominence of the musicians involved, I was first struck by the guitar work on this CD so that I realized I needed to stand back from the trees to get a better look at the forest. This is because I immediately realized that there was more going on here than could be absorbed the first time through this strictly instrumental album.

The guitar work by Faraz Anwar on Abstract Point Of View covers a lot of ground and has some very intricate and speedy passages. Faraz being a self-proclaimed disciple of Allan Holdsworth, this came as no surprise to me after listening to the album and searching the liner notes for clues about his influences. One characteristic that I truly enjoyed about Faraz's approach, was that despite that he integrates a lot of outside harmonization and unorthodox scales, he does this in a manner that weaves this complex harmonization into cohesive music with a distinctive and readily-perceivable musical vision. This is truly a difficult objective to undertake, and Faraz has done this on this album with awesome success. Faraz has struck a tenuous balance between tonal exploration and cohesive musical vision that will keep captive the attention of progressive musicians in pondering it. This being said, I feel obligated to point out that much of the harmonization is outside and approaching dissonant boundarie,s and this may be difficult for some to digest, though I suspect that the educated ear is going to indulge in this harmonious feast.

A lot of times you may hear an album where the musicians are going for an exploratory, outside sound that incorporates odd time signatures and unorthodox scales, patterns, etc., and these albums do succeed in exploring new musical ideas but they come up short for listener accessibility. This was the issue that I struggled with most in absorbing this album. In order to incorporate some worthwhile outside harmonization, Faraz needed to push the boundaries of accessibility which he did do. But, the struggle that I feel that he underwent in producing this album, was that he put a lot of effort into orchestrating the exploratory tonality in a manner that made sense as a whole. Faraz has put the outside harmonization into a compositional context that allows the creative and boundary-stretching tonality to work in a synergistic manner rather than an impeding one. And, Faraz tactfully and sparingly deploys some consonent, melodious reprieves from the dissonance that further help to make the music more digestible. Upon the full realization of what Faraz had undertaken and achieved on this album, I was very awe-struck, because there are very few musicians that I have heard that have been able to balance outside exploration with musical cohesion.

Characterising the sound of this album is no easy matter either. It is definitely very progressive in nature and is on the heavy side with the aggressive fretwork and guitar tones used. But, once again there is some balance here whereby there are other elements that ground the sound from being strictly heavy. There are some wonderful piano / keyboard passages that highlight the music, though the guitar work is paramount in the focus. There are also some melodical, slower guitar sections that add yet another dimension to the music. The overall integration of the instrumentation is tacfully and well produced, making for a very coherent soundscape. The guitar technique covers a lot of ground, and though the music is decidedly guitar-intensive and shows off some impressive pyrotechnics, the fretwork does seem to be used more of a tool and within the context of a musical vision than for its own sake. And, because the guitar work is used as a compositional tool, there are places where the throttle is let down from the other places where the blazing fast runs dominate. But, this variance in dynamics actually helps the musical vision by giving it more scope and avoiding the pitfall of unrelenting speed that many guitarists fall prey. But, do not despair if you like your guitar served up hard and fast, because there is plenty of aggressive speed here for you to quench your thirst for scorching fretwork. It is just packaged in a format where it is accompanied by an enjoyable listen.

Though the entire album is consistent in the fine level of playing and composition put forth, I thought to describe one track in particular to give an idea of the emotional content and how it is articulated through the advanced harmonization that Faraz deploys. The final track, "Why?", truly captures the feeling of a person struggling with some soul-torturing question that the composition voices. Faraz struggles with the question to the point where his mind is obviously tormented, plunging him ever downward, all conveyed by the energy, tonality, and feel, until he is on the brink of madness voiced by an eery piano passage. Then when it seems that all has been lost, an emancipating, melodic theme emerges from the bewilderment, and though it is laden with bittersweet, outside harmonies, this theme pulls Faraz out of the depths of his despair with an apparently new view or understanding of the problem he ponders in "Why?". This new theme changes the course of the music and opens up new exploration of the problem with musical articulation of the struggle that emerges from this change in direction with more positive sounding resolutions that are constantly being challenged by the outside sections. The struggle articulated is both disturbing and satisfying in musical content. And, the genius demonstrated, is that Faraz has been able to successfully capture the torment of what seems to me to be that of love lost. (I sure would like to know what "Why?" is really about, though!)

