OSIRIS

                                       OSIRIS

Neo-Prog

Bahrain

ЗАДЪЛЖИТЕЛНО ТРЯБВА ДА СЕ ЧУЕ!!

HISTORY:

From the Beginning to the First Album,

The original of the band are tied to the start of the musical career of Mohammed Al-Sadeqi (Jun 1956) and of Nabil Al-Sadeqi (1959), two brothers from the tiny Gulf island state of Bahrain.
They belonged to a musical family and their parents encouraged the brothers' musical tendencies. At the age of six, Nabil was asked by his father what he wanted to do with his life, Nabil answered the he wanted to become a drummer like Ringo STARR and his father went out and bought his son a drum kit. Both brothers were taught privately by a music teacher. At the age of eleven Mohammed had mastered guitar and Nabil could play drums by the age of eight.
Since childhood, Nabil and Mohammed had been exposed to a wide range of music, listening to the many disc of classical, jazz, local folk and rock music owned by their elder brothers and sisters. In the sixties they learned to love the BEATLES but gradually came round to buying records by other bands and following the scene in music magazines. Reading good reviews JETHRO TULL and YES encouraged the brothers to buy records by these bands and immediately fell in love with them.
Mohammed was by now at college and wanted to start a group to play the music he adored, Nabil although more of a jazz enthusiast, also wanted to play in the band. To this end, their parents bought more instruments, an Egmond electric guitar for Mohammed and a Pearl drum kit for Nabil.
In 1969, after a jam session with their elder sister Faequa (organ) and their cousin Mohammed HAYDEN (rhythm guitar/bass) the brothers decided to make this their first band, the four of them having studied music together as children. They called themselves WITCH and played music mixing funk, jazz and commercial rock, doing gigs for fun at parties. They didn't yet have the technique to play progressive rock and contented themselves with easy original compositions.
But in 1974 the band broke up when Mohamed left to study mechanical engineering at Housten in Texas. He did not abandon his musical studies however and devoted himself to theory and guitar technique, even winning a prize for his guitar work. Nabil then lived in London for a time studying aeronautical engineering, but also kept his musical hand in jamming during his stay, even managing to do some studio work.
The two brothers returned to Bahrain in 1980 and decided to form a progressive band playing their

own music; they opted for ;l classic guitar-bass-vocal- keyboard-drums line up. But musicians were

hard to find on a small island like Bahrain, far less ones of sufficient technique. Having saved up

plenty of money and deciding to give over their leisure time to setting up the band, the brothers put together the best equipment they could lay their hands on; Mohamed bought himself a Fender

Stratocaster guitar, an Ibanez, a Gibson Les Paul Standard, a Casio Midi, an acoustic guitar and good quality amps. Nabil bought himself several moogs including a micro-moog, a Yamaha DX7, Korg

keyboards, and an Ibanez bass guitar. Most of these were bought in Bahrain, except for the Mesa

Boogie amps and the moogs.

Nabil and Mohamed began rehearsing in the garage of their parents' home in Manama and received lots of friends and visitors interested in the idea of setting up Bahrain's first ever progressive rock band.

Small ads were placed to attract musicians. A few bassists were tried but without success, until Mohammed SHAFII (b.1961), a computer programmer and a friend of a friend, decided to try playing for the brothers himself, having helped out at numerous rehearsals. The search for a keyboardist proved longer (some six months) and much more difficult. One day, a friend phoned them to tell them of an impressive player he'd seen and a jam session was set up to try him out. This keyboardist, Sami AL-JAMEA (b. 1962) impressed Nabil and Mohamed who asked him to join immediately.

A few weeks later, Mohamed AMIN KOOHEJI (b.1955), another friend who wanted to join, came in on guitar, bass and vocals. They then took on a second keyboardist, Abdul RAZAK ARYAN (b.July 1959), a banker who had had piano lessons as a child and played in several local bands. Razak's arrival gave the band a greater harmonic depth and richness and a greater sonic diversity. He complemented Sami's solos on piano and mini- moogs/Fender rhodes with chords on polyphonic synthesisers and organ. They doubled up on harmonies playing Korg keyboards, micro-moogs and Korg organ. Mohammed SHAFII sang.

