Author: Bryan Morey

Public historian and museum professional working with historical artifacts. Music reviewer at Progarchy and Dutch Progressive Rock Page.

Happy Easter

On By Bryan MoreyIn progressive rock2 Comments

Happy Easter, Progarchy. Today is the day when Christians all over the world commemorate Jesus’ resurrection from the dead, conquering sin and death so that we might have eternal life, if we believe.

Check out this great video of Marillion and Dream Theater performing the song, “Easter,” way back in ’95. Enjoy.

Transatlantic’s “We All Need Some Light” is also fitting. Here’s a video from their KaLIVEoscope 2014 show. The song starts around the 4:00 minute mark, after a duet with Morse and Stolt.

DPRP Reviews the New Dream Theater

On By Bryan MoreyIn progressive rockLeave a comment

The Dutch Progressive Rock Page posted their latest batch of reviews, featuring a Round Table Review of Dream Theater’s The Astonishing. Yours truly contributed one of the four reviews. A bit surprised myself, mine was the only negative review. I’m glad some people are able to enjoy the album.

Check it out: http://www.dprp.net/reviews/2016-009.php

Also, Sunday, March 13 is the last day to fill out the DPRP 2015 poll of your favorite albums, artists, etc. There are 10 prog prize packs available for lucky winners – all that’s required is that you fill out the poll: http://www.dprp.net/dprpoll/2015/

Keep Your Politics Out of My Prog

On By Bryan MoreyIn progressive rock24 Comments

[This post is not an official Progarchy position on this topic. I speak only for myself, not for the writers of this great website – Bryan]

Musicians being vocal about their political leanings is nothing new, but it is still obnoxious. Rarely does much good come from a famous musician sharing their opinion about some political person, government, or law. Instead, it pisses people off. I don’t know why many continue to do it, because you are bound to anger or alienate somebody, especially when you have a lot of fans.

I’ve noticed that some of the worst in the prog world are British artists responding to American politics. The British people are great. I loved my time in England, and, honestly, if it weren’t for their politics, I would consider moving there permanently. However, as an American, I can truthfully say that I don’t want the musicians I listen to from other countries commenting on my country’s government, political system, elections, or traditions. We have guns here. Get over it. We aren’t socialist. Get over it. We might elect Donald Trump. GET OVER IT. And certainly don’t share on your social media about how stupid you think Americans are because of the way we do things. If you aren’t an American, then you likely have not made any effort to truly understand the reasoning behind our laws. All you’re doing by sharing your anti-American opinion is alienating some of your US fans. Maybe we will think twice before paying for your albums or buying a ticket to one of your shows.

Mike Portnoy understands the idea of keeping politics to yourself very well. I follow his social media fairly closely, and not once have I seen him moan about some political issue. He is a musician and an artist with a lot of fans, and he knows that whatever he says will likely upset some of them. By keeping his mouth shut altogether on those issues, everybody stays happy. Look at the flack Neil Peart got after that awful Rolling Stone interview. I know my opinion of the great drummer certainly went down (temporarily) after hearing him bash an ideology that I am favorable to. I’ve never had that happen with Mike Portnoy, because he keeps his political opinions private.

In summation, a word of advice to non-American prog musicians: many of your American fans are actually quite conservative and do not appreciate you bashing their beliefs or insulting them because they believe it. It is better to keep your mouth shut then it is to open it and tick people off. Prog already has a hard enough time gaining traction – please don’t make it worse. Thank you to all of the artists (a majority, likely) that follow this general rule. We love your music and your art. Thank you for not confusing it with divisive political garbage.

 

My Prog Book Library Grows

On By Bryan MoreyIn progressive rock2 Comments

Look what just arrived from Amazon.  Should go nicely with my Kerry Livgren autobiography.

image1

Still Amazed by Dream Theater

On By Bryan MoreyIn progressive rockLeave a comment

Recently, I said some rather negative things about the new Dream Theater album, and I meant every word of it. However, that does not mean my opinion of the rest of their music has lessened at all. I just thought I would share these outstanding live videos (one with Portnoy and one with Mangini) with you. They combine all of the emotion you could ever want with fantastic musical prowess in two of their best songs. Enjoy.

The Astonishing Failure – The Album Nobody Asked for from Dream Theater

On By Bryan MoreyIn progressive rock21 Comments
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Jedi temple? Darth Vader’s floating torture device? Ancient Rome rebuilt? Nope. Just John Petrucci’s delusions.

