The Spirit Of Prog (sponsored by EMI)

Winners: Jethro Tull, presented by Roy Harper

Gentlemen, we trust that your evening is proceeding swimmingly?

Ian Anderson: Yes, immensely so. I’m really enjoying Roy’s company.

Roy Harper: Likewise.

Anderson: I’ve spent most of my time marveling at the impossibly tight-trousered people around us. And also at those sporting such incredibly exotic hair. In many instances I thought it had to be fake but now I’m up close to one of them I can see that yours is real.

[Your correspondent laughs with embarrassment and moves on]. Unless I’m mistaken this is a first time at the Classic Rock Awards for you both.

Harper: It’s much, much bigger than I thought it was going to be. I expected some homely little party, but it’s a very big deal.

Anderson: I’ve been very, very impressed by the mutual sense of support from everybody that I’ve spoken to; from fellow musicians, to those employed by the magazine, also those from the print media and radio stations. In these troubled economic times there’s a sense of everybody pulling together and saying: ‘Listen, we need each other in order to keep music going on at this level’. It feels like a family affair, but in very glossy circumstances. I’m glad that I’m not footing the bill for it all [laughs]. Let me ask you a question.

Go on.

Anderson: This year you have Gene Simmons but who was the genial host at the last event?

Alice Cooper.

Anderson: So you have a habit of picking Americans?

They tend to have a superior gift of the gab, but if you’re putting yourself forward then for 2012 then get in the application as early as possible. Anyway, let’s talk about the Spirit Of Prog. Why has it undergone such a spectacular renaissance?

Anderson: I couldn’t begin to explain it, but that’s definitely the case. During the last five years there’s been such a transformation of the audience, especially in Latin America. Whereas before it was mainly men in their fifties, now we get late teens to early twenties and even some girls – clearly with the money to pay for expensive tickets, but still having their vinyl copies of Thick As A Brick. It’s quite a sea change. We also noticed it in Italy and Spain, all throughout Southern Europe and the Mediterranean countries.

And in the UK?

Anderson: Here and in America the demographic is still skewed towards the geriatrics, but in the Latin counties there are kids buzzing for what is to them a whole different kind of music… not what their parents or even their grandparents listened to.

Harper: Things are coming round again, in a repercolated manner. In my own case, a lot of young American artists are claiming me as an influence – and we’re talking about some household names – which is creating a younger audience for the kind of things that I was doing thirty or forty years ago. I think this thing is going to carry on for some time yet.

(Interview: Dave Ling)

The awards issue of Classic Rock is on sale now.
Buy the digital edition here http://itunes.apple.com/gb/app/id451398560?mt=8&affId=1621074&ign-mpt=uo%3D6 or here http://bit.ly/sQiaRB
Zinio editions are available here http://bit.ly/ukyn52 or here http://bit.ly/rAwV8P

Roy Harper: “It’s all a myth that Ian and I knew each other when we both lived near Blackpool in the ‘60s. I certainly didn’t know him but he might have been aware of me. The first time I really noticed him was at Hyde Park [June 1968]. Jethro Tull were only very small then but they were one of the many in our corner of the revolution.

“That first free Hyde Park concert was Pink Floyd, me, Tyrannosaurus Rex and Jethro Tull, in that order. But the first time they really took off was at the Sunbury Festival [August ‘68]. I heard Jethro Tull go on stage and the level of applause after the first couple of songs made me realise they were never going to look back from this. They’d actually made it, to the point where they’d broken through. It was obviously quite a moment for them. Actually I was stood there thinking, ‘There but for fortune…’

“But you can’t really think those things. Eventually you say to yourself, ‘Come on Roy, you idiot. This is Ian Anderson, who’s managed to get his thing together in such a professional way that he’s cracked through to a big market.’ And that’s because he’s accessible. Not all of his music is, but his image as a showman is very accessible.

