Rob Reed and Peter Jones Resurrect CYAN Band

On By Bryan MoreyIn Progressive rock4 Comments

Press Release:

Magenta’s Rob Reed and Camel’s Peter Jones come together to resurrect the band CYAN with reimagined and reworked material from the band’s debut album. CYAN features Luke Machin, Pete Jones, Dan Nelson. New album ‘For King and Country’ due out on Sept 24th.

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Keyboardist and composer Rob Reed, known for his work with Magenta, Kompendium and Sanctuary solo albums, is pleased to announce a brand-new album from Cyan – For King and Country, due out on the 24th of September 2021.

Prior to Magenta, almost 30 years ago, Reed release three albums with his then band Cyan. Out of the ashes of that band, Magenta was borne.  Now, on this new Cyan album, Reed has rewritten, rerecorded and reimagined material from the early days of Cyan, and this time with a brilliant new lineup. The group features vocalist Pete Jones (Camel, Tiger Moth Tales), guitarist Luke Machin (Maschine, The Tangent), and bassist Dan Nelson (Godsticks, Magenta).  The band will be playing their first show at Summers End Festival, Sunday, Oct. 3rd.

The album is available for pre-order here:
https://www.tigermothshop.co.uk/store/Cyan-c117062595

Watch the video for the 15-minute opening track and first single “The Sorceror” here: https://youtu.be/x578hquw9nw

Rob Reed on the new album:  
Little did I know in 1983, sitting at the school piano writing these songs, that almost 40 years later those same songs would sound like they do on this album. I remember the original Cyan, made up of school mates, pooling our money, £35 to record them at a local 4 track studio with basic equipment. It’s been amazing to finally hear the songs at their full potential, with modern recording techniques and an amazing line up of players.
  
I’d held off releasing this album because I couldn’t find a vocalist to do it justice. Meeting Pete ticked that box, as soon as I heard him sing the first track. His voice just blends so good against Angharad Brinn, who I’d worked with on the Sanctuary solo albums. Having Luke play the guitar parts was just the icing on the cake. He is such a great player, with technique and feel. What a line up!
Pete Jones had this to say about the project:
I had known about the reworking of For King And Country for a while, so it was a great thrill to be asked by Rob to work with him on the project, alongside the other amazing musicians such as Luke and Angharad. The songs are fantastic. They have a youthful and yet vintage quality to them, as well they might, given that they were first done in the early 90s. But with the benefit of Rob’s experience, they have been reworked into an album which I feel is right up there with the classics.
 
Tracklisting:
 
1.The Sorceror
2.Call Me
3.I Defy The Sun
4.Don’t Turn Away
5.Snowbound
6.Man Amongst Men
7.Night Flight
8.For King and Country
 
Featured in photo:
Rob Reed
Dan Nelson
Luke Machin
Jimmy Griffiths
Peter Jones
Magenta/CYAN/TigerMothTales Website
https://www.tigermothshop.co.uk/

LEPROUS – Announce “Aphelion” preview livestream – Album Out Next Week

On By Bryan MoreyIn progressive metal, Progressive rock1 Comment

Press release from Inside Out Music:

Norwegian Rock outfit LEPROUS are releasing their 7th studio album “Aphelion” next week, on August 27th, 2021 worldwide via InsideOutMusic.

In order to further promote “Aphelion”, LEPROUS have announced a special entire album preview concert livestream, which will take place on Wednesday 25th of August at Notodden Theater in Norway. LEPROUS will actually be performing two full “Aphelion” shows, suitable for different time zones: The 1st live stream starts at 7 PM CEST (EU Time Zone) and the 2nd live stream starts at 7 PM EDT (US Time Zone).

For further info details and ticket options, please check here: https://munin.live/x-event/aphelion/
Ticket bundles (With merch or album) are available here: https://www.omerch.com/shop/leprous

Feel free to check out the singles/videos for “Aphelion” so far:
“Running Low”: https://youtu.be/QKmaG5f9Zsg

 

“Castaway Angels”: https://youtu.be/85drl9-lqRU

“The Silent Revelation”: https://youtu.be/S7bOg3oercg

Following up on 2019’s highly acclaimed “Pitfalls” album, LEPROUS recorded “Aphelion” throughout the last year at three different studios: Ghost Ward Studios in Sweden, Ocean Sound Recordings in Norway and Cederberg Studios in Norway. The album was once again mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, etc.), mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.) and its front cover artwork was designed by Elena Sihida, based on photography by Øystein Aspelund.

