Yes – From a Page (Mercury)

 

From a Page is a long-lost Yes album documenting one of the band's most transitional periods, spanning roughly 2008 to 2011. While some of this material had previously surfaced and largely went unnoticed, this is the definitive release—expanded, thoughtfully remastered, and finally presented in a way that allows these recordings to be fully appreciated.

Keyboardist Oliver Wakeman oversaw the project and worked tirelessly to complete it, tying together every possible musical loose end. His struggles and the many challenges involved are extensively documented in the accompanying booklet, and in some cases, you have to read the story to believe it. Wakeman deserves enormous credit for bringing this project to life and allowing it to finally breathe.

From a Page features the lineup that—minus Wakeman—would later record Fly From Here with Trevor Horn producing. It offers a fascinating glimpse into where the band was heading musically and captures the creative spirit of Yes during that era. In fact, there's something about From a Page that feels more organic and cohesive than Fly From Here.

The most welcome addition is "Aliens," a song written by Chris Squire that eventually appeared on the Squackett album with Steve Hackett. It's a mysterious and ambitious composition that Squire often performed during his solo spot on the 2008 tour. Even then, it always sounded more like a Yes song than anything else.  And those Jules Verne inspired lyrics really dig deep too.

"Words on a Page" is an instant Yes classic, highlighted by an exceptional lead guitar performance from Steve Howe. "In the Moment" and "The Gift of Love" are equally strong, each possessing that unmistakable quality that has always defined the band's finest work. Benoît David delivers an excellent vocal performance throughout the album and deserves considerable credit for stepping into one of rock's most demanding roles while helping to keep the music of Yes alive during a challenging period.

The two CDs included in this set capture the essence of recording sessions that, until now, never fully came to fruition. Beautifully packaged in a box complete with a poster and a set of collectible cards, From a Page feels like much more than another archival release. It stands as a rewarding musical document and a genuine labor of love, giving these overlooked recordings the presentation they always deserved.

Mark Kadzielawa

Deep Purple – Splat! (Ear Music)

 

The promo sticker proclaims this record to be a masterpiece. While the album is excellent, "masterpiece" feels like an overstatement. If anything, the band plays it somewhat safe, but there are more than enough fireworks to keep listeners coming back for months. If =1 reinvented Deep Purple and successfully introduced Simon McBride as the band's new guitarist, Splat! feels more like another day at the office—but it's an office where things frequently catch on fire.

Splat! is a very solid record from a band that knows exactly how to rock. The performances are outstanding, the melodies are memorable, and the group has apparently mastered the art of coming up with delightfully tacky album titles. "Arrogant Boy" opens with a punch, immediately putting Deep Purple in full take-care-of-business mode. "Diablo" is where things really take off and is probably the album's standout track. The dialogue between Don Airey and Simon McBride is exhilarating, recalling the musical chemistry that made Deep Purple so dangerous in the early 1970s. "Guilt Trippin'" is another killer track, packed with classic Purple elements turned up to the max. It rocks hard. "Scriblin' Gib'rish" is simply a fun song, pairing a dark melodic foundation with clever lyrical wordplay. From beginning to end, Splat! delivers a thoroughly enjoyable 51-minute adventure.

What stands out most is just how much fun Deep Purple is having. The musical execution is superb, and Ian Gillan clearly relishes both his lyrics and the way he delivers them. His trademark sarcasm, wit, over-the-top sense of humor, and uniquely British eccentricity are woven throughout the album. Considering the advanced age of the band's core members, it's remarkable that they continue to produce records of this quality. Long may they continue.

Splat! doesn't reinvent Deep Purple or attempt to break new ground, but it further cements the legacy of one of rock's greatest bands. It's an engaging listen, full of unexpected twists and turns. Over the years, the band has also developed a gentler, more reflective side, and that dimension is very much present here. It provides a welcome balance to the heavier material and gives the album additional depth. Throughout Splat!, the joy of creating and playing music is unmistakable. As a listener, you can't help but share in that joy—and you'll want to return to it again and again.

Mark Kadzielawa

Suzi Quatro – Freedom (Chrysalis)

 

Suzi Quatro is a dynamo. She brings endless energy and rocks as hard as ever. One look at the front cover tells you you're in for a fast, exhilarating ride. Even at this stage of her career, Suzi shows no signs of slowing down. She's a rocker to the very end.

Freedom is an engaging listen from start to finish. Suzi changes the pace throughout the album, delivering a balanced collection of songs that are consistently catchy and stamped with her signature Quatro edge. The energy never fades, making it impossible not to sing, dance, and move along with the music.

Several tracks have genuine hit potential, though they will likely slip under the mainstream radar. Suzi Quatro has already enjoyed her time in the spotlight, and popular tastes have naturally shifted over the years. That doesn't diminish the strength of the material. Instead, Freedom reminds longtime fans that she's still making vibrant, powerful rock music and can out-rock artists half her age.

