Available now in paperback and ebook at amazon.com.
In his best-selling book, Ghost Rider, the Canadian drummer not only proves to be an excellent writer (imagine Willa Cather and Jack Kerouac as one person; a bizarre combination, I know, but an accurate one), but he also reveals himself, yet again, a serious and stoic social and cultural critic. Here are two sample passages from Ghost Rider.
The first day in Mexico was Selena’s birthday, and I had made careful plans on how to ‘memorialize’ that day. Early in the morning, I walked to the big cathedral in the Zocalo, went inside and bought two princess-sized votive candles (the biggest they had, of course) and lit them in front of the chapel for ‘Nuestra Senora de Guadalupe’ . . . . I sat there awhile, and cried some (well, a lot), amid the pious old ladies, tourists, and construction workers.[1]
Later in the book, in a less autobiographical nature, he explains his own vision of what art is.
I once defined the basic nature of art as ‘the telling of stories,’ and never had I felt that to be more true. I played the anger, the frustration, the sorrow, and even the travelling parts of my story, the rhythms of the highway, the majesty of the scenery, the dynamic rising and falling of my moods, and the narrative suite that emerged was as cleansing and energizing as the sweat and exertion of telling it.[2]
Each of these passages shows Peart at his deepest. The side the craves beauty and the side that craves telling the world about the beauty he has seen.
His travels also opened Peart to a number of personal revelations. Overall, he believed that “the elemental ‘faith’ in life I used to possess is completely gone,” and that with such an erasing of the past and its securities, “every little element of my former life, behavior, interests, and habits, was up for re-examination.”[3] Two specifics also emerged in this rebirth. First, he had to accept the help of others, recognizing it as the gift it is and was intended to be by the giver. Pride had to give way to charity. Second, he came to see a more mystical side of life, well beyond his previously steady devotion to late eighteenth-century European rationalism. In one incident—that would greatly influence the next three albums—Peart encountered a man who read his fortune through Tarot cards. The reading proved so accurate that Peart ‘s “jaw dropped, and it’s still dropping.”[4]
Though most orthodox religions forbid the reading of Tarot, artists as diverse as T.S. Eliot and Russell Kirk have employed its meaning—however tragic and deep or superficial and meaningless—effectively as a form of story telling, especially when regarding character and morals. Peart does the same through his lyrics over the next several albums.
Mister Lazy he’s not. Photo borrowed from guitargonauts.info.
I’m not sure if I could exactly articulate my reasons as to why, but I’m not the least surprised that Dave Gregory’s birthday is two days away from the Autumnal Equinox. There’s a fullness and a force of the seasons not only in the calmness that radiates from Gregory’s humane qualities (he’s a true gentleman), but there’s also an intensity of life in all of his art.
Clearly, his music resides somewhere in that last joyous blast of summer love and freedom.
Regardless, happy birthday, Mr. Gregory. I know I speak for many upon many when I thank you for all you’ve given to the music world over the past four decades. Whether it’s pop, punk, new wave, rock, chamber, or prog, you give your absolute all.
The best way to celebrate such a feast? Listen and watch away!
And best of all, a brilliant interview with Dave. Well worth watching it all.
This is the entire set UTA played at ProgPower 2015 as shot by selfie-stick Guy. It’s on an iPhone so the sound isn’t perfect but the footage is pretty cool. Songs include:
1. Frozen Steel
2. Hail Of The Tide
3. Test Your Metal
4. Tonight We Ride
6. Daughters Of Winterstone
7. Realm Of Tomorrow
8. Dreamcrusher
9. Time Stands Still
10. General Of The Dark Army
I first became aware of Kevin Keller’s music through mere chance. Driving home from a family vacation at the beach, we were all tired (and sunburned!) and I turned to the “Chill” channel on the satellite radio. The miles went by as generic ambient music filled the car.
