Yes to Forever

Will Yes be the first band to transcend generations?

From an awesome new interview with the excellent Jon Davison:

But even with all the lineup changes, Yes’ music retains a dynamic, unmistakable identity that manages to end up being bigger than its individual players. 
That’s right, and it’s similar to the way classical music works. Long after those marvelous composers, like Chopin and Bach and all of them, passed, and the centuries moved forward, their music lives on. It’s not so much about the personality anymore. And people have a hard time seeing that now, because obviously the members [of Yes] are still alive, apart from [original guitarist] Peter Banks, who passed away last year. But it’s so easy to associate the music with the personality, and that causes a lot of conflict among fans. But ultimately, it’s about the music, and just taking the music forward. And there will always be a Yes. And I’m a lover of Jon Anderson as much as I’m a lover of Chris Squire, but you can’t fight it. And when something has that power to it, it’s beautiful, and beauty transcends all of that personality, and it’s always gonna belong, you just can’t put a cap on it and say, “Well, the original members aren’t doing this music anymore, so it’s over.” That can never be. It just can’t be.

It reminds me of the music of Frank Zappa, who composed so much great material with many different lineups — and many different lineups have performed it.
Yeah, that’s exactly it. Art just transcends so much. And when there’s something beautiful and powerful, it’s going to thrive, and you can’t stop it. Each lineup of Yes reflects a new, fresh kind of flavor, if you will. In the grand scheme and topography of Yes. So I think that’s kept it going. I think that’s kept it really fresh. Even the later albums, with “Open Your Eyes,” and so on, those albums are less popular, perhaps, but there was always a nice freshness there, the music was alive, and I think that has to do so much with the unique lineups that keep evolving.

In a recent article, Yes bassist Chris Squire joked, but in a somewhat serious way, that Yes will be around in a hundred years.
For me, when I hear the classic Yes stuff, yeah, I definitely hear that this is a ’70s band — there’s a lot of aspects in it that reveal that. But at the same time, it’s futuristic music. It’s like this thing you can’t quite pinpoint. It’s, like, way ahead of its time. And I still think we haven’t arrived at the point where, OK, we’ve arrived to the full realization of what Yes is. No, it’s like it’s still in the future, and I think that’s why it goes over so many people’s heads.

It’s definitely rock and roll, but at the same time, it has this transcendental quality that you can’t quite pinpoint.

New demo from Ezekiel Graves/Gravaphone

artworks-000087721505-fnusjh-t500x500Ezekiel (Zeke) Graves has a new demo out under the name Gravaphone.  Graves’s music, which I’ve reviewed on the pages of Progarchy before (https://progarchy.com/2013/11/15/chthonic-journey-by-ezekiel-graves/) emerges from his North Carolina upbringing but is also informed by deep soundings of electronic music, British folk, and Krautrock.  I saw him perform this song live a few months ago, accompanied by a Fender Rhodes and fiddle, which gave the song a unique coloration, but I like what he’s done with it here as well, made it darker, spare, and electric.

https://soundcloud.com/gravaphone/new-state-demo

Rob Reed solo: SANCTUARY

rob reed ad sanctuary

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Sanctuary is the fulfillment of a lifetime’s dream and ambition in music Rob Reed has held since first hearing Tubular Bells in 1973 at the age of seven. Last year, he decided to focus his abilities on creating his own one-man project.

The album is played, produced, mixed and engineered by Reed and he’s brought in Oldfield collaborators Tom Newman and Simon Heyworth, who respectively co-produced and mastered the new work.

Reed learned to play all the instruments used on the record – grand piano, guitars, bass, mandolin, glockenspiel, vibraphone, marimba, timpani, banjo, recorders, organ – and… tubular bells ! The Synergy Vocals choir, singer Anghared Brinn and some extra percussion by Tom Newman completed the picture.

Rob says: “I wanted to play all the instruments, and for them all to be real – no synthesisers. The next four weeks were a bit of a blur as the music just came out. It turned out to be the most enjoyable album I’ve made.” Conscious of the need to be inspired by Mike Oldfield’s iconic album, rather than just copying it, Reed adds “I worked hard to make the melodies stand on their own.”

