Alive On Planet Earth (Disc 1, North America)  (50:27)
	01	There Is More To This World						11:31
	02	Church Of Your Heart						09:41
	03	The Judas Kiss						15:43
	04	Nothing New Under The Sun						04:13
	05	The Lamb Lies Down On Broadway						09:19
Alive on Planet Earth (Disc 2, Japan)  (64:29)
	01	Big Puzzle						18:28
	02	Sounds of Violence						06:38
	03	Three Stories						06:05
	04	In The Eyes of The World						12:07
	05	The Flower King						11:26
	06	Stardust We Are (Part III)						09:45

Musicians:
Roine Stolt - lead guitar and vocals
Hans Froberg - acoustic, electric and slide guitar, and vocals
Robert Engstrand - keyboards on disc one
Tomas Bodin - keyboards on disc two
Michael Stolt - bass, bass-synth, and vocals
Jaime Salazar - drums, percussion, and vocals

Review courtesy John "Bo Bo" Bollenberg, January 2000
It has to be said that guitarist Roine Stolt started a second life after Kaipa, once he put the Flower Kings together. The band releases superb albums one after the other, promoting them by lengthy tours all over the world. It also has to be said, however, that the Flower Kings have the reputation of either delivering superb concerts, but, alas, also some very bad ones. In fact, it all depends on whether they have had any opportunity at all to rehearse or not. I remember seeing them once where they had to start a song three times in a row because the band obviously forgot how the song really went.

No problems like this on this brand new live double album, Alive On Planet Earth. One disc is filled with material recorded during the band's North American tour in 1998, whilst the second disc dates from last year's Japanese tour. So obviously you'll find different material here which has been superbly produced by the almighty Don Azzaro! The American material is a real treat for visitors of ProgDay, as part of it was recorded during this festival on September 6th, 1998, whilst the rest of the North American material dates from September 11th and 12th, when the band visited Quebec City in Canada. One of the absolute trademarks of the Flower Kings is the fact that they can really improvise and I mean IMPROVISE! Of course the nucleus of the song remains, but the band can really add a total new dimension to the music. A song like "The Judas Kiss," which clocks in at 7:43 on the original Retropolis album, goes on and on, introducing new finds, highlighting various keyboard and percussive interventions in order to call it a day after a mere 15:43! That's more than double the time! The song starts off with some ace church organ sounds courtesy of Robert Engstrand, and there's constant interaction between all of the instruments resulting in some jazzy improvisation. World class! I also have to comment on the wonderful clear mix and the 'dry' powerful drum sound of Jaime Salazar which sounds as if the man is performing inside your own house! "There Is More To The World' truly sounds a lot like Yes, especially when a Steve Howe-like guitar intertwines with superb keyboard work and when some superb vocal harmonies and Anderson-like singing are placed on top of some slide guitar. Again I have to admit that Roine's voice sometimes is reminiscent of John Wetton's superb vocal output, yet a little bit higher in tone, but still very refreshing to hear, such as in the great "Church Of Your Heart."

Disc one ends with a surprise in the form of a smoking version of the Genesis classic "The Lamb Lies Down On Broadway."

The Japanese material was recorded in Tokyo on 15th and 16th of March 1999 and in Osaka on March 18th, this time with Tomas Bodin taking the keyboard slot. Not only does it contain two solo songs from Roine Stolt's acclaimed The Flower King album but also a short(er) version of "Three Stories" from Tomas Bodin's solo album An Ordinary Night In My Ordinary Life. One of my favourites here has to be the nice flow of "Big puzzle," which once again is 5 minutes longer than its studio version, and proves once again what a splendid band this really is. Especially the change towards laid-back blues is of extremely high quality and illustrates the craftsmanship of Stolt and company. I love the organ throughout the massive "Sounds Of Violence" and also note the outrageous, wild drumming of Jaime who sounds like Portnoy and D' Virgilio combined! The blues effect creeps back in during "The Flower King," probably the song that set Roine Stolt thinking and made him decide to form a real band as opposed to run a project.

