All posts for the month October, 2020

This news story was originally published here:

Released towards the end of this disagreeable year, this album will certainly bring sunshine to the Swedish winter, even when their sun has stoically decided to not bother for a few snow-capped months. Written during what will hopefully be historically known as ‘THAT Pandemic year’, all members of this musical institution contributed their parts over the internet which makes the cohesive production and in-the-same-room-ness of these-twenty one tracks even more remarkable.

Referring more to the disconnected nature that is an island, paralleling the sense of isolation that has beset the planet in this annus horribilis, the prospect of something doom-laden would be expected. However, The Flower Kings’ latest double album, coming only a year since Waiting For Miracles (maybe an even more apt title for today) is as uplifting as it gets.

The musical success here is very much aided by the inclusion of drummer and (plenty of) percussion player Mirko DeMaio and keyboardist Zach Kamins. Although the FK drum stool has seen many different rear ends with Spinal Tap regularity, this chap seems to have found the seat his true home. The keyboard sounds are a bit like the change that Moraz made when… well that’s another story, but there is definitely a jazzier element imbuing a little Return to Forever fusion into this current bouquet of perennial blossoms.

Beginning with (currently banned) crowd effects and a syncopated stilted opening refrain, track one drag races into well-healed territory with world class playing all round. Jonas Reingold’s turbo’d bass screams from the speakers and the opening synth solo is just great. Racing with Blinders On means that the track actually finishes too soon, as it just stops, but then there is another eighty-eight minutes to go. And it’s an aural treat (careful) as the highlights are so packed you could make an igloo with them.

The album can be enjoyed as a stand-alone feast but is probably best served up separately as the there are subtle flavours in this smörgåsbord of delights. Even the off kilter Morning News, which is to all intents and purposes a Stetson-wearing country and western dusty road trip, is a welcome joy sandwiched between Queen-like Black Swan (complete with May-esque layering and Deacon runs) and the superb political rant of Broken, which showcases Hasse Fröberg’s higher register. In fact, this track is everything you’d expect from this band, packed to the gills with incredible drumming, smile raising keyboards, and strummy acoustics, all in six-and-a-half minutes, where before it could be thirty…

Solaris is a massive standout with full-on choir, gorgeous retro keys, God-like guitar from Roine Stolt, superb drumming and bass playing. The orchestral section is as beautiful as any rock track can get, simply magnificent. It might not be based on the book by Stanisław Lem, but his philosophical writings about human limitations and humanity’s place in the Universe would certainly not be out of place in this year of the deadly Covidnoids.

Sprinkled throughout are tasteful instrumentals that tie the tracks together. Man In A Two Piece Suit uses the louder guitar amp before All I Need is Love blatantly announces the influence of Yes. For detractors who say that seminal band are directly comparable to The Flower Kings it’s only this track and Heart of the Valley that juxtaposes the two. Of course, the decision to employ a certain artist to design the cover somewhat gilds that particular lily but if your album is going to be called Islands then there’s only one person qualified for the job:

“Yes Mr. Stolt?”
“Get me Roger Dean’s number, he has a new mission…”

Others are the very Flower Kingy A New Species and the perfectly formed Looking For Answers. This four minute piece would have been part of a twenty-minute opus on previous outings, but despite having a choir, a spine tingling church organ, and continent-sized guitar work, the welcome is never outstayed. The playful jazzy Journeyman and Hidden Angels nearly complete the wordless tally and the latter at 53-seconds could be the opening theme to a TV chat show about conspiracy theories: Just what does a Pangolin taste like?

Writers of songs in a second language are always impressive, especially when humour is involved. The word orange has an aloof attitude to any rhyming pair, which probably explains the light-hearted Tangerine where it positively tarts itself with a well-endowed couplet. And talking of a little light relief, Serpentine features a lively alto sax from Rob Townsend and, like the title suggests, it snakes in and around the jazz arrangement whilst lyrically sending out a bottled message concerning world poverty.

The second disc has a couple of tracks that are more familiar but the keyboards seem to bring everything bang up to date. Northern Lights and Telescope come to mind, and are very much part of the weave that this album is.

We are nearly stuffed and looking forward to another shot of brännvin but the final words in the sand Between Hope and Fear is the lasting message to the listener. It’s going to be alright in the end.

