SYMPHONIC SLAM: Press

Timo Laine is 1000% Back
"Timo Laine Guitar Works Special Edition"
8-15-08 - Dallas, TX - "Timo Laine is a guitar genius and his "Sara" is inspired, a work of art that should be heralded as one of the most sensitive guitar compositions every performed. Every measure, Rock Hall of Fame worthy only to be followed by Sunrise, even better. Guitar tracks for everyone that loves music. Timo is smoooth, powerful guitar. You need to check out "Timo Laine Guitar Works Special Edition" at his web site http://www.timolainemusic.com" - Music Critic - World Entertainment Network

Symphonic Slam was mainly about Timo Laine (born in Finland, and moved to America as a child), and his polyphonic guitar synthesizer. The rest of the band was filled out by drummer John Lowery, and keyboardist David Stone.
Timo had been playing the club circuit for a while, but it wasn't until he relocated to Canada that things began to happen. It was there that Symphonic Slam was discovered by A&M Records. What set them apart was the $10,000 360 systems guitar synthesizer prototype. This led to the release of their 1976 self-titled album. A legend was born.

I got in touch with Timo Laine for the story, told and published for the very first time.

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Your biography has been covered in your ProgArchives profile so let's bypass the biography details. But which bands were you influenced by and why did you choose that name ?


I picked up the name Symphonic Slam because I wanted to reflect a larger sound. All my projects in the past had Meletrons,or Chamberlins, and since I was playing six synthesizers with my guitar, it all added up to a very large symphonic approach, but with a rock ( Slam ) flavor.
I was influenced in the very early years by guitarists Wes Montgomery, Barney Kessel, Joe Pass, and Kenny Barrel. The bands that influenced me were Pink Floyd, King Crimson, Frank Zappa, Moody Blues, Beatles, Stones, Jeff Beck, Eric Clapton,and, Dick Dale. Classical guitarist were Andres Segovia and Carlos Montoya.

You moved from Finland to USA in your youth. How old were you when you relocated to USA and why this relocation ?


My parents immigrated to America when I was 6 years old. Dad was a Chemist with a great interest in geology.
He wanted to explore the great Mohave desert in the California Nevada areas. Her also had an interest to establish his family in America because he always feared the Soviet Union.

It is claimed you were one of the first musicians to use a synth guitar. Please tell us why you took up that not so cheap and I guess quite bad tempered instrument back then.


I had performed with my Les Paul, Fender amp and echoplex full time for decades. I started playing guitar with the idea of making a living with it at an early age, and I did just that. I played in night clubs full time for about 10 years. I was also a guitar teacher for 4 years. So I desired a fresh sound, I was hungry to see what could be done to make the guitar do more.
My first attempt was to try out the GuitOrgan by MCI. This was a micro curcuited B-3 inside a ES-335. The frets were cut in six sections that functioned as a micro switch.
This allowed me to play the guitar and organ at the same time. But, it also was a very limited, and did not offer for me, anything I wanted to live with for very long. I then contacted and, met with Oberheim, and asked him to hook up the guitar to synthesizers. Oberheim said that he had already worked with that idea, but that I should contact a man named Bob Easton of 360 Systems.
What 360 Systems had done was invent a device called a Pitch to Voltage convertor. The convertor was hooked up to a hexiphonic pick-up allowing it to be sent to a synthesizers.
Bob Easton had the prototype sitting on his work bench, it was hooked up to six Oberhiems. I fired it up and Bam!, I fell in love.
I made a deal with Bob immediately, and at a price of $10,000 he sold it to me. I had it shipped to Canada where I was in pre-production for my first Symphonic Slam album.
This system was a great tracking unit because it was polyphonic. There was no harmonic problems like the later developed monophonic systems that never worked or tracked well.
This was a high performance moon rocket that responded perfectly to my style.
Since I used the system on every song on that album, the word got out real fast about this monster guitar rig. To my good luck A&M Records released the album world wide off the starting blocks.
The press and media caught on to the new sound, and my famous 360 Systems Polyphonic Guitar synthesizer won me the title "Father of the Guitar Synthesizer."
Later on, I heard Frank Zappa had bought one from Bob, but could not use it because it was running Moogs. The Moogs drifted so bad the systems could not be kept in tune. So I bought Zappa`s
polyphonic guitar as a back-up, but not the Moogs. Jimmy Page called us and wanted to buy my system at a hefty price, but I refused, and explained I was doing tour support with it and was planning another album later.
Stevie Wonder also wanted to rent the system for one of his albums, but I was on the road.
Six units were built, mine being the first, and the first to record an entire album with it on a major label, with a world wide release. There were pitiful monophonic guitar synths on the drawing boards at that time, and even though players were trying to get their footing with them, they ended up being more of a bad joke than a sincere musical effort.


