From itdjents.com on Nexus:

I’d like to preface this review with a warning that it won’t be a review like much of the others on here. It’s not structured in a typical way and that’s intentional because… well, this isn’t a typical album. I will not shy away from discussing the music, my feelings toward it and the circumstances under which it has been released because I feel it’s important. As my colleague Dominik did in his review for Hallatar‘s No Stars Upon the Bridge, I will not be concluding this review with a score. My reasoning for this is similar to his and will soon become clear. If familial death or loss in general hits you particularly hard emotionally, this is my gentle warning to you that it’s a topic that will pervade the remainder of this review.

Steve Howe is pretty legendary. His work with seminal progressive rock group Yes have cemented his legacy many times over, including playing guitar on the prog opus Close to the Edge (I’m more partial to Fragile myself, but hey, he was on that too). When I heard that he had released a project with his son, Virgil, my curiosity was piqued. Despite being a fan of Yes, I hadn’t exactly followed Steve, let alone his son, closely. I researched the duo in an effort to prepare myself for what I was going to inevitably listen to. That’s when I learned of the tragic fate that looms over this album, casting a monolithic shadow.

Two months before the release of Nexus, Virgil passed away.

‘We started to work together in 2016 by selecting about nine tunes from his stockpile of piano based music that he’d periodically sent [my wife] Jan and I each time he’d written and recorded a new idea. I began adding guitars to them, then I’d play them to Virgil… The tunes went from straightforward ‘duets’ to something bigger & better, more of a complete picture than a mere shape.’ Nexus is the result of the father-son collaborative effort and while it wasn’t written or composed after Virgil’s untimely death, the weight of that tragedy still comes with it. As such, this is not inherently sad music. Only those privy to this backstory are afforded an extra layer of emotion. It’s not necessary to enjoy it, but it’s definitely supplementary.

The album opens up with the title track. It’s piano led, and sounds like the sun rising on a new day; a warm welcome. It’s inviting. Steve’s guitar joins in and harmonizes with the piano. This is one of many moments where the harmony is especially symbolic and, to be frank, really pulls at your heartstrings. It’s instantly apparent that care was taken with these compositions; there’s nothing kitschy or out-of-place with them. One of the cool parts with this album as a whole is the variation of tone and mood that lends itself to wonderful pacing. Just listen to the next track, “Hidden Planet”. The piano is a lot heavier, the deep bass of those low notes really filling up the room with a nice groove. Steve’s guitar hums along, providing the ‘voice’ of the track and percussive accents really flavor it up throughout.

Up next are two tracks that are significantly slower, including “Nick’s Star”, a song written in tribute to Virgil’s best friend who also passed away. It’s an ethereal track with airy piano providing atmosphere that’s more spacious with a slight triumphant edge than poignant. “Night Hawk” brings the tempo up again. It’s a guitar-driven track that’s reminiscent of earlier Scale the Summit music. Drums also shine here, with some jazzy passages that add some neat bounce to the song. The electronics are pretty conservative throughout the whole album, more present in feeling than the instrumentation itself and this song is a great example of that with its sweet, danceable groove.

It’s by this point in the album that you start to notice a subtle theme developing. Nearly every track is space themed in name, and they rouse feelings of exploration or discovery. The songs on Nexus always leave a lot of room around the listener, as if to create a sense of suspension in space or isolated travel through it, but it’s not cold and desolate as we are often told the final frontier is. It’s approached with the enthusiasm and glee, naivete even, of a would-be explorer. In this regard, “Passing Titan” is another standout track. Light, pulsing synths and a great sitar feature help paint images of blankets of flickering stars in the black sea of space. It’s a tranquilizing thought and one that you’re allowed to ride out even into the next track, “Dawn Mission”, which carries the same mood in a slightly different direction. The last time I was taken on a journey like this was with Haywyre‘s similarly spacey album, aptly titled The Voyage.

“Astral Plane” has a beautiful back-and-forth dynamic between the guitars and pianos in addition to harmonizing. Both trade off utilizing the same riff – the guitar’s rounded and higher pitched ‘twang’ meeting face to face with the softly played keys. “Freefall”, the final track, is fitting in that placement because it definitely has a sense of finality to it. It’s like the music is saying goodbye. It’s like Virgil and Steve saying goodbye, to each other and to the listener. It’s a supremely powerful moment. Again, this isn’t an overwhelmingly sad moment musically, despite it making me emotional upon first (and second and third) listen. The goodbye is a peaceful, bittersweet one and it’s over just as fast as it started.