The concluding track is devoted to the album’s title and it’s a lead guitar-driven end credit finale to the cinematic journey we’ve just had. As mentioned before, this feature film length double CD (or 3 LPs) can be listened to as a whole or randomly selected like the different sized pebbles on the Island’s sea shore. The concept here might be related to the fear of disconnection, but by the end there is an overwhelming feeling of optimism and hope.

This is pure Progressive rock as it should be and is probably the best record this troupe of Scandinavian minstrels have made, most certainly proving that the genre is in tremendous good health, even if the world is not. Long live The King of the Flowers!

Disc One

01. Racing With Blinders On (4:24)
02. From the Ground (4:02)
03. Black Swan (5:53)
04. Morning News (4:01)
05. Broken (6:38)
06. Goodbye Outrage (2:19)
07. Journeyman (1:43)
08. Tangerine (3:51)
09. Solaris (9:10)
10. Heart of the Valley (4:18)
11. Man In A Two Piece Suit (3:21)

Time – 49:40

Disc Two
01. All I Need Is Love (5:48)
02. A New Species (5:45)
03. Northern Lights (5:43)
04. Hidden Angels (0:50)
05. Serpentine (3:52)
06. Looking For Answers (4:30)
07. Telescope (4:41)
08. Fool’s Gold (3:11)
09. Between Hope & Fear (4:29)
10. Islands (4:12)

Time – 43:01

Total Time – 92:41

Roine Stolt – Vocal, Ukulele, Guitars, Additional Keyboards
Hasse Fröberg – Vocals, Acoustic Guitar
Jonas Reingold – Bass, Acoustic Guitar
Zach Kamins – Pianos, Organ, Synthesizers, Mellotron
Mirko DeMaio – Drums, Percussion
~ with:
Rob Townsend – Soprano Saxophone

Record Label: InsideOut Music
Country of Origin: Sweden
Date of Release: 30th October 2020

The Flower Kings – Website | Facebook | Twitter

This news story was originally published here:

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  Quote bucka001Quote  Post ReplyReply Direct Link To This Post Topic: Amorphous Androgynous & Peter Hammill — new album
    Posted: 53 minutes ago at 12:00

“We Persuade Ourselves We Are Immortal”

New Psych/Prog album by Amorphous Androgynous (aka Future Sound of London) and Peter Hammill

Also features Paul Weller (The Jam; Style Council)

Release Date: November 20, 2020


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  Quote I prophesy disasterQuote  Post ReplyReply Direct Link To This Post Posted: 36 minutes ago at 12:17

The Amorphous Androgynous & Peter Hammill… sounds like an interesting combination. I have “The Amorphous Androgynous – A Monstrous Psychedelic Bubble (Exploding In Your Mind): The Wizards of Oz”, an interesting compilation album of Australian psychedelic rock.

Edited by I prophesy disaster – 34 minutes ago at 12:19

I was thinking about thinking but it really didn’t get me very far.

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  Quote A Crimson MellotronQuote  Post ReplyReply Direct Link To This Post Posted: 9 minutes ago at 12:44

Never heard of Amorphous Androgynous but everything that has Peter Hammill on board is worthy of listen! And this cover art is just spectacular!

I’m on the outside looking inside

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This news story was originally published here:

Released in 1989, Cross That Line saw the twilight of Howard Jones’ chart career. The music maintains the high standard he always set, though time and the oncoming of Britpop meant his time had passed. The music is still great and, despite the few tell tale ’80s motifs, an entertaining listen. The ’80s, I tend to think, was the decade that time forgot, my love turning new nostalgic music more often than current, although Mr Jones (along with Nik Kershaw) provided me with good entertainment. This is a synth-driven album in the proto-guitar-driven era, there is absolutely nothing wrong with it though, and had all the charts and divisions we currently have existed then it might be better remembered. Not wishing to be cruel, it brings to mind the drummer/drum machine jokes, as no amount of beating will alter the machine’s rhythm. Thirty years later I would say that the drummer you have to feed has more heart and soul.

I like the two openers The Prisoner and Everlasting Love, even though they seem more at home mid-decade. Powerhouse, in all its multiple forms found here, seems to be State of Independence meets Duran Duran, again okay, but two minutes later, I cannot remember it. Last Supper does tick the memory buttons though, a really nice ballad, and a tune that does linger.

