The band features Deep Purple guitarist Steve Morse, former Dream Theater drummer Mike Portnoy and Transatlantic keyboard player Neal Morse. The full track listing is:

1. Blue Ocean
   2. Shoulda Coulda Woulda
   3. Love Is What I’m Waiting For
   4. The Storm
   5. Kayla
   6. Forever In A Daze
   7. Everything Changes
   8. Better Than Walking
   9. All Falls Down
   10. Fool In My Heart
   11. Infinite Fire

Find out more at www.flyingcolorsmusic.com

Aside from drummer Portnoy (Transatlantic and formerly with Dream Theater), keyboard player Neil Morse (Transatlantic and ex-Spock’s Beard) and guitarist Steve Morse (Deep Purple), the album also features bassist Dave LaRue and vocalist/guitarist Casey McPherson. It was produced by Peter Collins

Says Portnoy: “The album has bits and pieces of what you’d expect from each of us. The sum of all its parts led to brand new, unchartered territory for everyone involved.”

Find out more at www.flyingcolorsmusic.com

Last year Spock’s Beard and Transatlantic were creeping up on Porcupine Tree’s immense popularity. This year we’ve seen the return of heavyweights Yes, Peter Gabriel, Van der Graaf Generator, Jon Anderson and Kate Bush, alongside impressive new material from Steven Wilson, Dream Theater, Touchstone and Opeth, bookended by the bumper Pink Floyd reissues EMI/Superball’s Prog Rocks! campaign. But what have been your highlights?

Summer’s End, Fused, Cambridge Rocks and High Voltage once again delivered live thrills as Anathema, Pallas, Mogwai, Radiohead, Nightwish, Primus, Magenta, Mastodon, Symphony X and more gave us cause to raid our proggy piggy banks.

And we’ve not even started on the wealth of newer talent such as Lost In Thought, Von Hertzen Brothers, Phaedra, TesseracT, Wobbler, Cranium Pie, Matt Stevens and Sanguine Hum jostling for our attention.

Ready to ballot? Have a look at the categories listed below, stick your choices on an email with Readers’ Poll in the subject field, and email your entries to: voteprog@futurenet.co.uk.

If snail mail really is your thing, then simply scribble down your entries on the form below and send it to: Readers’ Poll, Classic Rock Presents Prog, 2 Balcombe Street, London, NW1 6NW.

The choice is yours. Get voting…

CATEGORIES

BEST BAND

BEST ALBUM

BEST FEMALE VOCALIST

BEST MALE VOCALIST

BEST GUITARIST

BEST BASSIST

BEST KEYBOARD PLAYER

BEST DRUMMER

BEST REISSUE

BEST DVD

BEST EVENT

NON-EVENT

BEST VENUE

BEST NEW/UNSIGNED BAND

PROG HEARTTHROB 2011

PROG ICON 2011

He joins Deep Purple guitarist Steve Morse, multi-instrumentalist Neal Morse (Transatlantic, Spock’s Beard), bassist Dave LaRue (Dixie Dregs) and vocalist Casey McPherson (Alpha Rev, Endochine) in the as yet unnamed band.

However, they’ve already started recording their debut album. Says Neal Morse about this new project:

“Last April I got together with Steve Morse to do some writing and to see what would happen with a collaboration between the two of us and how I went down to his house in Florida and spent some days with him, getting to know him and writing some music and we had a really good time. So we’ve been talking about doing a project together for a while.

“We’re all excited about the project, but it is a bit of a mystery as to what will come. The vision is to do something a little more song-oriented and not quite so riffy, as one might expect.”

Words: Malcolm Dome

You have to love Down. As Diary Of A Mad Band (Roadrunner) proves, this is…well, well a mad band. In the best possible sense. The live performances are stunning, full of vigour and vitality, and offstage they know how to have a good time. A great document of a special period of time in the story of Down. Maybe it’ll never be the same again.

Mott The Hoople are enjoying a deserved renaissance at the moment. In Performance 1970-1974 (Angel Air) has four CDs taking in a gig at the Fairfield Halls in Croydon (1970, with Free also on the bill), The Tower Theatre in Philadelphia  (1972) and the US tours 1971-73 and 1974. This is far from a state-of-the-art series of recordings. In fact, on occasion the sound quality and balance just slips away into a black hole. However, there’s no doubting the excitement and passion of the performances. And that’s really what matters most.

