Ryo OKUMOTO: Coming Through CD sealed Digipak CD (Enhanced) + CD-ROM. Check the exclusive video showing this CD for sale. Spock´s Beard, Toto, Glenn Hughes formerly of Deep Purple, Simon Phillips etc. Check audio (whole album). 20 page booklet, 4 page promotional booklet, cardboard slipcase


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Check the exclusive video showing this CD for sale

Check the exclusive video showing this CD for sale

Keyboardist Ryo Okumoto is best known for his tenure in Spock’s Beard. His career includes performances with artists like Peabo Bryson, Phil Collins, Aretha Franklin, Kitaro, and of course the various pet projects of Spock’s Beard members.
He is also a current member of the ProgJect supergroup.

Check audio:   https://ryookumoto.bandcamp.com/album/coming-through

Ryo Okumoto  – Coming Through
Label: Inside Out Music  – IOMCD 110
Format: CD, Album
CD, Enhanced
Country: Germany
Released: 2002
Genre: Prog Rock

1-1 Godzilla Vs. King Ghidarah 7:18
1-2 The Father He Goes, The Father He Falls 5:43
1-3 Slipping Down 5:57
1-4 Highway Roller 4:04 Glenn Hughes (lead vocals)

1-5 Free Fall 4:04
1-6 Coming Through 5:21
1-7 Close Enough 18:57
1-8 The Imperial 5:19
2-1 The Making Of “”Coming Through”” (Video) 30:00

Ryo Okumoto – Coming Through
Label: Inside Out Music – IOMCD 110, Inside Out Music – IOMACD 2045, Inside Out Music – 6 93723 65332 7
Format: CD, Album
Country: Germany
Released: 2002
Genre: Rock
Style: Prog Rock
1-1 Godzilla Vs. King Ghidarah
Double Bass [Acoustic Bass] – Dave Carpenter
Drums – Simon Phillips
Music By – Ryo Okumoto
1-2 The Farther He Goes, The Farther He Falls
Bass – Dave Meros
Drums, Vocals – Nick D’Virgilio
Guitar [Solo] – Steve Lukather
Music By, Lyrics By – Nick D’Virgilio
Rhythm Guitar – Jun Sumida
1-3 Slipping Down
Alto Saxophone – Doug Webb
Backing Vocals – Michael Mishaw
Bass – Dave Meros
Drums – Nick D’Virgilio
Guitar – Jun Sumida
Lyrics By – Neal Morse
Music By – Ryo Okumoto
Tenor Saxophone – Andy Suzuki
Trumpet – D. Jon Papenbrook*
Vocals – Bobby Kimball
1-4 Highway Roller
Bass – Dave Meros
Composed By, Arranged By – Neal Morse, Ryo Okumoto
Drums – Sage Okumoto
Guitar – Steve Lukather
Lyrics By – Neal Morse
Vocals – Glenn Hughes
1-5 Free Fall
Bass – Dave Meros
Composed By, Arranged By – Ryo Okumoto
Drums – Nick D’Virgilio
Guitar – Alan Morse
1-6 Coming Through
Bass – Dave Meros
Drums – Simon Phillips
Guitar – Michael Landau
Lyrics By – Neal Morse
Music By – Ryo Okumoto
Vocals – Neal Morse
1-7 Close Enough
Backing Vocals – Linda Green Okumoto
Bass – Dave Meros
Drums – Simon Phillips
Guitar – Michael Landau
Guitar, Backing Vocals – Alan Morse
Music By – Ryo Okumoto
Music By, Lyrics By – Neal Morse
Vocals – Bobby Kimball
1-8 The Imperial
Composed By – Ryo Okumoto
2-1 The Making Of “Coming Through” (Video) 30:00
Phonographic Copyright ℗ – Inside Out Music
Copyright © – Inside Out Music
Licensed From – Mellotron Records
Distributed By – SPV GmbH – SPV 085-65332 CD
Recorded At – Coy Sound Studios
Recorded At – Stagg Street Studio
Mixed At – The Mouse House
Mastered At – Capitol Records
Published By – L.A. Express Music
Coordinator – Linda Green Okumoto
Graphic Design – Thomas Ewerhard
Keyboards, Producer, Arranged By, Engineer – Ryo Okumoto
Mastered By – Robert Vosgien
Mixed By – Rich Mouser
Recorded By, Engineer – Dean Burt, Simon Phillips
Released in a double slim jewel case with transparent double tray, 20 page booklet, 4 page promotional booklet from Inside Out Music and a cardboard slipcase

Recorded at Coy Sound Studio, Stagg Street Studio, Ryo’s Studio
Mixed at The Mouse House

Please note: although the booklet mentions Bobby Kimball as vocalist of the song “Coming Through”, it is clear that Neal Morse is actually the singer.