The title track Cross That Line has a synth-meets-jazz vibe and I rather like it. Out of Thin Air follows, a more than pleasant piano-based piece, in an album that sticks to synth core values it stands out – more skill, less programming and a strong instrumental track.

Guardians of the Breath is really nice, with a feel of both Japan – country and band – at its worst it is a really nice chill out track. Starting from the beginning, the album progresses as if Howard is saying “walk with me through my life”, approaching middle age, indeed a waltz through time, Fresh Air Waltz delivering with style and panache.

This, I think, was Howard Jones’ transitional album. He starts out with pop of the early eighties and does Cross That Line into a more adult presentation of his music. To me, this is clearly demonstrated by Wander to You and the surreal Those Who Move Clouds. It is here that I feel growth has been achieved, producing something longer lasting. Two really tasty tracks.

Modern Man is a bit of a flashback, though I have to say quite a grown reflection of that distinguished past, and the same again with The Brutality of Fact. If you are a fan of Howard, you will enjoy the growth, Cross That Line is quite a strong album in that sense; the numerous mixes and remixes, though interesting, add very little, there is no ‘Woah!’ You have to listen to this mix moment.

The booklet is useful and informative – personnel, the studio, breakdown of songs, etc. – actually a good read. Here in 2020, Mr Jones continues, plus numerous appearances, and I suspect still bunkered down and recording. It would be interesting to hear. In the meantime, the core of this album is a good and worthy record of 1988/9.

Disc One: CD

01. The Prisoner (4:38)
02. Everlasting Love (4:16)
03. Powerhouse (3:26)
04. Last Supper (5:18)
05. Cross That Line (4:42)
06. Out Of Thin Air (3:07)
07. Guardians Of The Breath (7:34)
08. Fresh Air Waltz (3:59)
09. Wanders To You (5:08)
10. Those Who Move Clouds (5:46)
~ Bonus tracks:
11. Modern Man
12. The Brutality Of Fact
13. Power Of The Media
14. Powerhouse (Danny D 12” Edit)

Disc Two: CD
01. The Prisoner (Alternative 7″ Mix)*
02. Everlasting Love (Julian Mendelsohn Mix)*
03. Modern Man (Early Mix)*
04. Powerhouse (7″ Instrumental Mix)*
05. Fresh Air Waltz (Early Mix)*
06. The Prisoner (The Portmeirion Mix)
07. Rubber Morals
08. Have You Heard The News?
09. Powerhouse (Danny D 7″ Edit)
10. The Prisoner (Us 7″ Edit)**
11. Everlasting Love
(Original Mix – Aka The Institute Mix)**
12. Cross That Line (Early Mix)*
13. Powerhouse Of Love (Early Mix)*
14. The Prisoner (Ac Edit)*
15. Powerhouse (Danny D Acid Mix Edit Version 1)*
* Previously Unreleased
** Previously Unreleased Digitally

Disc Three: CD
01. Everlasting Love (Instrumental Mix)*
02. The Prisoner (Battery Studio Mix 1)*
03. Powerhouse (7″ Alternative Mix)*
04. Everlasting Love (Julian Mendelsohn Tv Mix)*
05. The Prisoner (Original Album Mix)*
06. Cross That Line (Marquee Rehearsal, 18th June 1988)*
07. Powerhouse (Marquee Rehearsal, 18th June 1988)*
08. Rubber Morals (TV Mix)*
09. Everlasting Love (Alternative Institute Mix)*
10. The Prisoner (Instrumental Mix)*
11. Powerhouse (TV Instrumental Mix)**
12. Everlasting Love (808 Mix)
13. Powerhouse (Danny D Acid Mix Edit, Version 2)*
14. Everlasting Love (Peter Collins Master Mix)*
15. Powerhouse (Alternative Album Mix – Aka Danny D Delay Mix)*
* Previously Unreleased

Disc Four: DVD
01. Interview with Howard Jones May 2020:
• Creating Cross That Line
• Track By Track Commentary
02. Everlasting Love (Promo Video)
03. The Prisoner (Promo Video)
04. Everlasting Love (Alternative Version) (Promo Video)

Too numerous to list…

Record Label: Cherry Red Records
Catalogue#: PCDEXRED813
Date of Release: 9th October 2020 (originally 1989)

Howard Jones – Website | Facebook | Twitter

101 Dimensions Curated by Emma

And Relax  !