There are two Black Sabbath live albums being reissued. Both from the original line-up. Past Lives (Universal) is a double disc, the first featuring recordings from Manchester and London in 1973, and the second with various live performances during the 70s. It’s a timely reminder of just how good Sabbath could be onstage. Live At Last (Universal) is actually the same as the first disc of Past Lives. Still worth having if you’re not interested in the second CD in that package.

OK, away from the live scene, Atlantean Kodez are a German band who will bring to mind While Heaven Wept on impressive album The Golden Bough (Cruz Del Sur). It’s got a majestic, epic doom-esque sweep that is both enticing also quite eerie. The album deals with 12000 years of European mythology. All of which is an incredibly daft undertaking. Rather like fighting a nest of angry dragons with a leaky water pistol. But the band’s lyrical ambition is matched by some brilliant music.

Breakfast In America (Universal) represents the pinnacle of Supertramp’s fame. And this 30^th anniversary deluxe reissue certainly underlines just how potent and powerful the band were at the time. Full of great songs, it was the sound of a band reaching their commercial peak. In addition, there’s a bonus live CD, recorded on that tour. Whether you really need this when the Paris live album already exists is another matter, but these are different live versions to those on that record.

The Trans-Siberian Orchestra have long been arena news in America. Over here it’s still a case of wondering why a train has its own in house band (ahem). But the release of Beethoven’s Last Night (BMG) is the first step in introducing us to their charms. Originally put out in 2000, it’s a concept album mixing up Beethoven, Mephistopheles and Fate. All rather like a Jim Steinman album without the latter’s sly sense of sybaritic humour. Still, sets everything up for TSO’s live debut in the UK, at the Hammersmith Apollo on March 29.

You know what you’re gonna get from Bad Religion. Like, say. AC/DC they’ve their own style. And The Dissent Of Man (Epitaph) fits neatly into their usual format. Which means lots of articulate political comments and old style punk with real tunes. Not a classic, but good enough.

Bring Me The Horizon have a growing following among those who enjoy screamo. The claim’s been made that their third album, There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret (Visible Noise), has taken them to a new level. Hard to hear where. There are a couple of tracks which have a certain subtlety and cleverness. But for the most part, it’s business as usual, albeit better produced.  It has to be admitted, Bring Me The Horizon are very good at this sort of thing. But if their intention was to move onwards and outwards this time, then it’s difficult to see where they’ve done it.

Aeon Zen are neat, tidy and emphatically melodically progressive. Very much the vision and brainchild of Rich Hinks, Suggestion (Time Divide) is an impressive array of beautifully constructed music, complementing exhaustive instrumental interplay of the sort Transatlantic would find worthy, with tunes befitting of Touchstone. Natural Selection could become a surprise airplay hit.

Wicked Wendy are a Brit band with real sparkle. A New Skin is an EP that bristles with easy on the ear hooks and the sort of alternative approach that brings to mind Paramore, only with a little more stubble and grit. One band worth watching in 2011. Find out more at www.myspace.com/wickedwendymusic

Before he became famous with Bon Jovi, guitarist Richie Sambora had been part of a rather decent New Jersey band called Shark Frenzy. Volumes 1&2 (Retroworld) collects together some of the band’s recordings over two CDs. It’s interesting, if not classic. The style is, if anything, more sophisticated than Jovi, and you can tell that Sambora is a major talent. The band also featured Bruce Foster, who’s gone on to become a major figure as a songwriter and producer.

A decade after their last studio album, The Doobie Brothers really hit the right groove on World Gone Crazy (Eagle). This is mid-70s style FM fodder, and that’s the best compliment you can give the masters of that laidback boogie groove. Still present from the glory days are Tom Johnston, Patrick Simmons and Michael Hossack, with Michael McDonald making a surprise guest appearance.  Smooth operators still, the songs are strong and the vibe is…well, it’s Doobies like!

It’s called Whirld Tour 2010: Live At Shepherds Bush, London. A self-explanatory title, it was recorded and filmed at the venue on May 21 this year. This comes as a two-disc DVD and also as three CDs. There will be a deluxe edition featuring all five discs.