The album also offers some thoughtful retrospective moments, particularly on "Choose Yourself," where Suzi reflects on life's challenges and the wisdom she's gained along the way. As much as Freedom is a hard-rocking album, it's also a mature and introspective record. Having experienced both the highs and lows of life in and out of the spotlight, Suzi is more than qualified to share her perspective. The lyrical content gives the album added emotional depth and substance.

The record closes with a spirited cover of "Kick Out the Jams" by MC5, featuring special guest Alice Cooper. It's a fitting finale that brings everything back to Detroit, where Quatro, Cooper, and MC5 all began their musical journeys. If this turns out to be Suzi Quatro's final studio album, she'll be going out on a high note. But knowing Suzi, there's probably still another ace waiting up her sleeve.

Mark Kadzielawa

Yes - Aurora (InsideOut)

 

Aurora is the fourth Yes album with Jon Davison on vocals. At this point, Davison has clearly found his place within the band. He wrote or co-wrote the majority of the album's material, and his songwriting partnership with Steve Howe is particularly impressive. Many may question Yes's relevance in 2026, but Aurora possesses a genuine sense of harmony that makes those debates seem almost irrelevant.

Steve Howe is the only original member remaining, but the collective strength of this lineup of outstanding musicians makes the album work. The music flows naturally and is generally gentler than the Yes of earlier decades. What's missing is the unmistakable presence of Chris Squire—his aggressive playing style, distinctive phrasing, and endlessly creative approach to every song. Billy Sherwood does an excellent job on bass, but there was something uniquely natural in Squire's musical DNA that made him an essential part of the band's identity. Geoff Downes also performs admirably on keyboards, although he can never quite recreate the extraordinary musical dialogue that Howe shared with Rick Wakeman.

Aurora contains plenty of great moments and is an enjoyable album from beginning to end. The more you listen, the more you're drawn to the melodies hidden within each track. The songs are intricate and firmly rooted in the classic Yes tradition, enriched by layered vocal harmonies and orchestral arrangements performed by the Czech National Symphony Orchestra. The result is an ambitious, impressive production that's difficult not to admire.

While the title track stands out with its memorable chorus, it's "Countermovement" that ultimately steals the spotlight. It's a magnificent epic featuring multiple movements, adventurous arrangements, and a compelling sense of momentum. The album is remarkably balanced, and the individual performances are superb throughout. Aurora possesses that special quality longtime Yes fans recognize and appreciate, proving that the band's creative spirit remains very much intact.

Mark Kadzielawa

Destructor – Tales of Glory (Shadow Kingdom)

 

There is something very cool and unique about the Ohio metal scene. It has produced plenty of great bands, but right in the middle of it all is Destructor—a common denominator of that scene. A veteran band that continues to release great records and deliver intense performances.

Tales of Glory adds another impressive chapter to an already formidable body of work. It’s a powerful record delivered in pure Destructor style: an instrumental intro followed by nine tracks of undiluted metal. This is a very uncompromising album, best experienced as a whole, but every track stands strong on its own. Whether you play it front to back or jump around the tracklist, it’s an awesome listen.

The songs featured on Tales of Glory showcase excellent riffs, tempo changes, and memorable harmonies. The album flows with relentless intensity, making the listener feel good from beginning to end. The band is firing on all cylinders, and the energy is simply unstoppable. As soon as the album ends, you’ll want to hear it all over again.

While the energy is undeniable, there are plenty of well-crafted passages that display a high level of musicality. Two standout examples are "Death Screams" and "Rise to the Call." Throughout the album, there is also clear evidence of the early European metal influences that continue to shape and strengthen Destructor's sound.

Tales of Glory is another excellent release from a band that has endured a great deal and is still here delivering the goods. Many things could be said about Destructor, but the one word that sums it all up is sincerity. These songs clearly come from the heart. The band isn't doing this to get rich or become famous—they continue because they genuinely love the music, and you can feel that passion from the opening notes of "Tales of Glory" to the closing moments of "Victorious Warrior."

Mark Kadzielawa

David Klosinski – Glow (self-release)

Glow is the second album from David Klosinski, and it already shows tremendous growth. Instrumentally, he is just as strong as he was on his debut solo effort, Electric City, but here he demonstrates a remarkable level of musical maturity. He stretches himself in a variety of directions, and it all comes together seamlessly.

What separates this album from many other instrumental efforts is its feel. Klosinski creates a distinct mood for each track, which becomes the defining aspect of the listening experience. The beauty of “Gwiazda” balances the warmth and brightness of “North Sea Vacation.” Though entirely instrumental, the tracks feel vivid and cinematic, sparking the listener’s imagination.

