When it comes to The Flower Kings, it’s not difficult finding something constructive or nice to say. To the contrary, it’s hard as heck to keep quiet. You could call me a pusher of their pixie-dust-infested powder. I’m frequently found urging others to check out their material. When it comes to my coaxing, it’s significantly more than peer pressure. I’m infatuated to the point of compulsion. There is no doubt that they’re a pet band of mine. Actually, I’d find myself in a heap of trouble if they stopped producing this exotic rock or I was ordered by a judge to kick the habit. I depend on the regularity of their releases. Without them, I’d certainly go through withdrawal or at a bare minimum, go bonkers.
Like man’s best friend, they can be found slouched around the house in one of many favorite spots whether it is the CD player, the couch, or at the top of the stairs. All kidding aside, their media is situated at the vanguard of a shelving unit set aside for this important purpose.
When I heard they were coming out with a “Best Of” compilation, I thought it was an excellent idea, but it made me scratch my head. How could such a discography be reduced to a single disc? I would have expected six; it turns out to be two. Even though it’s over two and a half hours of music, it’s still a daunting task to sift through all their priceless chaff looking for real platinum or gold.
First of all, they have many songs that surpass the 15-minute mark. Some exceed thirty minutes, and in one case, it’s approximately an hour. Consensus says these prolonged songs are among their most finely-crafted opuses. I’m sure Garfield would be in agreement.
Secondly, they have a lot of songs that are very good; no superb. If you ask me, they are a super-group with a star at every position. The number of albums they’ve produced bypass the double-digit mark and each one demonstrates masterful songwriting and playing.
So, how did they narrow it down?
When looking at the track-listing, I found the answer…
They stuck to their grooviest and most ductile tracks. “The Truth Will Set You Free” and “Garden of Dreams”, for instance, are absent. Like Starscream’s last-minute escape, this might lend itself for a sequel. Likewise, they work within the margins to provide a couple of their lengthier pieces. They also push the limits by widening shorter widgets and retrofitting some older songs with modern cogs.
While these wouldn’t be the selections I would have chosen, they are still great songs; mainly due to the fact that Stolt’s orchard doesn’t produce fragile saplings that crack from gentle gusts of wind or conk out with a child’s joking whack. No, these firmly-rooted chaps find themselves at the elevation of the Rockies, the Andes, and at times the Himalayas.
The sky-scraping bark found here might not soar above their highest peaks, but they are tall enough to earn themselves the tag of greatest hits. In reality, they are closer to the Colorado foothills than Everest, K-2, or Kanchenjunga. Then again, these crags are lofty enough to cause light-headedness and dizzy spells at the first sign of relief.
If you’re worried that this is not mountainous enough, the American Heart Association (AHA) will tell you that there is no safe level of exposure to their second-hand puffs. In support of this report, it will wedge itself under your skin and get into your ears. That’s an unfortunate bit of news for any fan that plans to skip out halfway through the show. One way or the other, they’ll be affected. On the brighter side, there is a healthy dose of clean-sweeping rhythms and lung-purifying riffs. This is not just good for you; it’s great. Actually, the surgeon general will state that this is an EXCELLENT addictor.
To paraphrase Queen, Stolt’s taken bows and curtain calls, but it hasn’t brought him fame and fortune and everything that goes with it. In a genre that doesn’t always pay, it’s been no bed of roses for him and his brood. Yet, his followers have been loyal to these royal gardeners and in turn, it’s allowed them to flourish.
This cool guy and his crew have built their own dynasty of sorts. In many ways, they demand the highest compensation from the festivals and many times they’ve gotten it. This is justified, and if you haven’t heard this band, you’ve been out of the loop. If you have, I’m sure you’ll be quick to concede that you’ve been reaping innumerable benefits from their progressive landscapes since that maiden day you laid ears on them.
Enough nerdy fanboy chatter; let’s rake more forcefully through this rich and bountiful loam called The Road Back Home…
Each disc is seeded with an unexpected opener: “Cosmic Lover” on the first and “Ghost of the Red Cloud” on the second.
We are nurtured with interesting choices such as “Stupid Girl”, “Starlight Man”, and “Painter”.
In the end, the much beloved “Stardust We Are” closes out the compilation.
That’s everything in a nutshell, but you’d miss a lot if you decided not to dig a little deeper…
Long before that poignant sunset, we acquire bonuses such as an extended “Cinema Show” that continues when you think it may cease to grow. For those who don’t know, this was initially discovered on Genesis’ Selling England by the Pound.
