Shadow Gallery: Legacy-2001.

Shadow Gallery:Proggressive Metal from United States.


Shadow GalleryFull-length1992
Carved in StoneFull-length1995
Room VFull-length2005
Prime CutsCompilation2007 
Digital GhostsFull-length2009


Carl Cadden-JamesBass, Vocals, Flute (1985-present)
Brendt AllmanGuitars (1985-present)
Gary WehrkampGuitars, Keyboards (1994-present)
See also: Amaran’s PlightStar One, ex-Warlord (live)
Joe NevoloDrums (1996-present)
See also: ex-Fragrant Experiment, Howe II, ex-Stephen Ross
Brian AshlandVocals (2008-present)
Ron EvansGuitars (1985-1990)
Chris InglesKeyboards, Piano (1985-2007)
Mike Baker (R.I.P. 2008)Vocals (1985-2008)
Jon CoonieDrums (1992-1993)
Kevin SofferaDrums (1994-1995)
See also: ex-Breaking Benjamin (live), ex-Seether (live)

One thought on “Shadow Gallery: Legacy-2001.

  1. sonataforever, March 27th, 2013

    That’s the easiest way for me to put this album. Coming from the wonderful Tyranny album and interluding towards Room V, Legacy is one of those albums where the sound is well- defined and the songs do not fill, but there is still something more that seems to be missing from Legacy that is found in Carved in Stone and Tyranny. The only way I can pinpoint it is that Legacy plays it very safe. Shadow Gallery knows the formula of success to writing songs and they do that here, but there is a kind of magic that is missing.

    I wanted to write a review for this album since nobody had yet and I did not want people to skip this album since nobody had anything to say about it. If you are into Shadow Gallery, definitely pick this album up. It is worth the time and money and your Shadow Gallery chain of melodies and songs will enhance in your musical mind. I would not begin someone new to Shadow Gallery with this album, but that does not mean that this is a bad album. On the contrary, it is very good effort except for missing a little bit of beauty and passion like Christmas Day or Crystalline Dream.

    Track for track, this album contains mainly lengthy songs (which makes sense for only 6 tracks), but the vocal harmonies do differentiate each song and give them a particular flavor. The opener will sound like Cliffhanger, since it is a continued effort that ties in more to the music identity of Cliffhanger, but still offers its own melodies and sounds. Tracks 2-5 are all safe and good with the good ol’ Shadow Gallery formula written all over it. The closer does get a little bland (for 34 minutes), but I still listen to it and find some enjoyment at different parts throughout it.

    Upon closer inspection, you will find a good blend of metal, prog rock (’70s), and operatic rock. Each track has its own purpose and approach that separates the listener’s experience from heavy to soft, rocking out to thoughtful bliss which is entirely fitting for Shadow Gallery’s sound. Cliffhanger Pt. 2 has a driving force that will hook you into the flow created by a strong keyboard front. Not all of Cliffhanger is keyboard driven when the vocals take over to gradually move into a full-on backing choir that is lighthearted and lifting, all which makes SG worth listening to since their choruses make them stand out from other prog metal outfits like Dream Theater, Vanden Plas, and Fates Warning. The latter half of the song is filled with cutting edge solos (guitar and keyboard) that are well-polished and original, courtesy of Brendt Allman.

    Destination Unknown is a thoughtful ballad turned power balled closer. Mike Baker really shines in this song and showcases his range while instilling peace upon the listener. One of SG’s forgotten ballads after Christmas Day, Don’t Ever Cry, Just Remember, and Comfort Me, but still one that holds the beauty within while avoiding some of the bland traps that some progressive/power acts fall into with ballads. Colors is where the older prog rock sound comes out, with a corky vocal string make up, but still enjoyable. Society of the Mind and Legacy both fall under the same category of stylized songwriting with a noticeably crunchy guitar and a memorable chorus. Plenty of time signature changes and alterations to sound to give the listener something new to enjoy without feeling like the song only has a chorus and no substance.

    First Light is 34+ minutes long (but cuts out short) and is a combination of SG vocal melodies filled with feeling and guitar melodies that go here and there, but do not maintain a home to come back to. Always First Light transcends from one melody to another with nothing repetitive in the song. This is a kind of doom that will lose many listeners by not maintaining any foreshadow, climax, or return of any kind of any melody or chorus.

    All in all, this is a safe album recommended primarily for the Shadow Gallery fans who have already jumped into Carved in Stone and Tyranny and still want more SG! Adding Shadow Gallery to any collection is not a bad thing. If you still are not sure whether you should give this album a shot, try listening to Society of the Mind and Destination Unknown to see if this is what you are looking for. Plenty of prog and metal in this effort from SG, but not a lot of new ideas that step outside of the formula.


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