The album closes in true style with the mighty symphonic "Stardust We Are - Part Three," which again shows us many Yes elements and the bluesy approach of Stolt hammering Howe/Holdsworth/Latimer and Zappa all into one! Together with Spock's Beard and Porcupine Tree, Flower Kings certainly are the Genesis, Pink Floyd and Yes of the new millennium. Now how about an album with a full orchestra as a next project?


The Flower Kings: Alive on Planet Earth (2CD, 115:34) Inside Out IOMACD 2007
CYBERHOME: http://www.insideoutmusic.com

There was a time when I thought that progressive bands such as Yes, Genesis,
King Crimson, and ELP would forever remain untouchable - always compared to,
but never equaled much less surpassed. In my search for premier modern day
progressive rock, I made many wrong (or at least not totally right)
selections... I tried out Spock's Beard, but found them to be a bit forced.
I tried Dream Theater, but found the vocals reminiscent of 80's hair bands
and felt that the guys were more interested in showing off then "showing
up". I tried (and liked) Porcupine Tree, but that sounded more like ambient
techno than prog. Marillion was close but a little too poppy, and supposed
prog bands like Kula Shaker turned out not to be prog at all. Sure, there
was still King Crimson with their brilliant brand of "math rock," but modern
KC carried with it a very negative energy - their music was not uplifting,
but rather disturbing and harrowing. Where then, had all the positive
energy in progressive music gone? Why did it seem that I was constantly
reaching backward in time to find forward-thinking music? With all the
negativity in the world today, positive energy is a force in great need; so
where did all of the peace, love, and hippie ideals of bands like Yes go?

I'll tell you where they went... they went to Sweden. And all the positive
energy that Yes once held, together with the composition and musical energy
of all the classic progressive bands - seemingly in a search for a host -
finally hovered over and fused within a man named Roine Stolt, who has a
band named the Flower Kings, who in 2000 released a double live CD titled
Alive on Planet Earth. Upon first listen of this CD, I knew I had
found what I had been searching for - a band with a inspiring vision,
incredible musicianship, and sounds that seemed to pour directly from the
artist's soul into mine. As a matter of fact, I was so enraptured with the
first two songs on the CD ("There is More to This World" and "Church of Your
Heart") that it took me weeks to get past them to the rest of the CD. These
compositions were full of the positive vibes and beautiful melodies that
have been missing from the prog scene for nearly two decades. It looked like
in Roine Stolt I had finally found a present day "yin" for Robert Fripp's
"yang."

Alive on Planet Earth is a double CD - the first disc was recorded
live during their 1998 North American tour, and the second was captured from
their 1999 tour in Japan. Both CD's are filled to the brim with
breathtaking chord changes, beautiful harmonies, and excellent musicianship.
Tomas Bodin is one of the finest rock keyboardists I've heard, and drummer
Jaime Salazar and bassist Michael Stolt comprise a very effective rhythm
section. However, with no disrespect meant to the other members of the band,
it won't take you long to realize that guitarist/singer/composer Roine Stolt
is the true star of the show. His voice is very distinctive - smooth like
John Wetton at times, "whiskey bar-ish" like Joe Walsh or Marty Balin at
others. His voice isn't the most technically proficient around, but he
manages to sing with such emotion that technical qualities don't really
matter much. He gets a little vocal assistance from Hans Froberg at times,
who really shines on the closer "Stardust We Are, Part 3" - an absolutely
breathtaking piece of music. Besides, vocals are only Roine's "side-job" -
it's his guitar that does the talking most of the time. And just wait until
you hear it...

Finding words to describe Stolt's guitar playing isn't easy. Soaring...
cleansing... raw... all these words describe but parts of his six-string
repertoire. If the mind is what makes up a person's conscience, and the
subconscious is what makes up a person's mind, then Stolt's incredible solos
reside in the twilight between the spaces. They are both technically
proficient from an objective point-of-view, and emotionally visceral and
primal. Picking a "favorite" solo on this CD is like a mother picking a
favorite child, but if you can get through "Nothing New Under the Sun"
without sprouting a few patches of goose bumps then you need to have your
pulse checked.