As a multicultural artist, Klosinski blends influences from both East and West. The title track, “Glow,” is the most obvious example, but these elements are woven throughout the album. This fusion highlights his balance as a musician and his authenticity as an artist.

“Free in Memories” carries a nostalgic, melancholic tone, once again driven by its emotional feel. Meanwhile, “Firebird” introduces touches of boogie and even hints of southern rock. 

Despite the variety, the album remains cohesive, unfolding with a clear beginning, middle, and a gentle conclusion. In many ways, Glow feels like a personal narrative shared with the listener.

Overall, Glow captures David Klosinski as an emerging talent worth watching. It’s an excellent record from a musician who translates his experiences into evocative soundscapes—an example of natural artistry. Currently available only in digital format, it’s well worth exploring, with hopes for a future physical release.

Mark Kadzielawa

Bandcamp Link:

David Klosinski - Glow

Uli Jon Roth - The Arcada, St. Charles, IL 4/18/26 (words by Mark Kadzielawa, images by Edward Spinelli)

 

Uli Jon Roth always delivers a sensational show filled with spirituality, breathtaking music, and guitar work that leaves a lasting impression. This particular performance at The Arcada was divided into two sets, striking a compelling balance between ambition and accessibility—reflecting both Roth’s artistic vision and the passions that continue to drive him forward.

The first set featured Roth alone with his guitars and backing tracks, and it leaned heavily into his more ambitious side. The material demanded focused listening, rewarding the audience with depth and nuance. Roth moved seamlessly between Mozart interpretations, selections from his time with Scorpions, and his own orchestral compositions. The result was nothing short of beautiful, delivered with precision and emotion.

Roth truly stretched himself here, reaching remarkable heights. Pieces like “The Cry,” “Sky Overture,” and “Spirit of the Heart” stood out as absolute masterpieces, and experiencing them live was a rare treat. At several moments, his playing was so expressive that it brought tears to my eyes—a peaceful, almost transcendent response to the emotion coming from the stage.  The closing performance of “The Sails of Charon” was especially powerful, elevated by an expanded arrangement that gave the piece even greater impact. The set was further enhanced by carefully chosen visuals displayed on screen, creating an immersive experience. Altogether, it felt like an unforgettable journey—rich with emotion, evocative imagery, and storytelling through guitar.

The second set featured exclusively Scorpions material from the era when Roth was still in the band. At the beginning of this review, this portion was described as more commercial—but if you know Uli Jon Roth, you know he never takes the easy route. While the material may seem more accessible compared to the first set, Roth infused each track with ambition and depth.

Roth was backed by an exceptional band. David Klosinski, on second guitar, proved to be a perfect counterpart. The understanding between the two players is subtle yet powerful, elevating every riff and lead break into something truly compelling. It’s no surprise Klosinski has remained alongside Roth for so long—he’s a fantastic player with a vivid musical imagination of his own.

Niklas Turmann added yet another dimension with his guitar work. At certain moments, the triple-guitar attack from Roth, Klosinski, and Turmann was simply breathtaking. Turmann also handled the vocals admirably, capturing the spirit of Klaus Meine in those classic Scorpions tracks.

The rhythm section was equally impressive. Barry Sparks delivered an energetic performance on bass while also contributing backing vocals. Jamie Little did an excellent job on drums, demonstrating sensitivity and the right feel for the material. His versatility and personal touch added nuance to the songs.

Rounding out the lineup was the mystical and mysterious Gwen Antti-Adams, who provided backing vocals, danced, and delivered a standout performance of “Yellow Raven.” With a band of this caliber, it’s no wonder everything on stage shone so brightly.

The main attraction of the second set was the performance of the Scorpions’ Virgin Killer and In Trance albums. Both are celebrating its 50th anniversary this year, it was a perfect fit for the “Pictures of Destiny” tour. Hearing those tracks live again was a thrilling experience, delivered with electrifying energy. “Polar Nights” stood out as an absolute highlight of the set, with Roth and the band truly outdoing themselves. Every note felt magical, creating a deeply spiritual experience for both the band and the audience.

Other featured tracks included “Sun in My Hand,” “We’ll Burn the Sky,” and another standout, “In Trance,” which showcased Turmann’s exceptional vocal delivery. The band concluded the set with “All Along the Watchtower,” adding a Hendrix-inspired touch that provided a powerful and fitting close.  Great energy flowed all night long here.

There is no doubt that Uli Jon Roth remains one of the most inventive guitarists in the world. His ability to channel emotion through his playing is a rare and remarkable gift that he continues to share with audiences across the globe. This is an experience that truly must be seen to be fully understood, appreciated, and, in some cases, believed. Once you witness it, it becomes impossible to resist—it’s simply addictive.

Mark Kadzielawa