The album’s track-listing reads as follows:

LEPROUS – “Aphelion”
1. Running Low
2. Out Of Here
3. Silhouette
4. All The Moments
5. Have You Ever?
6. The Silent Revelation
7. The Shadow Side
8. On Hold
9. Castaway Angels
10. Nighttime Disguise

You can pre-order “Aphelion” in its various formats here:
https://leprousband.lnk.to/Aphelion

Next to the Jewelcase CD and Digital Album versions, “Aphelion” will also be available as limited edition Mediabook CD (with expanded booklet) and as Gatefold 2LP+CD with two bonus tracks:
11. A Prophecy To Trust and 12. Acquired Taste (Live 2021).

The album’s 180g 2LP vinyl version, which comes in Gatefold packaging and with the entire album on CD as bonus, is available in the following variants and limited editions:

Black 2LP+CD – Unlimited
Ultra Clear 2LP+CD – 500x copies via IOM Webshop & CM Distro
Bright Gold 2LP+CD – 200x copies via JPC
Transparent Light Blue 2LP+CD – 200x copies via EMP
Creamy White 2LP+CD – 400x copies via O-Merch
Deep Blood Red 2LP+CD – 200x copies via Band

LEPROUS line-up:
Robin Ognedal – guitars
Tor Oddmund Suhrke – guitars
Baard Kolstad – drums
Einar Solberg – vocals/keys
Simen Børven – bass

Bantamweight – The Prog Metal Find of the Summer

On By Bryan MoreyIn Atmospheric rock, Heavy metal, progressive metal, Progressive rock1 Comment

Bantamweight_Sounds+HapticsBantamweight, Sounds + Haptics, June 19, 2021
Tracks: Contact (4:17), Apparition (1:15), Hellion (5:12), Phoenix (2:04), The Weight (5:39), Interim (4:22), Terminus (1:15), Fall Away (4:55)

Prepare to be blown away by the best half hour of progressive metal you’ll hear this year. Los Angeles-based duo Bantamweight released their sophomore record, Sounds + Haptics, back in June, and it absolutely slays. My apologies to the band for not reviewing it sooner – it’s been a busy summer with my vacation time from my regular job spent doing another job. 

I went back and checked out Bantamweight’s first release, 2019’s EP Fear, and it’s far more atmospheric. It’s still quite good, but it doesn’t have the progressive metal complexity, heaviness, and drive that Sounds + Haptics has. Nevertheless that first release has a lot of interesting synth elements and thick bass tones, which the duo have retained in the big step forward they’ve taken with their second release. With Sounds + Haptics, the band have firmly placed themselves in the halls of contemporary progressive metal. I hear elements of Haken, Pain of Salvation, Leprous, Caligula’s Horse, and the Devin Townsend “wall of sound” effect. With that said, Bantamweight make their own sound in a way that only a metal band made up of a drummer and bassist could. 

Yes, that’s right – only drums, bass, and the synths/keyboards both members play. Max Kelly plays drums and keyboards (at the same time!) and Keith Shacklett slays on bass, vocals, and keyboards. Watch one of their music videos or live videos (see below) and be amazed. When playing live, Kelly plays the drums with his right hand and feet while he plays complex keyboard riffs with his left hand. That’s absolutely insane, and he does it all with more skill than most drummers or keyboardists have. Shacklett has a huge gritty bass tone that more than makes up for the lack of electric guitar. His playing style can be compared to someone like Connor Green (Haken), but the role his bass plays in the music is more comparable to Mariusz Duda from Riverside. His voice is perfect for this kind of metal. It has the grit needed in distorted moments, but the mid-range cleans keep their music from becoming overly aggressive. 

“Hellion” – YouTube

On this short record, each of the longer, heavier songs is spaced out by shorter instrumental tracks that highlight their more atmospheric edge (except for “The Weight” and “Interim,” which are back to back). These tracks tie all of the songs together, helping it all to sound like one longer epic track. Those synth sounds, which also appear on their longer songs, give their music a fuller sound reminiscent of Riverside or Devin Townsend. But again, they sound like themselves. The syncopated drumming, complex bass riffing, and Shacklett’s distinct voice bring Bantamweight to impressive heights. 

“The Weight” is probably my favorite track on the record. I can’t help but headbang to that heavy drumming. With that wonderful mixture of synths, drums, bass, and vocals, I don’t miss the lack of lead guitars. I love the way the song goes from heavy to calm in parallel passages.

“Hellion” and “Fall Away” are two more standout tracks, with musical complexity and catchy choruses abounding. In a nice handwritten note Max Kelly sent me along with the CD the band sent me, he noted that “Fall Away” has over 400 layers in the mix. That’s a Devin Townsend-level of dedication, and also where DT gets his “wall of sound” effect. And much like Hevy Devy, these guys can also play all of that live through the use of multiple synthesizers and sample pads. Most impressive. 

