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4.3 out of 5 stars8
4.3 out of 5 stars
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on 8 October 2001
Being blown away by their first album I bought their second studio album unseen and unheard trusting on their cpacity to make an astonishing follow up. And they did. The music is different from their first album SMPTe and it took me a couple of listning sessions to get the big picture. If you buy the ltd version you have 4 studio tracks on the first record and 2 of them have respectable lenghts of 26 min. without getting boring. More jazz influences though than in the first record. The second record (ltd version) is worth to buy it just of the cover version of Shine on Your Crazy diamond and the last track wich contains a demo track version of Stolt's musical archive. The tracks inbetween are funny but not high classed. I wonder what their next step in their musical adventure will bring to us. I will be there!!
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on 9 November 2001
The greatest albums I own are the ones that have taken a few listens to really appreciate the music, and then suddenly I find myself thinking "I've gotta listen to.......". Well, I'm constantly thinking "I've gotta listen to Bridge Across Forever" now! This is excellent stuff!
SMPTe was an absolute stormer of a debut album, and now Transatlantic have delivered another truly superb collection. Two tracks knocking on 30 mins with no hint of filler...just well crafted prog rock. Some jazz influence, which sits comfortably in the scheme of things and hooks you'd die for. The title track is beatiful and like We All Need Some Light on SMPTe, offers a gentle intermission before things crank up again.The limited edition second disc is a nice to have, and it is interesting to be able to hear different perspectives of themes on the album. Roine Stoltz demo a case in point. However I'd be happy with the one. BUY IT NOW - you will not be disappointed. My one gripe...that 2-3min gap at the end of the CD - c'mon boys...Marillion have been there on This Strange Engine. Trewavas...stop!!!!
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on 3 November 2001
An excellent second album by this brilliant prog rock combo!Not as instantaniously catchy as their debut album,you have to give it a few listens but you will be glad you did.If you like your music to have many moods & contrasts this is for you. The musicianship & songwriting is second to none.Buy it, sit back & be prepared to be moved.ENJOY.
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on 4 October 2001
Transatlantic, the all star ensemble who wowed the Prog world last year with their debut offering 'SMPTe' return with their second album 'Bridge Across Forever'. Several listens later to the album would also confirm that their initial success was no fluke! 'Bridge Across Forever' is rather aptly named as it does build many bridges between a vast array of musical worlds. With its foundations shamelessly rooted firmly in the 70’s indulgences of progressive rock, we are taken on a musical journey via elements of pop and soul with smatterings of jazz in between and a healthy dose of classic hard rock.
For those not in the know, TransAtlantic is made up of Flower Kings guitarist Roine Stolt, Spock’s Beard multi-instrumentalist and vocalist Neal Morse, Marillion bassist Pete Trewavas and Dream Theater drummer Mike Portnoy. The band also released a double live set entitled 'Live In America' earlier this year as a kind of stop gap between 'SMPTe' and this their next studio release.
TransAtlantic have come up with another absolute gem in the guise of 'Bridge Across Forever'. They seem one of the few modern day progressive bands that are able to draw upon the classic foundations of Yes, Pink Floyd, Rush, Jethro Tull etc and make it palatable for audiences of the 21st century. The fact that they are succeeding where the acts mentioned above are failing nowadays only adds more ticks to bands achievements. 'Bridge Across Forever' is simply a prog masterpiece and anyone who bought SMPTe and liked it should snap this release up....
'Bridge Across Forever' is quite possible the traditional prog album of the year.
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on 21 January 2002
Like many others, I was blown away by their debut "SMPTe". Roine Stolt said the next album would most likely improve by 40%, but since you can't improve on perfection, "Bridge Across Forever" will confirm that Transatlantic are one of Prog Rock's finest entities.
The opening track, "Duel with the Devil" plays a lot on Neal Morse's influence but has a fantastic break written and sung by Stolt, accumulating into a loud, choral ending.
"Suite Charlotte Pike" was the only one I was unsure of. I think they were trying to do a Beatles (re: side 2 of Abbey Road) and fuse together lots of unfinished and undeveloped ideas with the little time they had. It doesn't quite work as well as Abbey Road, but it's good nonetheless. If you wanted proof that Transatlantic are bonding as a group - then listen to them shouting "Wazzup?" after the false start!
"Bridge Across Forever" is your typical Neal Morse ballad - good and non-clichéed. A beautifully written song with formidable lyrics. Not quite as memorable or hummable as "We All Need Some Light", but it still takes some beating.
The closer, "Stranger in your Soul" is where the amps go up to 11 and back down again. There's plenty of heavy riffing going on (no doubt at the insistence of Mr. Portnoy), a vocal interchange (similar to "Thoughts" by Spock's Beard) before it calms down for the slow, grand, epic ending.
All in all, "Bridge Across Forever" is a prog album par excellence - a worthy successor to "SMPTe" and an album the boys are in no doubt proud of.
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on 19 April 2002
Right well to start with, i bought this cd (limited edition double cd) because i'm a huge Dream Theater fan, and Mike Portnoy was the drummer. The first CD has some really class moments but unforetunatly then goes into a mellow almost twee performance, which i usually skip if im listening to, the songs are incredibly well written, but in Mike Portnoy's case, i'm sure its a relief to get away from the incredibily complex drum lines that Dream Theater deliver, but i think Transatlantic seem almost to simple for his talents. Dont get me wrong i loved this cd but it wasnt 'amazing'. The funk element that becomes apparent on a couple of tracks are particulaly cool.
As for the second CD, this was great, its so refreshing to hear what the musicians are really like in the studio, good to know they have a laugh and dont mind releasing it. You have to read the booklet, or this tracks will seem a bit amatuer at times but when you know that Smoke On The Water was the musicians on each others instruments, it gives it the humourous edge that makes this cd especially enjoyable.
In all worth owning, good listening, dodgy moments.
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on 24 February 2002
All Of the Above saved SMPTe from mediocrity, but theres nothing on this one that stands out in the same way.
There are some fine flashes of musicianship and the odd decent lick here and there, but it was all far to clever for its own good and the "aren't we having fun" interludes didn't help either.
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on 28 January 2002
The second track on this album is worth listening to, with refreshing vocal contributions from Rione Stolt. The first track is absolutely atrocious. It's the best part of half an hour long and contains only one noteworthy moment (again in which Stolt takes over the microphone). It never fails to amaze me how this Swedish guitarist can write better lyrics than Neal, who shamelessly dribbles on about "motherless children" and "screaming, in the silence of the night!" Oh dear.
There are some nice things to say about this album. The playing is generally of a very high standard, with surprisingly restrained drumming from Mike and, even more shockingly, good keyboarding from Neal Morse. There are also some nice melodies, and accoustic sections. The second track reads like the second side of Abbey Road, and actually works quite well.
If you get the two CD version there's a lot of crap that they really shouldn't have released, particularly the dull, drawn out rendition of Shine On You Crazy Diamond.
The single worst moment on the whole album is at the end of the first track in which a children's choir make an appearance on the Transatlantic mixing desk. It's sickeningly tasteless and utterly shameless. It's sad to think that this is regarded as the cream of modern progressive rock, completely lacking in the creativity and imagination that made bands like Genesis and Gentle Giant great.
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