Tears for Fears Tour 2019 – Fan Travel Info — Tears and Kooks International (Tears for Fears Travel Fans)

We hope this basic info will provide you with a reasonable hotel you can stay in while you travel plus links to the venue so you can explore and be ready for each show. Remember to take care of your travel documents such as passport and passport card. Keep your passport card with you at […]

via Tears for Fears Tour 2019 – Fan Travel Info — Tears and Kooks International (Tears for Fears Travel Fans)

Tom Timely Chronomonaut Video #4

Tom “The Elf King” Timely has released a new video–this one from August 1983.  He’s approaching Hawkins, Indiana, rather quickly.

3.2, The Rules Have Changed: Rick’s Quick Takes

“And I hold the love of who you are
The passion your hands brought to my ears
The music’s blood became our bond
A good man, that we honor here.”
— Robert Berry, “Our Bond”

Robert Berry has pulled off something remarkable.  The Rules Have Changed, Berry’s new effort under the moniker 3.2, succeeds at a daunting task — paying deeply felt homage to the late, great Keith Emerson, whose shocking death thwarted the collaboration the duo were planning after 30 years apart.  Painstakingly crafted, packed with inspired musicianship on songs that tackle weighty, thoughtful themes — matters of life and death, in fact — it’s music created to touch the heart, and to last.

My first, astonished impression was how completely Berry assimilates Emerson’s style and sound, makes it his own, and takes it to thrilling new places.  True, there was already material to work with before Emerson’s death — an unused composition from the early days of 3, Emerson’s ideas that later formed the backbones of three more songs, as well as Berry’s Celtic-tinged “This Letter” and the upbeat single “Powerful Man.”

But beyond the achievement of playing every instrument himself — Carl Palmer-style drums, bass, guitar, and virtuosic keyboards — Berry is absolutely dialed in to what made Emerson’s music so special.  The eight songs here take expansive, unpredictable forms, launching inventive salvos of extended melody and harmony,  deployed in a dizzying mix of classical, jazz and rock idioms that shoulder each other aside with gleeful abandon.  Whether the tune’s a collaboration or a solo effort, Berry nails this every time.  All the classic Emerson colors are present and correct, too: lyrical grand piano; detuned uptempo boogie licks; spitting, sinuous Hammond organ lines; majestic multi-tonal synthesizer riffs and pads; and of course, lead Moog solos that will melt your face off.  (Berry’s no slouch on lead guitar and bass, either.)

Crafting lyrics to match the impact of this music had to have been an uphill struggle — but again, Berry has risen to the task.  He celebrates the sweet mystery of love for all it’s worth — love of parents and children in “Powerful Man,” love of a spouse, kids and grandkids in “This Letter.”  He confronts the challenges of leaving a legacy (“What You’re Dreamin’ Now” and “Your Mark on the World”) and time’s inevitable passage (“One by One”).  The title track, in memory of Magellan’s Trent Gardner, and the Emerson tribute “Our Bond” look loss, despair and death itself in the face, courageously grieving without flinching.  Even the ultimate question — does anyone guide our path? — turns up as the subject of “Somebody’s Watching.”  In sum, these lyrics are powerful, rich and mature, with nary a cliche in sight — exactly what was required.

I’m not exaggerating: this fine album pays the best tribute possible to Keith Emerson, taking the potential embodied in 3’s 1988 debut, To the Power of Three, and realizing it to the full.  Robert Berry never stood still after his halcyon days with Emerson and Palmer, as his solo albums, production work, and collaborations with Greg Kihn, Ambrosia, Alliance and December People attest.  Still, The Rules Have Changed may well be the achievement of his career; it honors a mentor he respected and loved and reveals his own talent and passion in action at the highest level.  Here’s hoping Berry can bring the planned international tour of 3.2 (complete with 3’s live guitarist Paul Keller) to a town near you soon!  In the meantime, listen for yourself:

robertBerry_keithEmerson

— Rick Krueger

Metal (and Rock) update – 7 August 2018 —Man of Much Metal

Just as I complete my mini-series, looking at the music still to come in 2018, I receive news of a whole host of new music coming our way throughout the remainder of the year. So, what better than an impromptu post that updates you on what I have found most interesting over the past few […]

via Metal (and Rock) update – 7 August 2018 —

The Mystery of the Three Quarters by Sophie Hannah — The Rockin’ Chair

Harper Collins [Published 23.08.18] This is the third novel from Sophie Hannah featuring Agatha Christie’s famous detective Hercule Poirot. It is the first one I have read by the author and I am pleased to report it does recall those classic Agatha Christie mysteries. ‘The Mystery Of The Three Quarters’ is set in 1930’s London, […]

via The Mystery of the Three Quarters by Sophie Hannah — The Rockin’ Chair

Triple Feature: Corque, Grill, and Hago — The PROG Mind

https://bandcamp.com/EmbeddedPlayer/v=2/track=3831457911/album=2316277551/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/

I offer some words about three exciting new releases.

via Triple Feature: Corque, Grill, and Hago — The PROG Mind

Blue Öyster Cult – Mirrors (Review) — HEAVY METAL OVERLOAD

Blue Öyster Cult had hit it big with 1976’s Agents Of Fortune but they were starting to sound like they were going through the motions by the time of 1979’s Mirrors. The slick Tom Werman production and generic songwriting displays little of the band’s usual esoteric adventurousness. The pastiche Moon Crazy should never have seen […]

via Blue Öyster Cult – Mirrors (Review) — HEAVY METAL OVERLOAD

LaserCD North American Preorder: RIVERSIDE

Screen Shot 2018-08-07 at 9.41.25 AM
Yes, a screenshot.  Just in case you thought we at progarchy.com weren’t classy.