Ryo Okumoto is not only the keyboardist of the American prog rock formation Spock´s Beard, with whom he has regularly released highly praised albums since 1997, but is also known and respected as a studio and guest musician for international stars such as Natalie Cole, Phil Collins, Eric Clapton, Eric Burdon and Al Green as well as the legendary scene surrounding Toto (Bobby Kimball, Steve Lukather, Jeff Porcaro, Simon Phillips). Okumoto has also been producing his own solo albums, notably Solid Gold (1980) and Treasured Moments (1996/97) since 1980. The album consists of eight songs, three of which were composed by Ryo alone and four others which were written and composed together with his Spock´s Beard colleague, Neal Morse. The eighth track is by Spock´s Beard drummer Nick D´Virgilio. Amongst the vocalists who Ryo was able to win for the album, one finds not only Morse (who sings the title track, ´Coming Through`) and D´Virgilio, but also Glenn Hughes, formerly of Deep Purple (´Highway Roller`) and Toto´s Bobby Kimball (Slipping Down`) as well as Ryo´s wife Linda Green-Okumoto. The role of drummer was filled by Nick Virgilio, Simon Phillips and Okumoto’s eleven year old son, Sage. Bass players on the album include Dave Meros (Spock´s Beard / Eric Burdon) and Kenny Wild (Natalie Cole etc), whilst the guitar work was carried out by Steve Lukather, Michael Landau and Jun Sumida. On Coming Through, Okumoto’s aim was to re-arrange his best compositions of the last twenty years and to align them more with the directives laid down by the progressive rock which has so much become his musical passion. Apart from that, he wanted to work with his friend Neal Morse and bring to life several very special numbers. The most impressive of these is certainly the 19 minute long song, ´Close Enough


4 stars “Coming Through” is a 4th solo album recorded by prolific Japanese keyboardist Ryo Okumoto who is well known from American symphonic prog band Spock’s Beard. However his first 3 albums (all of them released in 1980) are very little known (probably pressed only in Japan), so “Coming Through” is often regarded as his “proper” debut. During recording of this album, Ryo already had 7 years long experience as a retro-keyboards player of “Spock’s Beard” (and soon after became the only player of this formation due to Neal Morse quitting) so it’s not a surprise that music on this disk have few similarities to that band’s output. But despite these similarities and guesting presence of many Spock’s Beard’s musicians, “Coming Through” shows us more diversity than you would expect. Ryo thankfully sticks to 70s vintage equipment as he used to do in SB, but he mix many different music genres untypical for SB’s records here and makes this album a real treasure for keyboards-based rock fans like me.Let’s check all of those 8 songs included on the album one by one:

1. “Godzilla vs. King Ghidarah” – first track is an instrumental which begins with mysterious sounding synthesizer waves. After a minute or so Dave Carpenter starts to play some unusual deep/low sounding acoustic bass lines which are surprisingly very audible (compared to most of modern music where bass is completely buried in the mix). But the real deal begins when Ryo “invites” us to listen to some truly gritty Hammond organ solos which are truly fantastic and always highly melodic & enjoyable (no silly meandering here). Besides, in the middle of the track Okumoto has great and relatively long jazzy piano section, which is followed by another mind-blowing organ solos and short bass spot. Near the end his Hammond starts to sound more and more wild and gritty along with some crazy effects in Emerson fashion. Overall it’s a really good jazz-rock instrumental which almost never lose its direction into some pointless free-jazz “torturing”.

2. “The Farther He Goes, the Farther He Falls” – this one is a completely different story. Thanks to more straightforward, song-based structure and presence of Spock’s Beard musicians: Dave Meros (bass) & Nick D’Virgilio (drums & vocals), this track reminds me of some simpler, hard rock compositions recorded by Spock’s Beard after Neal Morse left. It’s a very enjoyable track which can be described as mix of hard rock, heavy prog and some funky, bouncing rhythm. Ryo Okumoto plays another swirling organ solos here, while Steve Lukather (from Toto) shows some great technique in guitar one.

  • 3. “Slipping Down” – it’s another hard rock song but this time with Bobby Kimball (from Toto) on vocal duties (however D’Virgilio still plays drums and Meros plays bass here). I also like this one, it reminds me about Deep Purple Mark III output in fact but it’s slightly heavier and not so funky. Ryo’s Hammond organ solo is a top notch as always and Mero’s bass solo is also very remarkable. Backgroundish brass arrangements (Andy Suzuki / tenor saxophone, Doug Webb / alto saxophone, D. Jon Papenbrook / trumpet) also work surprisingly well.

4. “Highway Roller” – 3rd and last hard rock song on the album, this time with Glenn Hughes as a lead vocalist. As “Slipping Down” sounded a bit like Deep Purple Mark III, “Highway Roller” sounds completely like re-incarnation of that band. The same soulish, screamy vocalist, similar funky beat & Blackmore-like guitar presence (again in courtesy of Steve Lukather). However it sounds rather generic and uninspired for me. Maybe I just heard such kind of songs too many times in the past, or maybe I’m just not happy that Ryo seems to occupy only background stage with his trademark organ playin’ here. Remarkable fact is that drums in this song are held by Ryo’s son – Sage Okumoto.