Over to your first two Symphonic Slam albums. Please tell us more about the self titled debut album from 1976.


I had just completed an album recorded at Capital Records in 1974 with Neil Merryweather, The band was called "Space Rangers". I had written most of the originals for the Space Rangers years earlier with a group called Zebra, which were recorded at Pat Boons Lion and the Lamb studios.
But our producer Tony Carey died in the middle of the project. So when I started with Space Rangers, I used the same material over. Neil wrote the words, I wrote most the music, and played lead. When a conflict of interest in relation to actually getting paid came up, I left Space Rangers along with Bob Silvert, the Meletron player.
I then was asked to record a demo with Epic Records in San Francisco, However, in the middle of that production, the producer was fired. He gave me the tapes and said good luck.
So I decided it was time to go elsewhere. I took the band to Canada, played clubs for a few years, and one day had Chum FM play the demo over the air. The president of A&M was listening and called the DJ and said "Tell that kid Timo Laine to come and see me." We got signed to record Symphonic Slam. The material was a collection of musical ideas I had been saving while playing clubs and concerts over the years.
The songs for Symphonic Slam took years to develop, and about 9 months to rehearse and record.



The second album Timo SS II was released two years later. Please tell us more about this album.



After A&M Records option came up for the second term, they wanted for me to record a disco album. I told them that that was like asking Segovia to record a surf album.
I put an ad in the LA Times under venture capital, and since I was still on the billboard charts got an investor to start Lady Records of Canada Inc.
I bailed out of the record deal and started the production of SSII. The album was recorded at the Righteous Brothers studio in California and A&M studios Hollywood. The players were Jimmy Haslip - Bass, Linda Nardini - Keys, and Jan Uvena - Drums. David Stone, my Canadian keyboard player, went on to play with Richie Blackmore, so he stayed behind in Canada. Jimmy, after the SSII album, started Yellow Jackets.
SSII was me doing a lot more vocals and more melodic tunes that I had written on the road with in Canada.

In 2011 Musea Records was contacted by Denis Meyer, The author of the book Rock Anthology. Denis had asked Bernard at Musea Records, that it might be a good idea to re-issue
the SSII album, since Denis had proclaimed Symphonic Slam as one of the top Progressive rock bands in the world. So They contacted me, and Denis Meyer became the executive producer on the re-master and it was re-issued last March 2011.

Then there was no more albums under the Symphonic Slam name. What happened and what were you up to in this time ?


I came back to the states to try and release SSII. I pressed 10,000 units and went to get distribution here. But I was about $200,000 short on my PR campaign. No support, no distribution.
I shelved the project and filed a BK.
After that I got very sick for a long time. My doctor told me "Whatever you have been doing all these years you better take time off or you're gonna die."
So took up oil painting, and started a large collection of international exotic Coleoptera and Lepidoptera ( Beatles and butterflies).
I went to Costa Rica, Southern Mexico, Trindad, Tobago, and collected bugs. I joined the Musium of Natural History, Lorquin society. and started displaying my collection at the various museums and universities. My goal was to collect every exotic bug in the world. And I'm telling you, I came pretty close to having a collection to rival that of the Museums. I also painted African wildlife, like Elephants, Rhino, etc. Did a lot of landscape paintings of Hawaii. Spent a lot of time collecting
on all the Hawaiian islands.
I also got married to my Kimberly, and had two sons: Timo Jr and Jesse.