“Ian brought a new and different instrument into the musical canon and helped create a fusion that eventually became known as prog rock. It was a different take than the usual guitar-drums-keyboard-voice line-up; Tull were totally unique. That style they brought in just didn’t exist before Ian. And he’s a different kind of showman to someone like David Bowie; he’s more connected to traditional British forces and folk music in particular. He’s like a bridge between prog and Fairport Convention and it’s an important one. Because for some people that was an introduction to a different life brand.

“Jethro Tull were huge in America, where they translated very well. It was sort of what I would have done if I’d have had a band. But I would have been very different anyway, with me being more jazz-influenced. The thing is that Jethro Tull were doing what I should have been doing, in effect, by actually taking a more traditional English feel to things. And they exported that to the USA. For many Americans their music was very exotically English.

“Ian was honest enough to credit me with being an influence. He was the first person to really do that, probably because he wanted to give credit where it’s due. Whereas people like Roger Waters and Bowie preferred to keep that kind of thing hidden. Which leaves a very important point really, in that Ian is basically a very proud and honest man. He’s very careful and private too. And he’s not willing to compromise. He’s very professional and doesn’t allow anything to come between him and his goal, and that in itself keeps him private.

“I think the last time I actually saw him, before the Classic Rock Awards of course, was years ago in Los Angeles. But we’ve spoken on the phone since then and he’s put parts on my records. We do all our correspondence by email now. It really doesn’t matter whether or not we physically see each other again; we’ll still always be friends.

(Interview: Rob Hughes)

The awards issue of Classic Rock is on sale now.
Buy the digital edition here http://itunes.apple.com/gb/app/id451398560?mt=8&affId=1621074&ign-mpt=uo%3D6 or here http://bit.ly/sQiaRB
Zinio editions are available here http://bit.ly/ukyn52 or here http://bit.ly/rAwV8P

Words: Malcolm Dome

Peter Gabriel has never been a man to stand still and do the obvious. He proves it again on New Blood Live In London (Eagle Vision). This is a DVD and Blu-ray filmed during two shows in London in March this year. Gabriel totally overhauled his songs, adapting these for an orchestra, and in the process reinvents them. It’s a tour de force performance from a unique talent.

Deep Purple don’t quite get as radical as Gabriel, but Live At Montreux 2011 (Eagle Vision) does see them working with an orchestra, and it’s certainly effective. The way the band and orchestra bond together seems natural enough, and it brings a fresh life to Purple, who seem to have been on the road forever. This is available as a DVD or a double  CD.

ELP’s performance at High Voltage last year is reckoned by many to be the final time we shall see these prog greats. So the release of this gig on DVD as Emerson Lake & Palmer…Welcome Back My Friends (Concert One) is just a touch poignant. Still, it’s proof that the band that night really were at their best and worst. There are moments of bathos, as well as those times when they were truly inspirational. As such, it would be the appropriate way for ELP to bow out, having summed up their career with this last hurrah. There’s also a bonus documentary covering their history and including new interviews with all three.

Lindsey Buckingham is at his most spellbinding on the live DVD/CD Songs From The Small Machine Live In L.A. (Eagle Vision). The man proves once more that he’s a hugely gifted artist. Onstage he has a flowing, low key way of playing that accentuates the quality of his songs. Here he spans his solo discography, as well as nodding towards Fleetwood Mac.

NWOBHM veterans Bitches Sin have never quite fulfilled their potential. But The Rapture proves they’re still a band who can deliver unfussy British metal. There’s a good version of Simon & Garfunkel’s Sound Of Silence (which they’ve titled Sounds Of Silence, for some reason), and is that really Gary Moore doing a guitar solo on Save Me? Bitches Sin do deserve to be heard. Find out more at www.bitchessin.co.uk

Irish rockets Glyder have totally revamped their line-up, and in the process given their bluesy melodic rock approach a real shot in the arm. Backroads To Byzantium (SPV/Steamhammer) is possibly the band’s best album yet. The songs have a vigour and the musicianship an edge that really does convince you of Glyder’s worth.