So, in summary, I would say that Faraz is not for the meek or faint of musical heart. Faraz is very progressive in the tonality he incorporates into his compositions and he does not hold back his ripping speed. The compositions are abstract and are based upon some complex harmonization, so you had best be prepared for this if you are going to check this album out. And, be prepared for the shadowy darkness that lurks in Faraz's soul that gives this album its characteristic feel. Overall, I think this is a really cool CD and Faraz applies some very compelling judgement in the balancing of his exploratory tonality and compositional integrity / accessibility. Check it out!

1) Through The Passage Of Time

2) Maze

3) Prophet

4) Don't Ever Let Your Spirit Die

5) Last Summer

6) Why?

Skyrats Scraps from Dave Schmeidler is a collection of mainly instrumental compositions that feature the fine fretwork of Dave Schmeidler. After first listening to this CD, I was not sure what to make of it. So, this CD sat in my CD rotation for two months so I could better absorb it. And, this extended exposure paid off for me because the musical vision finally sank in.

Schmeidler draws from a tactful repertoire of axe chops to cover the auditory canvass with his unique artistic vision. The album is comprised of a coherent set of arrangements that showcase Schmeidler's calculated voicings and phrasings that pleasingly take the listener by surprise with unexpected changes in tone, feel, and direction. Schmeidler plays with animated, deep feeling and deftly-disguised calculating precision in executing his musical motives. The resulting music has an appealing direction and highly satisfying stream of consciousness that it conveys. The bittersweet melodies and unwinding themes are complimented by sometimes aggressive, sometimes nostalgic, and sometimes funky sections that somehow work together to form a very unusual yet coherent collage. But, it was the balance of the soulful melodies, aggressive guitar work, and selective tonal voicings that really captured my attention. There is something that is conveyed in the music that is a sort of tormented yet hopeful sorrow that is an undercurrent that runs throughout the music that draws the listener into it.

The unusual elements that are integrated in the arrangements make it difficult to characterize the style. This statement alone is tribute alone to what Schmeidler has achieved on this effort, because it is a difficult achievement to defy categorization. But, though the album is unique in character, the music can be described as highly developed instrumentalism based around advanced, evolved rock and blues stylisms primarily, but also pulling in other influences such as jazz and fusion. This is all then packaged within some very provocative and intricate arrangements.

In summary, this CD may require some adjustment on the part of the listener. But, if the listener is willing to take the effort to absorb the stream of consciousness that is woven through the music, then the listener may be rewarded with another enjoyable CD for their rotation. Once I made the adjustment, this became a CD that I really enjoyed. This CD has been added to the good shelf in my review collection.

Guitar	Dave Schmeidler
Bass	Bill Ludwig
Drums	Al Hury, Fred Faller, Pat O'Connell
Bass, Piano	Jim Wyne
Misc.	Fred Barry Levenson, Andrew Buscher, Mike Brydalski, Glen Bernardis

1) Blues For Sonny

2) The Driving Dead

3) The Geek Sheik

4) U T Two

5) The Maze

6) Perfect Time

7) State Of Affairs

8) Morontyme

9) Lullaby

10) The Vanity Dance

11) Arghhh

12) Lullaby Reprise

Squadrophenia by Cosmosquad is a progressive instrumental effort that blends hard-edged, aggressive, speedy fretwork of Jeff Kollman within a array of widely varying musical ideas. The CD is dominated by the intensive lead and rhythm guitar that does not sit idle for a moment in the constantly changing but always driving soundscape. The tracks have good compositional depth that are centered around the musical themes and riffs that are articulated by the lead and rhythm guitar. Though the playing voices a significant level of complexity and maturity of instrumental delivery, the composition demonstrates a cohesive, easily perceivable musical vision that is mind-stretching. This sensibility of balance between savvy instrumentalism and progressive musical vision is perhaps the strongest aspect of the album.