You also have your own solo career. Please tell us more about your solo albums.


I figured it was time to get back in the swing of things, music wise. So after listening to players like Joe Satriani, Steve Vai, and Eric Johnson, I figured I can pull that off.
So I started to record instrumentals featuring the guitar, but with a good dose of synth.

Musea re-released the debut Symphonic Slam album in 2001 if I am not mistaken. Please tell us more about how Musea got involved.


Bernard, the President of Musea Records, contacted me and asked if he could re-issue the first album.
So I contacted Universal and negotiated a mechanical License in favor of Musea Records. The re-issue came out, and I was
pleased to see the press was starting to put things back on the map


You resurrected the Symphonic Slam name again and released the third Symphonic Slam album called Her Fire in 2005 if I am not mistaken. Please tell us more about this album.



I figured since Musea is going to put the stuff out again I better write a follow up CD. I wrote and recorded Her Fire. The album was originally going to be called "Cave Canem"
which means "Beware of Dog" in Latin. But my wife said "Why are you calling an album full of love songs 'Beware of Dog?'" Duh!! So I named it HER FIRE and painted the cover with a two faced woman
I asked Les Carlsen (lead vocalist of BloodGood) to help with the vocals, since my voice was still out of shape. Noe Cruz on Bass, and Bob Winn on drums.

You are again working on a new Symphonic Slam album according to your homepage. Please tell us more about this new album and material.


I'm putting material together with a hopeful release date of 2012. Like the A&M release, this contains spiritual content, and will be a big production.
The first tune is 17 minutes inspired by Revelations.
I have a great keyboard player named Steve Eddy that rivals Linda Nardini and Dave Stone on this work. I also have Jeff Hull on Bass. I may use guest artists
also to be determined Maybe Jimmy Haslip. I have talked to producers as well including Ken Scot.

Timo Laine Symphonic Slam

Musea Records will be releasing
Timo Laine`s SSII cd world wide
in March 2011.
This CD is a re-issue of progressive music featuring the Timo`s first polyphonic guitar synthesizer system.
Artist on the release are Timo Laine, Linda Nardini, Jimmy Haslip, Jan Uvena, Now Cruz, John Lowery. Bonus trackes will be on the CD .

BigNews.Biz - Sep 09,2011 - Wildomar, CA - Timo Laine Symphonic Slam defines guitar synthesizer. Synth Guitar Fans looking for guitar synthesizer are discovering Timo Laine Symphonic Slam. It's bold. Hard driving guitar synth Rock with sophistication. Timo Laine Symphonic Slam has a reputation for progressive rock. "Her Fire" is a must have for any Timo Laine Symphonic Slam collector. Timo Laine Symphonic Slam delivers innovative guitar. Timo Laine Symphonic Slam delivers amazing live guitar synth performances. For additional releases and appearance schedule, visit http://www.TimoLaineMusic.com.

Time to take the buds out and crank up the volume. This is rock that shatters expectations as if to say. "If it ain't Laine it's lame." Defining hard driving guitar synthesizer that makes your heart skip a beat, Symphonic Slam, is re-taking the throne with the aim to reign over the genre Timo Laine defined 35 years ago. Never gone, this artist and the band were just planning an explosion, time to wake the dead with every chord. They don't call it Symphonic Slam lightly. You haven't lived until you listen to "Sara". If you can't find the fireworks in Symphonic Slam you probably never will.

