A criminally overlooked gem, Going for the One contains some of Yes' most beautiful music. Their previous effort, the classic album 'Relayer,' was an experiment in frenzy; lightning fast time signatures and disharmonious aural attacks abounded. Going for the One is strikingly more simple and mellow. There's almost a folk sensibility here, found especially in the heartfelt 'Turn of the Century,' and the ballad "Wonderous Stories." The album's true masterpiece, however, is the grand and powerful "Awaken." Beginning with just a piano solo and culminating with soaring guitars, a thundering organ and choir, this is surely one of Yes' most moving and inspiring epics.

Newly remastered to breathtaking quality, and with 40 minutes of bonus material, this value priced classic should be a part of every CD collection.

There's little point in discussing the music of Relayer and it's importance in prog rock as others have done so at length elsewhere. What's great about this particular release is the beathtaking sound quality and bonus tracks provided by Rhino Records. A vast improvement over the original CD remaster, this is Yes sounding better than ever. Each instrument stands out in the mix, the highs are more crisp and the lows deeper. A great deal of the original tape hiss has also been removed. I heard nuances and layers of sound on this release that I'd never heard before; it was like listening to the album for the first time again.

As for the bonus tracks, the single edits of "Soon" and "Sound Chaser" are somewhat superfluous, but the alternate version of Gates of Delerium is quite interesting. I won't give too much away, but I will say it's fascinating how much it varies from the album version.

With crystal clear sound and almost 30 minutes of bonus material all at a budget price, this re-issue of one of Yes' classic albums is a great value for any fan of progressive rock music.

The challenge of any band that's lost a vital member is twofold: to firmly establish itself as a viable entity of it's own right, and to deliver music of the same quality that fans have come to expect.

With Feel Euphoria, Spock's Beard have succeeded admirably at the former - they are indeed an impressive band even without former lead singer/songwriter Neal Morse. For many, however, this issue was hardly in doubt. Place such a collection of talented players in any band and they're bound to sound great. And so, it is hardly surprising that the band wield their instruments with considerable prowess throughout all of the albums compositions.

The real issue for fans, myself included, was whether or not the music would meet the impressive standard that has made Spock's Beard one of the top prog establishments of the past ten years. On this account, the album misses slightly. There's an awful lot to enjoy here, but there's something absent from Feel Euphoria that fails to make the album as magical as the others in the band's catalogue. Spock's Beard has always chosen the obliquely spiritual for it's subject matter, conjuring inscrutable lyrics with a very poetic bent to provide a sort of message to engage the positive. That feeling is absent here, and as a result the music sounds somewhat pedestrian. I hesitate to say it's not as good, but it is starkly different.

In the lyrical department, the album falls flat as well. Admittedly, Neal Morse is a tough act to followe, but it was a poor decision on the band's part to enlist the aid of outsiders to write the lyrics to the album. This is always a sign of desperation in the musical world (A case and point is Pink Floyd, who enlisted an army of supplemental scribes after Roger Water's departure). The result are lyrics that often wouldn't pass a basic songwriting course, although "The Bottom Line" and "Shining Star" are wonderful exceptions. NDV and Ryo have shown themselves to be capable lyricists in the past, let's all hope they have the confidence to work without outside 'help' in the future.

In the final analysis, Feel Euphoria is a step in the right direction. It will take time for the band to find it's own sound, and for fans to get used to it, but Spock's Beard will endure for many years to come.

Although I have never been entirely a fan of Jewel's ersatz brand of modern folk rock, I respected her from the beginning as a musical talent with a refreshing sincerity not found in most current musical outfits. One could forgive her for being a tad pretentious because she raised the bar for pop music ever so slightly. Even her bloated tome of Poetry 101 style verse, "A Night Without Armor," was excusable because, hey, at least she was doing something creative.

With 0304, however, Jewel has gone unforgiveably amiss. She has discarded her well earned reputation for lyrically superior, acoustic guitar driven ballads in favor of cotton candy sweet pop[songs]. Gone are the simple, heartfelt words of the weathered traveler from Alaska. Gone is the pared down sound that appeals to the soul. This time, it's synth'ed drum beats and over mixed teen gurl ... voice overs that just about decimate all of her cred as an artist. One can only wonder how it all went so horribly wrong.

This CD might appeal to the 12 year old mall crowd, but as for those who came to know Jewel as smarter than average, we won't forgive this [weak stuff] for a long time to come.

It must be tough being a Star Trek fan. While they are given boxed set releases with meager extras, fans of the ever popular Doctor are treated to these marvelous single episode releases that feature intricate remastering and loads of bonus material. Carnival of Monsters, a popular story from the Third Doctor's era, lives up to the high standards set by previous releases both in terms of quality and value for money. The story itself is vastly entertaining, with an even paced plot that hinges on unfolding drama and great performances from all of the principal cast. It may be a little boring for the action minded types, but there's enough sharp dialogue and sci-fi mystery to keep the discriminating viewers thoroughly entertained. Surprisingly, the special effects also hold up well - though they're no comparison to the eye candy of modern CGI images of course. The mono sound is crisp and the remastered image is so rich and sharp you'd never know this was broadcast 30 years ago. If you need more than that, there's a wealth of DVD extras including an excellent commentary, a behind the scenes film, deleted and extended scenes, an alternate ending, promo materials, and more.