LaserCD has been designated the official store for the North American release of Riverside’s forthcoming album, WASTELAND.  Thank you, LaserCD!

To order (and read the excellent editorial writeup), go here:

https://www.lasercd.com/cd/wasteland-import-mediabook-preorder

Soft Machine: The Jazz-Rock Years

Continuing the saga of Soft Machine, who’ve already kicked off a 50th anniversary world tour (coming to North America this fall), and whose new album Hidden Details can be ordered at Bandcamp.  Click here for Part One of this series, covering the band’s psychedelic years of 1966-69.

When last we left our heroes, quoting their website,

The base trio [of Mike Ratledge on organ, Hugh Hopper on bass and Robert Wyatt on drums and vocals] was, later in 1969, expanded to a septet with the addition of four horn players, though only saxophonist Elton Dean remained beyond a few months …

Cuneiform’s archive release Noisette reveals Soft Machine shaping a new sound onstage.  Recorded live at Croydon in January 1970, this quintet set is dominated by Dean’s and saxophonist/flutist Lyn Dobson’s uninhibited blowing.  The psychedelic song suites have nearly vanished; Wyatt only sings on “Hibou, Anemone and Bear,” where he’s given a completely solo moment, and material from the first two albums is exiled to the end of the show.

With Dobson out, the remaining quartet pulled together live recordings, studio inserts and tape experimentation to produce the four suites (one per side) on 1970’s double album Third — their first for Columbia Records.   Hopper’s “Facelift” and Ratledge’s “Out-Bloody-Rageous” sandwich upbeat jazz workouts (asymmetric rhythms, harmonized sax sections, fired-up, skittery solos from Ratledge, Dean and guests) between Wyatt-less intros and codas — avant-garde improvs, classical fanfares, minimalist cycling keyboard riffs.  Wyatt’s vulnerable, stream of consciousness epic “Moon in June” was the only vocal piece — and he played most of it (drums and keys) himself, with Ratledge and Hopper tacked on for the playout.  Ratledge’s “Slightly All the Time” is the most integrated piece here, with the core group and guests swinging over appealing grooves and ratcheting up the excitement via Ratledge and Dean’s solo work.

Rough-edged it may have been, but Third was perfectly timed; with Miles Davis’ Bitches Brew pulling jazz toward rock, Soft Machine was heading for the same destination from the opposite direction.  The album gained attention, kudos and sales across Europe and the US, and the Softs became the first band to play at the Royal Albert Hall’s classical Promenade Concerts.

Continue reading “Soft Machine: The Jazz-Rock Years”

The 1982 US Festival on DVD/Blu-ray

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From Clint Weiler/MVD.

Taking us back to the years of Stranger Things. . . this looks wonderful.  From Clint Weiler, MVD Media:

The Us Festival: 1982 The Us Generation
The authorized story of the 1982 Us Festival with remastered live performances from
The Police, Tom Petty, Fleetwood Mac, Santana, The Cars, The B-52s, and more
Coming to Blu-ray / DVD on August 10th
The Us Generation: The Making Of the 1982 Us Festival is an in-depth look at one of the most influential music festivals of all time. The Us Generation is from award winning filmmaker and rockumentarian Glenn Aveni, who is also the film’s director. Co-Directed by Jay Cederholm and Produced by Bruce Gibb & Rich Schmig, the film blends rare concert footage and insightful interviews with both organizers and performers.
The film tells the story of the groundbreaking 1982 Us Festival–an epic three-day event featuring an eclectic and unprecedented lineup boasting some of the biggest names in music, performing live in front of over one million people at Glen Helen Regional Park in San Bernardino, CA. The Us Festival was the brainchild of Apple visionary Steve Wozniak, who wanted to create something that was a true celebration of Americana, cultivating positive vibes and building a deep sense of community through the power of technology and music.
Highlights include performances by chart-topping superstars, Tom Petty & The Heartbreakers, alt-rock trio The Police, blues rock heroes Fleetwood Mac, guitar virtuoso Carlos Santana, retro-chic favorites The B-52s, and new wave icons The Cars; as well as archived appearances by Johnny & Joey Ramone, Carlos Santana, Sting, Ric Ocasek, Danny Elfman, and Fred Schneider; plus exclusive sit-downs with festival founder Steve Wozniak, Mick Fleetwood, Eddie Money, Marky Ramone, Kate Pierson, Stewart Copeland, and Mickey Hart, among others.
The film is produced by Icon Television Music, Inc., Plum Media, and in association with Us Festival original founders Unuson Corporation.