Here’s the full track listing:

DVD One

1. The Whirlwhind
2. All Of The Above
3. We Need Some Light
4. Duel With The Devil

DVD Two

1. Bridge Across Forever
2. Stranger In Your Soul
3. Documentary
4. Band Interview
5. Return Of The Giant Hogweed (live at the High Voltage Festival, with Steve Hackett)

CD One

1. The Whirlwind

CD Two

1. All Of The Above
2. We Need Some Light
3. Duel With The Devil

CD Three

1. Bridge Across Forever
2. Stranger In Your Soul

Find out more at www.transatlanticweb.com

The drummer has released the following statement:

“After 25 years, I have decided to leave Dream Theater… the band I founded, led and truly loved for a quarter of a century.

“To many people this will come as a complete shock, and will also likely be misunderstood by some, but please believe me that it is not a hasty decision…it is something I have struggled with for the last year or so…

“After having had such amazing experiences playing with Hail!, Transatlantic and Avenged Sevenfold this past year, I have sadly come to the conclusion that I have recently had more fun and better personal relations with these other projects than I have for a while now in Dream Theater

“Please don’t misinterpret me, I love the Dream Theater guys dearly and have a long history, friendship and bond that runs incredibly deep with them… it’s just that I think we are in serious need of a little break.

“Dream Theater was always my baby…and I nurtured that baby every single day and waking moment of my life since 1985… 24/7, 365… never taking time off from Dream Theater’s never-ending responsibilites (even when the band was ‘off’ between cycles)… working overtime and way beyond the call of duty that most sane people ever would do for a band.

“But I’ve come to the conclusion that the Dream Theater machine was starting to burn me out…and I really needed a break from the band in order to save my relationship with the other members and keep my Dream Theater spirit hungry and inspired.

“We have been on an endless write/record/tour cycle for almost 20 years now (of which I have overseen EVERY aspect without a break) and while a few months apart from each other here and there over the years has been much needed and helpful, I honestly hoped the band could simply agree with me to taking a bit of a ‘hiatus’ to recharge our batteries and ’save me from ourselves’…

“Sadly, in discussing this with the guys, they determined they do not share my feelings and have decided to continue without me rather than take a breather… I even offered to do some occasional work throughout 2011 against my initial wishes, but it was not to be…

While it truly hurts for me to even think of a Dream Theater without Mike Portnoy (hell, my father named the band!!), I do not want to stand in their way…so I have decided to sacrifice myself and simply leave the band so as to not hold them back against their wishes.

“Strangely enough, I just read an interview that I recently did that asked me about the future of Dream Theater and I talked about ‘always following your heart and being true to yourself’… Sadly, I must say that at this particular moment, my heart is not with Dream Theater…and I would simply be ‘going through the motions,’ and would honestly NOT be true to myself if I stayed for the sake of obligation without taking the break I felt I needed.

“I wish the guys the best and hope the music and legacy we created together is enjoyed by fans for decades to come… I am proud of every album we made, every song we wrote and every show we played…

“I’m sorry to all the disappointed Dream Theater fans around the world… I really tried to salvage the situation and make it work… I honestly just wanted a break (not a split)… but happiness cannot be forced, it needs to come from within.

You Dream Theater fans are the greatest fans in the world and as you all know, I have always busted my ass for you guys and I hope that you will stay with me on my future musical journey, wherever it may lead me…. (and as you all know my work ethic, there will surely be no shortage of future Mike Portnoy projects!)”

The  band, though, intend to carry on have said the following:

“To all of our loyal fans and friends: It is with profound sadness — regret — we announce that Mike Portnoy, our lifelong drummer and friend, has decided to leave Dream Theater.
“Mike’s stature in the band has meant the world to all of us professionally, musically, and personally over the years. There is no dispute: Mike has been a major force within this band.
“While it is true that Mike is choosing to pursue other ventures and challenges, we can assure you that Dream Theater will continue to move forward with the same intensity — and in the same musical tradition — that you have all helped make so successful, and which is truly gratifying to us.

“Fans and friends: File this episode under Black Clouds And Silver Linings.

“As planned, we begin recording our newest album in January 2011, and we’ll follow that with a full-on world tour.

“All of us in Dream Theater wholeheartedly wish Mike the best on his musical journey. We have had a long and meaningful career together. It is our true hope that he finds all he is looking for, and that he achieves the happiness he deserves. He will be missed.”