Then a track began playing that made me perk up my ears and listen closer. It wasn’t aimless synthesizer noodling; no, this was music with some depth, melody, and real beauty. Hitting the info button on the radio, I noted that the song was “Distanced”, by Kevin Keller. I made a mental note to investigate further when we got home.
I did, and I spent quite a bit of time enjoying the generous offerings on his Soundcloud site. Before I was done, I had purchased Pendulum (the album containing “Distanced”), Nocturnes, The Day I Met Myself, and In Absentia. Each one is unique, but they all feature Keller’s distinctive voice as a composer. His music has been labeled neoclassical, but it transcends categorization. In his official bio, he states that he was first a progressive rock guitarist before he moved to the piano, and you can hear that background in his music.
Keller is about to release a new album, La Strada, which has been crowdfunded, and it is an exceptionally fine work. It was recorded with the Salome Chamber Orchestra, with guest musician David Helpling lending his guitar talent to the title track, and vocalist Marta Karamuz contributing to the final song, “New Beginnings”.
La Strada is divided into two “sides” (are there plans for a vinyl release?), and the first one opens with “At the Start”, which is just that: a brief piano piece with understated string accompaniment that sets the mood for the rest of the album. It segues immediately into “Tunnel of Light”, which is a fascinating dialogue between Keller’s piano and the orchestra throughout, while some electronic rhythms percolate underneath. “Moments Lost In Time” begins with a delicate and somber theme on piano, but it soon morphs into an interesting mix of processed vocals, strings, and driving beats before closing with solo piano. “La Strada” features one of Keller’s most gorgeous melodies. If Rachmaninoff were alive and had access to today’s technology, he might come up with a tune as beautiful as “La Strada”. It features Keller’s piano with Eno-esque sonics that serve the melody perfectly. Side One closes with “Lightning Road”, which is another driving mix of electronic beats, piano, and strings. This song features some of Keller’s most playful and energetic keyboard work.
Side Two begins with what I consider the best track of the album, and one of Keller’s finest productions – the 9 minute, 18 second-long “Beyond The Infinite”. It begins with a rapid ostinato on piano. Layers and layers of sound are added (did Keller multitrack the piano?) as electronic percussion darts in and out from all sides. Deep, wordless vocals combine with ambient synths to provide a bed of sound that Keller uses to build controlled tension on the piano. A snatch of a spoken phrase floats by; I barely catch “The origin and purpose is to build a total…” before the disembodied voice breaks up. As piano, strings, and electronics repeat an ascending phrase, the sense of enormous energy building up is almost overwhelming. Gradually, though, the layers of sound are dropped until only piano and ghostly synths bring the track to an end.
After the sonic explosion of “Beyond The Infinite”, we definitely need some catharsis, and “All Of This Ends” provides exactly that. A stately and elegiac track featuring only strings and piano, this is the perfect response to the previous track, bringing things to a satisfying conclusion. But there is still one more song to enjoy, the beautiful “New Beginnings”. Featuring the lovely vocals of Marta Karamuz, it has hints of Philip Glass, Bach (via some pipe organ-sounding synths), and Roger Eno (not Brian). By the time it’s over, you feel as if you’ve been in a lovely dream, but it’s time to return to reality.
Since the early ‘80s, I have enjoyed the music of many gifted composers of contemporary instrumental music. While the majority of so-called “New Age” music is absolute dreck, some artists who were unjustly thrown into that genre have risen above it: Patrick O’Hearn, Harold Budd, Mark Isham, Brian Eno, Roger Eno, Robin Guthrie, and Steve Roach have all composed and produced music that will stand the test of time. Kevin Keller is also one of those special artists. He is not afraid to make music that is beautiful for beauty’s sake, and he has a deft sense of how modern electronics can enhance, not overwhelm, his compositions. He is one of the most talented composers working in music today, and he deserves the widest possible audience.
For readers of Progarchy, fans of Lunatic Soul will find a lot to love in Keller’s music. You can access it at bandcamp, itunes, and amazon. Details are at http://www.kevinkeller.com/.