The only weak spots on this release would be the inexplicable inclusion of a
cover of Genesis' "Lamb Lies Down on Broadway." It's not that Stolt and
company don't do a great job with this classic, it's just that I would've
much rather heard another Flower Kings composition as opposed to someone
else's music. Also, The opener on CD 2 "The Big Puzzle" has some great
moments, but it takes a bit of filler to stretch it out to 18 minutes and
can seem a bit tedious at times.

Other than those minor rough spots, I would say that Alive on Planet
Earth, is the best live prog offering since Genesis released Second's
Out. The Flower Kings' musicianship is outstanding, Stolt's
compositions and guitar playing are brilliant. Combine that with some good
ol' fashioned Jon Anderson-style hippie ideals, and you wind up with an
incredible album from a band that is destined to become a major part of the
progressive rock pantheon - right next to Yes, King Crimson, and Genesis.
If you're a progressive rock fan and don't have this CD (or any Flower Kings
CDs), your collection is incomplete.


- Michael Askounes (michael@gscyclone.com)

CREDITS:
Roine Stolt: Lead Guitar, Voice
Hans Froberg: Acoustic, Electric & Slide Guitar, Voice
Robert Engstrand: Keyboards (CD One)
Tomas Bodin: Keyboards (CD Two)
Michael Stolt: Bass, Bassynth, Voice
Jaime Salazar: Drums, Percussion & Voice



Website: www.users.wineasy.se/flowerkings
www.flower-power.org.uk


The Flower Kings - Alive On Planet Earth

Released: 2000
Label: Inside Out Music America
Cat. No.:
Total Time: 113:56


Reviewed by: Keith "Muzikman" Hannaleck, March 2002
Alive On Planet Earth is progressive rock heaven with some of the best Flower Kings music released over the last several years. Their studio work has been brilliant, offering their listeners strength, consistency, and a bounty of material without fail. All of their music is excellent, and this live performance lends further credence to their greatness. This is a live recording that's the next best thing to being there. I always wondered how they would sound on stage, now I have a good idea. I want to see them for myself someday to experience the beauty and passion of their music and performance. I want to take in every note so I never forget it for as long as I live. There are some groups that do something to you that you just can't explain; The Flower Kings are one of those groups. This two CD set was recorded in North America in 1998 (CD 1) and in Japan in 1999 (CD 2). It's a more than a worthy testament to their worldly magnitude and the supremacy of their music.

They do a version of the classic Genesis prog-rocker by Peter Gabriel "The Lamb Lies Down On Broadway" that would please and delight any to-the-core prog-rock enthusiast in a heartbeat. "Sounds of Violence" reminded me of the 70's version of Uriah Heep, complete with the grinding driving keyboard sound of Ken Hensley. "In The Eyes Of The World" and "Big Puzzle" are highpoints, and rather memorable. I hadn't previously detected that on prior albums. At times you can hear the influence of Yes, particularly in Roine Stolt's guitar playing. Stolt ventures off to the fringes of jazz on several occasions during the improvisational segments of some of the songs. The live setting certainly encourages and prompts every band member to push it to the limit and change the way each song is remembered in the studio recordings. Of course this is the true test of a groups wherewithal and combined talents to make all of this work. I realize I always give a lot of credit to Stolt, and I should, he deserves it. Roine is very modest and humble, and he really appreciates his band mates so I do need to give proper credit to all. I would hear about it from him if I didn't! It does take more than one person to make a thriving and intense group like The Flower Kings work. Robert Engstrand (keyboards, disc one) and Tomas Bodin (keyboards, disc two) are hypnotizing on the keys and serve Hans Froberg's cause to help him bring his voice to another level. His voice is very strong and it never falters during any performance. He also adds his six-string experience to the mix. Michael Stolt (bass) and Jaime Salazar (drums) are a superb rhythm section that the rest of the group couldn't do without. This is a great example of the spontaneous musical magic of a group effort. With the Flower Kings it's always a few notches higher than anyone else.

