This rises up almost trippier than the original in some ways. Yet there is a modern edge to it as it begins to grow. When the guitar drives in, it gets more in line with the sound of the original. Still, there are some different bass elements and other things lending modern angles.  The voice has a more modern take, too. When they fire out into the smoking hot section from there, this is more faithful, but still a little fresh. They really do justice to it. There is a cool little space thing at the end that is completely different than the original. This piece features Jyrki 69, Geoff Downes, Steve Stevens, Bootsy Collins and Carmine Appice.

The lineup on this track is James LaBrie, Martin Barre, Derek Sherinian and Alan Davey. As much as I love the original Pink Floyd version of this song, the more purely prog rock arrangement delivered here is positively magical. I'm not saying that it's better than the original, but it is certainly its equal. The intricacies and beauty really shine here.    While this is a big change, it's also recognizable. I always say that if you are going to cover a song, you should make it your own. They accomplished that here and did it with so much style.

I dig the spacey, psychedelic edge that's brought to this one. It's not as much of a reinvention as the last couple were, but it does have some suitable variations. This is classy. The musicians here are Mark Stein, Helios Creed, Bob Daisley and Rat Scabies.

They really play up the bluesy, jazzy elements here. It's not a huge change, but this groove is so strong. The guitar on this is so much fun. Then again, the whole song exudes that quality. The lineup on this one is Graham Bonnet, Chris Poland, Rick Wakeman, Joe Bouchard and Dave Lombardo.

This is the work of Terry Reid and Brian Auger. The one track that I usually skip on the original album, that's largely because of the dog wailing. I was hoping they'd leave that off of this version, but they didn't. Instead they leaned even harder on the old-time blues concepts and the dog sound is even more annoying. I think I'll be skipping this version, too. If you like the original, you'll probably find this more to your tastes, but it definitely doesn't work for me.   

This is another rendition that I think stands pretty level with the Pink Floyd version. The "sonar" beeps of the original are iconic, and they kept those in place. Synthesizer washes over creating atmosphere as it continues to build gradually. The piece feels at once faithful and fresh as it evolves. The vocals seem so similar to the original that it's scary. While this manages to stay reasonably close to the sound of the original a lot of the time, it gets positively freaky on the spaced out section. This is such an epic and powerful journey, as the original was. I think they really captured the "magic in a bottle" of the Floyd version, while also updating it and taking some chances with it at times. The musicians responsible for this winner are Frank Dimino, Dweezil Zappa, Jordan Rudess, David J  and Pat Mastelotto.

In some ways the introduction is pretty much in line with the original version. That said the spoken voice is further up in the mix and much easier to hear and understand. As we get into the “Breathe” part of the song, some pedal steel guitar lends some intriguing blue-grass leanings. The vocals are just about perfect, and I absolutely love the musical arrangement. It’s faithful yet fresh. The lineup on this track is John Giblin, Alan White, Jeff "Skunk" Baxter*, Tony Kaye, Adrian Belew and Malcolm McDowell. 

This instrumental features the keyboards of Larry Fast along with Alan White’s percussion. It’s really close to the original version.

The musicians on this track are: C.C. White, Michael Sherwood, Colin Moulding, Jay Schellen, David Sancious, Alan White, Robby Krieger, Gary Green and Billy Sherwood. The opening on this one stays fairly faithful, but the sound just seems darker and more demanding. The backing vocals are absolutely spot-on. The lead vocals on the verses work well, but aren’t quite as situated in “nailed it” territory. Overall this thing is quite effective, landing closer to the faithful rather than altered side of the equation.

I have to admit that this is the one song on the original album that I can’t take. That’s because of the vocals on the number. The vocals on this version are better, but man when they hit the ceiling, it’s almost painful. This one is still the weak point of the set for me, but not as big a problem as the original. I really love the piano and some of the other textures here. This is somewhat faithful, while also bringing fresh angles to bear. This cut features Billy Sherwood, Jay Schellen, Rick Wakeman, Steve Howe and C.C. White.