And the result has reaped dividends, with Rob noting Heyworth’s reactions: “He told me that when he heard it, he closed his eyes and he was back in Manor Studios in 1973.”

Rob is hopeful that the two-part piece can be performed live with a 12-piece band soon.

Sanctuary was released on July 21 via Tigermoth Records on CD and DVD 5.1. A 180g vinyl is available via Plane Groovy, and each copy comes with a download coupon.

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The Philosophy of Rush

I am curious to see how Robert Freedman explains “Aristotelian individualism” in his book, Rush: Life, Liberty, and the Pursuit of Excellence (Algora, 2014).

Tibor Machan’s Classical Individualism: The Supreme Importance of Each Human Being, Studies in Social and Political Thought (New York: Routledge, 1998) discusses it in the following way, as recounted by Irfan Khawaja:

Machan distinguishes between two brands of individualism, Aristotelian and Hobbesian. Hobbesian individualism, on his account, is the problematic form, characterized by nominalism about universals, subjectivism about value, and atomism about human nature. Aristotelian individualism is the “classical” and defensible form, characterized by conceptualism about universals, objectivism about value, and what we might call biosocial essentialism (my term) about human nature. On this latter Aristotelian or classical view of individualism, Aristotelian individuals ought to be the primary unit of analysis in normative theory, and the primary concern of a legitimate social system. Each of us ought to strive, as Aristotelian individuals, to regard the pursuit of our own happiness as our overriding moral obligation. A just social order would respect that obligation by protecting the conditions that facilitated its optimal pursuit by each of us. Machan argues that the anti-individualists mentioned above are successful in their attacks on Hobbesian individualism, but fail to distinguish between it and Aristotelian individualism, which they leave entirely unscathed in their criticisms. (For a concise statement of Aristotelian individualism, see CI p. 170).

Among the criticisms Machan works to overcome in CI is the objection that the very idea of “Aristotelian individualism” is incoherent. Aristotle, after all, is well known for his dictum that “man is by nature a political animal.” Anti-individualists have often used this Aristotelian thesis to argue against individualism as follows:

1. Aristotle was correct to argue that humans are by nature political animals;

2. But individualism denies this Aristotelian truth;

3. Hence, individualism is false.

The argument raises a dilemma for Machan: if classical individualism is Aristotelian, it can’t be genuinely individualistic; but if it’s really individualistic, it can’t be genuinely Aristotelian. So, the criticism goes, Machan must choose between his commitments to Aristotelianism and to individualism.

Machan, however, believes that he can have both Aristotelianism and individualism simultaneously. Granting the existence of contrary evidence, he isolates a solid core of textual evidence for a form of individualism in Aristotle and generally in the Aristotelian tradition. The plausibility of Machan’s argument derives from the fact that individualism is in fact a pervasive theme in several important elements of Aristotle’s philosophy. Thus some support for individualism comes from Aristotle’s metaphysics of entities which, to quote Eduard Zeller, makes “the Individual…the primary reality” in Aristotle’s ontology, and gives it “first claim on recognition” (CI, p. 175). Some of it comes from Aristotle’s theory of action, which is the locus classicus of the agent-causal theory of free will that Machan defends elsewhere in the book. Some of it comes from Aristotle’s theory of value, which makes an individual organism’s flourishing that organism’s ultimate end, and the source of the norms that guide its life. Some of it comes from Aristotle’s theory of practical reasoning and virtue, which places a high premium on ordering one’s life by one’s own rational choices. Some of it even comes from the most anti-individualist part of Aristotle’s philosophy, his politics. In a justly-celebrated study, Fred D. Miller Jr. has recently argued that Aristotle’s political theory gives a central place to individual rights and a “moderately individualistic” theory of the common good.[21] Machan usefully points to similarities between this Aristotelian conception of individualism and various historical influences on contemporary life, from Christian and Islamic theology, to classical liberalism, to the thought of the American Founders, to the writings of Ayn Rand (CI, Preface, chs. 1, 14, 15).