Broadcast  24th Oct 2020 @ Midnight BST/UTC+1


  • 36 – Always
  • Air – Californie/ Lafemme d’argent
  • Binar – Transcendal Space Goat
  • Thanatopsis – Vitreous Humour
  • Carbon Based Lifeforms – Silent running
  • Andy Pickford – Arc of Infinity
  • Autechre – Headaches
  • Bo Hansson – The escape (flykt)
  • David Helping & Jon Jenkins – Not a soul, not a sound
  • D. project – Le Culte
  • Sigar Ros – Viðrar Vel Til Loftárása
  • Suzanne Ciani – Flowers of evil
  • Dean de Benedictis – To the ends of elation
  • Orbital – Nothing Left
  • Ozric tentacles – White Rhino tea

Connect the dots and connect with 101 Dimensions via any of the Curators Cliff Anthony or Emma ,  or

Every Saturday night from Midnight UTC + 1 (GMT) till late all music no chat Electronic Ambient and Progressive

 Repeated  as Ambient Afternoon on Friday 1:00 pm UTC + 1 (GMT)

Subscribe for the Podcasts here

Northern Star 29th October 2020.


Theme Pallas – Northern Star

  • The Escalators – Munsters theme
  • Alice Cooper – Welcome to my Nightmare
  • Eddie Jobson’s U-Z Project – One more red nightmare
  • Japan – Halloween
  • Ozzy Osbourne – Bark at the moon
  • The Flaming Lips – Halloween on Barbary Coast
  • The Meteors – my daddy was a vampire
  • Genesis – Home by The sea
  • Bonzo dog doo dah band – Look out there’s a monster coming
  • David Bowie – Scary Monsters and (Super Creeps)
  • Steven Wilson – King ghost
  • Twelfth Night – Creepshow
  • Black Widow – Sacrifice
  • Frank Zappa – The return of the son of Monster magnet
  • Goldfrapp – Monster love ( Goldfrapp vs Spiritualized)
  • Ivor Biggun – I’ve got a monster
  • Monster Magnet – Into The void
  • District 97 – Ghost Girl
  • Atomic Rooster – death walks behind You
  • Fairport Convention – After Halloween
  • Steppenwolf – Monster
  • Drifting sun – Lady Night
  • Pallas – Monster (swing version)
  • Black Sabbath – Fairies wear boots

Direct stream:

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Proving that prog isn't just for dinosaurs!

I’m delighted to announce that the podcast for edition 364 of Live From Progzilla Towers is now available.

In this edition we heard the following music:

  • Genesis – White Mountain
  • Kitten Pyramid – Aunty Mabel
  • Armed Cloud – Awaiting The Sound Of The Chimes
  • Crucible – Over The Falls
  • Tears For Fears – Bad Man’s Song
  • Theo – Pathology
  • Globular – From Mind, There Spills Forth Light
  • Alco Frisbass – Judith Coupeuse De Tête
  • Thank You Scientist – Geronimo
  • La Maschera Di Cera – Il Tempo Millenario
  • Kansas – The Pinnacle
  • A.R. & Machines – Tanz Der Vogel In Den Winden
  • Fruupp – Knowing You
  • Simple Minds – New Gold Dream (81-82-83-84)
  • Peter Hammill – Like Veronica
  • Robert Reed – Ommadawn 45
  • Gandalf’s Fist – Stakes At Low Tide
  • Nathan Mahl – Clever Use Of Shadows
  • John Mitchell – A Gentleman’s Excuse Me

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to:


This news story was originally published here:

If there’s one genre label I’ve never been entirely comfortable with, it’s so-called “World” music, which comes ominously close to being racist, and sometimes crosses that line. And yet, with 3,14’s debut release, it’s hard to think of an adjective that better describes Bombyx Mori. The product of three musicians of different nationalities, and utilising instruments and instrumentation from a range of nations and cultures along the ancient and legendary Silk Road. It’s a glorious fusion of traditional non-Western music, reinterpreted in a modern form – all the strands interwoven into one glorious whole of extraordinary beauty.

