CD
Lion Music
ZELLO
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First Chapter, Second Verse CD |
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A release full of elaborate themes, rich arrangements and sophisticated orchestration is offered up by Zello on First Chapter, Second Verse. Originally released in 1996, the album has had a sonic overhaul thanks to the addition of fine guitar work from Janne Stark (Locomotive Breath). Fans of classic Kansas and Magnum will revel in the musical treat that is First Chapter, Second Verse. |
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Reviews: |
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Reviewer: Michael Popke Score:  Related Link: Lion Music www.seaoftranquility.org |
| Zello - "First Chapter, Second Verse" |
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Remember those invigorating days full of progressive milestone releases from bands like Kansas and Jethro Tull. Well those days are back in the form of Zello a symphonic prog outfit who first released this disc back in 1996 minus guitars. They have reformed, added guitarist extraordinaire Janne Stark and re-released this brilliant, eclectic, progressive masterpiece. |
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Great consistent performances abound throughout the disc with highlights coming from P-O Saether’s vocal styling which is similar to Steve Walsh of Kansas; Mats Olsson’s moody keyboard excursions and of course Mr. Stark’s over the top guitar flights of fancy. All of the musicians are of the highest caliber brining a wealth of musical experience to the table. Think the best of Kansas combined with a heavier delivery, layers of atmospheric keyboard excursions and you will start to get the picture. Many of the songs contain a strong Celtic or Egyptian influence. This influence adds a nice contrast creating some cool counterpoint tension within each composition. Songs like the opening track “Fairy Queen” or the catchy “Hold On” burn through some wicked guitar / violin counterparts that follow in the Kansas style of songwriting and delivery. The CD is ablaze with guitar histrionics’ that are nothing short of tasty. All tracks on this monster release are absolutely stunning. There is a real 70’s prog vibe to this entire CD which is interspersed with some nice textural tidbits that bring it into the 21st century. Overall First Chapter, Second Verse is a great throwback to the days when stepping outside the norm and taking musical chances was the cool thing to aspire to. A superb offering that continues to breathe new life into the world of progressive music. If you are a fan of Tull, Kansas, or any band of their ilk, you will most certainly enjoy First Chapter, Second Verse. Buy This CD From - Lion Music Review from www.guitarmania.ca |
ZELLO
The songs on this album by the Swedish Progressive Rock band, Zello, were
originally released in 1996 on a CD titled Zello. Persons already
familiar with this release can look forward to added guitar work and a major
production overhaul. Guitars were added by Janne Stark (ex-Locomotive Breath).
The original 1996 versions of these songs were made completely without
guitars! Additionally, Lion Music indicates that most of the other parts
have been re-recorded and re-arranged and that this should be seen as a new
album versus a re-release. This release also contains two new tracks plus a
live version of "Hold On."