There is also unpicked fruit like the unreleased “Little Deceiver.”
Plus, there are highlights from the new album. “Paradox Hotel” is the selection that’s most easily seen peeking out from the foliage.
There is even an entry from Stolt’s solo album. That would be the Joni Mitchell cover, “Life Will Kill You”. It’s not spot-on; only because it’s an improvement. In this occurrence, Hasse Froberg sings.
There is even more to be exposed in this copious cornucopia…
Some might ask, “Where’s the beef?” Don’t fret; they provide viable alternatives. They butter their buns and fill the middle layers with meaty substitutes in lieu of their original stock. The muscle and fiber are provided by soy concentrate, mycoprotein-based Quorn, peanut flour, and squash. As a result, these mighty and magical musicians give each gamer precious regenerative resources on every turn.
They go straight from “World without a Heart” to the “Church of your Heart”. It’s enough to warm the veins in your pulmonary system. Additionally, it’s about as giving as the not-for-profit organization cited above.
Within the shared circuitry of the first disc, “Cosmic Circus” is a hop-skip-and-a-jump-away from “Cosmic Lover”.
Continuing on, they provide part two of “I Am The Sun”. By doing so, they take the opportunity and initiative to touch upon a tremendous epic without occupying an excessive amount of space. Be assured; you won’t incur empty calories or an ounce of trans-isomer fat.
They negotiate plenty of exciting terrain in “The Road Back Home”, which operates as the cover model for this issue. Within the realm of this collection, this is the one I enjoyed most. It does seem to tower quite a bit over the others; most likely due to its tweaks. It’s worthy of its central location on the mantel and its ostentatious alias as title-track.
We float high in “Ghost of the Red Cloud” and “Touch My Heaven”. Shortly thereafter, we go below the pretentious climaxes with countless tranquil waves found inside “The Rhythm of the Sea”.
Out of the numerous submissions, the only one that didn’t earn my immediate approval was “The Chickenfarmer Song”. I find that sometimes it’s best to keep the chickadees away from the cultivator and on the other side of the red velvet drape. All right; so that I don’t offend every fan in the world, I concede that its presence isn’t entirely bad. At worst case, I would have replaced this satellite from Space Resolver with one of the shorts from Unfold the Future.
Specifically, I was disappointed by the absence of “Roll the Dice”. If I were the devil’s advocate, I might argue that this shrub’s shoots would have acted as an invasive weed whereas the selected song intermingles in harmony with the others.
Other than that, I support their affirmations and votes. As it turns out, they provided many of my favorites. The overlapping list outputted from the Venn Diagram includes “A King’s Prayer”, “Vox Humana”, “What if God is Alone”, “Grand Old World”, “Monkey Business”, “Compassion” and what else but “The Flower King”.
By itself, that’s a mouthful as this product is never lacking. With such diversity, it shouldn’t be a dilemma picking out a baker’s dozen or your very own customized batch from Peter Paraskaksis’ corporation. Whichever way it’s broken down, the chosen set will have much to compare and contrast.
The album features all three drummers: Jaime Salazar, Zoltan Csörsz, and Marcus (Guru) Lillequist. Unlike Spinal Tap, the ones that left are still alive and kicking, and breathing and playing.
It also passes through a discography that spans a couple decades; even the ones that pre-date Jonas Reingold. When dinosaurs roamed the earth, Roine Stolt or his brother Michael would have been witnessed fingering the bass.
Many of the songs have been amended by incorporating a plethora of production goodies. Among them are new backing vocals and guitar solos. Even their earliest pieces sound pristine. Occasionally, Daniel Gildenlow’s voice can be heard. Ulf Wahlander’s saxes sporadically sprout out from the soil as well.
It’s a quandary settling on a winner for all to hear. If pushed to this impasse, I would call a tie between “The Road Back Home” and “Cinema Show”. The former is masterfully re-engineered while the latter is wonderfully extended. In a region that’s laden with more sites than I-90 through South Dakota, these two attractions will most likely produce the most fascination. For veteran fans, “Cinema Show” will probably be deemed the most premium pop in the refrigerator.
In another newscast, Hasse Froberg’s voice reigns supreme in “Painter”. The only time it has sounded better to me was when I stood at the foot of a stage and watched him close out a concert with chorus lines that went increasingly higher.
