Great musicians in a mix of heavy blues and hardrock, with some progressive tendencies. Unfortunately, the expression is extremely limited and the dominance of guitars soon becomes tiresome. But the right track at the right time might be memorable. And for guitarists, there is probably much to study.

Despite the rather quiet songs, there's a suitable and intimate touch of threat or silent yearning on top of them. In fact, this might be his best studio album since “A Black Box”. Best track: “Bubble”.

Although a well-played concert, I lack some energy. However, the show is presented in enjoyable sound and with a lyrical Garcia in great form, which all together gives lots of pleasure. Not the best of concerts, I still recommend it. Best tracks: “Fire On The Mountain” and ”The Other One”.

The cover of this first issue of the new series has received some criticism. In reality it's not that bad. But it is nowhere near as nicely designed as the previous series, the magnificent Road Trips.

This album may seem as simple and intimate, but the structure of the songs is advanced, a return to serious songwriting. Basically, it’s all about the voice, the words and an electric piano. But if you have been listening a lot to Van Der Graaf Generator, you can easily imagine a masterpiece in your mind.

You really ought to skip this album. The title song is probably the nastiest and most deadly commercial song Hammill ever released. The rest is almost as terrible. The exception is feasibly "Four Pails", an ailing ballad with a satisfactory melody, and in particular “Now Lover”, a relatively expressive and somewhat progressive track - almost worthy the genius of Peter Hammill.

Oh yes, I believe that Peter Hammill is a remarkable songwriter. I usually enjoy his ballads, almost as much as I do of his more explosive creations. However, here he has - influenced by the pathetic 80s he was living in - made them corrupt, transparent and almost unbearable. This is a horrible mix of basically beautiful and emotional melodies, which all are to be found in much better versions on his earlier albums.

In trying to make accessible pop/rock music, with a toe left in his amazing 70s, Hammill is slightly more interesting on this album than on his previous one. There are echoes of Van Der Graaf here and there but in simplified form. Finally, if you like the melancholy ballads of Hammill, you'll find a pretty jewel in "Just Good Friends".

A good craftsmanship but with rather ordinary songs. For Hammill, it turns an embarrassing record in repeated choruses. Nonetheless, Nic Potter is a wonderful bass player.

Like many other progg bands, SBB became superficial and predictable when they went into the eighties. Cheerful melodies and simplistic keyboards is interwoven within their technical skills. The bonus track is all right though.

Goddamn, Alberto Pinton is the master of the Baritone Sax and the Contra-Alto Clarinet. Enter a landscape under the wild woven trees of jazzy grooves cherished into some partly free chaos, now and then struck down by odd rhythms and crazy scales. Often, the mad bass player Torbjörn Zetterberg has the honor of being the stabilizer, while the drummer, Jon Fält, is far too mad to take that position. Äleklint, Ståhl and Pinton have lots of fun, and I too, since they are equally mad as the others. Surprisingly they will find new melodies in this jungle. And this phenomenon is, in a true sense, uplifting and mysterious at the same time. But, as you all know, the mystery is that there is no mystery. This is only hard bop transformed into some whimsy and modern world-beat. I really like this madness.