Before I’ve listened to even one note, I’m already drawn in by the beautiful cover art – of Bombyx Mori, naturally (more commonly known as the domestic silk moth). Perhaps deliberately, there is more than one moth – as the Silk Road was never one road, so much as a network of interconnected trade routes, connecting Asia to Europe and Africa. Besides trade, the Silk Road played a significant role in the exchange of religions, philosophies, science and technology. The idea of cultural trade seems central to the music of 3,14 (314π), as the three European musicians weave together strands from Asia, the Middle East and the Indian subcontinent, using the instruments from those regions. Bombyx Mori features ten instrumental tracks including both old and original compositions inspired by raga/makam music from India, Afghanistan, Turkey, Persia, Egypt and Greece, recorded live in the studio last year. Old and new are seamlessly integrated, exposing a range of moods and styles.

I find Eastern classical music, whether traditional or modern, far more vibrant and colourful than Western. I often feel it is a shame that for most people, classical evokes dead Germanic composers. Classical music was the first Progressive music, and continues to progress today. There are numerous avant-garde and progressive record labels releasing fantastic albums that remain frustratingly under the radar. I’m sure this is not The Secret that 3,14 is implying in the title of the opening track for Bombyx Mori, and yet it is the first thing that comes to my mind every time. If it’s true that a secret is something you tell one other person, then tell one other person about 3,14. Conveniently, The Secret was the first single released, allowing it to be shared – at least as a YouTube video link. This track is an impressive opening number, which begins at a slow pace, and by the end is anything but.

Actually, let’s face it, The Secret must surely refer to the fact that the Chinese guarded the secret of silk production for centuries. For while the album may trace the route of the Silk Road through the instrumentation and instruments of the nations and cultures it traverses, the music is inspired by, and is a homage to, the silk moth, rather than the Silk Road. It’s a quite novel way to celebrate the Silk Road, and adds to the enjoyment. So many Western artists have recorded tributes to the Silk Road, but focussing on the insect, rather than the trade route creates some interesting variations to what might otherwise be a well-worn theme.

The second song is also the second single. The Prism is 3,14’s interpretation of Kürdi Peşrev, an Ottoman instrumental written in the 17th Century, but not sounding anywhere near as ancient when played by 3,14. The Prism here refers to the shining and iridescent quality of silk (its shimmering appearance is due to the triangular prism-like structure of the silk fibre, which allows silk cloth to refract incoming light at different angles). What The Prism does show is that despite having a compositional backbone, it still very much sounds as if it is played with the freedom of improvisation that plays such a part in much Asian and Indian classical music. I’m drawn back to my earlier statement, that I find Eastern classical music more colourful than Western. Perhaps it is because it is played through a prism of improvisation. The composition is refracted through that prism, and the result is akin to an aural interpretation of the cover art to Dark Side of the Moon.

After the rather sedate vibe of The Prism, the tempo is raised considerably by 3,000 Feet. I love the vocal percussion in this piece. Whether Padhant in Hindustani, or Konnakol in Carnatic, these performances of vocal percussion always sweep me in and away. The music is suitably swirling, given the title which refers to the fact that unravelling a silkworm cocoon can result in a single thread 3,000 feet long. It’s easy to envisage the unwinding of the silk as you listen to the music, slowing cautiously at points to ensure the thread does not break, before picking up the tempo again.

Having covered only three songs so far, it’s becoming obvious that to continue in this way isn’t practical. Suffice to say, 3,14 continue to offer a range of colours and textures, with some unexpected twists along the way. Sometimes calm and peaceful, and sometimes fast and furious, but always engaging and enjoyable. Qazzaz (a surname that means silk trader) is a percussive delight with some interesting modulations, and one of my favourite tracks on the album; and Resham (a female name meaning silk) has a driving and impassioned intensity. The title track is the longest on the album, and yet it flies by. The following track, I assume refers to artificial silk (‘6A’ being the highest quality silk, and ‘7A’ largely used to describe replica/fake goods online), and its another full throttle assault. Kota Doria is suitably fine and light, like the fabric it’s named for; and the closing number, Cocoon, is beautiful in its simplicity, wrapping things up perfectly.

Ultimately, this is probably the most impressive album released from the Worlds Within Worlds label yet – and that’s saying something, as they have been releasing only quality albums since their inception. And, as mentioned at the beginning of this review, Bombyx Mori is truly a world album, too, taking inspiration from the music of multiple countries and peoples, along the route of the legendary Silk Road. It’s an absolutely addictive album, which I find myself returning to time and time again, and which (if it does not remain too guarded a secret) will surely find itself competing for a place on the end of year lists of those who fall for its charms.