If you were ever wondering if they could reproduce their studio work live, don't ever doubt it, they can, and with additional substance and excitement. They are every bit as good live as they are in the studio. And I would venture to say that they are better live, if you can believe that. I am still in total awe of this group; they are without a doubt one of THE greatest bands on earth.

[See also Bobo's review -ed]

More about Alive On Planet Earth:

Track Listing: Disc 1: There Is More To This World (11:31) / Church Of Your Heart (9:41) / The Judas Kiss (15:43) / Nothing New Under The Sun (4:13) / The Lamb Lies Down On Broadway (9:17)

Disc 2 : Big Puzzle (18:29) / Sounds Of Violence (6:37) / Three Stories (6:04) / In The Eyes Of The World (12:14) / The Flower King (11:27) / Stardust We Are Part Three (10:00)

Musicians:
Roine Stolt - lead guitar and vocals
Hans Froberg - acoustic, electric and slide guitar, and vocals
Robert Engstrand - keyboards on disc one
Tomas Bodin - keyboards on disc two
Michael Stolt - bass, bass-synth, and vocals
Jaime Salazar - drums, percussion, and vocals


=============================

The Flower Kings - Alive on Planet Earth Country of Origin: Sweden
Format: 2CD
Record Label: InsideOut
Catalogue #: IOMCD 054
Year of Release: 2000
Time: 50:25 & 64:51
Info: The Flower Kings

Tracklist:
Disc 1: There Is More To This World (11:31), Church Of Your Heart (9:41), The Judas Kiss (15:43), Nothing New Under The Sun (4:13), The Lamb Lies Down On Broadway (9:17)
Disc 2: Big Puzzle (18:29), Sounds Of Violence (6:37), Three Stories (6:04), In The Eyes Of The World (12:14), The Flower King (11:27), Stardust We Are, part three (10:00)
The Flower Kings is a band that needs no introduction. However, because this is the first time any of their albums is reviewed in this column, I will start with a brief history.

Founded in 1993 by Roine Stolt (of Kaipa fame among others, and active in the 'business' since 1974!), drummer Jaime Salazar and percussionist Hasse Bruniusson (still in the band but not appearing on this live album), they released an album called The Flower King in 1994. However, because the band wasn't called The Flower Kings yet, this is not regarded as their debut album.
After the release of the album the line up was completed with the addition of keyboard player Thomas Bodin and Roine Stolt's brother Michael Stolt on bass and vocals.
1995 saw the release of the real debut album, Back in the World of Adventures, and The Flower Kings have since quickly risen to the upper echelons of the progressive music scene. Their back catalog includes four studio albums to date, of which the last two, 1997's Stardust We Are and 1999's Flowerpower, are monumental double albums.
Their latest release and the subject of this review is another double album containing the recordings of two live shows, falling chronologically between the aforementioned Stardust We Are and Flowerpower.

The first disc contains the concert that was played at Progday, in the USA on September 6th 1998.

There is more to this world
Derk: Typical TFK track from third album Retropolis, incorporating Stolt's distinct vocals, the heavy use of analog keyboard sounds (a typical Scandinavian trait, think of Anglagard, Anekdoten, etc) and the positive vibe.
Remco: Being completely new to this band, the remarks I make in this "roundtable" review cannot be taken as that of the expert, but as that of the lover of great music. The first thing that struck me was the shear length of the Flower King compositions. This reminded me of the Great Bands of the Seventies, like Yes and Genesis. Indeed the opening chords are very Genesis-like. Including the great analog synth meldoies (Tony Banks - style, Winds and Wuthering era), their main influence is obvious. The vocal melodies and the quieter moments, however, are very Yes-like (Awaken - style). Indeed, some of the backing vocals seem more Jon Anderson than the guy himself recently. I now understand the title Retropolis, as in: tribute to the 1970's symfo.

Church from your heart
Derk: This track from Stardust We Are starts out (and ends) as a ballad, but the real treat is the middle part, heavily laden with beautiful church organ sounds, reminding of Yes' Awaken, one of Rick Wakeman's greatest moments.
Remco: One of these songs, indeed Awaken has the same effect, but also Going for the One, where you feel that the melody is reaching for something, like someone stretching to the max to pick an apple, catch my drift? Derk is absolutely right when he descibes the organ section as Awaken-like. Gorgeous track. You can imagine in your minds' eye the enormous lightshow one wants to put over this track live (if you had the money).