Dream Theater decided it would be a good idea to make an album telling the story of a possible New England a couple hundred years into the future – a dystopic New England. If they really wanted to tell a dystopic story about that area of the country, they would have been better off telling the depressing story of that region as it is now. Instead, they wrote a story about an overlord refusing to let the people listen to music. Very original. Because no band named Rush ever wrote a song called 2112 about that very thing.

I am simply shocked by the positive reviews of this album, including from people I very much respect and look up to, even here at Progarchy. I really don’t know what they see in this story. If this were just a random album from some random rock band making their first album, I would say it is mediocre and I would move on. But no. This was made by the biggest name in progressive metal, a band that has been around since 1985. Dream Theater is a band with a very strong catalogue of music, including, arguably, one of the best albums ever made in Scenes from a Memory. This is a band that has continually sought to break and re-break the artistic molds and standards that it has created. This band has some of the greatest and most talented musicians in the world in it. Yet, The Astonishing is the best they can come up with? Wow.

So what exactly sucks so much about this album? That question would take way too long to answer, so let’s just run through some of the highlights (or bloopers).

  1. The story blows.
    • If you want truly great concept albums about dystopic worlds, go listen to Rush’s 2112 or Clockwork Angels. If you want a more recent album, check out Muse’s Drones, which is a much more compelling, interesting, and shorter story/commentary on where we might be headed as a society. The Astonishing is neither compelling, interesting, nor short. It is over 2 hours long, and it is a long 2 hours. I’ve never gotten bored in the middle of a DT album, but congrats, boys, you did it! You bored the hell out of me.
    • The story also sucks because it all works out so perfectly. The main character, who should sacrifice his life for what he believes instead lives happily ever after. Look at any good story, from 2112, to the Lord of the Rings, to the Bible – somebody important and beloved has to die at some point. This is a given in Western stories, and you just don’t mess with that. Real life doesn’t end like a Disney story. Belle doesn’t always get to marry a beast that turns out to be handsome. Sure, someone does die in The Astonishing, but he is never central to the plot.
  2. This isn’t metal. 
    • A few songs, such as “Moment of Betrayal,” have their heavier moments, but this music is most certainly not metal. You could argue that it is prog, but that would depend on your definition of prog. There is more symphony and quiet piano pieces than there is shredding. If I want quiet music, I’ll find someone that is good at that. If I want prog metal, I listen to DT. It is really quite simple.
  3. This isn’t “Dream Theater.”
    • Dream Theater albums have certain things in common: endless shredding, overboard technicality, long instrumental passages (where the live listener is given a much needed break from Labrie’s off-key live vocals), and, generally, decent enough lyrics. This album has none of that. I love the displays of technical prowess that some people consider arrogant and unnecessary. That is part of who DT is, so why change it? In The Astonishing, we get boring song after boring song, with no breaks from Labrie’s singing. If you don’t like his voice, you will hate this album. The lyrics, as Time Lord aptly pointed out, are cheesy, corny, and clichéd. Songs that should illicit spouts of emotion (like “The Spirit Carries On” does) fall utterly short. “Hymn of a Thousand Voices” should have drawn us to tears, with a majestic choral ensemble belting their way to heaven. Instead, we barely hear the choir behind Labrie’s voice. Fail.

Now for what I liked about the album. I really enjoyed Jordan Rudess’ piano work. I’ve always thought he should include more traditional piano playing with his DT work. Too bad it had to be on such a crappy album. The problem is, there is almost too much piano. It takes away whatever metal edge they might have had.

James Labrie does display a remarkable variety with his voice here, I will begrudgingly grant him. He plays at least 8 specific characters, which isn’t easy to do. The problem is, he sings too much, which gets old. I don’t know how he will do it live.

The artwork and the “Brother, Can You Hear Me?” theme are pretty good, so there is that. Although, the artwork looks like it was copied from George Lucas’ Star Wars prequels. Lawsuit anyone?

The sound quality is slightly better than the last few albums. The drums no longer sound like they were recorded in an outhouse, so that’s a plus. However, there is still no bass in the mix. Fail.

I’m sure that The Astonishing will reignite the Portnoy vs. Mangini debate over who is the better drummer. They are both excellent. I would hate to live on the difference of who is better. DT’s mistake with Mangini is not letting him contribute enough creatively. Portnoy’s hand was always clear in DT’s work. Mangini seems to add nothing creatively, and I place the blame on Petrucci and Labrie, who are clearly running the show at this point. For me, I would much rather have the happy Mike Portnoy that we have right now, because he is making a lot of great music that he wouldn’t have time for otherwise.

