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Big Ears' Sanctuary - Printable Version

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Big Ears' Sanctuary - Big Ears - 07-11-2014

Sanctuary by Robert Reed (Tigermoth 2014)

Mike Oldfield finally has a peer


[Image: 1406350097_1.jpg]


Tracklist:
1. Part 1 (Robert Reed) 20:44
2. Part 2 (Robert Reed) 18:12

Lineup:
Robert Reed is writer, producer and engineer, and plays: grand piano, electric guitars, acoustic guitar, nylon guitar, 12 string guitar, bass guitar, mandolin, glockenspiel, vibraphone, marimba, timpani, gran cassa, recorders, solina string ensemble, Roland Sh200, farfisa organ, sleigh bells, orchestral snare, table, banjo, bodhran, plus . . . tubular bells
Tom Newman: Bodhran
Synergy Vocals: Wordless Choir
Angharad Brinn: Angel Voice

Executively Produced by Tom Newman
Mastered by Simon Heyworth


As a child, Robert Reed was so impressed with Mike Oldfield's Tubular Bells (Virgin 1973), which he first discovered on a Geoff Love and his Orchestra collection of film themes (Tubular Bells was used for The Exorcist), he decided to learn to play all of the listed instruments, including grand piano, glockenspiel, farfisa organ, bass guitar, electric guitar and so on. Several Magenta neo-prog albums and the Kompendium project later, Reed decided to record a tribute to Mike Oldfield's Tubular Bells in the same style with the same instruments, all played by himself. The only exceptions being the Synergy Vocals (from Philip Glass and Steve Reich) as the 'wordless choir' and Tom Newman on bodhran. There are no synthesized or sampled instruments.

Sanctuary is organised like Tubular Bells with two broadly instrumental tracks, one of twenty minutes and the other of eighteen. It is even co-produced by one of the original Tubular Bells producers, Tom Newman, and mastered by another, Simon Heyworth (the third co-producer of the original was Oldfield).

Reed has denied the album is either a remake or a pastiche, claiming all the melodies are different to those on Tubular Bells. Nevertheless, he has utilised the Oldfield clean high-register guitar sound with folk-classical and some bluesy arrangements. All the elements are in place, with the sounds of mandolin-sounding guitar, fuzzy guitars, fast guitars, bodhran and bells. What is more he seems to combine the same sounds, or if not, different ones are combined in the same way as by Oldfield. Really the work blends parts of Tubular Bells with bits of the next five Oldfield instrumental albums and some from the more eclectic collections such as Five Miles Out. The saving grace of Sanctuary, besides Reed's considerable talent and the sheer impressiveness of the finished product, is that he has managed to add his own touches, like the bubbling noises, calls and handclaps. There are also shades of Pink Floyd's Dave Gilmour, whose style is similar to that of Oldfield.

The main problem I have, as others have remarked, is the original plays in your head when listening to this album. Some familiarities do not appear, and are missed as methods of breaking up the lengthy instrumental passages, like the 'Piltdown Man' with his grunts and calls, or the aristocratic MC announcing the different instruments. The famous segment used for The Exorcist is alluded to occasionally, especially towards the end of Part 2. According to an interview with Music-news.com, the title comes from Reed recalling growing up in the Rhondda Valley, Wales, and sitting alone all day with his headphones and music as 'a kind of sanctuary'.

Sanctuary is very dense and, while I liked it immediately, I was left wondering why I should listen to this in place of Tubular Bells, but the more I hear, the more I like. For the next album, Reed might consider calling Maggie Reilly and reworking Five Miles Out.


Further Reading:
Review from Get Ready to Rock: http://getreadytorock.me.uk/blog/2014/06/album-review-robert-reed-sanctuary/
South Wales Argus interview: http://www.southwalesargus.co.uk/leisure/music/11382745.Rob_Reed_Talks_about_New_Album_Sanctuary/
Music-news interview: http://www.music-news.com/ShowReview.asp?nReviewID=10347&title=Robert%20Reed%20-%20Sactuary%20-
Discussion on musicians who are similar to Mike Oldfield from Tubular.net: http://tubular.net/forums/similar-artists--?act=ST;f=40;t=993
Rob Reed's official site: http://tmr-web.co.uk/robreedsancturay/Blank.html


Big Ears' Sanctuary - SteveO - 07-11-2014

WOW !!! Fabulous review Big Ears!!!!! I enjoyed that! Please contribute more reviews to MD !!!!
Big Ears Wrote:Sanctuary by Robert Reed (Tigermoth 2014)

Mike Oldfield finally has a peer


[Image: 1406350097_1.jpg]


