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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Sons Of Apollo - Live With The Plovdiv Psychotic Symphony-(1 + │
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│ │
│╔═════════════════════╗ │
│║ Release Information ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Release Date.Jun-07-2020 Encoder......L3.100 -v0 ║ │
│║ Genre........Metal Graber.......EAC ║ │
│║ Year.........2019 Khz/Bitrate..44,1/ Br ║ │
│║ ║ │
│║ Ripper.......anthem Songs........cd1: 11 cd2: 10 cd3: 3 │
│║ Covers.......Yes Url... www.sosnsofapollo.com ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Sons Of Apollo Rating : You Decide! ║ │
│║ Album : Live With The Plovdiv PsychotiLabel : Inside Out ║ │
│║ ║ │
│║ ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ Sons of ApolloÆs debut æPsychotic SymphonyÆ was ║ │
│║ top of many Best Of lists in 2017. For me, the ║ │
│║ lightbulb moment was seeing the band play live ║ │
│║ in a club in Belfast, my hometown (which in ║ │
│║ itself is not regularly frequented by prog ║ │
│║ bands!), when they lifted the venue 30 feet off ║ │
│║ the ground, and then spent hours chatting to ║ │
│║ fans outside the venue on a warm summer night ║ │
│║ (equally uncommon for Northern Ireland!). ║ │
│║ Perhaps I over analyzed the original album a ║ │
│║ bit, or expected it to be a certain/ different ║ │
│║ thing. Either way, that was night that I ôgotö ║ │
│║ SOA. It was clear that this collection of ║ │
│║ virtuosos not only had the chops, but they had ║ │
│║ the æbandsmanshipÆ (IÆve made that word up?) to ║ │
│║ bring an audience and a venue to life and even ║ │
│║ exceed the expectations of a group of people who ║ │
│║ didnÆt need to be won over. So a live release ║ │
│║ reflecting the X-Factor that those shows had has ║ │
│║ been much anticipated. ║ │
│║ ║ │
│║ The setting for this show isnÆt a dark sweaty ║ │
│║ club û oh no. The grandiosity of the performance ║ │
│║ is reflected in the venue chosen: an Ancient ║ │
│║ Roman Amphitheatre in Bulgaria! While youÆre at ║ │
│║ it, why not add a full symphony orchestra, and ║ │
│║ choir, and play an additional set of cover ║ │
│║ versions to create the iconic SOA performance? ║ │
│║ ║ │
│║ æLive With The Plovdiv Psychotic SymphonyÆ is ║ │
│║ the complete SOA package û it gives you all you ║ │
│║ need to know about where they came from, be that ║ │
│║ their influences, reflected in the covers set; ║ │
│║ the story of the recording of the album, and the ║ │
│║ behind the scenes story of this monumental gig ║ │
│║ (and anyone as entranced by this as much as I ║ │
│║ have been will be glad to know we wonÆt have to ║ │
│║ wait too long to find out where theyÆre going ║ │
│║ next, with a new album well under way, it seems. ║ │
│║ ║ │
│║ The first set is pretty much a reflection of ║ │
│║ what anyone who saw the band on tour heard in ║ │
│║ the regular set listà a large number of the ║ │
│║ album cuts, solo spots from Bumblefoot, Sheehan ║ │
│║ and Soto, together with a song from the ║ │
│║ Sherinian era of Dream Theater, ôJust Let Me ║ │
│║ Breatheö. For me, the live versions of the album ║ │
│║ tracks have that extra spark and energy û ôGod ║ │
│║ of the Sunö is a brilliant opener, with its ║ │
│║ bombast, while debut single ôSigns of the Timesö ║ │
│║ rocks harder, with the Soto/Portnoy vocal ║ │
│║ combination in the verses, and collective ║ │
│║ harmonies in the choruses showing this band are ║ │
│║ more than just æshredÆ. Closing the band-only ║ │
│║ set is ôOpus Maximusö which is a prog tour de ║ │
│║ force, as if you were in any doubt by this stage ║ │
│║ that the band could pull this sort of thing off! ║ │
│║ ║ │
│║ Bulgaria, where this was recorded is culturally ║ │
│║ a melting pot with influences, gathering ║ │
│║ cultural influences from Greek, Slavic, Ottoman ║ │
│║ and Persian nations. ThatÆs an (unplanned IÆm ║ │
│║ sure) metaphor for the second set represented ║ │
│║ here where, not only do the American band ║ │
│║ combine with a European choir and orchestra, but ║ │
│║ the song selection traverses many styles and ║ │
│║ cultures, reflecting many of the bandÆs ║ │
│║ influences. ôKashmirö and ôGates of Babylonö ║ │
│║ which kick the set off are both songs that ║ │
│║ feature Eastern influences both in the musical ║ │
│║ and lyrical content û I have to say that the ║ │
│║ moment that choir and orchestra kick in during ║ │
│║ the chorus of ôGatesàö the hairs on my arms ║ │
│║ stood up! Having the band and orchestra on tap ║ │