Fully satisfied with the lineup, the brothers began working out an original repertoire which would fuse

musical complexity, melodic richness and Arab culture- it was important for them to signal

Fully satisfied with the lineup, the brothers began working out an original repertoire which would fuse musical complexity, melodic richness and Arab culture- it was important for them to signal their origins in the music. They chose the name OSIRIS from Egyptian mythology not only for its sound but its references to Arab culture, youth and fertility.
Mohamed took on most of the composing duties, bringing themes to the band for collective development. Some themes, such as "Fantasy" were wholly composed by Mohamed, but Mohammed SHAFII and Nabil also composed some numbers, notably "Embers of a Flame". The band rehearsed these songs for two hours a day three times a week. Mohamed wrote the lyrics concerned with human feelings and life experience, including those of "Sailor of the Seas of Fate", about the ancient Bahrain culture of pearl-fishing which had made the island's name and had now all but completely disappeared.
OSIRIS were convinced that Mohammed could not play bass and sing simultaneously, and so they began looking for a solo vocalist that would also give their live performance some visual impact. Sami AL-JAMEA recommended Isa JANAHI whom he' had seen give some impressive performances with local bands. Isa was contacted, sat in on some rehearsals and, liking what he heard, joined the band. Beyond singing Isa could also play percussion and vibes.
The technique of the musicians and the wide musical palette at their disposal enabled OSIRIS to develop a sophisticated and refined symphonic music after the fashion of YES, CAMEL and JETHRO TULL, built on the skills of the musicians and on advanced melodic input with plenty of tempo changes and elaborate instrumentation.
OSIRIS made their live debut at the end of 1981 in the AI-ADEWIYA concert hall in Bahrain. Isa wore garishly- coloured clothes and capes and captivated the audience with his highly animated presence on stage. The group also used lasers, a light show and smoke, bombs, all deftly handled by friends of the band. Their show lasted between 90 minutes and two hours. This gig was immediately followed by two others.
The AL-SADEQI brothers had their hearts set on making an album, and selected seven songs from the twelve thus far composed to do just that. They booked the only studio in Bahrain, an eight-track affair by the name of Eagle Recording. They had only modest means and no manager to find them a record deal outside the republic, but they negoiated a deal with the owner of the studio to record and mix the album in three days! Working six hours a day (after intensive prepration) the band succeeded. Two recorded pieces had to be left aside as time limitations prevented mixing.
The sessions took place in 1982 under the eye of sound engineer Graham CARTER-DIMMOCK. The band were backed up by a temporary member, Nader RAFII on congas who had played a couple of concerts with the band. Mohal11Ined AMIN played a small part in the album, playing bass on 'Fantasy', rhythm guitar on two songs and percussion on "Sailors on the Seas of Fate". The unnamed album had a sleeve carrying an illustration of the god Osiris, from a design by a local painter, Ebrahim SHARIF and inspired by a wall painting in an Egyptian temple.
Debbie MOSS, a young English girl of 19 and the daughter of an executive of the Bahrain national airline, had become the girlfriend of one of the band and had been to see them on stage. She was a keyboard player with a sound classical training and jammed with the band, showing great virtuosity in so doing. The band included her name on the cover as a sign of friendship and encouragement, but as Sami was planning to leave in order to take up his studies abroad, OSIRIS decided to invite Debbie to become a full-time member of the band. After a visit by Nabil, the band found a company in the Philippines that pressed 1000 copies of the album (pressing costs being very low in that country). The same company also handled distribution, which included a promotional single for radio use featuring the titles "Fantasy" and "Embers of a Flame". "Fantasy" became one of the top ten favorite songs on Bahrain radio.
The album came out in the end of 1983 and the band sold it at concerts and at record shops in Bahrain, selling 1000 units at home and 2000 in the Philippines! The band considered the album as little more than a promotional tool and had their sights set on making more.
The music of OSIRIS mixes Anglo-Saxon progressive influences (CAMEL, GENESIS, JETHRO TOLL) with Arabic music, notably the interplay of percussion lines and succeeds in being a genuine musical osmosis between two cultures.