01. The Secret (Sampurna Kanada) (10:47)
02. Prism (Kürdi Peşrev) (7:48)
03. 3,000 Feet (Madhuvanti) (4:10)
04. The Red Kite (Manj Khamaj) (7:32)
05. Qazzaz (Lahen Tayyah) (10:34)
06. Resham (4:37)
07. Bombyx Mori (Pahari) (13:49)
08. A. A. A. A. A. A. A. (8:42)
09. Kota Doria (4:46)
10. Cocoon (Deepchandi / Devr – i Kebir) (2:56)

Total Time – 75:41

Efrén López – Herati Dutar, Fretted Hurdy Gurdy, Oğur Sazı, Tanpura, Oud, Sagat, Gong, Azeri Tar, Daf, Afghan Rabab, Basslaute, Swarmandal, Kudüm, Zil
Ciro Montanari – Tabla, Udu, Kayamb, Calabash
Jordi Prats – Sarod
~ with:
Evgenios Voulgaris – Yaylı Tanbur, Rebab
Kirill Osherov – Riq
Nuno Silva – Persian Santur
Gloria Aleza – Cello

Record Label: Worlds Within Worlds
Country of Origin: Spain/International
Date of Release: 2nd October 2020

3,14 (314π) – Facebook | Bandcamp

Edition 263 of Sounds That Can Be Made is now available as a podcast!


Wishbone Ash – F.U.B.B. (live) (from Live Dates 3)
Wishbone Ash – Faith, Hope And Love (from Bona Fide)
Wishbone Ash – Come Rain, Come Shine (from Bona Fide)
Wishbone Ash – Ancient Remedy (live) (from Almighty Blues London & Beyond – Live)
Wishbone Ash – Dreams Outta Dust (from Clan Destiny)
Wishbone Ash – The Raven (from Clan Destiny)
Wishbone Ash – Tales Of The Wise (live) (from Live in Hamburg)
Wishbone Ash – In Crisis (from The Power of Eternity)
Wishbone Ash – Hope Springs Eternal (from The Power of Eternity)
Wishbone Ash – Handy (from First Light)
Martin Turner’s Wishbone Ash – Sometime World (from Argus Through The Looking Glass)
Wishbone Ash – Right or Wrong (live) (from 40th Anniversary Concert – Live In London)
Wishbone Ash – Can’t Go It Alone (from Elegant Stealth)
Wishbone Ash – Heavy Weather (from Elegant Stealth)
Wishbone Ash – Way Down South (from Blue Horizon)
Wishbone Ash – Blue Horizon (from Blue Horizon)
Martin Turner founding original member of Wishbone Ash – Vapour Trail (from Written in the Stars)
Martin Turner founding original member of Wishbone Ash – Interstellar Rockstar (from Written in the Stars)
Martin Turner ex-Wishbone Ash – Throw Down the Sword (Alternate) (from Argus Through The Looking Glass)
Wishbone Ash – Coat of Arms (from Coat of Arms)
Wishbone Ash – We Stand as One (from Coat of Arms)
Wishbone Ash – Jailbait (excerpt live) (from Road Works)

Thank you all for listening and chatting, I hope you enjoyed the show, it repeats on Wednesday at 8.00pm Eastern and Thursday 2pm BST if you missed it at

#ProgzillaRadio #STCBM #WishboneAsh

This week’s Prog-Watch is all about ghoulies and ghosties and long-leggedy beasties and THINGS THAT GO BUMP IN THE NIGHT! With songs concerning things supernatural from White Willow, The Strawbs, Blue Oyster Cult, Asia, Uriah Heep, Pattern-Seeking Animals, Agents Of Mercy, Ken Hensley, The Syn, Styx, Jethro Tull, Rush, The Rocket Scientists, Drifting Sun, Todd Rundgren, Warren Zevon, and Anekdoten! Join me…if you dare!

743: Things That Go Bump In The Night


Mike Rutherford – Smallcreep’s Day Side 1:

I Between the Tick and & the Tock

ii Working in Line

iii After Hours

iv Cats and Rats (In This Neighbourhood)

v Smallcreep Alone

vi Out Into the Daylight


Marillion – Best.Live Side D:

This Strange Engine


The Flower Kings – Unfold The Future Side A1:

The Truth Will Set You Free pt. 1


Genesis – Duke Side 2:

Turn It On Again

Alone Tonight


Duke’s Travels

Duke’s End