Guitar intensive music aficionados will take an interest in the captivating style that fuses aggressive, speedy runs with searing melodies and savory harmonies that explore outside harmonization in a coherent and tangible manner that is sure to get the nod of acknowledgement from progressive guitarists. The compositional style is a mosaic of divergent styles and themes that lead the listener into different states of consciousness and then draw, drag, or abruptly pull them into other states with the calculated contrast between the contiguous segments that span arrangements and tracks. The musical stream takes the listener on a journey through hard-edged, heavy rock with a tendency towards metal / shred, funk and aggressive fusion, conventional jazz voicings, and a touch of classical / neoclassical to cover the bases.

One very notable track on this album is "Jam for Jason", an intensive acoustic composition that reaches towering heights with its superb clean-toned acoustic fret mastery. Fans of the Vinnie Moore style acoustic masterpieces will want to take a listen to this tribute to the great neoclassical master, Jason Becker. The change in venue is surprising and impressively illustrates Kollman's talented versatility.

Overall, I found the CD to have some sections that were really good and others that didn't capture my attention as well. But, the sections that did keep my easily fleeting attention were impressive enough to make this CD worthwhile for me, and maybe the other sections will grow on me in time. I particularly liked the combination of blazing runs, well-conceived melodies, creative harmonization (especially when articulated with speedy runs), funky rhythms, and fusion-laden guitar sections that seemed to me to be where the better part of Kollman's talent lies. I also found the diversity in musical concepts and integration into a coherent package that defies definition or categorization to be both compelling and impressive. These guys have put a lot of thought into and thrown a lot advanced musical theory at this album and I think most progressive music fans that can tolerate the onslaught of guitar domination will dig it. Check it out!

1) Creepy Spider

2) Jam for Jason

3) Road to Tanzania / Tribal Trance

4) Winter in Innisfail

5) In Loving Memory

6) Creepy Spider Part II

7) Sea Broth

8) Godzilla's Revenge

9) Cauldron of Evil

10) Chinese Eyes

11) Funk N' Eh

12) Tribal Trance (Reprise)

Dreadnaught: The American Standard

2001, Red Fez Records, FEZ-005

CyberHome: http://www.DreadnaughtRock.com

There are few CDs that I come across in my reviews that upon hearing them, I search the liner notes to see if the group has produced other albums. And, though the music on The American Standard by Dreadnaught does not possess the speedy, shredding guitar work that dominates my CD collection, I was so compelled by the strength of the composition in this album that I found myself searching the liner notes for other albums by this amazing trio.

Though the instrumentation does not show off any virtuoso, speedy fireworks, the polish playing, selective voicings, and fine production applied to these astounding arrangements left me with my jaw agape. This trio is amazingly creative, inventive, and has an unusually strong grasp on composition and arrangement that is the forte of the album. This is not to say that these guys are not good players, because they are. But if you are a music techie, when you listen to this album, you will forget all you know about techie analysis of guitar technique, etc. when you hear the musical vision that these guys have invented. And now loyal followers of my reviews, brace yourself for this... even the vocals are decent on this album! (For those of you who are not familiar with my reviews, this may be the first time in any review where I have not slammed the vocals.) The sparsely applied vocals actually contribute in a positive way on this album!

The musical vision on this album is among the best that I have heard of the albums that I reviewed in 2002. The music builds around catchy themes in a manner that never sits still on the same theme for any longer than it takes for the listener to digest it. It is an ever-changing soundscape that just astounds me when I consider what it must have taken to invent these arrangements and then to execute them with the flawless precision that this trio has. The music's character is mostly upbeat and lively, with the nonstop barrage of hooks and changes being the most striking element in the music.

Dreadnaught has produced a masterpiece with The American Standard that all musicians should give a listen to consider the compositional depth that is demonstrated. A lot of instrumental music focuses on the musicians' technical abilities and loses sight of composition as a primary objective. Habib, Walton, and Lord have put together a fine performance on this album that has made an obvious effort to keep composition as a primary objective. Great job Dreadnaught! Can you send me the rest of your albums to review? ... ;)

1) Ballbuster

Deus Ex Machina

-2) The Jester's Theme

-3) Deneb

-4) Tournament

-5) Derby Days

6) Popeye

7) Bunnaschidt

8) James Thresher Industries: ...

