Conflict And Dreams

'ELP me PLEASE!!!:
When coming up with ideas for a focus for this 'review', I came up with such one-liners as: My coat's on the floor...where's the hook?! or ...too white What I mean to say is; although these guys can play their balls off; I've yet to hunger, anticipate, revel in the joy that Prog Rock can bring even after many listenings to this note-filled tome. These guys play technically better than ELP, sing almost as well as Yes and have a sense for the Debusseyesque textures of Genesis but they've not guts maaan! A jazz piano teacher once told me that from Jazz to Rock to Clasical and everything in between "everything is the blues". What I understand that to mean is that in every great piece of music there's an underlying pain, tension or deeply felt emotion that keeps the listener and the player enthralled from note to note. On this album such events are few and far between and unfortunately, polished down to a Muzakish shine that robs the music of any success it may have in reaching the listener's emotions. So, my hope is that someone, somewhere out there tell me where the beef is in today's Prog Rock. Spock's Beard is okay and I've yet to digest the Flower Kings so the juries out yet; but I know deep in my heart something is out there that will wake me and the world up to the true magnificence that the best of Progressive Rock can be in this, the 21st century! (music up, holy choir crescendos, my head explodes)

Music of the shadow:
About two years ago I was a huge progressive metal fan. So I potentially praised every release by Inside Out or Magna Carta. And so when I saw a Magna Carta label on Cairo's "Conflict And Dreams" I immediately bought it. That was the time when the legend didn't meet my expectations. Two years ago this CD was for me too hard to digest. It was to minimalist in approach for a prog-metal release, the production was too raw ( in a negative meaning ) and I couldn't stand the horrible vocal melodies that Bred Douglas was singing. But since those two years my tastes in music matured. But did I liked Cairo's second release better? No! I find it now even worst than earlier. Still I think that it has a bad production and the singing is terrible. This is a pretentious recording with a lot of annoying crescendos, uninspired melodies and irritating rip-offs from Yes and ELP. I admit that there are some "moments" but they are so rare that you probably don't want to find them anyway. If you are looking for today's good progressive rock, go for Spock's Beard or even Glass Hammer and leave Cairo to people that didn't like them. Try at your own risk.

The Best Cairo Album, and One of the Best Prog Albums Ever!:
The second of Cairo's three releases, this album easily stands out as the strongest. One of the top progressive rock albums of all time. Intricate interplay between keys and guitars, incredible melodic bass work and drumming, and songs that are very well composed. Not a bad moment on the CD. If you have one of the other Cairo albums and were wondering if this one was worth it, stop wondering and grab your wallet. If you're new to Cairo, get this one first! You won't be disappointed.

One of the best prog cd:
Angels & Rage set the pace right from the first note. Lots of energy, this cd won't let you breathe until the very last note, with the exception of Images, a short piano/guitar duet. Beautiful sounds, complex arrangements and great musicianship from these guys. The best introduction to Cairo's music for me. Western Desert and Valley of the Shadows are pure gems!

Cairo's best prog rock:
It's very strong album. The influences of this this group are evident. Robertson's briliant syntesizer - hammond - piano work reminds me maestros K.Emerson or R.Wakeman, he is the most important person of this music. Brockman's druming technique is influenced by rock drummers little such Mr. Neil Peart. Choruses of powerful singer sounds like Yes or Boston with Brad Delp - his voice is quite similiar. Fuhrman's almost only electric guitar (too much reminds me Michael Romeo) is very fast and powerful too, but it lacks something and it's overshadowed by Robertson. In added very solid bass line of Jamie Browne, the complex music of retro-sound (mainly of early ELP) with modern aspects is great. „Angels and Rage" has great chorus, orgasmic solos in the middle (Fuhrman at his best) and grandiose ending - cutted hammond with great drums. „Corridors" is great romantic colourful epic, „Western Desert" has lot of duels of keys and guitars, it little bit lacks an idea, the 17 min is so much, but it has also the greatest moments (why no more singing?).„Image" is short beautiful instrumental, „Then You Were Gone" has Dream Theaterish riffs like Under The Glass Moon. Maybe the most exellent is „Valley Of The Shadow", perfect tense vocal choruses and interplay, the soft melodic final passage. Highly recommended to prog rock fans who can take a few listenings.