From the First to the Second Album

The first album sold well; 1000 copies were sold in Bahrain, despite the smallness of the market there – Bahrain is a country of just 500,000 inhabitants. In addition, 2000 copies were sold in the Philippines.


Bahrain had been independent since 1973, and was a former British protectorate. Composed of 33 islands, it was much influenced by English culture, and most people spoke English. Having said that, Bahrain possessed its own culture and history and was one of the most ancient civilizations in the region.

OSIRIS were the first Bahrain band to issue an album and although their pro-rock orientation made it difficult for them to gain a large public reputation quickly, Mohamed and Nabil were encouraged by early reactions to continue their musical adventure. But in 1983 Sami AL-JAMEA and Mohammed SHAFII quit the band to pursue their studies overseas. Mohammed AMIN also decided to take up a normal professional career and left the band. As expected, Debbie MOSS then joined the band as Sami’s replacement. Like the rest of the band, she had a daily job of work and would meet with them during the evenings to rehearse and work at new compositions.

Debbie, a big fan of progressive rock and jazz, adapted quickly to the music and to the array of keyboards she was expected to use. A few weeks after she joined, Khalid ALMUTAWA a student and friend of the band, joined too as bassist after numerous unsatisfactory auditions with other musicians who lacked sufficient technique. He had been approached by the band before but had always turned them down for ‘personal reasons’. This time, after the departure of Mohammed, he accepted. A student of classical guitar from the age of 10, Khalid had won a reputation as a talented bassist and played in a local pop group, composing his own basslines and displaying splendid technique.

OSIRIS rehearsed with this new lineup and gave its first concerts in its new guise on 16 and 17 February 1983 at the theatre of the Al-Adawiyah school in Gudabiya in front of 800 enthusiastic fans. New compositions of Mohamed AL-SADEQI’s such as “Myths and Legends” were played live for the first time here. But after the concert, the band decided to stick to composition with the aim of bringing out another album. These new numbers were worked out according to the band’s established practise. Mohamed supplying the melodies and riffs which were then completely reworked and developed collectively by the musicians. Some themes came about in the course of

Lacking funds, the band couldn’t issue another album in ’83, but in August they gave two concerts at Bahrain’s Hotel Diplomat and at the start of the following year Bahrain Television informed the band they wanted to do a TV special on them, as OSIRIS were clearly Bahrain’s most popular band and, furthermore, had an entirely self-written repertoire. And so, in the course of a charity event on February 12 and 13 1984, OSIRIS gave two gigs at the Hotel Diplomat which were filmed by TV crews for the broadcast. In May 1984 they gave a concert with Khaled AL TURK, a young student of 21 who then replaced Khalid ALMUTAWA, who was out of the country at the time.

OSIRIS could now afford to put on a lavish stage show with smoke, lasers, dry ice and a sophisticated lighting rig. Additionally, Isa’s charismatic presence was a powerful visual feature. Without a manager, the group had to organise these concerts themselves, renting halls, putting up posters and contacting the press – not to mention seeking sponsorship. The sound was handled by friends of the band, owners of a local music shop called ‘Marshall Music Store’ where the group hired their equipment.

By the spring of 1984 the band once again were planning their second album and began getting funds together. But Isa was leaving Bahrain for a job in Qatar, although he agreed to stay and finish the album. In July the band reserved the Eagle Studios where they had recorded their first album and which was now equipped with 16-track recording facilities. Under the eye of recording engineer Graham CARTER-DIMMOCK, OSIRIS recorded the six titles earmarked for their album in just five days. The rhythm track for a seventh, “The Power” was laid down also, but due to lack of time, the whole recording was never finished. All titles were elaborated by the group but Mohamed was sole lyric-writer. Debbie was not familiar with all the material and played moog and piano on “Myths and Legends”, “Wasted” and in certain passages of other songs. Abdul playing the solos on these titles. Mohammed SHAFII was unavailable at the time yet, while spending his holidays in Bahrain he sat in on the session playing his original bass parts. He also played rhythm guitar on the album.