9) Welding

10) Kim Philby

The Pumphaus Suite

-11) Rats And Me

-12) Swing

13) Clownhead

Michael Harris sets out to cover a lot of ground and establish himself as a diverse, multi-genre guitarist in Sketches From The Thought Chamber. Harris does in fact cover several genres coherently and with skilled axe-manship, including progressive, metal, fusion, and neoclassical. Though I am not sure how widely the appeal will be to a general listening audience outside of progressive guitarists, the collage of genres that Harris jumps between across and even within his compositions is probably the most interesting and unique aspect of his music. Harris clearly has some wide-spanning musical interests and isn't inhibited about bringing them all into his compositions in his own, definitive manner.

Initially, the album required some adjustment for me to digest because of the unusual combination of styles and the sometimes abrubt transitions between these styles. But, this constantly shifting soundscape actually works to Harris' advantage once the listener adjusts because it helps keep the listener's attention and gives the listener a good variety of rhythms, tonality, and tones to absorb. It is kind of like going to an buffet of international cuisines and having the opportunity to sample many different flavors at the same meal. If you are the type of person (like me) who likes this type of variety then you will probably warm up to this album. But, if you are the type of person who likes more consistency, stability, and would rather not have a lot of change or variety too fast, then you might be unsettled by Harris' concept on this album.

Harris opens the album with the hard-edged track "Prognosis" that sets a metal feel that is contrasted by some cleaner toned, progressive-ish sections that are worked into the metallic frame for contrast. The ensuing track, "Neuro-Tranzmitter", follows a similar concept, thouth the next track, "Regroovination", marks a departure from this format to a more mainstream rock, groove-based tune with a Hendrix-like riff forming the baseline. "Shibboleth" marks a break from the heavy-textured tone that characterizes the first five tracks on the album. This acoustic track ventures outside the diatonic sound with some Mediterranean / Middle-Eastern sounding harmonization and rhythms that are voiced in a clean acoustic tone. "Voyage To Xyrethius" follows with its six part epic that further stretches Harris' stylistic boundaries while demonstrating his unique compositional perspectives, as well as his aptitude for composition. My favorite from the album, "Ideo Symphony", is a full-blown, neoclassical composition complete with classical structuring and shredding neoclassical fret work in a style that is different from other neoclassical artists that has a sound unique to Harris. My only complaint with this track is that I would like to see more neoclassical from Harris because this piece has only whet my appetite for Harris' potential with neoclassical.

Harris' definitely has an impressive command over the fretboard that will merit the interest of axemen of all levels of playing. The diversity in technique, feel, and styles that Harris covers will also make this an interesting album for guitarists. For those of you already familiar with Harris, I am sorry to say that this is the first album I have heard by him, so I do not have a relative comparison to his other works to offer to you. But, as far as my personal tastes are concerned, I found most of the album interesting and some parts of it appealing to my preferences. If you are a guitarist with a taste for hard-edged, instrumental music, the guitar playing is definitely worth checking out.

Andy Timmons: That Was Then, This Is Now

2002, Favored Nations, FN-2200

CyberHome(s): http://www.FavoredNations.com

This album is a compilation of tracks from Andy Timmons from over the years, as well as some new tracks for this Favored Nations release. Timmons style of playing and music is that of a straight ahead rock format with guitar-intensive instrumentation and advanced technique. Many diverse rock-like themes are covered by Timmons on this album, demonstrating a good grasp and command over a wide variety of rock / blues ideas that he applies his progressive guitar work. I hesitate to stamp this album with the label "progressive", though, because the themes are more straight-ahead rock than what most consider progressive. But, the compositions are strictly instrumental tunes (thankfully!) with definitely progressive guitar work whose clean and well-applied tones are well-produced, a combination that sits well with me on the scales of listening pleasure.

Andy Timmons strikes me as the type of guitarist that one desiring to lay back and relax might want to find playing out in a nightclub on a weekend night, if that one might be so lucky to find somebody this talented playing at a local club. Timmons has a good variety in his repertoire and this makes for an entertaining listen. What I like about Timmons style and approach to his playing and music is that he is always focused on coherent themes and musical ideas, not getting lost in any guitar pyrotechnic noodling that has no purpose other than the technique itself. Also, Timmons is a melody-centric player that has a good ear and feel for his melodies, and that scores big points in my evaluation, as well as being conducive to my personal listening preferences.