What’s more, “Different People” is so perfectly reworked; it deserves compliments and kudos. Regrettably, a pat on the back will have to suffice as the atmosphere elsewhere is so emotionally-jarring it will give you chills. The much-beloved “Stardust We Are” is more crystalline and frothy than a Wendy’s Frosty. It’s affixed on the trailer’s hitch as a tinier, less tinny version that will do more than make you pant.
Whatever the case may be, these cuts receive as much care as bag of Camellia Sinensis dropped off at Celestial Seasonings. An emperor will accept them whether the packing slip reads white, black, or green.
Each leaf is rinsed in the factory and tenderly combined by Roine Stolt, the blend-master of the mill. With repeated overdubs and samples, he readjusts these concoctions to give them more potency, and less pulp. All the while he ensures that they match his award-winning recipe with sprinkles of neatly-ground botanicals and finely-crafted flora.
Like Mo Siegel, who spent his summers harvesting bales, the rudiments in these plants constitute quite the cache. Many years later, the formulas are perfected for this anthology. When mixed, it makes up "Roine's 27-herb tea". That’s four more ingredients than Dr. Pepper.
With each sip, you’ll enjoy the same consistency and flavor. It’s obvious that Stolt holds his songs to the strictest standards; requiring a certain level of cleanliness, purity, and freshness. If a piece fails to meet one of his stringent thresholds, they are rejected, not processed or packed.
Nobody demanded it. They still supplied it. Ultimately, the fans will be happy for their consideration. On the surface, this might appear to be a ploy, a prop, a plot device, or what a few may call a MacGuffin from an Alfred Hitchcock script. (As Roger Ebert might denote, Wikipedia would help clarify the reference as this has nothing to do with McDonalds). Once you hear it, you’ll realize this album is an essential part of their libretto.
In every shipping crate, the adjustments equal improvement. Stolt apologizes on the invoice for the varying production quality; however, I seem to think he has created something that’s coherent and stable.
Over the past decade, it’s been a challenge. They’ve done their term – touring and producing albums one-after-another annually. It’s been a sweaty and laborious sentence. At the same time, they haven’t deserved the heartache they’ve endured; no crime has been committed. Without question, this band should be rewarded as they have paid their dues. It’s apparent it’s been no pleasure cruise. While they’ve had their share of sand kicked in their face, they’ve kept on fighting. Now there is no sign that they will ever lose. In fact, I foresee that their best work and happiest days lie ahead.
It’s about time The Flower Kings delivered a two-disc compilation. When it comes to Progressive Rock, they are the champions (of the world).
9/10
Like man’s best friend, they can be found slouched around the house in one of many favorite spots whether it is the CD player, the couch, or at the top of the stairs. All kidding aside, their media is situated at the vanguard of a shelving unit set aside for this important purpose.
When I heard they were coming out with a “Best Of” compilation, I thought it was an excellent idea, but it made me scratch my head. How could such a discography be reduced to a single disc? I would have expected six; it turns out to be two. Even though it’s over two and a half hours of music, it’s still a daunting task to sift through all their priceless chaff looking for real platinum or gold.
First of all, they have many songs that surpass the 15-minute mark. Some exceed thirty minutes, and in one case, it’s approximately an hour. Consensus says these prolonged songs are among their most finely-crafted opuses. I’m sure Garfield would be in agreement.
Secondly, they have a lot of songs that are very good; no superb. If you ask me, they are a super-group with a star at every position. The number of albums they’ve produced bypass the double-digit mark and each one demonstrates masterful songwriting and playing.
So, how did they narrow it down?
When looking at the track-listing, I found the answer…
They stuck to their grooviest and most ductile tracks. “The Truth Will Set You Free” and “Garden of Dreams”, for instance, are absent. Like Starscream’s last-minute escape, this might lend itself for a sequel. Likewise, they work within the margins to provide a couple of their lengthier pieces. They also push the limits by widening shorter widgets and retrofitting some older songs with modern cogs.
While these wouldn’t be the selections I would have chosen, they are still great songs; mainly due to the fact that Stolt’s orchard doesn’t produce fragile saplings that crack from gentle gusts of wind or conk out with a child’s joking whack. No, these firmly-rooted chaps find themselves at the elevation of the Rockies, the Andes, and at times the Himalayas.
The sky-scraping bark found here might not soar above their highest peaks, but they are tall enough to earn themselves the tag of greatest hits. In reality, they are closer to the Colorado foothills than Everest, K-2, or Kanchenjunga. Then again, these crags are lofty enough to cause light-headedness and dizzy spells at the first sign of relief.