Maybe I’m being overly critical, but I have gotten to know DT’s music really well this past year and I maintain certain expectations of them. They did not meet those expectations with The Astonishing. In the end, nobody wanted to hear this story, and I really wish someone in the band would have had the guts to tell Petrucci that this was just a bad idea. If Portnoy were still there, the most this idea ever would have been was a long song, in the vein of “Count of Tuscany.” Instead, we got two hours of garbage. I feel sorry for all the people that paid a lot of money to see this live.

If you want to hear a good rock opera that doesn’t drag on for hours, listen to Ayreon, not this crap. Even The Astonishing could have been good if they had shown some restraint, instead of jamming in over an hour of filler. The few songs that are bearable are simply drowned out by junk. Maybe it is time that DT take that hiatus that Mr. Portnoy wanted 5 years ago.

The Wordsworthian Pastoral and the Brilliance of Big Big Train

On By Bryan MoreyIn progressive rock13 Comments

This past summer, I had the wonderful opportunity to spend a month living in the gorgeous Midlands of England – the town of Warwick, to be exact. I say living, rather than visiting, because I truly felt like I was living there. I spent my time researching Warwick church history at the Warwickshire County Records Office, during the week. The weekends, however, found me frolicking in the beautiful English countryside, villages, and cities in the area. I visited one of the local churches (one that I also happened to be researching) on Sunday mornings, and one of the families there invited me over for dinner several times during my stay. It is good to see that the English are still very much a hospitable people, and talking with locals helped me obtain a greater understanding of English culture and politics, as well as what it means to be “English.”

The English Countryside - Kenilworth Castle
The English Countryside – Kenilworth Castle

When I went to England, I knew that one of the things I really wanted to do was listen to Big Big Train’s English Electric Full Power whilst traveling through the country. I know this may sound strange, particularly to those of you that are British, but, as an American who has spent quite a bit of time studying English history, culture, and music, it just seemed like the right, or fitting, thing to do. Part of it, I think, is that I wanted to associate this wonderful music with my actual experiences in England. I succeeded in that desire, for every time I listen to that album, like I am right now, my mind is flooded with memories of my time in England.

I believe I was on the bus between Warwick and Coventry when I plugged my headphones in and began listening to English Electric. Gazing out the foggy window at little flocks of sheep, hedgerows, and gently rolling hills, I let the music that was born, crafted, and recorded in that magical land wash over me. I did the same on my train trips to Birmingham and London, both of which gave me the opportunity to see even more of the English countryside. On one occasion, I walked 3 miles along the side of the road to visit a mansion/art gallery called Compton Verney. Walking through the countryside gave me a wonderful chance to soak in the Wordsworthian pastoral.

From my hike along the road
From my hike along the road

An aside on England, I was particularly struck with how rural the country can be one minute and how urban it can be the next. I grew up in a suburb of Chicago where we had to drive an hour to be out in the “country.” In the roughly 12 mile bus ride from Warwick to Coventry, the landscape went from urban to rural to relatively big city in the distance of a few miles. I find that remarkable. But enough of that, back to BBT.

English Electric so perfectly captures the beauty of England, from the hills and rivers, to the coal mines and factories, to the bustling cities. The songs give you just the right amount of instrumental space between verses to ponder the beauty of both what has been said and what can be imagined. You can picture the young boy covered in coal dust deep within the earth just as much as you can imagine the miles of hedgerow marked country roads backdropped by fields of little yellow flowers, all without leaving your office. The music truly brings these images to life.

Big Big Train also connect with a different part of English culture, which, for most readers, might be the crucial reason this music is so good. Without copying or plagiarizing, they revive the sounds and motifs of classic English progressive rock. The essence of Genesis undergirds this music just enough to make it “feel” English. (I’ll add that I also listened to Genesis’ Selling England by the Pound during one of my train rides.) As an American, listening to the English progressive rock from the 70s (Genesis, Yes, and Jethro Tull, in particular) has impressed upon me an idea of what England is and what it should sound like. Big Big Train faithfully carry on that tradition. In fact, culturally, I think they improve on that musical tradition and masterfully add to it, just as T. S. Eliot added to and improved upon the poetic tradition of Shakespeare, Milton, Wordsworth, and Keats.