Tracklist:
1. Part 1 (Robert Reed) 20:44
2. Part 2 (Robert Reed) 18:12

Lineup:
Robert Reed is writer, producer and engineer, and plays: grand piano, electric guitars, acoustic guitar, nylon guitar, 12 string guitar, bass guitar, mandolin, glockenspiel, vibraphone, marimba, timpani, gran cassa, recorders, solina string ensemble, Roland Sh200, farfisa organ, sleigh bells, orchestral snare, table, banjo, bodhran, plus . . . tubular bells
Tom Newman: Bodhran
Synergy Vocals: Wordless Choir
Angharad Brinn: Angel Voice

Executively Produced by Tom Newman
Mastered by Simon Heyworth


As a child, Robert Reed was so impressed with Mike Oldfield's Tubular Bells (Virgin 1973), which he first discovered on a Geoff Love and his Orchestra collection of film themes (Tubular Bells was used for The Exorcist), he decided to learn to play all of the listed instruments, including grand piano, glockenspiel, farfisa organ, bass guitar, electric guitar and so on. Several Magenta neo-prog albums and the Kompendium project later, Reed decided to record a tribute to Mike Oldfield's Tubular Bells in the same style with the same instruments, all played by himself. The only exceptions being the Synergy Vocals (from Philip Glass and Steve Reich) as the 'wordless choir' and Tom Newman on bodhran. There are no synthesized or sampled instruments.

Sanctuary is organised like Tubular Bells with two broadly instrumental tracks, one of twenty minutes and the other of eighteen. It is even co-produced by one of the original Tubular Bells producers, Tom Newman, and mastered by another, Simon Heyworth (the third co-producer of the original was Oldfield).

Reed has denied the album is either a remake or a pastiche, claiming all the melodies are different to those on Tubular Bells. Nevertheless, he has utilised the Oldfield clean high-register guitar sound with folk-classical and some bluesy arrangements. All the elements are in place, with the sounds of mandolin-sounding guitar, fuzzy guitars, fast guitars, bodhran and bells. What is more he seems to combine the same sounds, or if not, different ones are combined in the same way as by Oldfield. Really the work blends parts of Tubular Bells with bits of the next five Oldfield instrumental albums and some from the more eclectic collections such as Five Miles Out. The saving grace of Sanctuary, besides Reed's considerable talent and the sheer impressiveness of the finished product, is that he has managed to add his own touches, like the bubbling noises, calls and handclaps. There are also shades of Pink Floyd's Dave Gilmour, whose style is similar to that of Oldfield.

The main problem I have, as others have remarked, is the original plays in your head when listening to this album. Some familiarities do not appear, and are missed as methods of breaking up the lengthy instrumental passages, like the 'Piltdown Man' with his grunts and calls, or the aristocratic MC announcing the different instruments. The famous segment used for The Exorcist is alluded to occasionally, especially towards the end of Part 2. According to an interview with Music-news.com, the title comes from Reed recalling growing up in the Rhondda Valley, Wales, and sitting alone all day with his headphones and music as 'a kind of sanctuary'.

Sanctuary is very dense and, while I liked it immediately, I was left wondering why I should listen to this in place of Tubular Bells, but the more I hear, the more I like. For the next album, Reed might consider calling Maggie Reilly and reworking Five Miles Out.


Further Reading:
Review from Get Ready to Rock: http://getreadytorock.me.uk/blog/2014/06/album-review-robert-reed-sanctuary/
South Wales Argus interview: http://www.southwalesargus.co.uk/leisure/music/11382745.Rob_Reed_Talks_about_New_Album_Sanctuary/
Music-news interview: http://www.music-news.com/ShowReview.asp?nReviewID=10347&title=Robert%20Reed%20-%20Sactuary%20-
Discussion on musicians who are similar to Mike Oldfield from Tubular.net: http://tubular.net/forums/similar-artists--?act=ST;f=40;t=993
Rob Reed's official site: http://tmr-web.co.uk/robreedsancturay/Blank.html



Big Ears' Sanctuary - Big Ears - 07-11-2014

Thanks, Steve. I have got another in mind, but I need to make a few adjustments before I post.


