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Jon Symon’s Warlock Lady Macbeth Review by Gary Hill You know, the very concept of adapting Shakespeare to a concept album is very "prog rock" in itself. This definitely belongs there musically, too, though. This album from 1983 is seeing its very first CD release here. I have to say that I for one am glad it's been released so that I could hear it. It's theatrical, artistic and dramatic. It's also just plain entertaining. This review is available in book (paperback and hardcover) form in Music Street Journal: 2023 Volume 1. More information and purchase links can be found at: garyhillauthor.com/Music-Street-Journal-2023.

Track by Track Review

Eyes of the Witch Dramatic proggy sounds serve as the background for a theatrical vocal introduction. The number drives out from there to a hard rocking prog jam. Eventually it turns to more mainstream melodic prog. Sung vocals come over the top. It reaches a peak, and then a new jam ensues from there.

Spirits of Hell There is more of a bouncy vibe here. It's got some keyboards over the top. I'm reminded of the reggae-influenced period of Rush to some degree. This number is more mainstream rock and less theatrical. It's still got plenty of AOR prog in the mix, though.

Forever and a Day Keyboards bring this one into being. The first vocals come over the top of that mellower, keyboard based arrangement. It turns more toward rocking prog zones beyond that point, but it's a bit more mainstream rock than pure progressive. I really dig the expressive guitar soloing on the tune. It turns back toward the kind of thing that started it to end.

Spells Weird electronics start this. The cut works out from there to classy, bouncy rocking zones. It's a fun tune that's both theatrical and playfully proggy. It feels a little like something Rick Wakeman might do.

Devil’s Daughter While this has a prominent keyboard approach. It also gets into some guitar rocking territory. It's another killer tune.

Lady Macbeth With a saxophone in prominent position, this is a bouncy and quirky piece. It has a British musical theater aspect to it that doesn't work as well for me, but it's still fun. It also brings some variety.

Lady of the Night Synthesizer brings this number into the world with a driving prog concept. It drops to a mellower treatment for the first vocals to enter. The song drives upward at times, but remains largely keyboard based throughout its run.

Banquet I love the modern prog take on the classical, old-world musical concepts on this song. I think it might be my favorite track on the disc. The guitar solo is so tasty.

Nightmare This closer does a great job of wrapping things up. It pulls symphonic prog, bouncy rocking modes, theatrical stuff and more that we've heard throughout into one cohesive and dramatic finale.

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