It’s almost incredible to believe that Aqualung (EMI) is 40 years old. But that’s the case with Jethro Tull’s masterwork. It’s been reissued with a new 5.1 surround sound mix from Porcupine Tree’s Steven Wilson, and in various formats. The reality, though, is that there’s no need for anything additional. The original still stands supreme.

Finally, there’s a new version of the classic Diamond Head debut album Lightning To The Nations (Universal). This time it comes with a bonus CD featuring various singles released by the band around the time of the album. It’s become a cliché to regard this record as a prime example of NWOBHM virtues, and let’s not forget the impact it had on aspiring musicians such as Metallica and Megadeth. But sometimes we have to be reminded of just how special Diamond Head were back then. This’ll do the job. Nicely.

To celebrate this landmark, Eddie, Stone, Jeff, Matt, Mike and others take you through the 20 songs that built the band. Watch the trailer for the new Cameron Crowe doc Pearl Jam Twenty here: http://www.traileraddict.com/trailer/pearl-jam-twenty/trailer

Also in thjs packed issue:

Lou Reed/Metallica

“It’s not a party album.” Lou Reed and Metallica tell us all about their collaboration album, Lulu. Listen to the first taster here: http://soundcloud.com/loureedmetallica/the-view

Rod Stewart

Every Picture Tells A Story. The in-depth, eye-witness tale of Rod’s classic album that arrived by accident. Watch Rod’s classic TOTP Maggie May appearance here: http://www.youtube.com/watch?v=kcoWUt51zaU&feature=fvwrel

Sham 69

Too punk for punk? Too working-class for a fashion-led London media? As they prepare to re-form, frontman Jimmy Pursey and guitarist Dave Parsons look back. See Sham play Borstal Breakout at Reading 1978 here: http://www.youtube.com/watch?v=6utdlMvuD74&feature=related

Opeth

Goodbye death metal beginnings, hello new, metal-free album Heritage. We sneak a peek inside the Scandinavian progsters’ strange world and weird head-space. See their creey video for new track The Devil’s Orchard here: http://pitchfork.com/news/44090-video-opeth-the-devils-orchard/

The Answer

To celebrate the release of their third album, Classic Rock takes the Northern Irish boys for a night on the tiles in their hometown. You should hear the tales they told… See videos on the making of the album here: http://www.theanswer.ie/

Tony Iommi

Knife-carrying gang member, heavy metal pioneer, rock icon, classic-riff architect… Life has had its moments of both heaven and hell for the Black Sabbath guitarist. Watch CR’s Malcolm Dome interview him here: http://www.youtube.com/watch?v=SLoJ92y8Zk0

Jani Lane

He wanted to be more than ‘The Cherry Pie guy’. But alcohol, demons and ridicule led to his demise. Watch him talk about why he hates that song here: http://www.youtube.com/watch?v=OR1xpknCHCQ

The Dirt

Jeff Beck hints at teaming up with Robert Plant; Blackmore, Paice, Frampton, Schenker and Wylde among the guests on William ‘Captain Kirk’ Shatner’s new album of classic rock covers; Alan Lancaster and John Coghlan to rejoin Quo? Welcome back Lindsey Buckingham, Slim Chance and Girlschool…

The New Blues Rock Super-Duos

We speak to Beth Hart about her new album with Joe Bonamassa, and Susan Tedeschi about the Tedeschi Trucks Band (a collaboration with her husband and Allmans guitarist Derek Trucks):

Watch Beth Hart and Joe Bonamassa being interviewed here: http://www.youtube.com/watch?v=CU3nwMRXxZg Hear them playing Tom Waits’ Chocolate Jesus at http://www.youtube.com/watch?v=3TkitGRoGM8&feature=related

See the Tedeschi Trucks Band interviews here: http://www.youtube.com/watch?v=n-_EYXYR8RY. Watch them performing Midnight In Harlem here http://www.youtube.com/watch?v=7czlanjaObs&feature=related

Photo Pass

Brian May

“I had this image of Brian as this sort of ‘time lord of fruit’.” Patrice De Villiers recalls photographing the grapefruit-loving Queen guitarist at his home in Surrey.

