Yes fan offers free 50 year celebratory passes



Ruth Zurawka is offering a free celebratory Yes pass to anyone who emails her.

Posted today on “Yes Turns 50”, a Facebook group Zurawka administrates:

“Want a FREE celebratory 50 year YES pass? Email your postal address to Passes will be shipped starting sometime in May. No cord is included. When you get yours, take a photo of you with it, post your photo here and say where in the world you’re celebrating YES! Each pass is numbered. Let’s see how many we can get out there! (Bracelets will come out later in the year for those asking!) If you live out of the US, still send me your postal address. We’ll see how much shipping would be.”

In another post, Zurawka says: “YES turns 50 in 2018! We need to make some noise to make it an extra special year for our band! Let’s talk gatherings, celebrations and other ways to observe this quinquagenarian year!

As a hardcore Yes fan for 25 years, I’m very much looking forward to receiving my pass. I wonder if it will give you access to all of Yes’ shows during their 50th year (and Yes Featuring ARW too)!  A man can dream right?


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“I realised a long time ago that instrumental music speaks a lot more clearly than English, Spanish, Yiddish, Swahili, any other language. Pure melody goes outside time.”

Carlos Santana

Here we are, 2017 and have to admit it’s been a long time since I last heard a new Prog instrumental album. You almost fell over them back in the 70’s. They were everywhere. You had the likes of Camel’s ‘Snow Goose‘ rubbing shoulders with Mike Oldfield’s ‘Tubular Bells‘ selling over 16 million albums, thank you very much. In some ways this was rocking up Symphonic Music and then some.  Tangerine Dream were up for it and put out many an acid tripping the keyboard fantastic LP, and of course Vangelis was no slouch with his unique blending of electronic sounds on such albums such as ‘Albedo 0.39′  and ‘Opéra sauvage’ which also included Jon Anderson on harp.

Fast-forward thirty-five years or so and a handful of artists and bands are recording and releasing the odd instrumental album or three. You only have to look at Pink Floyd’s mostly instrumental 2014 album,  ‘Rattle That Lock‘ to see the interest is still there. Something Canadian multi-instrumentalist (keyboards/bass/guitar) , Art Griffin is well aware of as demonstrated by his new album recently released, ‘Visions From The Present.’ The band is known as Art Griffin’s Sound Chaser and includes some of Canada’s finest musicians such as the drummer from Saga, Steve Negus, with Victoria Yeh  on electric violin (amazing performances on this album) only equaled by Kelly Kereliuk‘s guitar work.  That’s not to say Art is far behind. Is he what? If his mind-blowing keyboard solos are anything to go by, he’s charging ahead encouraging the others to keep up!Having the likes of well respected Ken Baird throwing down the occasional keyboard solo makes it an extra bit special moment to listen to.

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Magenta – the stuff of legends


Very few prog bands have sailed through nearly two decades of music-making with flying colours quite like the Welsh Magenta.

With prog’s Captain Prolific, Rob Reed, still holding a strong and steady course at the helm, Magenta’s band of sister and brothers are united in their overwhelming desire to create some of the most mellifluous, melodic prog around.

Never afraid to steer into previously uncharted waters, Magenta’s canon of work now includes seven studio albums, the newest being We Are Legend, which is released on 27 April.

Again, this is completely new territory for a band that is now so adept at giving us memorable figures and concepts within their specific landscape, but more about that later.

I truly believed they had reached the zenith of their considerable powers when they released The Twenty Seven Club in 2013, an album depicting six musical legends- Morrison, Joplin, Hendrix, Jones, Cobain and Johnson, all of whose lives came to tragic ends at that Bermuda Triangle age of 27.

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soundstreamsunday: “Emerald” by Thin Lizzy


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Thin-Lizzy-Phil-Lynot-resize-2Phil Lynott’s destiny — reimagining rock and roll as heavy Irish metal — meant that his band Thin Lizzy, like Motörhead and maybe AC/DC, had a claim to authenticity that punk couldn’t ignore.  Lizzy’s music was lean, written with a razor, and Lynott wrung from his blackness and his Irishness every possible note of rock and roll victory in a landscape that generally counted him out.  Lynott’s conversational style in song could echo Van Morrison (if with a brash sexuality Morrison could never pull off), and like the great Van could conjure specific visions of Irish traditional culture while turning them on their ear.  I can only imagine that the Clancy Brothers blanched, and Planxty swooned, at his treatment of “Whiskey in the Jar.”

“Emerald” closes Thin Lizzy’s blockbuster Jailbreak (1976), and while not the hit every metalhead thinks it should have been — that honor went to the catchy hard rock of “The Boys Are Back in Town” — as the closing track of a great set (“Jailbreak”!, “Cowboy Song”!), it templated the double-guitar attack metal was moving toward.  It’s hard to imagine K.K. Downing and Glen Tipton shrugging off “Emerald’s” twining riffs and solos, as Scott Goreham and Brian Robertson mapped a terrain in this performance where Judas Priest would go on to flourish.  Lynott’s lyric has all the Celtic warrior mysticism necessary to make fists shake and heads bang, whether your sporting a safety pin or a mullet, and as ever his impassioned singing and playing cannot be denied.  This is the metal mountain.

soundstreamsunday presents one song or live set by an artist each week, and in theory wants to be an infinite linear mix tape where the songs relate and progress as a whole. For the complete playlist, go here: soundstreamsunday archive and playlist, or check related articles by clicking on”soundstreamsunday” in the tags section above.

“We Come Together”: An excellent review of a Marillion Weekend



I came across this wonderful review of what attending a Marillion Weekend is like, when the band plays 3 nights in a row, each with a different setlist and theme.  It perfectly captures what it means to be a fan, and what a privilege it is to be at a Marillion live show (or three, if you’re lucky).  I wish I had written it myself.