It's all there, the edge and sensation of soaring on notes. It's rock perfected to pure ecstasy. the variety is astounding, rhythm, beat, electric solos, defiant lyrics and endless energy. Timo Laine in the speakers and a Harley ride just might be as close to heaven as you can get on this side. True Rock fans will recognize the name and the music. As essential as air, you don't find this kind of power in ear buds. You haven't really experienced progressive rock until you play some heart stopping Slam. You won’t want to miss "Monotrim Project" by Timo Laine Symphonic Slam. Give it a listen.

About Timo Laine Symphonic Slam
Timo, over the years, has become known for his masterful guitar and guitar synthesizer styles. Timo released a ground breaking album with A&M Records worldwide in the early years of his career. The recording broke new ground as the first major guitar synthesizer work. Timo had hooked up six separate synthesizers to his Les Paul guitar. Each string had its own synth that could be set up separately. The guitar was played thru regular amplifiers, but the synthesizers were pumped thru a wall speakers and all blended together. The wall of sound that came from that setup was absolutely amazing. The album was called "Symphonic Slam" followed by "Symphonic Slam II", "Her Fire", and Timo`s latest cd, "Guitar Works Special Edition", a follow up of all instrumental compositions. Timo has performed with acts such as the Rolling Stones, BB King, Tina Turner, Rush, Chuck Berry, and many other major artists to name a few. On Timo's CD "Her Fire," Over the years Timo has worked with many notable artists on his albums including Noe Cruz, Jimmy Haslip, Bob Winn, Mike Meucci, Mark Vaughn, Dennis Brown, and Larry Class. The band includes Steve Eddy on keys, Jeff Hull on bass, and Mark Stevens


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SYMPHONIC SLAM — Symphonic Slam
Review by acceleron2001

5 stars As a longtime signed and seasoned pro recording artist who will remain anonymous for this review, I must say that Symphonic Slam is one of the great albums of all time- PERIOD. It's too bad some people just don't get it. Then again, great music is never understood by the masses, and it just goes to show that sophisticated music is only for sophisticated minds. This is exactly the case here, as Symphonic Slam was WAY ahead of its time, in too many ways to list here. A great album- PERIOD.

Posted Saturday, June 12, 2004, 14:04 EST | Permanent link

Product Description
After participating to numerous concerts or studio recordings next to stars so different as THE ROLLING STONES, Chuck BERRY, Tina TURNER or RUSH, the Canadian with Norwegian origins Timo LAINE is recognise as the true pioneer of synthesizer-guitar. This is how he and his band SYMPHONIC SLAM (With keyboardist David STONE, Drummer John LOWERY and himself at the vocals) recorded in 1976 what would remain the first true album based on this very peculiar instrument. Beyond this anecdote, this eponymous album comes to us with a wonderful esoteric cover, an emphatic progressive rock that owes a lot to PINK FLOYD and that can sometimes remind of CAMEL in their "Mirage" period, or even WINDCHASE.

This pioneering Canadian prog band featured the talents of Timo Laine who created a real specialized talent with his use of a new gizmo….the 360 systems polyphonic guitar synthesizer. Essentially ‘Slam’ deliver a rich keyboard based sophisticated poly synthetic nodes with support from John Lowery's drums and David Stone’s keyboards. Musically this album covers a lot of ground with progressive rock standing out as the clear line with Jazz, AOR, Pop , 70’s Classic Rock and Blues. A few years later after the break-up of Symphonic Slam, David Stone would join Ritchie Blackmore’s “Rainbow”. Symphonic Slam debut album contains some pretty eclectic material which reminds very at times very much of Mirage era “Camel” , FM (Canada) and with a degree of “Windchase” tossed in for good measure.

Timo Laine, godfather of the synth guitar has released two cds this year, “Monotrim Project” and “Her Fire” with symphonic slam. Timo has been playing synth guitar from the very beginning and has been faithful to his LGX-SA because it is simply one of the best tracking guitars on the market. Check out our dealer list to try one out for yourself.