The first three days were reserved for the recording of the rhythm parts and the final two days were given over to recording solos, vocals and mixing. Despite the rush, OSIRIS managed to release a high-quality album, despite the complexity of the music. Through long hours of sessions they’d run through their music dozens of time to get the perfect result. The concentration level was high and the takes were many, with each musician wanting the best sound for his instrument.

At this time, Debbie’s father, who was staying in Great Britain, was surprised to find thirty copies of OSIRIS’ first album in the possession of a record shop in Manchester. The band had no idea how they’d ended up there but it did mean that the album had some kind of distribution in the UK.

On August 9 and 10 1984, OSIRIS played two more gigs at the Hotel Diplomat. The house was full on the second evening, OSIRIS having by now become well-known in Bahrain-the audience ranged from children of 10 to adults of 50. Mohammed SHAFII rejoined these concerts. Khalid was still on bass, so Mohammmed became multi-instrumentalist, playing flute, keyboards, vibes and also singing. After these gigs, Isa left for Qatar and Debbie some time later for England. Now Mohamed shared the vocal duties with Mohammed SHAFII. While seeking replacements, Mohamed and Nabil also chipped in some numbers.

The big auditoria of Bahrain’s hotels – used by visiting international acts – were useful for OSIRIS’ extravagant live shows. The band had built up a considerable artillery of equipment and needed all the space they could get.

Bahrain had no pressing plant and OSIRIS’second album had to be pressed at a WEA factory in the Philippines. This meant inevitable delays. The master tape was finally sent in autumn 1984, the band having vacillated between using “Myths and Legends” and “Edge of the World” as the album opener. Ebrahim SHARIFF once again designed the sleeve, showing a character climbing stairs carved in a mountain and going under a stone arch, while another figure, dressed in white like the first one, points him out. The album, which had been financed from start to finish by the AL-SADEQI brothers, finally appeared in January 1985, enjoying massive success in Bahrain and quickly running into re-pressings to meet demand. Eventually Bahrain sales reached 2,000. A single, “Myths and Legends” was cut and sent to local radio stations where it received frequent airplay.

On February 25 and 26 1985, OSIRIS presented at the Gulf Hotel a new stage-show centered around their forthcoming concept-album, to be entitled “Tales of the Divers”. To replace Debbie, the band had auditioned and recruited a young student name Filipino TIERRA. The concept was the life and culture of Bahrain’s pearl-fishers, who had flourished before the discovery of oil and the industrialization of the islands.

The music told all aspects of the pearl fishers’ lives; preparation at dawn, departure for the sea and arrival at the fishing grounds. One song depicted the fishermen discussing their adventures and another one a fisherman describing the sea as a friend. This song was sung in Arabic. “The Storm” illustrated a violent tempest coming upon and surprising the fishermen, followed by a piece depicting the anxious wait of the fishermen’s’ wives for news of their husbands. The last dive and the preparations for the voyage home came next, and the show ended with the return of the fishermen to their welcoming families, with the final tableau showing a fisherman proudly displaying the pearl he had taken from the sea as fine reward for his long day’s labours.

The whole set took 50 minutes to perform and OSIRIS were accompanied by the folk group AL WEHDA TRADITIONAL YOUTH BAND who played on certain titles, contributing traditional rhythms on percussion instruments. The combination of the folk musicians and the rock musicians was considered a great success and was a perfect harmonization of electric and traditional music. During the show, OSIRIS used a large video screen to show images of the sea and of the fishermen’s’ daily lives. These shows would then conclude with a selection of songs from their first album and also by new compositions.