The Judas Kiss
Derk: As far as I know this is an unreleased track. It very aptly (Judas is of course a bible figure) starts with church organ. This is followed by a part which is very early Marillionesque, which then turns into late seventies early eighties Genesis, especially the keyboard sounds a lot like Tony Banks did around that time.
After the fifth minute an extended improvisation starts where influences follow each other rapidly. The overall feeling of this part is of what Frank Zappa used to play during his concerts (think of Make A Jazz Noise Here), complete with vocal effects and jazzy guitar playing. But King Crimson and Focus also make their appearances.
The end repeats the opening theme. The church organs are back, and a great guitar solo ends the longest track on this first disc.
Remco: Some Bachian church organ plays and the band massively set in. Derk's Marillion reference is probably caused by the bassline (which plays Clutching at Straws) during a couple of bars. Actually I was thinking of even earlier Genesis, since the song is quite theatrical. Again the wall of organ is put up, over which the guitar sours. Suddenly, more psychedelic sounds are heard. The spooky wailing guitar, the jazzy organ, and then the almost Silence...slowly going into a Latin/Gipsy sound. Sweeds playing suntanned rhythms. And it swings! Even Funk rears its ugly heaad in the last couple of minutes. Great fun. The longer sections of guitar, bass and organ interplay do indeed remind of the more experimental Focus tracks. The song ends as massive as it started.

Nothing New Under The Sun
Derk: Also an unreleased track. A very gentle song, which could have come straight from a Focus album. In fact, if I didn't know it was by The Flower Kings I would have sworn it was actually Jan Akkerman and Thijs van Leer up there on the stage!
The track gains a bit in energy in the second half, and therefore becomes a lot more TFK-ian in nature.
Remco: I definitely agree with Derk here. My God, I hardly ever heard such a Focus imitation (think Eruption). You just wait for the guitar to set in the melody of Focus' Tommy. Since this is so obviously "borrowed", I think that's why the gave it this title.

The Lamb Lies Down On Broadway
Derk: The final track of the show is a cover from the classic album of the same name by one of Roine Stolt's favourite bands, Genesis (he even named one of his children after Peter Gabriel).
This is a perfect rendition of that classic track. The difficult piano opening of this song is played flawlessly by Robert Engstrand, Thomas Bodin's stand-in for this concert (Bodin himself is not always available due to other commitments).
As was to be expected from a band whose principal player is a guitarist, this version contains more guitar than the original, which is fine because I think Steve Hackett was too invisible on the original. As if to prove my point further, Stolt gives it his best with a blistering guitar solo ending the track and this concert in great style.
Remco: What a weird thing to find a cover on a live album, of a band so gifted itself. But it fits in seemlessly, indicating that the early Genesis reference is definitely the main influence of the Flower Kings. This is also the only track on which the audience can be clearly heard singing along. A shame that the live feeling is not reinforced on other tracks, since on some of them you have the impression to listen to a studio recording.
The rendition of the Lamb itself is not half bad at all, with a little playing with the audience halfway and a cool guitar solo to add to the song what Genesis omitted.

The second disc contains six tracks recorded during three concerts the band played in Japan, on March 15th, 16th and 18th 1999.

Big Puzzle
Derk: The moody piano in the opening of this track sounds like parts of Garden of Dreams, from the TKK's latest album Flowerpower, yet this is an extended version of a track that first appeared on Back in the World of Adventures.
Again this is a great driving song, with nice interplay between keyboards and guitar, somewhat reminiscent of Steve Hackett (his early solowork).
The middle part starts with a very Yes-like (Close to the Edge) atmospheric piece, due to the use of mellotron and Steve Howe influenced guitar.
Remco: The opening piano, with guitar improvisation over it, creates the atmoshpere of rainy days. Fortunately no annoying sound effects to stimulate this feeling (apart from a few bidsounds in the background). The crying electric guitar prepares the way for the ballad to follow. Soon this enters in an uptempo track though. Lots of nerve-wrecking guitar and keyboard solo's follow. The part that follows sounds a bit like the part in Gates of Delirium just before Soon starts. Instead, a bit more uptempo part follows. Well, basically, in an 18 minute track you can put all your talent and references, and that is what they did here.