As I once again sit here and let English Electric wash over me, I am reminded of the beauty of England, of her people, her music, her rivers, her fields, her castles, her cities, and her sheep. As I listen to this music, I am drawn into a world uncorrupted by current events, yet still tainted by sin and darkness. Big Big Train softly remind us of the dangers of industrialism and Blake’s “dark satanic mills,” yet above all else, they call us to walk along the hedgerows, to wander around the ruined abbeys, to think about the meaning of life. They call us to get off of our computers, to put our phones down, to leave our hiding places and go out and appreciate life, nature, and who we are as humans. Life is only so short.

That is where you will find me

Out there

Waiting

Hedgerow

 

Bryan’s Best of 2015

On By Bryan MoreyIn progressive rock9 Comments

2015 turned out to be another fantastic year for prog, as well as metal. Last year, I made a top 10 list, but this year, there has been far too much great music in prog, metal, and rock to narrow it down to 10 albums. Apart from my top 4, there will be no particular order for the rest of my picks. Most of this will be prog, but there is some straight up metal here as well.

The Neal Morse Band – The Grand Experiment

grandexperimentNeal Morse and company have made another outstanding album. “Alive Again” might be one of the top 10 best long progressive songs ever made. It is remarkably beautiful. Mike Portnoy’s drumming is exceptional, as always, and, like last year, this isn’t the last we shall hear of him on this list.

 

 

Spock’s Beard – The Oblivion Particle

cd_top1The Oblivion Particle is my first introduction to Spock’s Beard, and I am heartily impressed. Ted Leonard’s vocals really round out the band. “Bennett Built a Time Machine” is my personal favorite from the record.

 

 

Stryper – Fallen

stryperfallenart1-602x536I’m brand new to Stryper, and after listening to their last two albums, I’m flabbergasted. Their new music is better than their original stuff from the 80s. The drummer has grown incredibly, and Michael Sweet’s vocals soar to the heavens. The best thing – Stryper hasn’t given up on their values. They blast metal to honor God.

 

Lonely Robot – Please Come Home

71R0HHLaiqL._SY355_I was pleasantly surprised by this album. The music has just the right amount of complexity, with a few pop hooks here and there for good measure. The song “Lonely Robot” should be a radio staple, but rock radio sucks.

 

 

LEAH – Kings and Queens

a1021213633_16The reigning queen of prog metal released a masterpiece this year. A long masterpiece. Her combination of metal with celtic influences works amazingly well. She creates a wonderful sound that no one else really tries to duplicate. Originality abounds.

 

 

Dave Kerzner – New World (Deluxe Edition)

david-kerzner-new-world-deluxeThe deluxe edition came out this year, so it counts as 2015. Plus, I overlooked the album last year since it came out in December, and for that I sincerely apologize to Dave. This album brilliantly revives classic elements of Pink Floyd, and Kerzner’s voice is eerily reminiscent of David Gilmour’s. This is an album meant to last.

 

 

The Winery Dogs – Hot Streak

81SPiEsz2HL._SX425_Wow! AC/DC meets Mike Portnoy! Richie Kotzen’s voice has grown on me, as has the “Dog’s” music. From the virtuosity of the first track, “Oblivion,” to the hard rock bombast of “Captain Love,” Hot Streak is a fantastic album. Billy Sheehan’s bass balances Portnoy’s drums and Kotzen’s guitars beautifully. The quiet piece, “Fire,” is a nice change up, as well.

 

Next to None – A Light in the Dark

3655066_origI saw these guys live in concert with Haken this spring, and I was impressed. For teenagers, these guys have serious chops. Max Portnoy stands out though, as he has clearly inherited his father’s raw talent. Check out my review of the album and interview with Max – https://progarchy.com/2015/07/20/metal-mondays-interview-with-max-portnoy-of-next-to-none/

 

Metal Allegiance – Metal Allegiance

safe_image.phpYou could call this a supergroup for thrash, although it seems anything with Mike Portnoy in it could be called a supergroup. His double bass thrash drumming is a nice change for him. The abundant guest performances from bands such as Testament, Anthrax, and many other groups really round out their sound. Normally I don’t like thrash because of the lyrics, but the lyrics here are great. The combination of guests makes this album one of the greatest thrash albums ever made.

Disturbed – Immortalized

81FC381L9HL._SY355_This isn’t prog in any sense of the word, but Disturbed’s first album since 2010 is a return to form for the band. They didn’t want to make an album again unless it was really good, and they delivered on that desire. Immortalized is one of the best album’s they have made, with only one song that I don’t like. Their cover of “The Sound of Silence” is better than the original, in my opinion.