Nexus is a well-suited title for this project because music was definitely the nexus that held Steve and Virgil together. It shows in the music with how well they complemented each other’s style and instrumentation. It’s wondrous, rich and colorful, unlike any other album I’ve heard this whole year. This project wasn’t made for any reason other than these two found a great way to make music together and they wanted to share it with the world. To that effect, I give great thanks to Steve for choosing to release this music; it was no doubt a tough decision. In doing so, he’s shown us a beautiful duet between two talented individuals who happen to be father and son. It’s infinitely more touching to dedicate it to Virgil: ‘we hope that the music just completed will stand as a fitting tribute to his life and legacy‘. I’d say there’s no more fitting tribute than for Virgil’s final composition to be one so intimately constructed with his father.

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From crypticrock.com on I Knew You When:

Detroit rocker Bob Seger is back with his eighteenth studio album, I Knew You When, out on Friday, November 17, 2017 via Capitol Records. Highly respected around the Rock-n-Roll community, Seger was close friends with fellow Detroiter Glenn Frey, of Eagles fame, who passed away in January of 2017, and honorably dedicated the album to Frey’s memory. So what does the American Rock-n-Roll treasure have to offer this time around?

For starters, let’s quickly look back on Mr. Seger. Born Robert Clark Seger back in 1945, from a young age he was active in the Detroit music scene. Working with his band through high school, after graduation in 1963, he toiled in relative obscurity until 1968 when he signed with Capitol Records, making several solo hits including “Ramblin’ Gamblin’ Man” and “2+2=?,” an anti-war song that made its way to the middle reaches of the US charts. With chart-toppers like “Turn the Page,” “Night Moves,” “Old Time Rock & Roll,” and “Against the Wind” a string of hit records, and worldwide tours, Seger reached the height of his popularity in the mid-1970s and early 80s.

Though his mainstream popularity has waned somewhat since the 1980s, Seger has continued to play to huge crowds, including his 2017 tour that played 13 sold out shows before being postponed due to health concerns. Seger, now 71, has promised to reschedule the postponed dates as soon as his health permits, but this time will have a brand new album at his disposal.

Ten songs in total on the standard edition, and thirteen on the deluxe edition, produced by Seger himself, the first single from I Knew You When, a cover of Lou Reed’s 1989 “Busload of Faith,” was released on September 22nd along with the album’s announcement. In Seger’s version, it is a very upbeat number that belies the underlying cynicism of the song. Seger updated some of the lyrics, including the third verse where he sings “You can’t depend on the president/Unless there’s real estate you want to buy/You can’t depend on a lot of things/You need a busload of faith to get by.” As a political statement, Seger’s is rather mild, but it is there and he is clearly affected by the chaos of the modern world the same as the rest of us.

Seger also included a version of Leonard Cohen’s “Democracy.” Another politically charged song, the original was released in 1992 in the wake of the collapse of the USSR. The hook “Democracy’s coming to the USA” is another nod to the political situation at hand with a hopeful view that we will be able to escape the quagmire that currently exists.

The Deluxe edition includes a bonus three tracks, one of which, “Glenn Song,” is a tribute to Frey. It is a heartfelt, mournful tune that captures the loss that Seger, as well as the rest of us, felt with the unexpected loss of a great musical talent, and, for Seger, a dear friend. It is arguably the truest song on the album, expressing Seger’s grief, and showing more vulnerability than we have seen since his duet with Martina McBride on “Chances Are” from 1998.

Overall, I Knew You When is a solid Bob Seger album. It follows Seger’s well-worn formula with some soft tunes and some rockers, making it a strong follow-up to 2014’s Ride Out. It is the most political album from Seger’s discography, but in these polarized times, even the least political figure feels the need to say something. That said, the album is very listenable, and deserves at least two full playthroughs to digest fully. For these reasons, CrypticRock gives I Knew You When 4 out of 5 stars.