With their second album, OSIRIS confirm their brilliance with an unusual and lyrical – yet also highly technical – progressive rock music based on themes full of tempo changes and complex counter pointing of keyboard and guitar lines. The refined and nuanced compositions place OSIRIS in the direct line of groups and artists producing progressive rock of comparable elegance, such as YES, CAMEL and Steve HAKETT .

From ‘Myths and Legends” to “Reflections”

Sometime after the release of their second album, Osiris received an offer from a concert organizer in 1986 to tour the Philippines. But the offer excluded travel tickets, accommodation fees and transport of almost 4.5 tons of equipment, which meant the band had to raise enough money to cover these expenses. As the band found no sponsors, it had to forego the idea. Around that time, the band’s keyboardist Debbie had to quit the band for England to join her family, after her father ended his work contract with Gulf Air in Bahrain.

The popularity of the band was so huge in Bahrain that the local television network arranged a special interview with brothers Mohammad and Nabil, the founding members of the band. The interview included video clips from five songs that the band had played live in their last concert at the Diplomat hotel. These also featured additional tracks such as ‘Dreams of a jester,' and ‘Wasted.'

Shortly after, vocalist Isa left the band after their first concert and was replaced with Mohammad Shafii, who also played keyboards, and who had just returned from abroad. With this addition, the line-up was: Mohammad Alsadeqi, guitars and vocals; Nabil Alsadeqi, drums; Abdul-razzaq Aryan, keyboards; Khalid Al-Mutawwa, bass and acoustic guitar. This proved to be a nice combination of musicians that blended together well and the band performed the same tracks, this time without Isa.

To complete the line-up for their next show however, the band needed a replacement for Debbie on keyboards. They found Howard Tierra; a young foreign student who performed with them live at the Gulf Hotel. The show was spectacular using special visual effects, combined with lighting, smoke machines and background thematic video clips to support the music.

The band then started work on their third album, but due to financial difficulties as mentioned earlier, they could not release it.

Osiris played a few concerts in 86 and 87 because of the lack of time, venue and funds. Yet, they refused to sell out and play commercial music to make ends meet. Rather they concentrated their efforts on limiting their performances to please appreciative music listeners, even if their number was limited. Making money was never the objective of Osiris, as creating good music and pleasing connoisseurs of their genre of music was important to them.

After recruiting the help of different temporary keyboardists, In 1987, the band found Nadir Sharif, who thought along the same lines of the other members of Osiris and shared with them the same concepts. Nader had studied music at the music academy in Bahrain and had previously played with commercial bands. During this period, the band arranged their new compositions incorporating Nader’s talents on keyboards. Around this time also, Khalid Al-mutawwa left Osiris to pursue other interests. He was immediately replaced by Ali Khonji, a young bass guitarist who had performed with several rock and heavy metal bands on the island.

In 1988, Sobah, the younger brother of founder members Mohammad and Nabil, returned from the United States after completing his studies their. While at the university in The U.S, Sobah played with some bands and had studied playing guitar and music theory. Upon his return home, he formed Requiem: a hard rock band playing its own music and covering some well-known tracks. Despite his somewhat different taste in music that veered more towards bands like Metallica and Pearl Jam, Sobah joined his brothers to become Osiris’s lead vocalist and second guitarist. The band then thought of releasing their third album. To do so, they decided to cut down on expenses by foregoing help from recording studios. They also felt that if they controlled the way the music sounded, it would provide the right atmosphere to enhance the recording.
Consequently in 1989, the band recorded their third album using 8-track recording at home. At first, they tried to release it on vinyl as an LP, but could not afford it. So they released a few hundred copies on audio cassettes for promotional purposes. The feedback was great and their fans warmly welcomed their new release, which bore the mark of professionalism. This was encouraging to Osiris, as the album was yet to be released officially. Unfortunately, due to their private commitments and various other reasons, including the non availability of record producing companies locally which meant pressing them abroad, it did not materialize. This did not deter them however as they continued to record new tracks in their own studio for release in the future.