Prog diva, Leslie Hunt Siebold (District 97), and her husband Chris have just announced the birth of their son, Julian Christopher. Congratulations to a truly beautiful family.
Our good friends at Prog-Sphere have the following news regarding the November release of a R40 Live dvd.
Canadian rock legends Rush had both of their hometown Toronto performances — on June 17 and June 19 at the Air Canada Centre — professionally filmed and recorded for a future live DVD release. It is the first time the band had filmed a hometown concert in almost 20 years — since the recording of Rush‘s 1997 show at the Molson Canadian Amphitheatre on the ”Test For Echo“ tour. Prior to that, they recorded the legendary ”Exit… Stage Left“ at Massey Hall in 1980.
The new Rush set will be released on CD/DVD on November 20 via Zoe / Rounder Records / Concord Music Group.
The highly anticipated thrash metal album from Metal Allegiance has finally been released! Featuring Mike Portnoy on drums, David Ellefson (Megadeth) on bass, Alex Skolnick (Testament) on guitars, and a host of guest musicians and singers, this album may be the best thrash metal album in a long time. Never before has Mike Portnoy played in such a heavy and powerful manner, and it is remarkable. However, do not think this album is simply Mike Portnoy and friends. This is truly a collaborative work of power metal.
Jane Getter Premonition new album ‘On’
due for release via Madfish, October 2 Label debut for Madfish feat supergroup line up including Adam Holzman, Chad Wackerman, Alex Skolnick, Bryan Beller & Corey Glover
“the fieriest frettboarding female ever to strap on a Stratocaster” GUITAR PLAYER
Madfish is set to release the brand new studio album, and first for the label from Jane Getter Premonition entitled “On”.
Recorded at Avatar Studios in New York, ON features a stellar line up of progressive and rock musicians – Keyboardist Adam Holzman (Miles Davis, Steven Wilson); bass player Bryan Beller (Joe Satriani, The Aristocrats); jazz/rock drummer Chad Wackerman (Frank Zappa, Allan Holdsworth, Steven Wilson) and special guests including vocalist Corey Glover (Living Colour), jazz/metal guitarist Alex Skolnick (Testament, Savatage, Ozzy Osbourne Band) and British saxophonist, flautist and clarinetist Theo Travis (Steven Wilson, Robert Fripp). The album was co-produced by Jane Getter and Adam Holzman. Mixing duties were handled by Adam Holzman and Anthony Ruotolo at Spin Studios in Long island City, NYC.
Guitarist and composer Jane Getter has played with many jazz and rock greats while garnering increasing recognition as a bandleader, gifted writer and instrumentalist. Early in her career she toured with legendary jazz/blues organist Brother Jack McDuff. Her composing talents received attention when she won the ASCAP Gershwin Award for Music for Dance or Theatre in the mid 90’s. Her debut CD Jane in 1998 received worldwide critical acclaim and the 2006 follow up See Jane Run was released on Alternity Records (home of Allan Holdsworth). In 2012 she released the progressive jazz/rock album Three. Getter also received widespread exposure playing in the Saturday Night Live Band.
Her band has played and toured internationally and live dates this fall will be announced shortly. ‘ON’
TRACKLIST:
Surprised
Where Somewhere
Pressure Point
Train Man
Diversion
Falling
Logan (would’ve sounded great on this)
Transparent
The new album from quondam frontman of Soundgarden and Audioslave, Chris Cornell, is released today.
And what an astonishing piece of work it is.
Cornell has always been one of the greatest voices in hard rock. But in recent years, with his solo work, and especially in live venues, Cornell has spread his wings and soared to every corner of the widest reaches of the capacious genre of classic rock.
On this new album, acoustic guitars and pianos dominate the soundscape, and Cornell shows himself to be an unsung songwriting hero, consistently able to spin rock and roll classics.