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From crypticrock.com on Rule The World: The Greatest Hits:

Among the crème de la crème of classic and iconic ’80s-peaking New Wave Pop bands, Tears for Fears seems to have been lagging behind for quite a while now. Some of its equally great contemporaries, such as Duran Duran, a-ha, and Depeche Mode, have each released new albums recently—2015’s Paper Gods of Duran Duran, 2015’s Cast in Steel by a-ha, and this year’s Spirit from Depeche Mode. Tears for Fears’ last album was released in 2004. This is the reason the forthcoming offering of the reinvigorated Roland Orzabal (vocals, guitars, keyboards) and Curt Smith (vocals, bass, keyboards) certainly deserves a warm welcoming embrace not only from their longtime followers but also from any fan of New Wave and Indie Pop music. It will also hype up the anticipation for the much-awaited proper follow-up to 2004’s Everybody Loves a Happy Ending whose planned release date has been moved to sometime next year.

Released on November 10, 2017, by Universal Music, Tears for Fears’ new compilation album is titled Rule the World: The Greatest Hits. It contains fourteen of the band’s well-loved hits plus two newly recorded, fresh compositions. Albeit it does not consist entirely of new materials, the remixed versions here of many of the band’s iconic songs shine even brighter. This may be attributed to the obvious and necessary tweaking and polishing of the songs’ instrumentation and orchestration, which made the music now sear and soar even higher up there, complementarily, with the familiar, powerful interplay of Orzabal’s deep, vigorous voice and Smith’s breezy, silky croon. It should be commended too for ensuring that every Tears for Fears album—from 1983’s The Hurting to 2004’s Everybody Loves a Happy Ending—is represented in this assemblage.

Rule the World opens aptly with Tears for Fears’ perhaps most popular song, “Everybody Wants to Rule the World,” whose introductory guitar plucks sound sharper and shinier. “Shout” follows with its usual chimes and bells, still capable of giving goosebumps and shivers in the spine of any nostalgic listener. Then, a sweet surprise comes in the form of the first of the album’s two new songs—“I Love You, But I’m Lost,” whose undulating staccato string backdrop and contemporary, dreamy Blue Wave/Pastoral Pop-inspired energy is more than enough to make Rule the World a must-have.

Following enters the dancey, Tribal synthdrum beats of “Mad World!” Thus, to imagine Orzabal’s trademark waving-hands-in-the-air dance moves become inescapable; it will most likely cause the listener to ruffle his hair into a bird’s nest and make the same hand wave gesture without him noticing it. The mix of “Sowing the Seeds of Love” in this set is superb; the horn section and other orchestral embellishments were improved, making the song’s parent album’s comparison to The Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band more justifiable. “Advice for the Young at Heart” retains its cool and smooth swing and swagger.

Any Tears for Fears enthusiast who was there since the beginning will surely shed some tears, not of fear but of nostalgia, as soon as he hears the opening piano of the next track, “Head Over Heels.” The following “Woman in Chains” need no lavish reintroduction, ever. It is still the same heartrending ballad that has made millions of romantics, old and new, swoon in sweet surrender. Another trek back to the band’s beginnings, “Change” will make any longtime fan feel younger and innocent. The other new track, the ballad “Stay” is a change of mood and pace; its slow, haunting rhythm and rustic instrumentation hark back to Orzabal’s Spanish excursion in 1995’s Raoul and the Kings of Spain. And having been written by Smith with his ’90s collaborator Charlton Pettus, it certainly sounds in league also with Smith’s solo endeavors, especially those released in the ’90s. It serves as a prelude to the gradual buildup of the slightly Flamenco-flavored guitar strums and vocal interplay of “Pale Shelter.”

A more string-oriented mix of “Mothers Talk” flawlessly paves the way to the ensuing shots and punches of “Break It Down Again,” the only representative of 1993’s Elemental. Then there is the laidback, suave, piano-dominated ballad “I Believe.”

Tears for Fears then wakes the listener up once again with the subtly sinister but upbeat predisposition of “Raoul and the Kings of Spain.” Finally, the duo wrap up Rule the World with something from their last album, the colorful and reflective “Closest Thing to Heaven,” a seeming sign that the arrival of the duo’s new proper heaven of an oeuvre is almost here.

Although it is not yet the Tears for Fears album that most fans are waiting for, Rule the World has more than enough heart and melodies to bridge the gap between now and the next, true musical offering. In the meantime, let the music of Tears for Fears rule your world once again and take you back to the golden heyday of ’80s New Wave/Pop music and realize its relevance and significance in the current Pop and Rock music scene. It is not yet the ending, after all. CrypticRock gives Rule the World 4 out of 5 stars.

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From crypticrock.com on Ultimate:

When an iconic Rock-n-Roll legend gears up and releases a new album of nineteen of his best hit songs including an added two new recordings, the world of popular music takes notice. Especially when that iconic artist is multi-platinum selling rocker Bryan Adams and the new release is entitled Ultimate.