If you’re worried that this is not mountainous enough, the American Heart Association (AHA) will tell you that there is no safe level of exposure to their second-hand puffs. In support of this report, it will wedge itself under your skin and get into your ears. That’s an unfortunate bit of news for any fan that plans to skip out halfway through the show. One way or the other, they’ll be affected. On the brighter side, there is a healthy dose of clean-sweeping rhythms and lung-purifying riffs. This is not just good for you; it’s great. Actually, the surgeon general will state that this is an EXCELLENT addictor.
To paraphrase Queen, Stolt’s taken bows and curtain calls, but it hasn’t brought him fame and fortune and everything that goes with it. In a genre that doesn’t always pay, it’s been no bed of roses for him and his brood. Yet, his followers have been loyal to these royal gardeners and in turn, it’s allowed them to flourish.
This cool guy and his crew have built their own dynasty of sorts. In many ways, they demand the highest compensation from the festivals and many times they’ve gotten it. This is justified, and if you haven’t heard this band, you’ve been out of the loop. If you have, I’m sure you’ll be quick to concede that you’ve been reaping innumerable benefits from their progressive landscapes since that maiden day you laid ears on them.
Enough nerdy fanboy chatter; let’s rake more forcefully through this rich and bountiful loam called The Road Back Home…
Each disc is seeded with an unexpected opener: “Cosmic Lover” on the first and “Ghost of the Red Cloud” on the second.
We are nurtured with interesting choices such as “Stupid Girl”, “Starlight Man”, and “Painter”.
In the end, the much beloved “Stardust We Are” closes out the compilation.
That’s everything in a nutshell, but you’d miss a lot if you decided not to dig a little deeper…
Long before that poignant sunset, we acquire bonuses such as an extended “Cinema Show” that continues when you think it may cease to grow. For those who don’t know, this was initially discovered on Genesis’ Selling England by the Pound.
There is also unpicked fruit like the unreleased “Little Deceiver.”
Plus, there are highlights from the new album. “Paradox Hotel” is the selection that’s most easily seen peeking out from the foliage.
There is even an entry from Stolt’s solo album. That would be the Joni Mitchell cover, “Life Will Kill You”. It’s not spot-on; only because it’s an improvement. In this occurrence, Hasse Froberg sings.
There is even more to be exposed in this copious cornucopia…
Some might ask, “Where’s the beef?” Don’t fret; they provide viable alternatives. They butter their buns and fill the middle layers with meaty substitutes in lieu of their original stock. The muscle and fiber are provided by soy concentrate, mycoprotein-based Quorn, peanut flour, and squash. As a result, these mighty and magical musicians give each gamer precious regenerative resources on every turn.
They go straight from “World without a Heart” to the “Church of your Heart”. It’s enough to warm the veins in your pulmonary system. Additionally, it’s about as giving as the not-for-profit organization cited above.
Within the shared circuitry of the first disc, “Cosmic Circus” is a hop-skip-and-a-jump-away from “Cosmic Lover”.
Continuing on, they provide part two of “I Am The Sun”. By doing so, they take the opportunity and initiative to touch upon a tremendous epic without occupying an excessive amount of space. Be assured; you won’t incur empty calories or an ounce of trans-isomer fat.
They negotiate plenty of exciting terrain in “The Road Back Home”, which operates as the cover model for this issue. Within the realm of this collection, this is the one I enjoyed most. It does seem to tower quite a bit over the others; most likely due to its tweaks. It’s worthy of its central location on the mantel and its ostentatious alias as title-track.
We float high in “Ghost of the Red Cloud” and “Touch My Heaven”. Shortly thereafter, we go below the pretentious climaxes with countless tranquil waves found inside “The Rhythm of the Sea”.
Out of the numerous submissions, the only one that didn’t earn my immediate approval was “The Chickenfarmer Song”. I find that sometimes it’s best to keep the chickadees away from the cultivator and on the other side of the red velvet drape. All right; so that I don’t offend every fan in the world, I concede that its presence isn’t entirely bad. At worst case, I would have replaced this satellite from Space Resolver with one of the shorts from Unfold the Future.
Specifically, I was disappointed by the absence of “Roll the Dice”. If I were the devil’s advocate, I might argue that this shrub’s shoots would have acted as an invasive weed whereas the selected song intermingles in harmony with the others.