The songwriting here on his fifth solo album is consistently top-notch, and with this release Cornell has absolutely proven himself to inhabit the upper echelon of rock talent.
This is an album for the ages. With this definitive statement of ballad-writing skill and supremely classic rock vocals, Cornell delivers to us a moving collection of songs that cements his reputation as one of the very best artists ever.
Be sure to pick up the Deluxe Edition, so you can get four more songs (the final one is a killer remix of “Our Time in the Universe”) in addition to the twelve tracks of the regular edition of Higher Truth.
This album alone could gain Cornell entrance to the Rock Hall of Fame. The album has such a classic sound with the most accessible songs of his career that Cornell could have his own FM radio station and this album could play in heavy rotation and everybody would tune in both for the entire drive to work and for the entire drive home.
However that may be, here’s my never-fail recommendation. As the sun sets, light a candle and pour a glass, and put this album on the stereo. It will rightly carry you through into a higher truth of the most exquisite musical beauty.
A raised glass to you, Mr. Cornell. Congratulations on your finest album yet!
The path down Memory Lane is a road much travelled, especially for music fans who remember the time when the world was a very different place, seen through the eyes of a young idealistic and very independent teenager. How those years seemed to melt away at Under The Bridge in London when the 45 years dividing 1970 and 2015 melded seamlessly together to the point where there was even a distinct whiff of patchouli oil in the air.
The venue is an unexpectedly spacious and welcoming music space, nestling under the east stand of that soccer shrine, Stamford Bridge, in west London. It’s a place a fellow gig-goer remarked was somewhere you went to on purpose rather than called in out of a passing, casual interest.
There were around 200 devotees assembled on Friday 4 September to hear Air Conditioning in its entirety, which, when first released in 1970, was recognised as being one of the early albums that defined the progressive rock genre and, for record collectors, the first ever “modern rock” picture disc. Its creators, Curved Air, were also ground-breaking, consisting of a group of virtuoso musicians who fused classical leanings with folk, art house and electronica.
Fronted by prog’s original pin-up girl, Sonja Kristina, the years simply melted away at that faraway place in west London.
Looking at all those assembled and imagining everyone 45 years ago, you could picture the Afghan coats, cheesecloth shirts, flared jeans and long straggly hair, then the hallmark of youth rebellion.
Just the two original members of the band remain: first and foremost, the flamed-haired Sonja, ever the enchantress, always the focus of attention with her smoky voice and sensuous movements, and then there is the lavishly named drummer Florian Pilkington-Miksa, a slim, serious, bespectacled figure, who is one of my personal all-time prog pin-ups. He now acts as director of the band, ensuring no cues are missed at the start and the varying tempos are maintained throughout.
With them now are the solid, no-nonsense bass player Chris Harris, the elfin-featured, intense keyboards player RobertNorton, flamboyant guitarist Kirby Gregory who joined them on their 1973 album Air Cut and later wrote Stretch’s smash hit Why Did You Do It, and the ever-animated Paul Sax on violin.
It’s a formidable line-up for a band, whose other illustrious alumni have included Darryl Way (Wolf), Francis Monkman (later with Sky), Eddie Jobson (Roxy Music, UK, Yes, Jethro Tull and Frank Zappa) and Stewart Copeland (The Police).
Having toured extensively together, the band’s a tight and well-regimented unit but, on this night, they are electrifying.
Kristina, always a dazzling, bewitching presence, clad in sparkling black, commands the entire stage, her voice sultry and seductive, happy to shake hands and engage directly with members of her adoring audience during the songs.
She looks relaxed and happy, the mistress of all she surveys around her. Touchingly at one point, Gregory puts his arm around her and thanks her for inviting him to join the band. There are smiles all around. It’s that kind of evening.
And the music itself? The band kicks off with the instrumental Spider which gives them a chance to warm up their musical chops before Kristina saunters on stage and launches into the traditional opener, Young Mother, still a startlingly powerful song with lots of mesmeric, swirling synths and searing violin courtesy of Messrs Norton and Sax.