│║ also means the band can tackle full blown ║ │
│║ versions of more traditional tracks such as ║ │
│║ ôDream Onö, ôComfortably Numbö and QueenÆs ôThe ║ │
│║ Show Must Go Onö. There are many highlights in ║ │
│║ this covers set: Portnoy as æThe DoctorÆ in ║ │
│║ ôComfortably Numbö, which concludes with ║ │
│║ BumblefootÆs respectful but personalized version ║ │
│║ of the closing guitar solo of that track; Soto ║ │
│║ showing us he can take on Ozzy, Freddie and ║ │
│║ Steven Tyler and deliver; Derek pulling out all ║ │
│║ the stops, complimenting the orchestra while ║ │
│║ coming to the fore in the intro to ôGates of ║ │
│║ Babylonö; and it goes without saying that ║ │
│║ Sheehan and Portnoy are a shape-shifting rhythm ║ │
│║ section across this range of songs. In an era ║ │
│║ where our clubs and theaters are filled with ║ │
│║ cover tribute bands, this isnÆt just a ║ │
│║ soundalike show. ItÆs more of a retrospective ║ │
│║ mission statement, with SOA saluting the music ║ │
│║ that made them who they are today, and which ║ │
│║ they get a buzz playing themselves û and you can ║ │
│║ see in the video that the crowd are ecstatic ║ │
│║ with the song choices and performances. ║ │
│║ ║ │
│║ The video does deserve its own mention. ║ │
│║ Obviously, the venue itself provides an amazing ║ │
│║ backdrop for the show, but that in itself ║ │
│║ doesnÆt necessarily make for a great video ║ │
│║ presentation. This is one of those truly ║ │
│║ immersive video experiences û no annoying fast ║ │
│║ cuts but instead a blend of wide shots of the ║ │
│║ setting and audience, close ups that highlight ║ │
│║ the ôoctopus pedigreeö of the players , and ║ │
│║ magic moments that capture the sheer enjoyment ║ │
│║ this band have in stage û a smiling / crowd- ║ │
│║ conducting Portnoy features frequently! ║ │
│║ ║ │
│║ The show ends with the band back on stage minus ║ │
│║ the additional players, delivering a killer run ║ │
│║ of tracksà ôHellÆs Kitchenö and ôLines In The ║ │
│║ Sandö, the Sherinian co-writes from his DT ║ │
│║ years, solos from Derek and Ron, the ôcommon ║ │
│║ groundö cover of Van HalenÆs ôAnd The Cradle ║ │
│║ Will Rockö (with Soto singing most of the song ║ │
│║ from deep in the crowd), before their own show- ║ │
│║ closing anthem ôComing Homeö brings it to that ║ │
│║ place! ║ │
│║ ║ │
│║ Musically, this is a first rate performance. ║ │
│║ Visually, the location is stunning and the video ║ │
│║ and lighting crew do a superb job of capturing ║ │
│║ the beauty and intimacy of this unusual venue. ║ │
│║ Sonically (ignore the YouTube comments and ║ │
│║ Facebook audio-ôexpertsö!), this is a ║ │
│║ beautifully captured live performance that ║ │
│║ stands up with anything in the band membersÆ ║ │
│║ catalogues. ║ │
│║ ║ │
│║ If you are a fan, you will want (who am I ║ │
│║ kidding û you already have pre-ordered) the ║ │
│║ deluxe art book version, because this is live ║ │
│║ great package. The band only played one show ║ │
│║ like this, probably never will again. For me, it ║ │
│║ also served as a timely reminder of the ║ │
│║ capabilities within this band, and the musical ║ │
│║ and live magic they will hopefully have in store ║ │
│║ for us in 2020. ║ │
│║ ║ │
│║ by Geoff Bailie ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ - CD1 [ ] │
│ - [ ] │
│ 01 - God Of The Sun [11:55] │
│ 02 - Signs Of The Time [06:39] │
│ 03 - Divine Addiction [05:14] │
│ 04 - That Metal Show Theme [00:57] │
│ 05 - Just Let Me Breathe [05:54] │
│ 06 - Billy Sheehan Bass Solo [04:43] │
│ 07 - Lost In Oblivion [04:45] │
│ 08 - Jeff Scott Soto Solo Spot (The Prophet's S [09:34] │
│ 09 - Alive [05:12] │
│ 10 - The Pink Panther Theme [04:31] │
│ 11 - Opus Maximus [11:12] │
│ - [ ] │
│ - CD2 [ ] │
│ - [ ] │
│ 01 - Kashmir [09:34] │
│ 02 - Gates Of Babylon [07:49] │
│ 03 - Labyrinth [09:25] │
│ 04 - Dream On [04:53] │
│ 05 - Diary Of A Madman [07:52] │
│ 06 - Comfortably Numb [09:17] │
│ 07 - The Show Must Go On [04:23] │
│ 08 - Hell's Kitchen [04:32] │
│ 09 - Derek Sherinian Keyboard Solo [08:47] │
│ 10 - Lines In The Sand [12:41] │
│ - [ ] │
│ - CD3 [ ] │
│ - [ ] │
│ 01 - Bumblefoot Guitar Spot [02:36] │
│ 02 - And The Cradle Will Rock [05:59] │
│ 03 - Coming Home [09:33] │
│ │
│ Total Length : [167:5] min │
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│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
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│ │
│ │
│■ ■│
└───────────────────────────────────────────────────────────────────┘