There are several noteworthy tracks that stand out on this album. "I Remember Stevie" is a fitting tribute to and in the style of the late, great SRV. Timmons demonstrates his diversity in style and mastery of different techniques in the finger-picking, country jamboree extravaganza, "Farmer Sez" that is reminiscent of Steve Morse's better works of this nature, as well as Morse's coverage of diverse styles. In fact, the similarity in concept to Steve Morse, in general, is a striking one (in a good way), though Timmons has different coverage of technique and subject matter. "Electric Spy" is a well-fealt, soulful tribute to and in the spirit of Jimi Hendrix with a "Little Wing" type sound and feel. "Groove Or Die" has some breath-taking, inspired, neoclassical-like shred work that is reminiscent of a Rhandy Rhoads' feel coupled with the compositional aspects of Vinnie Moore's newer works, as well as his style in general. A coooooool tune for sure!

I'm not sure that I would compare Andy Timmons' playing to world class progressive players, though it may merit this consideration, the reason being that I would rather choose to overlook the mechanics of Timmons' playing in favor of listening to the end-effects of his playing in the big picture of his musical concept. Timmons is a player that bears the listeners' enjoyment of the music in mind, though he probably derives pleasure from his sophisticated and well-fealt playing, as well. This is a difficult balance to strike, and I, for one, appreciate Timmons approach in his music. If you like strictly instrumental music with a straight-ahead rock feel, advanced and aggressive guitar work, melody-laden and theme-centric composition, and coverage of diverse topics, then this album might be worth checking out for you!

1) Super '70s

2) Pink Champagne Sparkle

3) Falling Down

4) Beautiful Stranger

5) Turn Away

6) I Remember Stevie

7) Cry For You

8) Farmer Sez

9) Electric Gypsy

10) It's Getting Better

11) That Was Then, This Is Now

12) Groove Or Die

13) A Night To Remember

14) Carpe Diem

15) Donna Lee

16) Slips Away

Mattias IA Eklundh: Freak Guitar

2001, Favored Nations / Thunderstruck Productions, FN2210-2

CyberHome(s): http://www.FreakGuitar.com

Well, you will not be able to say that I did not give careful listening to Freak Guitar to write this review. This is because this album is so unconventional that it took me three straight days of dedicated listening to figure out what I was going to say about it. And, even after that I still wasn't quite sure what to make of Freak Guitar. So, I guess from one perspective it could be a good thing that Freak Guitar is so different that it requires a little effort to absorb. But, here goes my attempt at an assessment, and just keep in mind that this evaluation does not come from some flighty, half-cocked, cursory listening...

Freak Guitar by Mattias IA Eklundh can be characterized as a guitar-centric collage of diverse and sometimes unusual musical ideas that delve into both accessible and obscure tonality and themes. The musical style is reminiscent of Zappa, Thal, and Vai at different points in the album, though I wouldn't say that Eklundh is cut from any mold relative to these guys. The common thread throughout the constantly changing musical soundscape is Eklundh's intensive and driving fretwork.

I think the "freak"-ishness of this album comes from the slightly off-centered perspective that the musical vision is approached. Some of the tracks are simply and obviously obscure and outside in nature while others, such as "La Bamba" and "Detroit Rock City", though based on more straight-ahead, mainstream musical premises, take a very unusual angle in the interpretation of these well-known songs. The angle taken can be a little disturbing at first, but it is actually pretty amusing because it is done "tongue in cheek".

There is a certain cleverness that Eklundh possesses in his compositions that will appeal to some people, probably those who enjoy the off-beat approaches of Zappa and Thal, and the stunt guitar work of Vai, though I am not sure how wide the appeal will be outside of that type of audience. I found the music to be entertaining in places, but even after long listening I am still not sure how much I will listen to it in the future. And though the guitar work is good enough to attract serious consideration, the aspect of this album that appealed to me most was the tongue-in-cheek aproach that made me laugh at Eklundh's slightly dimented wit. Eklundh has an uncommon grasp on the psychology that underlies music (similar to Zappa and Thal) that he uses to affect certain responses from the listener. There is a particular type of genius in this because Eklundh uses his guitar skills as a tool to achieve his intended effects on the listener and not necessarily just for the simple demonstration of his guitar skills.