For those not familiar with the original release, you can expect to hear music that is well produced and has a certain "Kansas feel" to it. Most of this is due to the violin playing of Lennart Glenberg. The violin is well represented on most tracks by being evenly mixed in with guitars and the rhythm section. In some cases, the violin plays off of the other instruments in a sort of dueling nature and even has an occasional solo. Tracks like "Little Eve" and "Kelpie" are minute-long violin arrangements of orchestral proportions. These tracks are layered between normal vocal tracks acting, essentially, as lead-ins. They give the release a classical feel in some senses. The guitar tracks by Janne Stark seem to be properly in tune and in sync with the spirit of Zello's music. In fact after hearing this release, one will find it ludicrous that this music was even released without guitars in the first place. Ample time is also offered to the keyboard playing of Anders Altzarfeld and Mats Olsson, as several songs allow themselves the opportunity of a keyboard solo. In the tradition of Little Eve, the fourth track, entitled "Shades Of The Crying Children," is a one-minute keyboard arrangement that has a light, airy, minstrel feel to it. By the way, "arrangements" is the proper word to use for these little instrumental tidbits, as these tracks are way outside the realm of what one would term "Heavy Metal" and are more classical in nature. Bright spots are "Fairy Queen," "Hold On," and "The Children Are Crying" for their catchy choruses and Progressive instrumental sections lead by Glenberg's violin. The added tracks "Traffic Jam" and "Through Clouds Of Virgin Angels" are both more Blues-based rockers than anything else on the rest of the release. These tracks might seem out of place, but they are welcome additions as they offer up some fine instrumental musicianship with a harder rock edge. A few low moments are the inclusion of the instrumental track "The Humming," which is a mix of birds tweeting, light keyboards, and almost flute-like sounds. This track goes on for about five minutes and some spots are so quiet that you'll be checking your CD player to make sure it didn't run out of batteries. What makes it worse is this track is placed right after one of the catchier mid-tempo rockers on the CD ("The Angels Have Fallen"), which takes you down an emotional roller coaster. Another downside are the occasional shortcomings of lead singer P.O. Saether's English enunciation. On one of the most catchy choruses on the album, "The Children Are Crying," P.O.'s enunciation of 'Children' comes out sounding like 'Shildren.' It's unfortunate on this particular track, because the chorus is indeed so catchy that you might find yourself singing 'The Shildren Are Crying' while going about your day. If you're at all a fan of the American band Kansas, then you'll find a lot to like in this re-vamped first release. You'll be treated to some pleasurable Melodic, Progressive rock, laden with plenty of catchy choruses, violins, keyboards and guitars. Production: B+
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Sounding immediately familiar – yet more than likely never heard by most people reading this review – the music of Sweden’s Zello recalls Kansas and Magnum in their prime. That makes sense, considering that First Chapter, Second Verse has roots that stretch back to 1979 before it was finally released as Zello’s self-titled debut in 1996. But then singer P-O Saether got the idea to re-record the album, this time with stronger sonics and -- lo and behold -- guitars. (Hmm, I wonder what the original version sounded like.) The result is the shiny-sounding, newly rerecorded, reissued and retitled First Chapter, Second Verse. It’s another powerful vocal-oriented release from Lion Records, a label best known for its instrumental progressive-metal albums but slowly gaining a following with bands like Empire, Smeer, Moonlight Comedy, Dogpound and Sun Caged. Amidst the instrumental interludes here are feel-good melodies surrounded by Moog, violin, strong vocals and harmonies reminiscent of Steve Walsh and David Coverdale – and, yes, plenty of guitar. If you’re in the mood for classic slices of progressive hard rock with tinges of AOR steeped in a thick Seventies and Eighties vibe, you could do a lot worse than this chapter and verse. 
Sounding
immediately familiar
– yet more than
likely never heard
by most people
reading this review
– the music of
Sweden’s Zello
recalls Kansas and
Magnum in their
prime. That makes
sense, considering
that First
Chapter, Second
Verse has roots
that stretch back to
1979 before it was
finally released as
Zello’s self-titled
debut in 1996. But
then singer P-O
Saether got the idea
to re-record the
album, this time
with stronger sonics
and -- lo and behold
-- guitars. (Hmm, I
wonder what the
original version
sounded like.) The
result is the
shiny-sounding,
newly rerecorded,
reissued and
retitled First
Chapter, Second
Verse. It’s
another powerful
vocal-oriented
release from Lion
Records, a label
best known for its
instrumental
progressive-metal
albums but slowly
gaining a following
with bands like
Empire, Smeer,
Moonlight Comedy,
Dogpound and Sun
Caged. Amidst the
instrumental
interludes here are
feel-good melodies
surrounded by Moog,
violin, strong
vocals and harmonies
reminiscent of Steve
Walsh and David
Coverdale – and, yes,
plenty of guitar. If
you’re in the mood
for classic slices
of progressive hard
rock with tinges of
AOR steeped in a
thick Seventies and
Eighties vibe, you
could do a lot worse
than this chapter
and verse. 