A highly recommended release.

I'm sorry to disagree with the many apparent fans of "Damnation", but I was sorely disappointed by it. I bought it on a whim after hearing about Opeth through the progressive rock grapevine, with no expectations and an open mind to give it a fair chance. I was first put off by the running time - 43 minutes. That might have been fine in the 1970s, but frankly if I'm going to shell out $18 for 43 minutes of music it had better be The Dark Side of the Moon. Still, I hoped that the music would be worth it, but sadly, while there are some nice moments here, it's just not very original. The songs seem hastily written and are musically uninspired. Stylistically, "Damnation" sounds like Porcupine Tree minus all the good stuff (vocal harmonies and emotive instrumental passages). As for the technical aspects of the album, I was appalled by the sound quality. The guitars and vocals are high in the mix, while the drums sound like they were recorded in the bathroom across the hall. The Mellotron sounds are horribly synthed, they're so tinny that there's no warmth in the keyboard section at all. My biggest complaint, however, was that I couldn't understand what the singer was saying. Maybe the lyrics to this album are brilliant, but I couldn't tell. It's a shame to have to consult lyric sheets just to understand and enjoy the singing.

I listened to this album for two weeks before writing this review, and despite wanting to give it a chance it just didn't grab me. I have to recommend avoiding this album and suggest Porcupine Tree's "In Absentia" as a superior alternative in this genre.

"Space Revolver" marked a major change in The Flower King's sound. The replacement of bassist Michael Stolt with Jonas Reingold took the band into a funkier, more jazz oriented sound. It's a shade more, dare I say, progressive, than earlier recordings such as "Stardust We Are" and "Retropolis."

The album's greatest strength is in the performances. Reingold is without doubt a virtuoso player who keeps the tempo fast and fresh, while keyboardist Thomas Bodin turns in some impressive melodies in the title track "I Am The Sun," a massive tribute to that great ball of helium in the sky. Lead guitarist Roine Stolt, meanwhile, shows off his perfect chops in "A King's Prayer" and "Rumble Fish Twist."

If you've only heard The Flower King's first four albums, this one will come as a surprise. Nevertheless, while this is a welcome change the band have honed their new sound and created better albums since.

Ah, the seventh Doctor. Loved by some and hated by many, the dying days of Doctor Who (1986-1989) were undeniably full of hits and misses. "Remembrance of the Daleks" remains one of the better stories of this era, stronger in dialogue and plotting than many of the others. The outstanding performance of Sylvester McCoy, who at last keeps the pantomime to a minimum, the impressive action sequences, and the emphasis on drama over comic book melodramatics also help to make this a respectable outing. Unfortunately, the story relies so heavily on continuity from the past that it will be inscrutable to non-fans. There's also some predictable story elements and cliches (Davros escapes in an escape pod again?) that make for a lackluster conclusion, but overall, this is a satisfying adventure.

Tremendous credit is due as always to The Doctor Who Restoration Team for the extra features. In addition to commentary from the lead actors, there's also some amusing outtakes and fascinating deleted scenes (though the latter might have been better if included in the program). And with production information text, alternate camera angles, and episode trailers this disc, like all Doctor Who DVDs, is an outstanding value.

Controversial at that time of it's broadcast, Vengence on Varos is nonetheless a superior episode from Colin Baker's era. Although the violence in this episode is more than what one would expect from a typical episode in the series, it's used to demonstrate how violence has indeed become entertainment for many of us. Doctor Who rarely ventures into editorial satire, but it works well here.

High points for this episode include Colin Baker's reserved performance, a welcome change from the manic proceedings that opened his tenure as the Doctor. The dialogue is, on the whole, strong with a few embarassing moments. Nabil Shabon's portrayal of Sil is delightfully over-the-top, providing some much needed humor in an otherwise dour environment. Finally, the Doctor Who Restoration Team have provided a treasure chest of extras and, as always, done a great job making this episode look as good as it will ever get.

By no means an essential episode, this is nevertheless a better example of Colin Baker's era and a good buy.

How can one not love Doctor Who? The classic British TV show set impressive standards for imagination and creativity, as exemplified by The Ark In Space, a perennial fan favorite. Tom Baker is in top form here, playing up the Doctor's mystery and aloofness, all the while demonstrating that he's a force for good and right. Elisabeth Sladen is charming as always in the role of sarah Jane Smith, and Ian Marter's Harry Sullivan is an hilarious deadpan to all the sci-fi madness going on. Excellent dialogue and plotting make a for a gripping story throughout.

What else can I say? This disc should be in your collection - go buy it now!