I'm really not sure how to advise prospective listeners on this album. I think there may be parts that you will like, parts that are entertaining, parts that you will focus on the guitar work, and other parts where you are just going to scratch your head and wonder what the hell Eklundh was thinking. But, I suspect that all of these things were intended by Eklundh when he put this diverse and unusual album together. And, even if you don't like most of the music on Freak Guitar, you'll have to admit that it is funny in places and that a guy that has a picture of himself (looking happy) with his dog (looking tolerant) in the liner notes can't be all bad... even if he is a little strange! (which is what I think his dog is thinking too!)... ;)

1) Apparatus

2) God - The Mechanic

3) The Grey Hat Of Compromise

4) Lisa's Passion For Heavy Metal

5) La Bamba

6) Evil Shower

7) When Sam Played It Again

8) Midsummer Night In Hell

9) Numb

10) (Friday Afternoon) In A Galaxy Far Away

11) The Satanic Moonwalk

12) Cornholed

13) Detroit Rock City

14) The Territorial Thing

15) Time To Breathe

16) Mumbo Jumbo

17) The Mud Man

18) Dr Pangloss Goes To Lisbon

19) Faith In Chaos

20) Revenge Of The Bambi Loving Terrorist

21) Squirrel

22) Our Man In Beijing

The Archaic Revival: Transformation Number Nine

2002, Psycho Audible Records, PA-0004

CyberHome: http://www.VictorWilliams.com zapotec@wt.net

Transformation Number Nine by The Archaic Revival is a collection of progressive, instrumental compositions that feature unusual instrumentation and musical style. The sonic texture is a combination of pure toned piano, acoustic bass, and percussionry that is complimented by the contrasting electric violin and guitar voicings. The level of instrumental depth that these voicings are set is fairly complex and gives this effort its merit. Though the compositions articulate unusual themes and progressive musical ideas, the music has a compelling aspect to it because these unusual elements that have a tendency towards the abstract and complex, are woven in a manner that is coherent. Some of the arrangements are more easily accessible than others, but the some of the ones that are not so easily accessible are intriguing because of the interesting musical ideas that are explored. The effort explores some complex, modern musical motifs that demonstrate the depth of musical knowledge that the group possesses. And though the album has a distinctive medieval and Irish feel to it, the complexity of the chord structuring, harmonization, and timing is far beyond anything from the medieval period. The music takes motifs from the medieval and Irish styles and modernizes them with 20th century tonality, structuring, dynamics, and meters. The end result is more intellectually impressive than easily accessible, but the music is absorbable and digestible so it makes for an interesting balance. The technicianry involved to execute the complex composition is also impressive giving hint that these players are most likely accomplished musicians with formal training.

The Archaic Revival has struck a compelling balance between complex musical technicianry and compositional excellence on their 2002 release Transformation Number Nine. This album is geared towards a musically educated audience that is capable of digesting and understanding the complexities that they have mastered. Though the music has some basis in accessible medieval themes, the integration of these themes with the complex modern musical elements catapults the musical experience far beyond any relatively primitive medieval foundations. Due to the unusual nature of the musical character of this CD, it is difficult to determine what listeners constitute the potential audience. But, I suspect that fans of instrumental music that enjoy the provocative exploration that is intrinsic in exploratory, modern progressive music will take an interest in this CD. The balance that the group has achieved between provocative exploration and coherent composition is truly compelling.

Guitars	Bill Curtis
Electric Violin	Anna Hubbell
Drums	Victor Williams
Acoustic Bass	Jon Nazdin
Electric Piano	Jeremy Cubert

1) The Beginning

2) Iquitos

3) Drowsy

4) Afterlife

5) Desert Sky

6) Cryptic Notes

7) SOS (Suspension of Disbelief)

8) Dim Sum Hora

9) The Raven's Return

10) Don Fransisco

11) Suite Nine Eleven

12) The End

www.ChrisRuel.com

Guitar	Jeff Kollman
Bass	Barry Sparks
Drums	Shane Gaalaas

Guitar	Justin S. Walton
Bass	Rober M. Lord
Drums	Richard R. Habib