The Stories Behind The Songs

Anthrax & Public Enemy

Between the paint-guns, the cross-dressing and the late-night philosophy, it’s a wonder this 1991 crossover thrash-hop masterpiece even got made.

Q&A

Peter Gabriel

“The first time I got a phone call from space, I was out.” The former Genesis man on technology, cracking movies, pop stardom (briefly), and almost riding the Space Shuttle.

Fly On The Wall

Rolling Stones

When the Stones staged their spectacular Rock And Roll Circus comeback in 1968, they ended up being upstaged by The Who and looking like clowns. Watch The Who blowing everyone away here: http://www.youtube.com/watch?v=C1ku7QNRudg

Heavy Load

Gene Simmons

The Kiss man on Gene Simmons, making money, wasting money, and how if he was in charge the police would have baseball bats and drug dealers would be dead.

Plus there’s a massive reviews section. With new albums from Lou Reed & Metallica, The Union, Foreigner, Megadeth, Johnny Winter… Reissues from The Who, Dream Theater, Yes, Nazareth, Whitesnake, Jethro Tull, Jimi Hendrix… Books on Frank Zappa, The Kinks, progressive rock, Captain Beefheart… DVD on Mott The Hoople… Live reviews of Pearl Jam, Jane’s Addiction.

There’s also a great free DVD, featuring live  performances from Roy Harper, Van Der Graaf Generator, Caravan, The Zombies and others. That’s in the UK. Overseas it will be a 14-track free CD, featuring such artists as Donnie Vie, Vain, Shy and Amebix. The covers for both are below.

All this and so much more in the new issue of Clsssic Rock. On sale right now!

The dates are:

April

Sat. 14: Perth Concert Hall

Sun. 15: Glasgow Theatre Royal

Tue. 17: Newcastle City Hall

Wed. 18: Liverpool Philharmonic

Thu. 19: Sheffield City Hall

Fri. 20: Blackburn St. George’s Hall

Sat. 21: Harrogate Royal Hall

Sun. 22: Manchester Opera House

Tue. 24: Derby Assembly Rooms

Wed. 25: Ipswich Regent Centre

Fri. 27: London Hammersmith Apollo

Sat. 28: Bristol Colston Hall

Sun, 29: High Wycombe Swan Theatre

Mon. 30: Birmingham Symphony Hall

May

Wed. 2: Oxford Apollo

Thu. 3: Reading Hexagon

Fri. 4: Guildford G Live

Sat. 5: Cardiff St. David’s Hall

Sun, 6: Southampton Guildhall

Tickets go on sale on Wednesday, September 7.

Find out more at www.j-tull.com

The Iron Maiden frontman will team up with Jethro Tull’s Ian Anderson and Justin Hayward of the Moody Blues for what is being dubbed Canterbury Rocks At Christmas.

This happens on Saturday, December 10, the aim being to raise money for the renovation work needed on the cathedral.

Words: Malcolm Dome

Walking through, the first sight on site are the 21st century morris dancers, who look like black metal nutters dressed up for a posh wedding as they wield what look like baseball bats! Anthony Burgess should have written this into A Clockwork Orange. The droogs would drool with envy.

First band on to the Main Stage on Sunday, July 24 are Love Fungus, introduced by TV personality James May. In fact, this lot are only on the bill because they’re being filmed for the next series of Man Lab. The approach is rap metal and rather clichéd in a late 90s style, but a pleasant enough early diversion.

Heaven’s Basement are the acknowledged and expected opening band on the Main Stage. Just a few years ago, they were hot and happening. British melodic rockers whom some tipped to be the new Def Leppard. But things have been going wrong since then, and today they look and perform like a band who know their time has gone.