From musicomh.com on The Knowledge:

From makingascene.org on Something I’ve Done:

Downchild was originally formed in 1969 by brothers Donnie and Hock Walsh. The band name comes from a song by Sonny Boy Williamson II. Known also as The Downchild Blues Band they are currently celebrating their 48^th anniversary. The band was also the prototype used by Dan Aykroyd and John Belushi when they performed a one time skit on “Saturday Night Live” and invented The Blues Brothers.

Downchild’s last studio album was 2013’s “Can You Hear the Music” which resulted in the band winning their second Juno Award for Blues Album of The Year. The Juno Awards are presented by The Canadian Academy of Recording Arts and Sciences and are the equivalent of our Grammy Awards. The band also has four Maple Awards Canada’s version of our Blues Music Awards.

This is Downchild’s 18^th studio album. The current band lineup has been together since 1990: Donnie “Mr. Downchild” Walsh, a Canadian Blues Museum Hall of Fame inductee, guitar and harmonica; two-time Maple Blues Award winner and frontman Chuck Jackson, lead vocals and harmonica; six time MBA “Horn Player of The Year” Pat Carey, tenor and baritone saxes; Gary Kendall a seven time award winner, bass; Michael Fonfara a four time winner, keyboards; and Mike Fitzpatrick a two time winner, drums. They are an all-star band.

The opener “Albany, Albany” is not about the city but about a girl by that name. It is the first of two songs written by singer Jackson. Fonfara lights it up on piano while Carey takes a great baritone sax solo. “Mississippi Woman, Mississauga Man” is a great song which also features Jackson on harmonica.

“Take A Piece of My Heart” and “Mailbox Money” are from bassist Kendall. On these Peter Jeffrey, trumpet; joins Carey who is now on tenor sax. The former is a slow ballad on which Jackson sings beautifully.  The later is a rockin’ tune featuring Fonfara’s keys and the horn section.

“Can’t Get Mad At You” and the title track “Something I’ve Done” were written by pianist Fonfara who takes a dazzling intro on the later. “She Still Thinks I Do” is from the late John Witmer who was with Downchild from 1982 until 1986.

“Into The Fire” was composed by the drummer Fitzpatrick. Fonfara plays organ on the intro and later switches to piano. “Worried About The Blues” is from keyboardist David Vest who now resides in Canada.

Jackson who sings lead on all of the above is a fine vocalist. The closer “Evelyn” is an instrumental written by Walsh. It’s unusual that a band has this many songwriters but they are a complete unit.

In recent years Canadian Blues artists have received recognition at our Blues Music Awards but Downchild, who has never received a nomination, is still keeping the blues alive.

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From ten-years-after.com on A Sting In the Tale:

A STING IN THE TALE – Reminds me of lyrics by Roy Harper.

“A Sting In The Tale” comes directly from his album H-Q from 1995 and the song …

“When An Old Cricketer Leaves The Crease, well you never know whether he’s gone.With a new ball sting in his tail, and it could be me, and it could be thee, and it could be the sting in the ale – the sting in the ale. If sometimes you’re catching a fleeting glimpse …”

Putting this into perspective, Ten Years After is a band that should never fade away or die. They keep changing, rearranging and reinventing themselves out the last 50 years. They have been flying in and out of stardom, which left their loyal fans wondering, if they were still around or given up for dead. Then back they’d come again to our ultimate delight. One member died and the rest thankfully continue to thrive. From 1967 to 2017 they’re still producing, creating and playing great music and aren’t we all blessed to still have them with us.

TRACK LIST:

1. Land of the Vandals – 4:09

This opening song starts with an instrumental build up, that keeps you guessing about where it’s leading to. It doesn’t take very long before the guitar riff and the rest of the band takes off on a rocking little jaunt of exciting music. Message wise, it’s a reality check. Modern times and sad state of affairs indeed.

2. Iron Horse – 3:25

This track is just as good as the first one, and keeps the energy and passion pumping right along at an energetic pace. Music and vocals can’t be beat. Just how tough you have to be to make it in the modern world – like an Iron Horse.

3. Miss Constable – 4:06

The vocals of John Kay of Steppenwolf, what a great sound and surprise. These first three songs really hit the mark for Ten Years After, the band is really tight and with a lot of positive energy to spare. Brilliant Job by Chick Churchill, gutty Guitar work and strong vocals by Marcus, rolling bass lines of thunder by Colin, and steady impressive drumming throughout by the one and only Ric Lee.