The early part of the show is devoted to the new material from their excellent album North Star released last year, most poignantly Stay Human, which Kristina wrote about the current world conflicts about which she reminded everyone before launching into the song.
The new material namely Time Games, Images & Signs and Interplay are more sophisticated than their earlier material but this gives both Gregory and Sax the chance to stamp their distinctive marks. Interplay in particular is a jazzy little gem. In the middle of these modern renditions comes Kristina’s folkie classic Melinda More Or Less, on which she plays her trusty multi-coloured acoustic guitar to tell the story of her troubled friend, who lived in a dream world.
All the band’s heroines seem to have had a torrid time: witness Marie Antoinette and Emily-Jane, The Purple Speed Queen, but they are both part of the greater story.
Also from Air Cut came Easy, followed by the majestic Metamorphosis, a true prog epic which has now been given a whole new lease of life through Norton’s beautiful, delicate piano solo that the whole band stop to acknowledge – and admire.
Finally, cometh the hour, cometh the band and cometh the memories as a backdrop appears of Air Conditioning’s hypnotic album cover.
The band look slightly apprehensive about enormity of the task ahead, playing all of the album tracks but not necessarily in the right order. They start gently with the luscious instrumental Rob 1, Sax offering a beautiful expressive touch to the haunting violin part.
That paves the way for the glorious It Happened Today, still truly one of the outstanding opening tracks on any prog album. Kristina attacks it full-on with Gregory, Pilkington-Miksa, Norton and Harris all rocking out before it melts into the gorgeous closing violin solo, again Sax totally owning the piece while Kristina wafts around the stage, beckoning us all to join them in this magical musical web now being woven.
The gentle melody of Screw belies the song’s seriously menacing lyrics, followed by the brilliant uptempo Hide And Seek, a nightmare vision of an apocalypse survivor, that still sounds powerful, and the equally doomy Situations.
For the first time live, the band tackle Blind Man, a quaint little ditty about one man and his dog, the staccato vocal phrasing from Kristina based on Donovan’sHurdy Gurdy Man, so it is not an easy song to sing.
And what’s this? Dancing? It is hard to resist the wonderful rhythmic Stretch that motors along at a rapid pace while Propositions packs a punch, Kristina screaming, the guitar, keyboard and violin creating a wonderful jagged cacophony.
So to Vivaldi and yes, that really is the original violinist Darryl Way walking on stage, moustachioed and grinning. With Way now clutching a traditional wooden violin rather than the cutting edge perspex model of the early 70s, we were all suddenly transported back to our youth, with those frenzied opening bars then exploding into life as the rest of the band join in. Way’s touch is still remarkable, his solo as moving and intense as the original. Your humble reviewer finds herself retreating and weeping with the sheer emotion of the moment.
Then they are joined by Ian Eyre, sporting a jaunty cap, who was Curved Air’s bass player on Air Conditioning.
The band does not even leave the stage but plunge straight into the encore as prolonged cheering keeps them in situ up there where they belong.
Paul Sax and Darryl Way, the string dream team.
Air Conditioning duly delivered and sounding in terrific fettle, it’s left to Kristina to introduce their greatest hit, BackstreetLuv, followed by the frantic Everdance. Sax and Way are having a ball. They work well side by side, the superb violinists that they are, each with their contrasting styles, Way the classicist and Sax the jazzy individualist, who have both brought so much to the band’s unique style.
This was a celebration rather than a concert, the night of shared happy memories epitomised by the bond that connects the band and fans. For my part, it was also a celebration of where my prog journey originally started – on holiday in Majorca where an “older man” introduced me to Curved Air – and Jimi Hendrix.
So if anyone reading this knows a guy called Andy McCracken, who originally comes from Watford, now believed to be a practising Rastafarian living in Hertfordshire, possibly Hemel Hempstead, just tell him that Alison said thank you.
Progarchy 