On the Metal Hammer Stage, The Treatment emphasise why they’ve now surpassed Heaven’s Basement. Vibrant, focused and full of cranked-up songs. The future belongs the them.

They actually are the second band on this stage, following the impressively intelligent metal of Furyon, a band who can shake any trees yet also have depth of musicianship.

Meantime, over at the Prog Stage, Pallas get everything right into gear with an impassioned performance that climaxes on the deft and evergreen Arrive Alive. They pave the way for The Enid, whose unique brand of classical prog might be bonkers – but is also spellbinding. Robert John Godfrey et al bring back memories of the Reading Festival in 1983 as the set ends with The Dambusters Theme, featuring snippets of Land Of Hope And Glory and Also Sprach Zarathustra. Evocative in the sunlight.

Over on the Main Stage, Saint Jude more than live up to expectations as their groove-riddled blues rock provides the perfect showcase for vocalist Lynne Jackaman’s incredible vocals.

Lynne is the first female on stage at this year’s festival, but she only just beats Sonja Kristina, who leads Curved Air through an extravagant set on the Prog Stage. She really is the earth mother of progressive music, still has a sensual voice and a vital presence.

Dashing over to the Metal Hammer Stage, Gentleman’s Pistols again show why they are such a cult band. Their mix of blues, stoner and hard rock is both a trip back to the early 70s, but also makes them one of the 21st century’s most iconic underground bands.

Sweden’s Graveyard follow the Pistols with a similar approach, albeit much more straightforward. But it’s an enjoyable romp nonetheless.

If only the same were true of Michael Schenker on the Main Stage. He starts well enough, with Into The Arena and Armed & Ready, and one hopes these would be harbinger of a set predicated on classic MSG. Instead, we get two songs from an album not even released as yet, plus Scorpions and UFO tracks. Now, one from each of those bands would have been expected and more than acceptable. But big brother Rudy is on stage, so we get Another Piece Of Meat (fair enough) and Rock You Like A Hurricane, despite Michael having nothing to do with the latter. OK, his drummer today is Herman Rarebell, who is on the Scorpions original. But this is billed as Michael Schenker, not Schenker/Rarebell. We also get Pete Way dancing on for the UFO interlude, and Doogie White stepping out to sing one of the new tunes. All a bit messy, and Michael Schenker’s guitar is often lost in the mix.

Thunder, though, show everyone how it’s all done. They come on to a huge reception and deliver a totally crowd-pleasing set which… well, pleases the crowd. The band sound huge and having the time of their lives, with Danny Bowes once more proving he as an all-time great voice. Thunder are claiming this was a one-off, never to be repeated. Yeah, sure!

Mostly Autumn have come through the gears so well that they seem to be a logical choice for the third-on-the-bill slot on the Prog Stage. Their folk-rock approach is exactly right for this time in the afternoon. And anyone who believes they’ve been elevated above their capacity is soon made to rethink such a rash opinion.

Spock’s Beard are sublime as they follow Mostly Autumn. Their sophisticated, American take on the genre is backed up by an easy manner with the crowd. A definite winner.

As are Black Spiders, in a similar slot on the Metal Hammer Stage. They’ve a vibe somewhere between rock’n’roll and punk. Plus an assertive stage conviction. It all adds up to a band who pull a big crowd and make everyone enjoy the musical heat. The Spiders are surely destined for major honours.

On the Main Stage, it’s Black Country Community who step up next. Eagerly anticipated, this supergroup are still coming to terms with being a band. Glenn Hughes is in his element out front, but the impression is that Joe Bonamassa is taking time to find his niche. But the music is outstanding, the goodwill from the crowd is a torrent and the version of Deep Purple’s Burn is majestic. Hang on, didn’t Hughes recently insist the band won’t be doing any songs from their past? Oh well, it’s a festival. Let’s forgive them.