 

Flying Colors: Live at the Z7

CD_FC-2ndNatureLIVE_digi-03-625x567The live Blu-ray is one of the best live shows I have seen. The music is played flawlessly, and the production for sound is excellent. It was filmed in 4K and you can choose from two sound choices – front row or sound board. Well played, FC, well played. Oh ya, more Mike Portnoy, too.

 

Rush – R40 Live 

1035x1511-R40.Tour.Cover7.FNL-copyThis needs no explanation. Long live Rush.

 

 

 

 

Steve Hackett – Wolflight

wolflightFrontCoverAnother great solo effort from one of the greatest guitarists ever. I have such a great respect for Steve Hackett and his dedication to his craft and the genre. Of all the 70s prog giants, Hackett is probably the best ally to the newer prog artists and musicians.

 

 

4. Muse – Drones

MUSE-DRONESAnother fantastic album from Muse, and a dystopic concept album at that. I’m convinced that Matt Bellamy has the best voice in the business, plus he’s a god on the guitar. Chris Wolstenholme’s bass is underrated, as well. Check out my review: https://progarchy.com/2015/08/11/back-to-basics-muses-drones/

 

3. Steven Wilson – Hand. Cannot. Erase.

A year ago, I couldn’t stand Steven Wilson. Now I’m a fan. Go figure. Hand. Cannot. Erase. is simply brilliant. The story telling is at an extremely high level, and this album, while rather depressing, is so addicting to listen to. Wilson is an incredibly important figure in progressive rock.

 

 

2. Vanden Plas – Chronicles of the Immortals: Netherworld Path 2

81ADonu6jjL._SX355_Combined with part 1, these two albums are a masterpiece. I’m still deciphering what the story is about, but I am thoroughly enjoying it. These guys have been going strong for a long time, and they have only gotten better with age. Check out my review: https://progarchy.com/2015/11/18/vanden-plas-another-stroke-of-genius/

 

1. The Tangent – A Spark in the Aether

tangent1Yeehaw, this is a great album! Holy crap, I don’t know how Andy Tillison does it! He is a master of cultural criticism, and while I don’t agree with him politically, I do respect him immensely. This album is well worth your time.

 

 

 

Like I said, a great year for rock of all kinds. As I promised, Mike Portnoy features prominently in my list, just like last year. He certainly deserves it since he is one of the hardest working men in the business. His “Hello Kitty” drum video for Loudwire was an instant classic.

Cultural RePercussions 2 (1)Best prog book of the year goes to Progarchy’s very own Brad Birzer for his excellent book on Neil Peart, a man of letters. Well worth your time.

Get it at Amazon here.

 

 

kansas_miraclesThe new Kansas documentary, Miracles out of Nowhere, is excellent. While it only goes through Point of Know Return, it is an excellent look at the band, from the band members themselves, as well as Brian May and Garth Brooks. It was great to see that the band members don’t hate each other. In fact, they genuinely seem to like each other. If at all possible, order it from the band because it comes with a bonus disc featuring the band reminiscing and a few other features – http://www.kansasmerch.toursync.com

Check out Carl Olson’s fantastic review of the documentary: https://progarchy.com/2015/08/19/miracles-and-music-out-of-kansas/

915g7JKrT-L._SX385_One final documentary/live concert that is worthy of any “best of” list is Roger Waters’ movie, The Wall. It combines a live concert from his recent tour with short scenes that examine the meaning of the album for him. The concert itself is outstanding – better than his 1990 The Wall concert in Berlin, performed after the fall of the Berlin Wall. The music is basically indistinguishable from the album. A worthy look at one of the best and most important albums ever made.

 

Sorry if I have bored you with my list, but I am nothing if not thorough. I’m just amazed by the quality of music that has been released the last few years, and I eagerly look forward to what the coming year has in store. New Dream Theater coming in January. And who knows what Mike Portnoy will release. Such excitement. Merry Christmas everybody, and prog on into 2016.

LEAH Releases New Single

On By Bryan MoreyIn progressive rockLeave a comment

Progarchy’s favorite metal goddess released a new song called “Winter Sun,” featuring Eric Peterson of Testament on guitars. You may remember his guest work on Leah’s song, “Dreamland.” “Winter Sun” is another wonderful melodic and heavy piece from the reigning queen of prog metal. Enjoy!

DPRP Writers’ Individual Top 10s

On By Bryan MoreyIn progressive rockLeave a comment

Check out the Dutch Progressive Rock Page writers’ individual Top 10 of 2015 lists.

http://weekendprog.blogspot.fr/p/alan-weston-coming-close-edwin-peter.html