One of the virtues of Machan’s discussion is that he manages to maintain a healthy sense of perspective on the texts, making a good case for Aristotelian individualism while acknowledging the existence of other ways of reading the texts, and some texts that contradict his interpretation. The purpose of appealing to the texts is to identify two forms of individualism at a fairly high level of generality, and the evidence that Machan cites is more or less sufficient for this task. In this respect, Machan’s approach differs drastically from that of some of his critics (e.g., John Gray) whose modus operandi consists in making bold, unsupported, and occasionally downright wild assertions about the relationship between Aristotle and individualism. A close reading of the Preface, and of chapters 1, 4, 14, and 15 of CI should give such critics pause, and give others a lot to think about.

Having made the case for the coherence of an Aristotelian form of individualism, however, it’s a separate task to make that case relevant to contemporary life. Aristotle lived nearly 2400 years ago in a slave-owning, deeply misogynistic society, and explicitly deprecated the value of productive work. In fact, Aristotle’s view of productive work—that it is a morally inferior task performed by morally inferior people whose products can be expropriated at will (cf. Politics 1254a4-8)—is not only the antithesis of Machan’s individualism, but is arguably one of the sources of opposition to it. Historically, Aristotle’s conception of productive work was invoked to justify the slave trade; today, it remains entrenched in the views of those advocates of redistribution who believe that “the needy” have de facto property rights in the labor and talents of “the able.”[22] Drawing on Locke and the other classical liberals, Machan works to detach these Aristotelian prejudices from Aristotle’s more fundamental claims (e.g., those mentioned above), and then connects those fundamental claims with an essentially Lockean politics. One of the best results of this approach is Machan’s treatment of the so-called “tragedy of the commons,” which he renames the moral tragedy of the commons, and conceptualizes in a way that is both clearer and deeper than that of its “original” author, Garrett Hardin (CI, p. 49). The idea of a moral tragedy of the commons has deep roots in Aristotle’s critique of Platonic communism, and in Locke’s theory of property; Machan redeploys the concept to offer cogent criticisms of redistribution and environmentalism that maintain continuity with the Aristotelian and Lockean arguments (CI, chs. 5, 10, 11, 12, passim).

Chicago Symphony Orchestra – The Return of the King -Live-

2981_Show_PageYes, I know this is a “progressive rock” website, but please allow me this opportunity to share with you my wonderful experience last Thursday at Ravinia, in Highland Park, IL. And besides, Tolkien is beloved in the prog world anyways, just look at Led Zeppelin IV. The more I listen to that album, the more I think the whole thing is about Middle Earth, except for the first two songs. I digress… already.

For the past few years, the amazingly talented Chicago Symphony Orchestra (CSO) has performed Howard Shore’s musical score to the Lord of the Rings live along with a showing of the movies. The last two years were The Fellowship of the Ring and The Two Towers. This year was The Return of the King, which I had the great pleasure to attend. Just the idea of an orchestra playing a movie score live with the movie is astounding, but to do Howard Shore’s Lord of the Rings score live?! Incredible.

The conductor was the talented Ludwig Wicki, the first person to conduct a live performance of the Lord of the Rings trilogy. A native of Lucerne, Switzerland, Wicki spent time studying his trade in Bern, Dresden, and Pescara, Italy. Since forming the 21st Century Symphony Orchestra in 1999, he has spent much of his time performing live film music. Needless to say, he is a master of his craft.

Ludwig Wickie
Ludwig Wicki

The CSO is probably one of the top 10 orchestras in the world. They are simply fantastic. I saw them perform George Gershwin’s Rhapsody in Blue, along with other shorter symphonic pieces, a few weeks ago at Ravinia, and it was breathtaking. Their ability to play the LotR soundtrack with the movie was nothing short of magnificent. I listen to the complete soundtracks from those movies on a regular basis, and the CSO was every bit as good as the original soundtrack. In some respects, it was even better. There are certain scenes in the movie where the music blends into the background, but when it was played live, the music in general was much louder. It brings a great deal of emotion to the forefront.