So, to the headliners. On the Metal Hammer Stage, Neurosis overcome the potentially disastrous situation of playing in daylight. The music is so intense and atmospheric, it usually relies on a light show that’s as much a part of the performance as the instrumentation. But tonight, they overcome all hazards and tripwires. This is a monumental reminder of why they can suck the soul right of out of you, and then replace it in a somewhat damaged yet elevated form.

Not to be outdone, Jethro Tull are at their finest on the Prog Stage. The area is absolutely packed and Ian Anderson leads the band through 80 minutes that pulse with life and some fascinating choices. Thick As A Brick and Hot Night In Budapest are astounding, while it’s fascinating to hear the way they treat Mother Goose and Hymn 43. Inevitably, the main set ends with Aqualung, to major cheers. At this juncture a lot of people drift away; they are quickly sucked back, though, when the band not only return for a well-deserved encore, but are joined by Joe Bonamassa for Locomotive Breath. Hearing the way the Black Country Communion man dovetails with regular Tull guitarist Martin Barre is a revelation. Let’s hope this guest appearance leads to more collaborations between band and the master American guitarist.

Finally, it’s down to Dream Theater to close not only the Main Stage but the whole festival. And they rise to the occasion brilliantly. Mike Portnoy might be gone, but Mike Mangini slots so comfortably into his position that he’s hardly missed. The great thing about the new drummer is that he already has his own reputation, and never feels the need to try and prove he’s worthy of the new position. Even Mangini’s solo has an ease and self-confidence. And the rest of the band seem so relaxed in a set that rightly concentrates on the classics, but has hints at what we can expect from new album A Dramatic Turn Of Events.

It’s a fine way to end two days which made Victoria Park victorious in the world of rock and metal.

WHERE: : London Victoria Park

WHEN: : Saturday, July 23 and Sunday, July 24

The second High Voltage Festival promises to be bigger and better than last year’s inaugural event. The list of acts really span the whole spectrum or rock and metal, with the emphasis on quality. This is the line-up with the stage times

Judas Priest – 20.35-22.50

Slash – 18.55-19.55

Thin Lizzy – 17.35-18.25

Queensryche – 16.20-17.05

Rival Sons – 15.20-15.50

Skin – 14.25-14.55

Michael Monroe – 13.30-14.00

John Lees’ Barclay James Harvest – 19.35-20.50

Neal Morse – 18.00-19.00

Anathema – 16.45-17.30

Caravan – 15.30-16.15

Amplifier – 14.30-15.00

Von Hertzen Brothers – 13.30-14.00

Electric Wizard – 21.00-21.45

Grand Magus – 19.45-20.30

Sylosis – 18.30-19.15

Triggerfinger – 17.15-18.00

Ravens Creed – 16.15-16.45

Primitai– 15.15-15.45

Attica Rage – 14.15-14.45

JULY 24

Main Stage

Dream Theater – 20.20-22.20

Black Country Communion – 18.35-19.35

Thunder – 17.15-18.05

Michael Schenker Group – 16.00-16.45

Saint Jude – 15.00-15.35

Heaven’s Basement – 14.00-14.35

Jethro Tull – 19.20-20.35

Spock’s Beard – 18.00-18.45

Mostly Autumn – 16.45-17.30

Curved Air – 15.30-16.15

The Enid – 14.30-15.00

Pallas – 13.30-14.00

Neurosis – 18.45-20.25

Black Spiders – 17.30-18.15

Graveyard– 16.30-17.00

Gentlemans Pistols – 15.30-16.00

The Treatment – 14.30-15.00

Furyon – 13.30-14.00

Of course, there’s lots more happening, including an Evel Knievel Exhibition, a beer festival (with a full complement of bands playing) and the Ace Cafe. The last will also have live performances from The Crazy World Of Arthur Brown, Aaron Keylock and Allegra Shock.

Find out more at www.highvoltagefestival.com

Alongside our guide to this month’s High Voltage Festival, the newest addition in the prog festival calendar, we interview every prog band on the bill including:

Caravan, interviewed by snooker loopy Steve Davis!