4. Up In Smoke – 6:13

This song is so good that the 6:13 time goes by like a three minute 45 record. A real toe tapper for sure. There’s no way that you’ll be able to sit still through this without being drawn into it. Good and pleasing, with guitar work and vocals that are – Reminicent of Free’s Mouthful of Grass and Paul Rogers sound phrasing. You couldn’t ask for a better or tighter band.

5. Retired and Hurt (Over You) – 5:36

Excellent Song – Don’t Ever Tell Me That They Don’t Make Songs Like This Anymore. You’d Be Hard Pressed to Find Better “GOOD Old/NEW” Rock and Roll Being Played.

6. Suranne-Suranne (I Should’ve Been Your Man) – 3:24 (I’m So in Love With You).

This is one of the hardest rocking songs on this collection. A real standout in music with good lyrics that go right heard and soul. Still got that John Kay power-house style we all loved to hear all these years. Like finding a long lost friend. You’ll feel right at home on this one. Chick Churchill is sounding like Goldie McJohn – the song is an echo of Steppenwolf’s “Ride With Me” (Baby) and a Stone Cold Rocker Like Sookie – Sookie Sookie – Sookie SUE!!!

7. Stoned Alone – 4:09

A nice filler, with a smooth story, ballad. Great keyboard work by Chick. Everybody sounds great and has that gospel sound to it. Stay on the bus until it gets you back home where you belong.

8. Two Lost Souls – 4.06 (Just Tryin’ To Make It Home) Dancin’ Barefoot in the Moonlight!

Two lost souls trying to get back home. It’s a great fast rocker, refreshing after the slower paced Stone Alone right before it. Back on track again and heading for a strong ending. It’s a shame that this song had to end at all.

9. I Lost My “Diamond Girl” – 5:17

Somehow this one reminds me of Blind Faith’s “Can’t Find My Way Home” and “Presence Of The Lord” mixed together for an atomic reaction/fusion explosion. You’d Better Tighten Up Your Wig at the 2:40 Mark and by 3:30 there’s no turning back. Dynamic vocal, without screaming. “I Lost My Diamond Girl and I Can’t Find My Way Home”.

Last Night of the Bottle – 4:09

Echo of Hear Me Callin’ – Chick Churchill is pounding the keys all the way through the song, but then at the 1:37 mark Chick stands out like few others in modern rock and roll. Keith Emerson has passed – Greg Allmann is dead and gone – Rick Wakeman (don’t know where he’s at these days). God Bless You Chick – you never sounded better –  you’re simply brilliant.

11. When A “Guitar Hero” (Was All You Ever Wanted To Be) – 4:55 – (A Juke Box Hero)

I have two thoughts about this number. First, I think it sould have been the opening track and second, it should have been the closing track on this set. Either way, in my opinion, it’s the best song on this CD. It’s also damn hard not to think about Alvin Lee when listening to it. It reminds me of Alvin’s song “Rock and Roll Guitar Picker” or “Rock and Roll Music To The World” … “I only shout and leave the rest to my guitar” … ROCK IN PEACE ALVIN! Rock and Roll Guitar Heros Never Die!

12. Silverspoon Lady – 3:18 – (You Won’t Get The Best of Me)

A great way to end this. Up – Beat and it makes it very easy to press the replay button and give it another go round and round and round. Which I’m sure will do, trust me.

Hats off for a super effort! Nice cow bell Ric — a Missisippi Queen Tribute.

In Conclusion:

Great Job -Very Well Done In All Areas – Talent Plus – From Four Expert Musiciains.Song Writing Is Good to Excellent Across The Board – Sound Qualitiy Excellent.

Production Values Top Shelf. Overall Rating 10 Plus.

Congratulations Ric, Chick, Colin and Marcus. It’s going to be hard to top this outstanding effort, but isn’t that what professional musicians like to hear. We’re proud to be your fans!

Final Comment:

All songs are original and written by Ten Years After Band Members.

Every household should have a copy of this recording. As it’s August 1, 2017 – this CD – in my opinion should be in the top five at the end of the year. It’s that good. It’s a labor of love. There’s nothing negative in this review, if you think there is, you’re sadly mistaken.

My comparison to other bands or groups are offered with all due respect, to those musicians and all the members of Ten Years After.

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