Sounds of Violence
Derk: A freaky instrumental from The Flower King album, with great performances from all band members, but especially Salazar, who really goes out of his head on this one.
Remco: Powerful keyboard work on this one. Both keyboard, drums and guitar battle to be the toughest, meanest sounding instrument on stage. Cool!

Three Stories
Derk: The contrast between this and the last track couldn't be bigger. This is Thomas Bodin solo-ing on piano, playing a track from his solo album An Ordinary Night In My Ordinary Life. Although Roine Stolt is still TFK's principal composer, Bodin has gradually increased his influence in the songwriting, having an almost even share of the credits on the latest, Flowerpower. Bearing that in mind, and listening to this track, it is easy to spot Bodin's influence in a track like Garden of Dreams from that album.
Later in the song the rest of the band rejoin and the track gets on a feeling of Camel's Ice as Stolt finishes the track with an emotional guitar solo in the best Latimer tradition.
Remco: A nice piano track, jazz-ballad style and even a touch impressionistic. A bit like the opening of the Don't Go track (don't remember the exact title) of Don Airy's K2 album. Personally, I would think more of Akkerman than Latimer for the guitar solo, but I can see Derk's point, though. It's the drumming under the guitar that Ice-es it. You can even hear the audience applaude at the end (the second time on a live album....).

In The Eyes Of The World
Derk: This track stays quite close to the original from Stardust We Are. It's got a catchy rhythm, which makes you want to jump like the clown in the subject, which is probably just what Stolt intended!
Remco: A very driving track, with quite a high tempo. It sounds quite massive, and is the most modern and original sounding track on the album. I don't know why but Arena's The Visitor popped up in my mind when listening to this track. And trust me, the weird middle section has nothing to do with Arena whatsoever. I guess it's the massiveness of the track.

The Flower King
Derk: This is not one of my favourites, except for the middle part with great guitar work by Stolt, which shows what an incredible talent he has.
Remco: Quite a happy track. I do like it, it is sunny. A bit of a sing-along track, almost gospel in the chorus. The powerful guitar playing is outstanding and must have sounded absolutely fabulous live. The keys also get their change to do their stuff, the song quitens down and it's back to Close to the Yes again...hmmm, they do tend to repeat themselves a bit.

Stardust We Are, part three
Derk: The last ten minutes of the epic from the album with the same name. This features Hans Froberg on lead vocals, taking over from Roine Stolt for the high notes. This is a great sing along track (although I can't hear if the audience actually did), and a perfect set closer. The middle part is as powerful as we're used to from the band, and the ending leaves a real sense of completion.
Remco: Again a big massive ballad, with a singalong chorus. Quite nicely done and indeed a good closing of a set. The middle section even becomes threateningly dark, the first time I hear such a thing on the album....

Overall:
Derk: For fans of The Flower Kings, this set is essential. The band more than stands up to their reputation live, delivering spirited versions of some of their best tracks. You can just hear the enthusiasm with which the songs are performed.
If you're new to the band and want to check out their sound, this set is a great way to discover their music, although you might also try the sampler Scanning The Greenhouse.
Remco: As you can see, on most of the tracks I agree with Derk. In general, ALive on Planet Earth is a very nice registration of performances by a very gifted band. Musically, they do lean very much on music of the past and there is not much experiment. After about an hour I personally got a bit tired of the big large epics, and longed for a simpler, clearer song. I do like the album in general though, but I am not tempted to buy the whole back catalogue. On the other hand, if you like symfo and early Genesis and Yes, the Flower Kings should not be absent in your collection. For me, this was a great way to discover their music, and I'm glad I did. If I get the change to see them live I definitely will. Until then, I will settle for this album.