Curved Air’s frontwoman Sonja Kristina, interviewed by Rise Above/Cathedral mainman Lee Dorrian.

Prog’s biggest ever roundtable as Jon Lees’ Barclay James Harvest, Anathema, Mostly Autumn and Amplifier collide at Prog Towers – and contribute to our renaissance-inspired cover masterpiece!

We also bring you:

Ian Anderson’s editor’s message, hotly-tipped new band and reissue review picks.

Chris Squire and Trevor Horn present the new Yes album Fly From Here.

Jan Akkerman discusses the major event of Minor Details.

Jon Anderson on how every day counts in Survival And Other Stories.

Dave Greenslade keys in with tales of Colosseum, Count Basie and new Roots.

New bands Cryptex, Moonwagon, Wobbler and the Ian Anderson-approved Dogma.

The Prog eye view of that reunion at Roger Waters’ O2 Wall show as well as Rush, Pendragon, Tangerine Dream, Von Hertzen Brothers and more on tour.

Plus our essential guide to prog festivals, tours and releases in the coming summery months. Yes, we said summer (puts away umbrella and wellies).

Did we say there’s a free nine-track CD, too? With an exclusive Big Big Train track? And a bumper 19-page review section featuring Yes, CCLR, Mostly Autumn, Carl Palmer, Andy Sears, Queensryche, Devin Townsend, John Wetton, Marillion, The Flower Kings and more?

We don’t half spoil you…

The new issue of Classic Rock Presents Prog – out now!

Words: Malcolm Dome

For Journey, Eclipse (Frontiers) really is a case of a fine return to form. Thanks to the influence of guitarist Neal Schon, the band have accentuated the harder and rockier side of their nature, and come up with a true winner. The songs are well construction but not over produced. They’re allowed the breathe fire, and the result is one of the band’s best studio albums in years.

The return of The Rods is both welcome and fulfilling. Vengeance (Niji Entertainment) had the swagger and bravura of their classic self-titled 1981 album. The fury, pace and musicianship are still impressive on a set of anthemic songs, and Ronnie James Dio’s guest appearance on The Code is inspiring.

Nikki Sixx has come up with something rather intriguing on the Sixx: AM album This Is Gonna Hurt (Eleven Seven). It’s the soundtrack to his book of the same title, but offers far more than accompanying music. The album has more in common with, say, Godsmack or Sevendust than Motley Crue. The songs arte insightful and insidious, and show the man has a musical spectrum far beyond the confines of Motley.

No single CD compilation can ever hope to do justice to the legacy of Styx. But Babe – The Collection (Universal) does have some of their finest moments. From Too Much Time On My Hands to Crystal Ball and Renegade to Rockin’ The Paradise, it’s a timely reminder of the band’s power and enduring class.

Glasgow’s Comedy Of Errors show a really traditional prog style on debut album Disobey. They bring to mind early Genesis and Jethro Tull, but do it so well that there’s never a danger of the band sinking into a nostalgic mire. One to watch for the future. Find out more at www.comedyoferrors.org.

All girl band JOANovARC have made huge strides with Beneath The Sky (AJR). This EP shows that the band are moving firmly towards Girlschool territory, and this band might well be their natural successors. Everything is in place musically on the debut EP, and given a little luck JOANovARC will be a force to be reckoned with.

Arch Enemy continue to show their mettle (and metal) on Khaos Legions (Century Media). They seem to have the right balance between brutality and virtuosity. They still sound as if the Carcass album Heartwork is their blueprint, but what’s wrong with that?

Known mostly for being the guitarist with Trust, Norbert ‘Nono’ Krief has come up with a self-titled solo album (XIII Bis). While it inevitably has elements from Trust, it’s actually a wider ranging record, taking in influences from the Beatles and the Stones. But the Trust style bite is still in evidence. Thankfully.