Find out more at http://www.dreamtheater.net/

Words: Malcolm Dome

As the sun rises ever higher in the sky, and glasses of water (ahem!) get ever emptier, it’s time to catch a glimpse of Bigelf on the Prog stage, a band with a growing profile. Guess what? They live up to that reputation. Led by the enigmatic, yet charismatic Damon Fix, these fellas deliver a set that brings to mind Atomic Rooster – only with a little more humour. Definitely a band who win over a lot more fans.

Now, it’s time to do the 360 degree head turn, in the time honoured Exorcist style, because there are great bands everywhere you turn. On the Metal Hammer stage, Cathedral are giants as they slam their way through a performance that might owe something to doom and stoner rock, but is actually now a lot closer to early 70s heavy rock. They are a band who just get better and better.

At the same time (phew!), on the Prog stage Dweezil Zappa leads Zappa Plays Zappa through a set that reimagines (ah, that phrase) the catalogue of his father, Frank. Now, you could call this a tribute set, or even a cash in, but Dweezil is such a talented musician – and his band are so inventive – that it ends up being the right sort of celebration. Because the songs are turned inside out and completely retold. Frank himself might smile at the irony of the iconoclastic way his son has approached this heritage.

Foreigner have the ability to be one of the bands of the day, if they stick to a classic set. And that’s what they do. Opening with Double Vision, the band don’t lose sight of the fact that the festival audience wanna dance. So, apart from the title track of new album, Can’t Slow Down, it’s hit after hit after hit. Even those born long after these were recorded are getting into the groove. And when they climax with I Wanna Know What Love Is, with a massive backing choir, we get perhaps the greatest moment in UK festival history. Because while this is being performed on the main stage, the impressive Saxon are leaning into 747 (Strangers In The Night) on the Metal Hammer stage, and Asia are starting their rather excellent mix of new and traditional songs on the Prog stage with Only Time Will Tell. Come on, has ever been a moment in the lengthy narrative of British outdoor shows when three such great songs were being performed at the same time? Remarkable. Only to bettered by…

A week ago, Geezer Butler told Classic Rock that he was dreading playing the Ronnie James Dio tribute set with Heaven & Hell. One can understand why. But chocking back the emotions, Butler, together with Tony Iommi and Vinny Appice, send shivers down the spine as they deliver the ultimate tribute to the man who’s not there. It has to be said that singers Jorn Lande and Glenn Hughes do a stunning job, not only reminding us all of the tragic loss – and there are some truly lum in the throat moments – but also underlining the way Dio’s legacy has united us all. And when Wendy Dio comes on to read out a message for the cancer charity Stand Up And Shout, there are tears in almost every eye,. Mind you, Heaven & Hell also offer the day’s most surreal moment, when Phil Anselmo dashes on during the encore of Neon Knights and snatches the microphone from an aghast Hughes. Hat stand time.

Meanwhile on the Metal Hammer stage, Black Label Society are in hell-raising form, as Zakk Wylde proves his worth as singer and guitarist. While supergroup Transatlantic are inevitably impressive finishing off the day in style on the Prog stage, being joined by Steve Hackett for a landmark cover of the Genesis masterstroke The Return Of The Giant Hogweed.

Finally, as dusk takes orders from the bar, ZZ Top come on the main stage, reminding us once again that they are a titanic mix of great songs, brilliant musicianship and a cunning sense of humour. Is there any better way to end the first day of this tremendous festival? Oh yes… the promise of a second one to come! See ya down the front for that. Roll on the morrow.

WHERE: London Victoria Park

WHEN: July 24 and 25

‘Custom built by rock fans for rock fans’ goes the quote – and that’s no hype. Because this festival has been created by the promoters with one thought in mind: what would we like to see, and how would we like to be treated?

Over the days, across three stages (Classic Rock, Metal Hammer and Prog), there’s an entire spectrum of excellent bands. The giants such as ELP, ZZ Top,  Black Label Society, Transtlantic, Marillion and Down. There’s the reunion of the original Argent line-up. There’s Uriah Heep doing the whole of their classic album Demons And Wizards (with guest guitarist Micky Moody). And Martin Turner’s Wishbone Ash doing Argus in its entirety. There are the young talents like The Reasoning, Touchstone, New Device and Lethargy getting the chance to impress. There’s the chance to see Joe Elliott and Ian Hunter together in the Down ‘N’ Outz. And there’s also the chance to pay a fitting homage to Ronnie James Dio with the last ever Heaven & Hell performance.

