(Progressive Rock) Pangaea (USA) "A Time & A Place" - 2002, FLAC (image+.cue), lossless

Prolusion. "A Time & a Piece" is the third album by Texas's band Pangaea. Their previous albums are titled as "The Rite of Passage" and "Welcome To the Theatre", but I haven't heard them.
Synopsis. There are only two songs on "A Time & a Peace" that, apart from lead vocals, contain massive backing vocals, some of which are done much in the vein of those on Yes's albums featuring Trevor Rabin. These are Something Happened Yesterday and The Panther. A few of the instrumental arrangements on these songs are also influenced by Yes circa "Talk", though on the first of them, there also are those influenced by classic Pink Floyd. Believe it or not (you may check it if you desire), but the vocals at the end of the album (its closing song One Word, to be precise) resemble those at the end of Hot Line from "Born Again" by Black Sabbath. Having written all of this however, I think I should hurry to reassure you dear readers, as there are enough of the band's own ideas on each of the said three songs as well. Furthermore, if not to count Time, which, by the way, is a very good cover, all of the other songs here are distinctly original and are complete masterpieces and the album is very interesting in its entirety. "A Time & a Peace" was created within the framework of unified stylistics representing Classic Symphonic Art-Rock with elements of Cathedral Metal, though the 10-minute Journey, November Sky and Myth are a bit richer in heavy elements than the other songs. With the exception of The Panther featuring a long instrumental part based on the interplay between various percussion instruments and One Word, the diverse, complex, classically large-scaled arrangements are present on all of the songs here and are wonderful in every respect. The main soloing instruments on the album are electric guitar, synthesizer, organ, and bass, all the parts of which, performed by Robert Berry, are especially impressive. The passages of acoustic guitar are present on the opener of the album: Something Happened Yesterday, and also on Myth and The Journey, the latter of which is undoubtedly the best composition here, and passages of piano on The Panther and November Sky.
Conclusion. On their third album, Pangaea plays like a very experienced band capable performing a high-quality Progressive Rock. I can highly recommend this album not only to all the lovers of Classic Symphonic Art-Rock, but also those into Symphonic Space Rock in general and such hallmark bands of the genre as Pink Floyd and especially Eloy in particular.
VM: May 5, 2003

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

Отчёт EAC об извлечении, выполненном 17. января 2009, 19:45

Pangaea / A Time and A Place

Дисковод: PIONEER DVD-RW DVR-112D Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 48
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Нет
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 768 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
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TOC извлечённого CD

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Качество диапазона 99.9 %
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Конец отчёта

1995 The origins of PANGAEA can be traced to the band Artica, which was founded by the brothers Corey Schenck (keyboards/guitars) and Andi Schenck (drums/percussion) in Tulsa, Oklahoma. Artica, which gigged in the area throughout the early and mid 1990s, consisted of the brothers Schenck and schoolmates Darrell Masingale (guitars/vocals), Ron Poulsen (bass), Steven Osborn (vocals/guitars), and Keith Tinker (keyboards). The concept for the band was to create a sound based on the classic rock and progressive rock of the past while utilizing modern sounds and styles. The idea was simple: amalgamate memorable melodies; rich harmonies; powerful rhythms, and other musical elements into compact song structures. We wanted to create our own style based on the bands each of us grew up listening to, but at the same time, without sounding just like them, recalls Corey. It was important that the music was organic, that it was not forced or contrived. Because we all had similar influences, the musical direction came quite naturally. With this foundation the band could maintain their musical integrity and still reach out to the public through well-constructed rock songs of substance. During these early days as Artica both Osborn and Tinker left the group in pursuit of other endeavors. The Schencks, Poulsen, and Masingale would continue on as a four-piece.
In February, the quartet entered a local studio (the 25th track) owned by producer/engineer Walt Bowers. The group spent three months, working nights, recording a mini album entitled Liquid Placidity. The CD was released and shopped in October and garnered the interest of several producers nationwide, including musician/producer Robert Berry of 3 (w/Keith Emerson and Carl Palmer) and GTR (with Steve Howe) fame in the 1980s. The meeting of band and producer led to a collaboration, which has held strong through three albums. A mutual fan of Robert and ours introduced us, said Andi. The interaction between Robert and the group was immediately positive. We had the same goal and the same idea on which direction the music should go.

