| | Transatlantic Smpte CD Transatlantic Discography of CDs
 (13 Customer Reviews)
2000 release from progressive super group featuring members of Spock's Beard & Dream Theater. Metal Blade.
Transatlantic: Neal Morse (vocals, acoustic & electric guitars, keyboards); Roine Stolt (acoustic, electric & 12-string guitars, Mellotron, percussion, background vocals); Pete Trewavas (electric bass, Moog bass pedals, background vocals); Mike Portnoy (drums, background vocals).
Recorded at Millbrook Studios, Millbrook, New York; The Morse House, Tennessee; Cosmic Lodge, Sweden; Racket Club, United Kingdom.
Personnel: Roine Stolt (vocals, guitar, acoustic 12-string guitar, electric guitar, Mellotron, percussion); Neal Morse (vocals, acoustic guitar, electric guitar, keyboards); Pete Trewavas (vocals, Moog synthesizer); Mike Portnoy (vocals, drums).
Audio Mixer: Richard Mouser.
Recording information: Millbrook Studios-Millbrook, NE (06/1999-07/1999).
Photographer: Michael Hoerner.
Arrangers: Pete Trewavas; Neal Morse; Roine Stolt; Mike Portnoy .
The obvious label to put on this band is "supergroup," because it consists Roine Stolt of The Flower Kings, Neal Morse of Spock's Beard, Mike Portnoy of Dream Theater, and Pete Trewavas of Marillion, but that would imply that this is just another jam session. Despite the fact that these gifted musicians put this session together rather quickly, there is a natural cohesiveness and maturity that would suggest that they have been playing together for years. In fact, it could be argued that as a collective work this is as good, if not better, than any of the aforementioned bands previous output. The influence of early progressive rock bands such as Yes and Genesis are obvious, as are the references to each member's "regular" band, but it is the influence of the Beatles, which is felt both musically and lyrically, that shines through the strongest. The opener "All of the Above" is a 30-minute epic that stands as some of the best progressive rock music ever written. The only two compositions under seven minutes are the uplifting "We All Need Some Light" and the whimsical "Mystery Train," which in an ideal world would both receive significant airplay (they didn't). "My New World" is another epic and is the most obvious nod to the Beatles, while "In Held (Twas In I)" is a cover of the Procol Harum classic. The lyrics are intelligent and thoughtful without being pompous and the music is challenging and tight without being gratuitous. A progressive rock masterpiece. ~ Robert Taylor
Smpte Music | List Price | $16.98 (You save $4.39) | | Category | Rock Albums, Heavy Metal CDs, Rock/Pop, Progressive | | Label | Metal Blade | | Orig Year | 2000 | | All Time Sales Rank |  1005  | | CD Universe Part number | 1054000 | | Catalog number | 14290 | | Discs | 1 | | Release Date | Mar 21, 2000 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Transatlantic | | Engineer | Chris Cubeta | | Personnel | Mike Portnoy - drums, background vocals
Pete Trewavas - electric bass, Moog bass pedals, background vocals
Roine Stolt - acoustic, electric & 12-string guitars, Mellotron, percussion, background vocals
Neal Morse - vocals, acoustic & electric guitars, keyboards
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Transatlantic Smpte Songs Smpte Music Review Average Rating: (4.5 out of 5 stars)   List All Reviews A modem day supergroup
Being a fan of Dream Theater, I raised an eyebrow when Mike Portnoy announced he has this side project. After some hesitation, I borrowed the CD from a friend for a listen. And it was wonderful! The opening track is a 30 masterpiece blending several progessive styles. It works because it doesn't feel like it lasts that long. The other four tracks vary in length and are just fantastic, including the Procol Harem cover. A definate must for any fan of progressive music.
Submitted by galen2112 (Independence, MO USA) 
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Transatlantic: A excellent array of prog rock
This is a great album by some of the most talented musicians I have ever heard. 'We all need some light' is an uplifting song with great lyrics. 'In Held (Twas) In I' is fantastic. With hints of Yes, Kansas and even the Beatles this album rocks with the best of them. Highly recomended.