Not only did the CSO perform the score live, but The Lakeside Singers and the Chicago Chorale sang the choral pieces to the movie. They were every bit as good as the choirs used in the score. Most astounding was the lovely miss Kaitlyn Lusk, a soprano who soloed for the required pieces. Her performance of the credits song, Into the West, was, in my opinion, better than Annie Lennox’s original recording. She never once missed a note throughout the night, and this was a long movie, and those are high parts to sing. Well done miss Lusk. (She’s so good, she was invited by Howard Shore himself to sing Into the West in 2005 as a part of his Grammy honors.)

Another cool part of the evening was my opportunity to meet Doug Adams, a Chicago native. He is known far and wide for his book, The Music of the Lord of the Rings Films. He was invited by Howard Shore, during the recording of the original scores, to document the process of creating the scores and recording them. He has also written the liner notes to the scores for LotR and The Hobbit soundtracks. I left my copy of his book at home (DOH!), so I had to buy another one and have him sign that. He was very friendly, and it was very generous of him to hold a book signing at the performance, when I’m sure he was there to enjoy the concert himself.

I don’t know much about the technical side of music, but I know that I love these soundtracks, and Mr. Wicki and the CSO performed the music perfectly in sync with the movie. It was such a joy to watch. Ravinia is also the perfect place to showcase something like this. It is easily the best venue in the Chicago area, if not in the whole Midwest. Highland Park is a beautiful (and expensive) suburb on the north side of Chicago, mere blocks from Lake Michigan. It is outdoors, with a covered pavilion and expansive lawn area. The park itself is over 100 years old, and the CSO have been playing there since the beginning. Quite the history. All throughout the summer, Ravinia has amazing concerts of all different genres (I saw Ian Anderson there last summer). I had a wonderful time, and I certainly hope the CSO does this again in the future, maybe with The Hobbit next year.

Last year's performance of The Two Towers, which I unfortunately was not able to attend
Last year’s performance of The Two Towers, which I unfortunately was not able to attend

 

New Book: Rush: Life, Liberty and the Pursuit of Excellence

rvkeeper's avatarrush vault

Excellence
I had a great time over the last four years writing Rush:Life, Liberty and the Pursuit of Excellence, my book about Rush from Algora Publishing in New York City. Thanks to the work of lots of other people, including Chris McDonald and Durrell Bowman, whose books and Ph.D. dissertations paved the way for many of us who spend a lot of time thinking about the band’s music, I found lots of great work to draw on. The one thing that was missing, in my view, was an overarching narrative that put everything the band has done under a single, unifying theme. It was my intention to do that in my book by showing how all of the band’s music can be understood as an expression of classical liberalism rooted in Aristotelian individualism. Thanks to Ed Stenger of RushIsABand for writing the foreword and to John Patuto of Cygnus X-I

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Love Will Find A Way: Revisiting Underrated Yes Albums @YesOfficial

It can happen to you …

… you can learn to love an underrated Yes album (e.g., Talk or Big Generator or Drama or Heaven & Earth) today.

Why?

Because love will find a way …

 

Beautiful!

Dave Gregory delivers a stunningly beautiful solo in this new song from Tin Spirits’ upcoming album! Enjoy, progarchists! Enjoy!

http://youtu.be/EfOADav8bAE

I Come Here Not to Bury AC/DC, But to Praise Them

In recent days, the news has broke that it doesn’t look like rhythm guitarist Malcom Young will be returning to AC/DC due to an undisclosed illness. We wish you well, Malcom, and hope for a full and speedy recovery from whatever it is that ails you.

Now before I continue on, you are probably saying “why is there a post about AC/DC on Progarchy, of all sites?” Well, let me explain.

First of all, it’s true that AC/DC is nothing close to prog, nor are they the most artistic band in the world to put it mildly. But every yin needs its yang, and as much as I love the complexities and artistry of good prog rock, there are still times when I want to simply put the pedal to the metal, so to speak, and listen to something that is loud, simple, and just flat out rocks with no pretension of being anything else. AC/DC certainly fits the bill for that.

I’ve always thought of them as “audio testosterone.” As far as their sound, well, it hasn’t changed much over the years. To quote Malcom’s more visible brother Angus from an interview years ago:

I’m sick to death of people saying we’ve made 11 albums that sound exactly the same. In fact, we’ve made 12 albums that sound exactly the same.