Big Ears' Sanctuary - Big Ears - 09-11-2014

So U by Neal Schon featuring Mendoza and Castronovo (Frontiers Records 2014)

Solo album from Journey guitar hero launches a new power trio


[Image: 2YCDNS09.JPG]​

Lineup:
Neal Schon - Guitar, Vocals
Marco Mendoza - Bass, Vocals
Deen Castronovo - Drums, Vocals

Track Listing (songwriting credits from Allmusic):
1. Take a Ride (Marco Mendoza/ Neal Schon) 5:23
2. So U (Jack Blades/ Neal Schon) 9:28
3. Exotica (Neal Schon) 5:32
4. What You Want (Jack Blades/ Neal Schon) 5:08
5. Love Finds a Way (Jack Blades/ Deen Castronovo/ Neal Schon) 5:46
6. On My Way (Jack Blades/ Neal Schon) 3:53
7. Serenity (Jack Blades/ Neal Schon) 3:58
8. Shelter (Jack Blades/ Neal Schon) 6:05
9. Big Ocean (Neal Schon) 4:40

Although ostensibly a Neal Schon solo album, So U is really a band effort with the ubiquitous Marco Mendoza (currently a member of Black Star Riders) on bass and vocals and long-term collaborator Deen Castronovo (Journey, Bad English and GZR) on drums and vocals. Schon's guitar playing sparkles throughout as you would expect and he handles some of the vocals capably, but Mendoza and Castronovo's contributions are unexpectedly strong. With its mixture of hard rock and Santana-like jazzrock instrumentals, the album has stood out for me among various new and reissued albums by 'classic rock' bands in the first half of this year. It is also an album which stands repeated plays.

Opener Take a Ride, featuring the gravelly voice of Marco Mendoza, sounds like ZZ Top with a touch of Joe walsh and is unremarkable. After a soulful introduction also sung by Mendoza, the title track becomes a lengthy piece of psychedelia, with John Lennon-style vocals from Schon. Deen Castronovo provides some dynamic drumming in the manner of Ringo Starr on Tomorrow Never Knows, the ending is a spoken word passage recalling Traffic's Hole in My Shoe and Schon's guitar sounds like mid-seventies Steve Hillage. Personally, I could do without the modern trend for psychedelia, but will make an exception for So U as it is surprisingly effective. According to a recent interview, most of the songs on the album were co-written by Schon with Jack Blades during shared 'down time' and the former Nightranger additionally provides backing vocals.

Schon revisits his Santana, early Journey or Abraxas Pool style for Exotica, a terrific jazzrock instrumental. With the guitarist supposedly working on the Santana IV album with Carlos Santana, it adds to the frustration of the latter persisting with his pop-rock collaborations. What You Want has multi-part harmonies and an insistent riff borrowed from The Eagles' Life in the Fast Lane, but it is heavier. The band approach eighties Journey territory with Deen Castrono taking lead vocals and giving a convincing impression of Steve Perry on Love Finds a Way. It is Castronovo who is the revelation on this album, for his spectacular singing as well as his busy drumming, and it shows he should have succeeded Perry as lead vocalist with Journey.

On My Way is more southern rock with vocals from Marco Mendoza. The standout track on So U is Serenity, where Castronovo really soars like Steve Perry. I love the way he screams 'serenity' in a way that is not serene at all. Castronovo and Mendoza maintain the increase in pace when they share lead vocals on the frantic Shelter, with equally rapid guitar work from Neal Schon. The album closes with another Santana-like jazzrock instrumental, Big Ocean, this time slower and with more guitar playing in the style of Steve Hillage or Glenn Phillips.

So U may not be a great album, but it is head and shoulders above most of the modern dross released by rock bands in the last few years. Hopefully, this lineup will remain together long enough to make an even stronger album or possibly a truly great album.


Further Reading
1. Amazon has a review by Michael A. Greenberg which details the roles of the singers on each track:
2. Vintage Rock' review including interesting comments on What You Want: Neal Schön | So U - CD Review
3. Get Ready to Rock's unusuallty negative review: Album review : NEAL SCHON - So U - Get Ready to ROCK! Reviews | Interviews | BlogGet Ready to ROCK! Reviews | Interviews | Blog
4. Interview with Neal Schon on the collaboration with Jack Blades, from The Huffington Post: <i>So U</i> and More: Conversations with Neal Schon, Judas Priest's Rob Halford and Edgar Winter | Mike Ragogna


Big Ears' Sanctuary - Big Ears - 09-11-2014

Since I wrote this So U review in August, I read that Dean Castronovo (drums/vocals), Doug Aldrich (bass/vocals) and Jack Blades (guitar/vocals) are working on a new project with a view to releasing an album next year.


Big Ears' Sanctuary - Music Head - 10-11-2014

very nice review
keep em comin


Big Ears' Sanctuary - SteveO - 10-11-2014

Fabulous review again Big Ears!!!!...as Music Head says,,,"keep em comin" !!!!


Big Ears' Sanctuary - Big Ears - 10-11-2014

Thanks - I'll try.