SYMPHONIC SLAM — Symphonic Slam
Review by xlr854

5 stars I own this album. I bought it immediately after seeing them perform at a bar In sarnia , ontario called hughies junkyard. I found the music to be Excellent & still enjoy it very much to this day!! First band i have ever seen That used a guitar synth. I found the songs to be unlike anything out there On the rock scene. The music was very refreshing at the time. The Musicianship was extraordinary & they had a big sound for just having 3 Members! I've played it at parties i've had & everyone would ask --who is this? This band is great! I wish they would reunite & tour the bars as i would Definately love to see them again! I find alot of todays newer bands kind of Boring----nothing new & exciting , they pretty much all sound the same. Maybe if symphonic slam got together -even for just one more time , it might Ignite some fire in an up & coming band or two! I own the album & have Transfered it to cd. Now when i have friends in the car i let them give it a Listen. I get alot of positive feedback about the music . They love the energy This band has. I'm 51 & when i'm alone at home i crank this band up & still feel Like i did when i first seen them in 76 , 77. It makes me feel damn good. Ahead Of they're time----yes , & i can't help but wonder what they would be playing If they were together today. I'm sure it would be ahead of they're time & just As good as it was back then. I,m sure they would pack a club just like they Did when i first seen them & i know alot of musicians that would show up , Young and old to see this band!! Sometimes i wish i could go back in time just To see them again!!!!!!!!!!

Posted Thursday, September 15, 2005, 03:24 EST | Permanent link

SYMPHONIC SLAM
Symphonic Slam
(Studio Album, 1976) Title information (Edit) | Free MP3 | Reviews | Buy Music
Symphonic SlamSymphonic Slam album cover 3.88
Excellent addition to any
prog music collection

Track Listings

1. Universe (6:37)
2. Everytime (4:21)
3. Fold Back (2:50)
4. I Won't Cry (2:55)
5. Let It Grow (3:56)
6. Modane Train (4:19)
7. Times Run Short (2:48)
8. Days (instrumental) (5:00)
9. Summer Rain (3:53)
10. How Do You Stand (before The Lord) (4:56)

Total Time: 41:35
Line-up/Musicians

- Timo Laine / guitar synthesizers, guitar, vocals
- John Lowery / drums, backing vocals
- David Stone / keyboards, backing vocals
Releases information

Musea FGBG 4366.AR (2001)
Thanks to ProgLucky for the addition

Starts out with a very powerful track titled "Universe" and continue with nine more songs of heavy progressive rock; at times sounding not too far from what, for example, Flower Kings does today. It seems to me that this album was kind of head of its time. I believe this is one is of great interest to those who want to find out more about the "second generation" of progressive rock acts.
(review by Hansi Cross)

SYZYGY - The Allegory Of Light 2003 Back to webshop

SYMPHONIC SLAM — Symphonic Slam
Review by Legoman

5 stars What in the world!? Why doesn't the archieves have a more detailed description of this band!? A band that seemingly came out of no where and produced only one album that is either on par or beating some of the most acclaimed Symphonic Prog albums! Jesus! Seriously... I was never a huge fan of Close to the Edge and after hearing this album I see exactly where Yes went wrong in some parts of their "Masterpiece." Also, I would really have to say that I hear some parts that were probably inspired by Uriah Heep. So if you are a Heep fan, you'll especially dig this. This album is a must listen to of any member of this site, and especially if Symphonic is your favorite genre because this album has everything. Jazz elements, synth guitar and drums that will blow your mind.

The only real weak part of this album, or so I can see, is in the song Modane Train. Not that it is a bad song but it is a little too poppy and seems a little off from the rest of the album. And maybe some people might have a hard time admitting that this is Symphonic Prog because of the fact that no 20 minute epics exist in this album... but I don't feel that that is even necissary. Not that big of a dent put on the album if you ask me.

It's true that a lot of people might not agree with my rating of 5 stars on this album, but seriously, after you take into consideration that it was Symphonic Slam's only album and then they were basically never heard from again... it raises a little attention. Good, better, bestest than I expect out of any one hit wonder. I love it.