Answers to various questions:

Sobah joined Osiris in early 1988 after returning from his studies in the United States.

Ali Khonji plays the bass guitar in place of Khalid Al-mutawwa. Ali learnt how to play the guitar under the tutorship of Mohamed Alsadeqi a few years before joining the band. He then played the bass guitar with various local rock groups before joining Osiris in early 1988. Ali was born in 1970 and has a degree in accounting. He is also currently employed by a business firm. Ali is a solid bass guitarist who added freshness to Osiris. His style of playing blended well with the band’s music and provided punch in their live performances.
Sami was selected when Osiris was originally formed. He studied music in the Bahrain Classic Institute of Music for a number of years before joining Osiris. Although he left the band around 1984 to continue his college studies in the United States, he did continue working with the band upon his return although he never performed in there live shows, restricting his contribution to additional keyboard parts in the study recordings.
Between the second and third albums, Osiris had composed well over twenty musical compositions; however, a number of these were not recorded. Of those recorded, seven tracks ( including a bonus track) appear on the third album while others are in the final stages of studio works and mixing for future release. These include Osiris’s masterpiece “Tales Of The Divers” which is a concept album recorded partially live and is based on tradional Bahraini music. Titles for the tracks are usually chosen based either on the lyrics, or the impressionism of the composition itself. The tracks on the albums are chosen based on their lengths and when they were composed. This is important as the style of the bands music keeps on changing.
Osiris’s style of music and its complexity made it necessary that two keyboards be utilized as there were so many musical overlays and it would have been very difficult to reproduce the music on stage. For that reason Sami was utilized mostly for piano and synthesizer solo parts, and A.Razak for the organ and other background keyboard parts including harmonies.
Most of the song are basically composed by Mohamed Al Sadeqi, although all the members collaborate in the final version. Mohamed also basically writes the lyrics for just about all of the songs.
The title of the album refers to our pasts and various memories, as we reflect on our past experiences, loves, pains…etc. This is evident in the lyrics of the title track “reflections”. The lyrics of the other tracks all refer to different experiences in our past.
The sleeve was designed by one of our friends (her name is mentioned before on the sleeve). It portrays the dreams and imaginations of a person thinking of all his past.
The album was not officially released. Only 500 copies on cassette were released for promotional purposes to radio stations and selected outlets. This was done only locally in Bahrain. There has been a lot of demand for the album, but due to various reasons the band never got to releasing it.
Each Osiris stage show is unique. The band members do use some individual costumes and a lot of special effects which include lasers as well as a large number of stage lights. A side screen is also set up in some of the shows which projects a special animated film in the background for some of the songs
The last show included all of the tracks from the Reflections album, plus tracks from the previous albums such as Fantasy, Myths and legends and some unreleased tracks. Three or four concerts were performed since then.
The album was made mainly because there is a demand for it, in addition to the fact that Osiris had many unreleased tracks. The band also wanted to release a new album personally.
The tracks were recorded over a two year period off and on and released in 1991. It was recorded and produced by Osiris. It was not released officially in any country outside of Bahrain. 500 copies were released locally for promotional purposes only. There was heavy demand based on the radio, mail and various responses, but additional copies for official release were never made due to financial and other reasons.
The general idea for the sleeve was selected by Mohamed Alsadeqi based on some paintings he saw by , who is a friend. The artist was then given full freedom to create her own ideas of which one was chosen by Osiris. Ebrahim Sharif, another friend of the band, was then given the task of doing the final layout and titling.
Actually, the band members always had good musical technique. Probably the musical development between the first and third album can be attributed to better equipment, and more time to record the material. Furthermore, the band spent more time on composing the tracks which improved arrangement. Anyhow, in composing, Osiris never followed any specific formula, thus explaining the diversity in their songs. It must also be said that recording the third album ourselves gave Osiris more time to better produce the songs even though the recording equipment was smaller and of a lesser quality. One thing is for sure, and that is that Osiris never gave up their ideals and musical beliefs.
The recording of this album was done on an 8 track home recording Fostex system complete with auxiliaries. This was located in the home of Nabil Alsadeqi. The recording equipment was not complex and not quite what we needed but was enough to serve the purpose. They were bought by Mohamed and Nabil over a period. We were happy with the recording considering the limited recording equipment we had available as well as the limited tracks, since this sort of music needs more recording tracks due to it’s complexity. Mixing took around six months due to various commitments of the band members. So it had to be done on and off.