1996 In 1996, the band decided it was time for a change. They relocated to Houston, Texas and officially became PANGAEA. Andi remembers, We all agreed it was time for a change, a fresh start. I brought up the name Pangaea, which I took from a lyric in one of our songs. We did the research to make sure no one else was using it, got the trademark and copyrights, and began to focus on the musical direction.
In April, the band traveled to California to begin pre-production work with Berry. For the next five months they were diligently writing, arranging, and recording demos. During this time the group acquired a repertoire of some thirty-plus songs from which they selected the strongest ten for the album. In July, they entered Soundtek Studios in San Jose to record PANGAEAs debut The Rite of Passage. Of the ten songs on the album all but one was written by Corey, the lone exception being Andis Lonely is a Place. Even though it is my name on most of the songs, it really is a group effort when it comes to arranging the overall style of each one, stated Corey.

1997 The debut album was released in January. Throughout the progressive and underground rock communities, audiences began to take notice of the band. The reviews for the album were overwhelmingly in favor of PANGAEA and the band was selling their self-contained project throughout Europe, Asia, North and South America and Australia. The Rite also received radio play in Europe and on American college stations. Some reviews of the CD were peppered with words like masterful, intense, brilliant, and awesome.
The success of The Rite led to a worldwide distribution deal with German recording company Angular Records for a follow-up album. In July, the group returned to Soundtek Studios with Berry to record Welcome to the Theatre. The title was born through a process, which the band continues today. Our album titles are taken out of the lyrics from a different song one each album, said Poulsen. We began this with Liquid Placidity and have continued to do so. During this time songwriting collaborations began to take shape. Three songs, including the German released The Hobo, the Dog, & the Moon, were penned by Corey and Masingale. A fourth work, Fanfare for One World was composed by all four members. Andis The White Shaman was later released in support for the preservation of Native American artifacts with the Rock Art Foundation. One of the albums more powerful songs was written by Andi, Poulsen, and Erich Schenck (the youngest brother who also did the artwork for The Rite CD). I felt that it was important that everyone be involved in the writing from the beginning, said Corey, that it would give the album more diversity and dimension.
Another new collaboration during this period was with German artist Rainer Kalwitz whose imaginative painting adorns the CD cover.

1998 An even broader fan base was built on the momentum of the second release worldwide. Theatre received many positive reviews with descriptions like fresh and interesting, a great step forward for music, and High octane all the way! One European reviewer hailed the work as a masterpiece.

1999 In January Poulsen left to follow another path, which left an opening in the band. Out of the blue the group received a call from Osborn to rejoin the band. The band also met bassist/vocalist Maurice Bettaglio, former front man for the Italian-based bands EAS and Crisis. This new five-piece lineup gave the group more diversity vocally and instrumentally. The quintet began writing and arranging demos for their next album.

2000 In the summer, PANGAEA once again returned to Berrys California studio to record their third album entitled A Time & A Place. The album features songs written by all members of the group. They also recorded the Pink Floyd classic Time for the tribute album Signs of Life. The songwriting, playing, and production culminated into a no-holds-barred frame of mind opus. The performances are expressed with both emotion and conviction.

2001 A Time & A Place was completed and shopped around to American and European labels. One British album reviewer who received a copy of the unreleased CD went so far as to say, Where have they been all my life? Pangaea are incredible, combining the very finest of Progressive and Melodic Rock in the best possible way. The album would be shopped by the band for a year and eventually signed by Musea Records of France to be released in 2002. A later review stated that A Time and A Place will become a classic!. In January, Bettaglio left the band to concentrate on his own professional recording studio. This led to the return of original bassist Ron Poulsen, which established the definitive PANGAEA lineup.
On a parallel path that year, PANGAEA met with Los Angeles based producer Dito Godwin (No Doubt, Peter Criss) who saw something in the band that he liked. In December the band traveled to California to record a three-song demo at Silver Cloud Studio. The veteran producer brought out a new sound for the band, which would help attract the attention of the major U.S. labels. This newer approach is less progressive in the traditional sense but much more accessible and modern to the American public. We havent changed who we are, said Andi. We are still the same band, but weve added more diversity to our style. You have to change with the times or get left behind. Corey added, We are not abandoning our roots, but merely expanding our range to reach out to a larger audience. We are songwriters and musicians and as such we have to please our fans as well as ourselves. Without a substantial following this business becomes difficult to carry on. Under Godwins direction PANGAEA discovered a more untamed and raw approach to their music. The songs Stand and Deliver and Jaded harkens back to the era of classic guitar-driven rock.

2002 For most of 2002 PANGAEA has been performing a concert series at many of Texas premier showcase venues. PANGAEA is ready to take the torch and lead a new generation of musicians into the future