Most of their songs are loud, rhythmically simple, and rely on a progression of three or four power chords or some other repetitive arpeggiated riff. There is some decent guitar soloing by Angus Young, made all the more impressive during live shows by his constant gyrations resembling something like that of an highly active four year old boy who just downed a double shot espresso from Starbucks.  But mostly, it’s simple chords, simple bass, simple drums, 4/4 and all that.

Still, these self-imposed musical limitations matter not. As comedian Jim Breuer once stated, they could do the Hokey Pokey and tear it up (totally safe for work, and very funny):

How about lyrically? Well, here’s a phrase that has never, ever been uttered before in all of human history:

I’m not familiar with Greek mythology, therefore I don’t understand AC/DC lyrics.

Let’s face it, the song Hard as a Rock is not about the myth of Sisyphus. What Do You Do For Money, Honey is not a meditation on the writings of Adam Smith. And Hell Ain’t A Bad Place to Be has absolutely nothing to do with Dante’s Inferno.

And you know what? I don’t care. I love these guys anyway. If I was in my 20’s, back in college and heading for a party to blow off some steam after a hard week of studying, there are few bands whose music I would like to hear blaring from the speakers more than AC/DC.

I could go on and on trying to extol the virtues of AC/DC, but as the old saying goes, a video is worth a thousand words (it appears something was garbled in the translation). So indulge me here for a few minutes and watch this, or at least part of it. And what I want you to pay particular attention to is the crowd. After the break, I have a few more thoughts.

So let me ask you a few things about the people in the crowd? How many of them appeared to be wallowing in existential despair? How many of them were having a dark night of the soul? How many in that crowd are lamenting the injustices of life, indulging in self-pity, or stressing out about the next mortgage payment? The answer to all of those questions is a big, fat ZERO! No, what they are doing is having fun, getting their butts rocked off, and just simply living – truly living – in the moment. As the character Miles says in Risky Business, sometime you just gotta say what the … well, you know.

Getting back to the impetus for this piece, I again wish you well, Malcom. For those of you that include prayer as part of your daily lives, please send one or two his way. And to the rest of the members of AC/DC who plan to carry on and release another album later this year, what else can I say but … for those about to rock, I salute you!

Yes — “The Calling”: Four Versions

Further to our vigorous discussion of Talk, a nice bit of trivia from the good old NFTE:

Greetings all.  Over the weekend before Talk came out, I picked up the promo
CD single for "The Calling" from my local rarites dealer.  It contains three
different edits of the song plus the original version.  Imagine my surprise
a few days later when I found that the original version of the song is not
on the album (not on the US release, anyway).  The four tracks are:

Radio Edit (5:58) The only version that I have heard on the radio.  An apt
   title, I suppose then.  Edited out are the funky guitar/keyboard break
   (occurs about 3:00 into the original version) and the long quiet part
   that immediately follows.

Single Edit (4:39) Like the radio edit, but with the harmonized vocal intro
   edited out (that is, the first verse starts where we would expect the
   harmonized intro to start), and an very early faded-out ending.

Album Edit (6:55) You guessed it, the same version that is on the album.  
   Like the original version, but with the long quiet part (for lack of a 
   better name) edited out.  Silly me, I was puzzled for a few days as to
   why they called this the "Album Edit", but now I know.

Original Version (8:06) This is the version some have heard on the radio, 
   and I believe it was played at the premiere party.  There is a soft quiet
   part right after the guitar/keyboard break.  To give those who haven't 
   heard it an idea of what it sounds like, I halfway expected Anderson
   to start singing "Awaken" during it.

The cover to the cardboard sleeve is exactly like that of the album (minus
the word "Talk", naturally).  Stranger still is the fact that the words "The
Calling" do not appear anywhere on the cover.  The spine reads "Yes - The 
First Track From Talk".  The back cover reads "The First Track From Talk",
and "Start TALK-ing now!" (duh).  Was there perhaps some indecision over
what the first single would be?  The number on the spine is CDP 1178, if
that helps anyone, and I paid $4 for it.