Musician:

Mohammed Al-Sadeqi

Electric Guitars, Vocals

Jun, 12th 1956

WITCH 1969-1973

Nabil Al-Sadeqi

Drums, Percussions

Nov, 7th 1959

WITCH 1969-1973

A.Razak Aryan

Organ, other keyboard

Jul, 18th 1959

MARSHALL 1974-1975

VOO DOO WIEMS 1976-1977

SHARKS 1979-1981

Martin Hughes

Lead Vocals, Flutes, Acoustic Guitars

Nov, 11th 1962

Folk band in Ireland 1978

SELECT TWO 1982-1988 (Ireland)

Mansouri Mention 1990-1999

Khalid Al-Shamlan

Piano, Other Keyboards and backup Vocal

Sep, 10th 1977

Local Bahraini Band 1992-1995

LOS SHIE HANOES 1995-1998

LATIN TASS EN SAMBLES 1999

Hadi Saeed

Bass Guitar, Bass Padle

Sep, 13th 1969

HAMMERS 1984-1997

Discography:

Osiris (1982)

Tracks Listing:

1. Fantasy (6:00)
2. Sailor on the Seas of Fate (11:46)
3. Struggle to survive (5:01)
4. Atmun (5:11)
5. Embers of a Flame (5:00)
6. A Story of Love (6:15)
7. Paradox in A Major (4:06)
8. Look Before You Leap (bonus track) (4:13)

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Myths and Legends (1984)

Songs / Tracks Listing
1. Myths And Legends (5:54)
2. Free Like The Wind (7:45)
3. Voyage (7:04)
4. Dreams Of A Jester (6:53)
5. Wasted (8:40)
6. Who Remembers (5:01)
7. The Power (3:33)
Total Time: 44:50
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Reflections (1989)

Tracklist:
1. Shades Of Gray (9:13)
2. Lost And Found (5:51)
3. The Circle (7:05)
4. In The Corner (4:53)
5. The Prisoner (9:06)
6. Fire And Ice (5:46)
7. Reflections (5:25)
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Beyond Control - Live (1991)

Tracks Listing:

1. "Tales of the Drivers" Medley (9:50) 
2. Reflections (5:52) 
3. Until we meet (7:17) 
4. Wasted (8:13) 
5. Ones upon a time (5:36) 
6. Bird of Prey (5:40) 
7. Lost and Found (5:57) 
8. Fantasy (5:20)

Total Time: 53:21

"Visions From the Past"(2006)

Tracks Listing

1. As We Begin (2:25)
2. A New Day (2:19)
3. Verse One - Days Gone By (1:27)
4. I Remember (1:37)
5. Is It Time (5:45)
6. Verse Two - Winds Of Change (1:35)
7. The Memory Will Still Remain (6:21)
8. Verse Three - Hope (1:12)
9. We Will Stop For No-One (6:38)
10. Verse Four - Leave Me With My Memories (1:23)
11. Life's An Endless Dream (7:01)
12. Finally (I. Mayhem/II. Visions From The Past) (11:55)
Total Time: 50:38
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"Tales of the divers"( 2010)

Tracklist:
01 - Set the Sails
02 - The Deep
03 - Salute - The Sea My Enemy and My Friend
04 - It Is Always Hard to Say Goodbye - It's a Hard Life
05 - The Lull Before the Storm
06 - The Storm
07 - The Quiet Horizon
08 - We Wait
09 - Homeward Bound Once Again
10 - Waves
11 - Apprehension
12 - Home at Last


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