5. “Free Fall” – Ryo comes back to high-energy jazz-rock from the beginning of this album! However this instrumental seems to a bit more disjointed and free-jazz inspired, it’s still a decent composition based on crazy Moog synthesizer rides, ripping guitar tones (played by another Spock’s Beard fellow – Alan Morse) & ultra-loud bass lines. Okumoto’s Hammond solo in the middle sounds like taken directly from Gerard’s album, it’s just as flashy & speed-up like Toshio Egawa’s performances. Japanese style of organ solos I suppose… It’s interesting that all SB members (except Neal Morse) are playin’ in this one, but overall “Free Fall” doesn’t resemblance almost any similarities to this band’s regular output.

6. “Coming Through” – it’s a very pleasant and up-lifting ballad sang by former Spock’s Beard leader – Neal Morse. As most of Morse’s soft songs (which he recorded quite many during his solo career) it doesn’t have too much in common with typical progressive rock staff and it’s more pop-oriented, but I really have nothing again one or two such songs on prog album. Okumoto plays mellow piano, mellotron and synthesizers while Michael Landau creates weeping sounds on his guitar here. Not bad at all. I’m convinced.

7. “Close Enough” – we had jazz-rock instrumentals and heavy prog/hard rockers and mellow ballad…and now’s coming the best composition of the album, truly symphonic, 19 minutes suite called “Close Enough”. The suite begins with enigmatic sound effects probably inspired by similar intro in Yes’ “Close to The Edge” classic, but after awhile our ears are attacked by ranging Hammond organ solos/riffs and this time we feel this fantastic “Tarkus”-like atmosphere (main organ riff is just unforgettable!!). Next “section” is more vocal oriented and however Bobby Kimball’s voice isn’t anything special for me, I have to admit that he doesn’t distract me from great experience of listening to this staff. About 7th minute of the epic, tempo slows down and we can enjoy more ballad-like style fragment which is driven by soft piano, waving Moog synth effects and Bobby’s vocals which seems to be more suitable for this kind of music. Then Ryo proceeds to rather slow-tempo but truly crazy organ solo where he “discovers” many unusual sounds which this instrument is capable to produce. Magic moments! After that tempo speeds-up again until about 12th minute when we have some kind of culminating instrumental crescendo & Kimball screams his head off, but after that Simon Phillips plays some brief drum solo which is followed by the best Hammond solo in Ryo Okumoto’s career! It’s just one, long and unstoppable organ madness with terrifying mean & gritty layers which punch your ears like stomping mammoth (oh man, what a bad allegory I wrote here ;-). To extend your musical orgasm this solo is culminated with this fantastic ripping riff from the beginning of the suite! Brilliant! In the end vocalist sings refrain few more times and composition ends as it started with some sort of reprise of synth, piano & mellotron effects from the beginning. Similarities to “Close to The Edge” are evident of course but it doesn’t change a thing that “Close Enough” is a real classic of symphonic progressive rock. You just need to hear it before you die :-). I can only add that guitar duties are share between Alan Morse & Michael Landau here, but it doesn’t really matter ’cause Okumoto’s organ chops & Moog runs are the real deal on it.

8. “The Imperial” – album finishes with very mellow and slightly over-long instrumental track where we can hear only Ryo, his piano, mellotron & couple of synthesizers. Quite nice ending and good relax after highly dynamic “Close Enough” epic.

To sum up: “Coming Through” is a real gem of 70s sounding keyboards-led prog-rock. Ryo shows a huge amount of diversity playing all kinds of music styles (jazz-rock, symphonic prog, hard rock, ballad, neo-classical) and instruments (organ, piano, mellotron, Moog, ARP & digital synthesizers), so I can recommend this album not only to Spock’s Beard’s fans but all fans of retro-prog with more modern feeling. And I don’t have to even stress that it’s must-have for all organ-led music maniacs out there too.

In fact XXI century brought us quite many good albums recorded by keyboardists’ who previously gained much experience playin’ in respectful prog-rock bands. So if you like this Okumoto’s output, I also recommend you to check such releases as: Don Airey “A Light in the Sky”, Lalo Huber “Lost in Kali Yuga” and Guy Leblanc’s “All The Rage”.

BTW if you’re Ryo Okumoto fan I suggest you to check also another symphonic/neo prog band featuring this musician, called “K2”.

Anyway the highlights of this album are: “Close Enough” & “Godzilla vs. King Ghidarah”, while “Free Fall” and “The Farther He Goes, the Farther He Falls” are pretty close to be classics too. But overall whole album is a classy offering.

4,5 stars  out of 5

Additional information

Weight 0.1 kg


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