Conclusion:
Derk: 8.5 out of 10
Remco: 8 out of 10

Derk van Mourik & Remco Schoenmakers






The Flower Kings

'Alive On Planet Earth'

CD1
1. There Is More To This World
2. Church Of Your Heart
3. The Judas Kiss
4. Nothing New Under The Sun
5. The Lamb Lies Down On Broadway

CD2
1. Big Puzzle
2. Sounds Of Violence
3. Three Stories
4. In The Eyes Of The World
5. The Flower King
6. Stardust We Are part 3


Roine Stolt guitar and vocals
Hasse Froberg guitar and vocals
Robert Engstrand keyboards CD1
Tomas Bodin Keyboards CD2
Michael Stolt bass
Jaime Salazar drums


First off I should state that I am not a great lover of what is generally termed 'progressive rock', a term which generally implies rock music heavily influenced by the early 70's works of Genesis, Yes, ELP etc. There are however certain exceptions to this statement. Of the 'original' bands I would class Gabriel era Genesis as one of my top 10 rock bands ever with Yes and Tull probably sneaking into my 50. Of the current bands Spock's Beard and The Flower Kings both make it into the top 10 of music I have been listening to over the last couple of years.

So why these bands? Well in the case of Spock's Beard I would say it is mainly because of Neal Morse's songwriting (which is a case of genre transcendence if there ever was one, I just love his solo album) and the fact that they are a damn good rock band.

As for The Flower Kings I would say it is because they take the very best of the original progressive genre (lots of Genesis and a fair bit of Yes) and mix it up with a whole bunch of other stuff such as jazz, Zappa and a certain northern European melodic sense. At their very best they manage to create music which sounds fresh and exciting even to these ears which have been listening to this type of music for about 25 years.

A friend pointed out the other day that Spock's Beard and the Flower Kings have each already created about more recorded music than either Genesis and Yes in their classic years. Not counting Roine's solo, 'The Flower King' CD, various regional releases and the 'Scanning:' best of, 'Alive On Planet Earth' marks the 5th album release (and the 3rd double) from the band in as many years. This is thanks to the 'do it yourself' philosophy that bands in this genre have to adopt these days but sometimes a little more quality control wouldn't go amiss.

Culled from separate shows and with a temporary keyboard player (although you wouldn't know it because he is so good) on CD1, 'Alive:' goes a long way towards capturing the live Flower Kings experience. I have to say though that it doesn't do complete justice to the live sound. To my ears the sound on CD1 seems punchier and crisper whereas CD2 seems a little weak in places particularly on the last two tracks which happen to be my favorites so I was a little disappointed with this one.



The first CD kicks off with 'There Is More To This World' from the Retropolis album. Powerful, classic progressive (apologies for repeating that term but I am sure you know what I mean) rock in a Yes vein although with a rather heavier sound. Very tight and very close to the original album. Here, as on the whole album Roine's guitar playing and sound are an absolute joy. Unlike many guitarists in this field he manages to combine accuracy and intricacy with lots of feeling, in places on these CD's bringing feeling of the blues to this often quite sterile (in guitar terms anyway) genre.

There is a nice contrast in vocals between Roine's expressive but not particularly powerful voice and Hasse Froberg who is powerful with a great range. I have to say I prefer Hasse's vocals to Roine although occasionally it gets a bit close to US AOR.

'Church Of The Heart' follows from the 'Stardust We Are' album. Again this is firmly in the Yes territory, almost a progressive rock power ballad although not at all naff as that description would suggest. There is a lovely short keyboard piece in the middle reminds me of the Enid.

Next up is 'Judas Kiss' from 'Retropolis' although twice as long here. This, as you would expect from the title is a darker track, more rock. However somewhere in the middle the band veer off into a looser improvised section with spacey (although again quite dark) guitar. This is followed by more improvisation led by electric piano and mellotron. The guitar then returns leading into a samba-esque section with great nice groovy bass work, something that is almost entirely absent from most progressive rock - groove. When a funky clavinet leaps into the fray and I found myself thinking that this is almost Phish! Woo hoo! It's not over yet though as some nice Hendrix style wah guitar takes us into Miles territory before some church organ ushers main song back in with yet more searing guitar work (how many frets has this guy got?).