The musicians on this song are Tony Levin, Bill Bruford, Billy Sherwood, Edgar Winter and Tommy Shaw. The groove on this feels a little different than the original. That’s not necessarily a bad thing, it just requires a little headspace adjustment. Beyond that, this feels a little more stark and gritty. It really rocks and manages to be both faithful and experimental. It does lean more toward the fresh interpretation side of things, though. I really love the saxophone work later on this and how jazzy cool it gets as it develops.

I really love this cut so much. I mean, the original is magic. This one manages to capture that same vibe and charm, while also updating and refreshing it. I don’t think it’s possible to top the original, but this comes very close to challenging that assumption. The lineup here is Michael Sherwood, Jimmy Haslip, Pat Mastelotto, Bob Kulick, Dweezil Zappa, Tony Kaye, Scotty Page and John Wetton.

Tony Franklin, Aynsley Dunbar, Robben Ford, Steve Porcaro and Billy Sherwood are the musicians here. This really has a fresh, modern sound to it, while preserving much of the original tune. It paints some serious instrumental magic along it’s ride. This instrumental is absolutely on fire.

They do a pretty faithful take on this as it gets underway. While there are some fresh vibes here, overall it really feels a lot like the version on the original album. The lineup for this song is Billy Sherwood, Michael Sherwood, Del Palmer, Vinnie Colaiuta, Geoff Downes, Robby Krieger and Colin Moulding.

Featuring John Wetton, Vinnie Colaiuta, Peter Banks, Tony Kaye, Billy Sherwood and C.C. White, this piece that is essentially a continuation, resolution of the previous one works really well. Malcolm McDowell’s voice at the end really has a lot of charm to it. The arrangement and performance of the track leans on the faithful side of the equation.

This original song really does have plenty of Pink Floyd like vibes. It fits well with the rest of the album. The lineup here is Tony Kaye, Robbie Krieger and Billy Sherwood,

The lineup on the opening epic is Geoff Tate (vocals), Steve Hackett (guitar), Billy Sheehan (bass), Mel Collins (flute and saxophone), Geoff Downes (keyboards) and Ian Paice (drums). The opening mellow movement gains something with the addition of flute. As it kicks into the harder rocking section later there is a bit of extra meat on the guitar sound at times. I'm generally a big fan of Geoff Tate (he is one of my favorite singers), but I'm not crazy about his sound on this tune. The song works well, but in some degree that's in spite of him. He does have some moments where his vocals work better here, though. I think maybe his voice would have been better suited to "Have a Cigar."

The arrangement here features vocals (Todd Rundgren), mini-moog (Rick Wakeman) and bass (Tony Levin). The dark and bleak tone of this number is preserved quite well. It feels fresh and yet faithful to the original at the same time. In some ways this feels more faithful to the original. Wakeman really brings something new to the table at times, though. The soloing late in the track is really trademark Wakeman.

This time around the lineup is James LaBrie (vocals), Steve Stevens (guitar), Patrick Moraz (keyboards), Rat Scabies (drums) and Jah Wobble (bass). The guitar and organ mix at the start of this is so tasty. The song seems faithful, but also updated as it opens and moves outward. LaBrie's vocals are so strong on this. He really nails it while also making it his own. This is definitely one of the highlights of the set. Everything about this is just about perfect. It's the one song here that rivals the original for me.

Starting just as you would expect, this expands and modernizes the sound as it goes. It's quite strong, but perhaps not as strong in the vocal department as some of the others are. Still, it works better than some here do. The lineup here includes Rik Emmett (vocals), Joe Satriani (guitar), Edgar Froese (keyboards and synthesizers) and Carmine Appice (drums). David Ellefson is the bass player on this song. Given developments since the release of this album in March have made that a bit of an unfortunate thing. However, one could not expect anyone to have known about that in advance, and it doesn't change the performance.

Rod Argent is the singer on this number while Steve Hillage handles the guitar. The rhythm section is provided by Ian Paice on drums and the funk king Bootsy Collins on bass. Some weirdness brings this into being. As it starts to build outward I'm reminded a bit of the Meddle album from Floyd. Eventually it starts to more closely resemble the source material. I dig some of the different flavors we hear on this number. The piece feels at once faithful and yet also expansive and exploratory. The funky bass work later is so cool.