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Bridge Across Forever


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Audio CD, October 9, 2001
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Bridge Across Forever + Stolt Morse Portnoy Trewavas + The Whirlwind
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Product Details

  • Audio CD (October 9, 2001)
  • Original Release Date: 2001
  • Number of Discs: 1
  • Label: Metal Blade
  • ASIN: B00005PJ9V
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (93 customer reviews)
  • Amazon Best Sellers Rank: #23,096 in Music (See Top 100 in Music)

1. Duel With The Devil: I. Motherless Children/II. Walk Away/III. Silence Of The Night... - Transatlantic
2. Almost Home
3. Suite Charlotte Pike
4. Bridge Across Forever
5. Stranger In Your Soul

Editorial Reviews


Customer Reviews

Transatlantic makes fresh, innovative music done by a room full of talented musicians.
The Bas
I love the first Transatlantic album, and I'm a devoted fan of all that four bands: Spock's Beard, Marillion, Flower Kings and Dream Theater.
Julio
When listening you can hear these guys having fun, playing music because they love what they are doing.
x_bruce

Most Helpful Customer Reviews

56 of 56 people found the following review helpful By Lord Chimp on December 8, 2001
Format: Audio CD
When I first listened to this album, I couldn't wait for it to end...so I could play it again!
TransAtlantic blew me away with their debut, SMPTe. It was certainly a "supergroup," featuring lots of the big names in the Third Wave of Prog: Neal Morse (keyboards/vocals, Spock's Beard), Roine Stolt (guitarist/vocals, Flower Kings), Mike Portnoy (drummer, Dream Theater), and Pete Trewevas (bassist, Marillion). Instead of an album of clashing egos and stoned jamming, SMPTe captured some of the finest progressive rock ever recorded. Barring the prog-nazis and their arrogant opinions, I think everyone was looking forward to TransAtlantic's follow-up. If SMTPe demonstrated such solidarity and chemistry, imagine what the second album would be like!
Is there any reason to be disappointed with Bridge Across Forever? I don't think so. Common criticism of the first album was that it was largely dominated by Neal Morse's songwriting. Bridge Across Forever is definitely more of a full-band effort. Those familiar with all the band members' styles will certainly identify everyone's characteristic touches -- Morse's melody, Stolt's vibrant playing, Trewevas' tasteful licks, Portnoy's intense drumming. (There's a quick bit of metal on "Stranger in Your Soul"...I'm guessing that was Portnoy's idea.) Each member of the band gets a shot at lead vocals, and the vocal harmonies are outstanding. In all cases, the musicianship is intense, technical, and ambitious, but never goes over-the-top.
I think "All of the Above" from SMPTe might beat everything here, but on the whole this album is more consistent and more...beautiful. That's right, there are many beautiful moments of triumph and splendor on this album.
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20 of 20 people found the following review helpful By Steve Marshall on November 21, 2001
Format: Audio CD
The first album from this prog-rock supergroup was notable for its 30-minute epic, All of the Above. The rest of the CD seemed little more than an exercise in self-indulgence. For those who may not already know, Transatlantic consists of Neal Morse on keyboards (Spock's Beard), Mike Portnoy on drums (Dream Theater), Roine Stolt on guitar (Flower Kings) and Pete Trewavas on bass (Marillion). All four members contribute vocals to the mix. When the band's new CD arrived, I checked out the track list and noticed there were only four tracks. With two of them being over the 25-minute mark, I figured this was going to be like their first CD. Man, was I wrong. Structurally, the album is similar to the second side of The Beatles' Abbey Road. Bits and pieces of songs reappear over the course of the disc, with the band moving effortlessly between the musical passages. The musicianship is outstanding throughout (as you would expect), but the songwriting is now more of a group effort.
The first track, "Duel with the Devil" is broken down into five parts. It begins with a string section, followed by Neal Morse's piano to introduce the theme. The rest of the band comes in rocking on "Motherless Children." Things quiet down initially on "Walk Away," then the band rocks hard. The "Motherless Children" theme comes back in during "You're Not Alone," and then again later in "Almost Home"--this time, sung by The 'Elite' Choir as the suite builds to a majestic finish. If this were the only track on the CD, it would be well worth the price. But there's more--a lot more.
One of the coolest things about this disc is the way the band obviously doesn't take itself too seriously.
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14 of 14 people found the following review helpful By progstock on March 11, 2007
Format: Audio CD
I can't think of a CD I've purchased within the past decade I took a more immediate liking to than this effort. If you like "Foxtrot" or "Nursery Cryme" then you will like this CD as well. There's ample use of Tony Banks-style Hammond -- but with classic Moog and Oberheim patches more predominant than in very early Genesis, and occasional heavier riffs evocative of Spock's Beard or Dream Theater, this CD has a voice of it's own. And what a great voice it is! Catchy melodies and weaving textures that you will find hard to get out of your head.

Now let me attempt to dispel a few prog misconceptions I continue to run across in reviews that may be applied to the music on this CD:

1. Prog rock is pretentious, overblown; Rick Wakeman wears a cape - Hey, that's the genre! If the music and production didn't have a grand scope and sweeping grandeur enveloping it, it wouldn't be prog, now would it? I'm reminded of Mozart's critics in "Amadeus" who generally liked the work, except there were "too many notes." If you don't like long interwoven suites, fully orchestrated sections mixed with a variety of musical textures and lyrics more ethereal than "driving your Chevy to the levee," then don't call yourself an aficionado of the genre while declaiming it as pretentious. Rather, just admit you don't like prog rock. And Rick Wakeman only wore the cape in concert and put on one helluva great show. It was the 70s. Big name rockers wore garments a lot stranger than a cape! I can't figure out all the Wakeman-bashing going on out there.

2. New prog rock bands like Transatlantic and Spock's Beard are derivative - To a degree, yes. You can tell these guys probably wore the grooves out on their early Genesis albums.
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