All in all a great live exploration and the reason why live albums should be released in the first place - to capture the spontaneous magic that is there to be had for those brave enough to just follow the flow. I was amazed to hear that one progressive rock CD distributor has had an unusually high level of returns of this CD on the basis that people don't like the way the band deviate so far from the recorded tracks. Sad.

'Nothing New Under the Sun' is a track by Roine's 1970's band Kaipa written when he was in his teens. This is a lovely guitar led instrumental that could easily be mistaken for Focus at their very best. Roine like Jan is, as mentioned above, capable of bringing the powerful feeling of the blues to the progressive rock genre.

CD1 closes with the 'The Lamb Lies Down On Broadway'. Probably as good a rendition as you are going to hear. Crowd pleaser or what! More guitar than any Genesis version and lets face it Roine is on a different planet to the somewhat restrained Mr H. Roine's vocals don't quite do it justice but what the heck, you had to be there. The guitar solo on this track is positively ecstatic no doubt demonstrating just how happy Roine was at the time. I wouldn't be surprised if he needed a ladder to get down from the ceiling at the end.

End of CD 1 - worth the price of admission so far? Well yes but not unreservedly so. The album tracks are very well played but ultimately don't add a lot to the originals. Judas Kiss is a good rather than great song, likewise the improvisation, I think there are probably better jams they have played (Paradisio September 99?). Really nice but not extra special.




And so to CD 2:

Overall this seems a bit less tight, particularly on the last two tracks but somehow more satisfying.

'The Big Puzzle'. Possibly my favourite track on the whole set. For the uninitiated this one starts off a bit Floyd like then after some twiddly bits you get the nearest thing to Genesis (Cinema Show) you will hear before returning to more distinctive Flower Kings territory again. This one has it all, soaring guitar melodies, lots of changes in tempo and style, very melodic and not made up of unrelated sections stitched together like some so called 'progressive' bands. The extended guitar solo in improvised section is truly glorious. Again I keep thinking progressive rock guitar with real feeling, Clapton at his best (live playing blues) plus a smidgen of Santana.

'Sounds Of Violence' follows, an instrumental in a far more heavy rock vein, more into Deep Purple territory. Great if you like that sort of thing but not really my cup of tea.

The Thomas Bodin track 'Three Stories' from his 'An Ordinary Night in my Ordinary Life' album is a real treat. Beginning with beautiful piano before another of those amazing Roine solos. This guy never bores me, each solo is distinct with it's own mood.

'Eyes Of The World' from 'Retropolis' is vintage Flower Kings. One of those songs where you don't find yourself using other bands as reference points to describe it. This is where the band's breadth of influences and collective open musical mind really scores, bringing it all together to create something individual.

The encore from this particular gig follows, in this case being continuos segue of 'The Flower King' into 'Stardust': It's on these two tracks that I think the sound of the second CD fails to fully do justice to the music. It's clear but somehow lacking power.

This is not the very best 'Flower King' I have heard but it's a good rendition. It's got a great positive feeling though and Roine's vocals are at their best with Hasse supporting on the chorus. Once into the instrumental parts the whole band really locks together. Definitive Flower Kings and of course Roine's guitar is all over it.

Another of my favourite tracks, 'Stardust We Are' finishes the whole thing off in fine style staying true to the album but with that added special something that live performance always brings. I just love the way Hasse sings this song. Spine tingling stuff. Some might find the lyrics a little twee but as Mr Morse put it so well 'we all need some light' and light is something that the Kings bring plenty of. Let yourself go into this - positive vibes man!

Overall:

This is a great live set, not perfect but great all the same. If you like the Flower Kings you will probably already have this, if not get it. This is a band whose live sets add a different dimension to their music rather than one that simply repeats studio recordings.

If you haven't heard the band it may not be the best introduction, I would suggest the 'Scanning the Greenhouse' for that purpose.

Can't wait to see what they do next:Enticing suggestions of a more jazzy direction: Should be interesting.

David Weston April 2000