Posted Monday, February 06, 2006, 11:26 EST | Permanent link

SYMPHONIC SLAM — Symphonic Slam
Review by robinandcecil

5 stars I spent years searching this album out after someone nicked it. It's SO good! If you enjoy ProgRock, you owe it to yourself to buy this CD. The music is very atmospheric with a multitude of styles and palettes, and it's even got art work by the late great Abdul Mati Klarwein. A gem.

Posted Thursday, February 12, 2004, 01:48 EST | Permanent link

SYMPHONIC SLAM — Symphonic Slam
Review by Gatot (Gatot Widayanto)
SPECIAL COLLABORATOR Honorary Collaborator

4 stars It’s a memorable album which colored my school days …

Symphonic Slam reminds me to the period when I bought the cassette of Pink Floyd “Animals” whereby the B side leftover was filled up with a band “unknown” and unfamiliar to my ears … Symphonic Slam! The name itself scared me because at the time I was not aware of anything called “symphonic”. I thought it would be something that would sound like a a symphonic orchestra. But it was not because what I heard was a bunch of shows on electronic equipment with state of the art technology. As this was leftover, I only played after I played Pink Floyd “Animals”. I got no idea at all about the “band”. Only couple of years ago (I think sometime in 2001) I purchased the CD version and I came to know the band – a bit.

It’s basically a Canadian with Norwegian origins Timo LAINE who was recognized as the true pioneer of synthesizer-guitar. After 40 years of guitar playing, Timo has seen the road and eras of music. “I’ve played on stage with everybody, from Dick Dale, to the Stones, Chuck Berry, BB King, Cher, Tina Turner, and Rush” and the list could go on! He’s spent twenty years playing clubs and concerts plus a few record deals in between. Timo Laine has been referred to as the “Father of Guitar Synthesizer”. He pioneered its technology during its infancy by performing and recording the first major guitar synthesizer record known: Symphonic Slam.

“Universe” is of course very memorable for me not because I was so familiar when I was at school age but its melody is really catchy. This kind of track suits the definition of what so called at the time as Heavy Slow Rock – a sub genre that we, at our country, created as category for songs with slow tempo / mellow with tight composition. “Universe” definitely fits into the definition. On top of great melody it has nice combination between guitar and synthesizer. “Everytime” lends its bed from the first track with similar style and nice melody with synthesizer-drenched music. “Fold Back” brings the music much more dynamic with powerful drumming and pulsating synthesizer in a rocker style. “I Won’t Grow” shows much more aggressive synthesizer work which make the vocal a bit go to drain swept by the synthesizer sounds.

“Let It Grow” as well as “Universe” were quite well known in my country for some people by the time it was released. Again it shares great melody as “Universe” that’s why it’s memorable. “Let it grow .. my love”. “How Do You Stand” concludes the album with an upbeat tempo music and straight forward structure. It’s a classic and it’s recommended. Keep on proggin’ ..!

PS - Whenever I listen to this CD, the reaction to me is so emotional and the best thing to describe the situation is with my locality language as mbrebes mili. It's so touchy and so memorable for me .. personally ...

Peace on earth and mercy mild – GW

Posted Friday, April 21, 2006, 07:57 EST | Permanent link

SYMPHONIC SLAM biography
Symphonic Slam picture

Progressive music sub-genre: Prog Related
Country: Canada
Official website: http://timolainemusic.com/home.html
Symphonic Slam was mainly about Timo Laine (born in Finland, and moved to America as a child), and his polyphonic guitar synthesizer. The rest of the band was filled out by drummer John Lowery, and keyboardist David Stone.

Timo had been playing the club circuit for a while, but it wasn't until he relocated to Canada that things began to happen. It was there that Symphonic Slam was discovered by A&M Records. What set them apart was the $10,000 360 systems guitar synthesizer prototype. This led to the release of their 1976 self-titled album.