You’ll also have the chance of getting official souvenir edition CDs on the spot of performances from seven bands on the bill: ELP, Marillion, Asia, Argent, Focus, Uriah Heep and Martin Turner’s Wishbone Ash. This is being done by Concert Live, the instant music specialists.

But there’s a lot more going on beyond the three stages. For a start there’s Eagle Vision pop-up cinema, showing some of the best rock and metal documentaries, and also playing host to Q&A sessions with both Rick Wakeman and Randy Bachman.

The famed Ace Café relocates to the festival, serving up some fine rock ‘n’ roll and also a display of rare hot rods and classic motorbikes. There’s also an exhibition of vintage cars and bikes, out together by the Classic Car Club. You can also enter an air guitar competition, overseen by Air Guitar UK, and visit the Ronnie James Dio Tribute Gallery.

It’s gonna be two special days of all round, essential rock entertainment.

Find out more at www.highvoltagefestival.co.uk

Words: Malcolm Dome

Dan Reed is a man who understands and appreciates the depth and value of a song. On Coming Up For Air (Zerone), he presents a mature, sensitive collection of ideas and ideals. It’s beautifully crafted and has true emotional impact. Perhaps far removed from the Network days, but time has given Reed increased value.

John Waite boasts that In Real Time (Frontiers) is a genuine live album. No frills, no overdubs. He’s right. And what comes across is that Waite really comes into his own onstage. This has fire and power. You can tell he idolises Humble Pie. Oh, both Missing You and When I See You Smile are here.

Anathema have long since left behind their death-goth roots, in the process becoming one of Britain’s most original and fascinating bands. We’re Here Because We’re Here (Kscope) sees the band moving away from the Pink Floydisms which have coloured their recent releases and more into Radiohead/Muse territory. It is a spellbinding record. Surely they’re about to make the jump into the major league?

Dire Straits guitarist John Illsley shocks everyone on Streets Of Heaven (Creek Records) by delivering a black metal masterclass…nah. Just kiddin’. In actuality, it’s what you’d expect from someone so closely associated with the Straits. This is soft rock, but performed at a very high level. If you love the Mark Knopfler approach,  then indulge yourself here. This is sturdy stuff. Black metal fans, you have been warned!

Pain Of Salvation are among Europe’s best progressive metal bands. Mainman Daniel Gildenlow is the fifth member of Transatlantic. Road Salt One (Century Media) is the first part of a two-album concept. It’s sophisticated, yet also has enough musical barbs to trip up the unwary.

The Runaways were always more about myth and outrage than music. The Mercury Albums Anthology (Mercury) packages up everything they put out on that label. And it’s patchy at best. Obviously released to cash in on the upcoming band biopic, it’s mostly forgettable teen angst drivel. Both Girlschool and Rock Goddess were – and are – so much better. Much of these songs sound like a bunch kids thrown together with little in common. Seriously, it’s a mess. But then, that was probably their appeal.

Pearl has enough connections to make a star-studded album. Little Immaculate White Fox (Powerage) does boast her hubbie Scott Ian, plus Jerry Cantrell and Ted Nugent. But it’s not about riding on the coattails of these major players. Pearl can belt out the rockers and even handles a cover of Nutbush City Limits with the sort of swagger that would impress Tina Turner.

The return of FM, Britain’s pre-eminent AOR mavens, is truly consummated on Metropolis (Riff City). It’s as if they’ve never been away. The songs flow, the music undulates and the vocals from Steve Overland drip with pure ambrosia. The band have nothing to prove, which unlocks them from having to make commercial sacrifices. This is who they are – and we should be proud they’re British!

I’ve mentioned Saint Jude before.And their album, Diary Of A Soul Fiend (Saint Jude) is a right smiter. If the idea of Jenny Hahn fronting The Faces (gotta be better than Mick Hucknall, right?) appeals, then this is a drea,. Find out more at www.saintjude.biz

A gratuitous mention for Celebration Day – The Led Zeppelin Encyclopedia (Cherry Red). Co-written by two misbegotten larrikins – Malcolm Dome and Jerry Ewing – it’s not a biography, but a reference work, a primer.

Finally, mention of a really intriguing London band. Astrohenge have a doomy, almost Big Business approach to space rock, and their set at The Unicorn in London was a revelation. Check them out at www.myspace.com/astrohenge.