Submitted by a reviewer (Ann Arbor, MI, USA)
Was This Review Helpful? Yes No  Totally Solid
Huge prog/DT fan, and Rush was my first big influence for guitar. This CD is really cool...Its kind of old school prog (Yes, Floyd, Genesis...)meets the Beatles and it works. I just ordered "Bridge..." and the DVD for "Bridge...". Totally recommended listening.
Submitted by James (Minneapolis, MN)
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Any Progger Will Want This
For any true progger who does not have this album, or their follow up Bridge Across Forever...you will never know what you've missed until you get them. Both are 5 star albums and not to be taken lightly, because they are in the top echelon of progrock/artrock. There are a few factors which cause people like us to feel this way. First, and maybe foremost - the level of creativity and complexity is superb especially when considering these albums are quite "accessible" to progrock fans. 3 spins or sooner, and you should be hooked. Second, emotional and inspiring performances by top rate musicians who put the elbow grease into the music, instead of feeding their individual egos. Both albums represent the best fine art of memorable progrock as one is likely to find. I also highly suggest the DVD, Live In Europe by Transatlantic. It brings it all to life. Awesome stuff.
Submitted by Blake (Hopewell Junction, NY)
Was This Review Helpful? Yes No I owe this album big time
This is the release that introduced me to Neal Morse. After 30 years listening to Tull, Rush, Max Webster., It Bites, i bought this en spec and played it once without catching on. Some months later I played it again and was bowled over by it. I played nothing else for a week and have had a great couple of years picking up on the Spocks Beard and Neal Morse solo stuff. With 17 quality CD's in the last 11 years he has to be the significant musical artist of the past decade. After all these years it was fantastic to find someone this good out thare who I'd never heard of. Never thought I'd say it but he is giving Mr Anderson a run for his money in my all time affections. Over the past 10 years it is not even a contest. Absolutely awesome. The man is a Genious.
Submitted by jackmignall (Eoropie, Isle of Lewis)
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Purchase Smpte CD To buy, Click on price to add to cart | Liquid Tension Experiment CD (1998)
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| | Miles Davis Live At Fillmore East (March 7, 1970): It's About That Time CDs (2001)
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All tracks have been previously unreleased.
Personnel: Miles Davis (trumpet); Wayne Shorter (soprano & tenor saxophones); Dave Holland (acoustic & electric basses); Chick Corea (Fender Rhodes piano); Jack DeJohnette (drums); Airto Moreira (percussion).
Producer: Teo Macero.
Reissue producer: Bob Belden.
Recorded at The Fillmore East, New York, New York on March 7, 1970. Includes liner notes by James Isaacs.
Digitally remastered by Mark Wilder & Seth Foster (Sony Music Studios, New York, New York).
Finally, a non-bootleg issue of one of Miles Davis' greatest electric performances ever. In fact this is the very first of the Miles Davis Quintet's electric gigs -- it was also one of the last four performances of this great band. Not just recorded, but performed. The band, consisting of Davis, Wayne Shorter on soprano and tenor, Chick Corea on Fender Rhodes, Dave Holland on both acoustic and electric bass, and Jack DeJohnette on drums. With percussionist Airto Moreira providing color and texture, the band became a sextet. This night is auspicious because audiences -- most of which were there to see the Steve Miller Band or Neil Young and Crazy Horse (Davis' group opened for both) -- were familiar with the electric side of Davis because In a Silent Way had been issued late in 1969 and had introduced the world to John McLaughlin. Bitches Brew, which had been recorded the summer before, would be released a month after these concerts, and an unsuspecting rock audience had no idea what to expect. If they were expecting In a Silent Way -- played by an octet that included three keyboardists -- that's not what they got here. This is the most muscular, hard, and funky of Davis' early electric outfits. His own playing is stunning, punching out the footlights on Joe Zawinul's "Directions" or his own rambling deep-in-the-modal blues tune "Spanish Key." Whatever Davis thought about John Coltrane, Ornette Coleman, and the avant-garde was allowed full play in this band as long as the intense, deep funk of the rhythm section was adhered to. Davis himself follows Shorter, smattering out notes in outrageous harmonic signatures on "Masqualero." ...
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