Other than that, I support their affirmations and votes. As it turns out, they provided many of my favorites. The overlapping list outputted from the Venn Diagram includes “A King’s Prayer”, “Vox Humana”, “What if God is Alone”, “Grand Old World”, “Monkey Business”, “Compassion” and what else but “The Flower King”.
By itself, that’s a mouthful as this product is never lacking. With such diversity, it shouldn’t be a dilemma picking out a baker’s dozen or your very own customized batch from Peter Paraskaksis’ corporation. Whichever way it’s broken down, the chosen set will have much to compare and contrast.
The album features all three drummers: Jaime Salazar, Zoltan Csörsz, and Marcus (Guru) Lillequist. Unlike Spinal Tap, the ones that left are still alive and kicking, and breathing and playing.
It also passes through a discography that spans a couple decades; even the ones that pre-date Jonas Reingold. When dinosaurs roamed the earth, Roine Stolt or his brother Michael would have been witnessed fingering the bass.
Many of the songs have been amended by incorporating a plethora of production goodies. Among them are new backing vocals and guitar solos. Even their earliest pieces sound pristine. Occasionally, Daniel Gildenlow’s voice can be heard. Ulf Wahlander’s saxes sporadically sprout out from the soil as well.
It’s a quandary settling on a winner for all to hear. If pushed to this impasse, I would call a tie between “The Road Back Home” and “Cinema Show”. The former is masterfully re-engineered while the latter is wonderfully extended. In a region that’s laden with more sites than I-90 through South Dakota, these two attractions will most likely produce the most fascination. For veteran fans, “Cinema Show” will probably be deemed the most premium pop in the refrigerator.
In another newscast, Hasse Froberg’s voice reigns supreme in “Painter”. The only time it has sounded better to me was when I stood at the foot of a stage and watched him close out a concert with chorus lines that went increasingly higher.
What’s more, “Different People” is so perfectly reworked; it deserves compliments and kudos. Regrettably, a pat on the back will have to suffice as the atmosphere elsewhere is so emotionally-jarring it will give you chills. The much-beloved “Stardust We Are” is more crystalline and frothy than a Wendy’s Frosty. It’s affixed on the trailer’s hitch as a tinier, less tinny version that will do more than make you pant.
Whatever the case may be, these cuts receive as much care as bag of Camellia Sinensis dropped off at Celestial Seasonings. An emperor will accept them whether the packing slip reads white, black, or green.
Each leaf is rinsed in the factory and tenderly combined by Roine Stolt, the blend-master of the mill. With repeated overdubs and samples, he readjusts these concoctions to give them more potency, and less pulp. All the while he ensures that they match his award-winning recipe with sprinkles of neatly-ground botanicals and finely-crafted flora.
Like Mo Siegel, who spent his summers harvesting bales, the rudiments in these plants constitute quite the cache. Many years later, the formulas are perfected for this anthology. When mixed, it makes up "Roine's 27-herb tea". That’s four more ingredients than Dr. Pepper.
With each sip, you’ll enjoy the same consistency and flavor. It’s obvious that Stolt holds his songs to the strictest standards; requiring a certain level of cleanliness, purity, and freshness. If a piece fails to meet one of his stringent thresholds, they are rejected, not processed or packed.
Nobody demanded it. They still supplied it. Ultimately, the fans will be happy for their consideration. On the surface, this might appear to be a ploy, a prop, a plot device, or what a few may call a MacGuffin from an Alfred Hitchcock script. (As Roger Ebert might denote, Wikipedia would help clarify the reference as this has nothing to do with McDonalds). Once you hear it, you’ll realize this album is an essential part of their libretto.
In every shipping crate, the adjustments equal improvement. Stolt apologizes on the invoice for the varying production quality; however, I seem to think he has created something that’s coherent and stable.
Over the past decade, it’s been a challenge. They’ve done their term – touring and producing albums one-after-another annually. It’s been a sweaty and laborious sentence. At the same time, they haven’t deserved the heartache they’ve endured; no crime has been committed. Without question, this band should be rewarded as they have paid their dues. It’s apparent it’s been no pleasure cruise. While they’ve had their share of sand kicked in their face, they’ve kept on fighting. Now there is no sign that they will ever lose. In fact, I foresee that their best work and happiest days lie ahead.
It’s about time The Flower Kings delivered a two-disc compilation. When it comes to Progressive Rock, they are the champions (of the world).
9/10