They toured, and played gigs with some of the big names of the time (Rush, The Rolling Stones, and the Village People). Soon they were asked to go to L.A. to work on a new album. Not being interested in this tack, Stone took the opportunity...Symphonic Slam was mainly about Timo Laine (born in Finland, and moved to America as a child), and his polyphonic guitar synthesizer. The rest of the band was filled out by drummer John Lowery, and keyboardist David Stone.

Timo had been playing the club circuit for a while, but it wasn't until he relocated to Canada that things began to happen. It was there that Symphonic Slam was discovered by A&M Records. What set them apart was the $10,000 360 systems guitar synthesizer prototype. This led to the release of their 1976 self-titled album.

They toured, and played gigs with some of the big names of the time (Rush, The Rolling Stones, and the Village People). Soon they were asked to go to L.A. to work on a new album. Not being interested in this tack, Stone took the opportunity to defect to Rainbow.

After the album was completed, A&M wasn't pleased (they wanted disco). Timo took it to Canada, and created his own label on which to release it. It had some modest success, but Laine wasn't interested in going back to L.A. to fight disco once again.

Musea's 2001 re-release of the first album inspired Timo to get back on the horse. Apparently he had been working on another album for many years. "Her Fire" is supposed to be released some time in the future. He is also working on an instrumental solo project.

You can hear some influences of Styx, Kansas, Wakeman, Emerson, a bit of E.L.O., and even some funk. However, this is not like most of what we consider to be the classic '70s progressive sound. Some of those qualities are woven in, and there are some lovely moments. But make no mistake, this is mid 70's rock and roll at the core.

The main point of interest here is really the fact that Laine basically pioneered the synth guitar. It was a very new thing at the time.

H.T. Riekels (bhikkhu)read more

SYMPHONIC SLAM — Symphonic Slam
Review by btwomey

5 stars As a high school student in '76, any music I really wanted to listen to was done through headphones. Many an hour was spent playing Symphonic Slam, making an indelible impression. Unfortunately, I hadn't heard from Timo Laine since.... With the advent of Kazaa (and others), the proliferation of downloading etc., I was pleasantly surprised to find Symphonic Slam again. I checked it out for nostalgic reasons if nothing else. Having listened to many times since on my (much) better stereo system, it is still is an amazing way to spend time. Like most prog-rock, it is best enjoyed without conversation - not really the ideal album (oops) CD to put on at a party but, incredibly rewarding if you spend the time to actually listen. The blur of genres and changes between songs ensure a great journey each listen. Most of the songs make you feel (something/anything) deeply as you listen. Kick ass musicianship & a great intro to prog- rock music. As someone who already enjoyed Yes, ELP, Genesis (remember them when...), this album had me searching for new sounds by others on a similar (but unique) journey. Phil Manzanera, Eno (801...) and others were only discovered because of what Symphonic Slam awakened. This to me makes this album an essential addition to anyone looking to appreciate how great prog-rock can be.

btw.... I believe this album won a (Canadian) Juno award

Posted Friday, February 25, 2005, 22:01 EST | Permanent link

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SYMPHONIC SLAM
ST
CD ￥ 2280 （税込￥ 2394 ）■ MUSEA FGBG 4366. AR
’７６年。CANADA。　当時世界に数台のみという、３６０SYSTEMS POLYPHONIC GUITAR SYNTHESIZERを操る、もともとFINLAND出身のTIMO LAINE率いるトリオバンド！　サウンド的には、RUSH ～ MAHOGANY RUSH的宇宙サウンドに、TRIUMVIRAT （TRIUMPHじゃないところがミソ）的ヨーロピアン・シンフォニック・プログレッシヴ展開をプラス！　幻想的なジャケの魅力も相まって長年この手のサウンドの愛好者に銘板とされてきたもの。いやー、いいんですワ　これが・・・。　ＫｅｙのDAVID STONEは後に、RAINBOWに加入のあの人！