“The Weight” – Youtube

I honestly can’t recommend Bantamweight highly enough. Sounds + Haptics is fantastic. It pulls far above its weight. The band name is fitting since there’s only two members of the band, yet they create a sound that larger bands have taken years to perfect. This is the prog metal album of the summer for me. Even though the band’s influences are clear, their sound ends up being totally unique because of the core drum and bass sounds. These guys could hold their own in a music festival featuring the top names in progressive metal. Record labels take note – Bantamweight could (and should) be the next best thing in prog metal. I can’t wait to hear what’s next. 

As a side note, the album is name your own price for a digital download on Bandcamp, so you’ve got no excuse to not check them out: https://bantamweightofficial.bandcamp.com/album/sounds-haptics. They also have CDs for sale on Bandcamp.

https://bantamweight.band

Sounds + Haptics Live – Full Album – Youtube

 

The Best Prog Bands You’ve Never Heard Of (Part Twenty): Gracious

On By Connor MullinIn Progressive rockLeave a comment

An album cover designed by Roger Dean. A mellotron sound inspired by In the Court of the Crimson King. An opening suite reminiscent of Syd Barrett-era Pink Floyd. this is…Gracious!! had many of the key ingredients needed for a superior prog album, but it didn’t sell, and the band broke up not long after their sophomore effort. Perhaps Gracious tried to be too much at once: prog, psych, hard rock, blues, space rock, etc. Sometimes this eclectic blend works; sometimes it does not. this is…Gracious!! lands somewhere in the middle. Here are some of my thoughts:

Unlike most of the albums I have reviewed, this is…Gracious!! includes a true prog epic, the four-part suite “Supernova,” which takes up the entire first side of the album. Clocking in at just under twenty-five minutes, “Supernova” had the potential to be a classic prog epic, but it suffers from some shortcomings. The first two parts of the song – the Floydian instrumental “Arrival of the Traveler” and the Crimsonian “Blood Red Sky” – are fine examples of prog’s “classic” era (although Paul Davis’s vocals may be an acquired taste for some). Anchored by drums and mellotron, the latter would have fit nicely on King Crimson’s debut album. Unfortunately, “Blood Red Sky” transitions rather awkwardly into “Say Goodbye to Love,” a romantic guitar ballad with saccharine lyrics that just feels out of place on this epic piece. The fourth and final part, “Prepare to Meet Thy Maker,” thankfully returns to the Floydian/Crimsonian sound.

“C. B. S.” opens with a catchy guitar riff courtesy of Alan Cowderoy, and stays anchored by Martin Kitcat’s clavinet and piano.

“Blue Skies and Alibis” also opens with a catchy riff and is by far the strongest and most upbeat track. Kitcat and Cowderoy share centerstage on mellotron and guitar, respectively. The rhythm section also holds its own: drummer Robert Lipson anchors the song with his pacing, and Tim Wheatley’s nimble fingers produce a hopping bass line.

It’s too bad Gracious never had a chance to develop their sound, as they may have ended up among the prog elite of the early 1970s. Alas, they are now instead part of the long but colorful list of obscure prog artists. this is…Gracious!! may be a diamond in the rough, but it’s certainly worth a listen: you may find it more polished than I did.

Stay tuned for number twenty-one!

The Best Prog Bands You’ve Never Heard Of (Part Nineteen): Touch

On By Connor MullinIn Progressive rock1 Comment

Featuring vocals reminiscent of Ian Gillan and keys that may call to mind (dare I say it?) Rick Wakeman and Keith Emerson, Touch produced one of America’s early progressive rock albums – and one of its finest. Yet despite having fans and supporters such as Kerry Livgren, Jimi Hendrix, and Mick Jagger, Touch remained relatively obscure, as bandleader and keyboardist Don Gallucci refused to tour the album. Unfortunately, that spelled the end for the band, and they never released a second album. Thankfully, we have an impressive selection of songs from their lone effort. Here are some of the highlights:

“We Feel Fine,” a rollicking opener of a song, makes for a fine introduction. Jeff Hawks immediately puts on display his impressive vocal range, but Gallucci shines on the organ, and Joey Newman gets to show off a little bit on guitar.

The Beatles come to mind upon hearing “The Spiritual Death of Howard Greer,” an acid-rock epic that tells the tale of a sad stick in the mud. It may remind listeners of “A Day in the Life” or a darker version of “The Diary of Horace Wimp.”

Odysseus and his crew may disagree, but “Down at Circe’s Place” is a wonderful tune and the most psychedelic piece on the album. An instrumental (although there are some spacey wordless vocals courtesy of Hawks), the tune opens with a catchy piano riff and features a wonderful cacophony of sound at the climax – sans guitar: Gallucci’s keys and John Bordonaro’s percussion drive the madness.

The second and final epic on the album, “Seventy-Five,” is the strongest and most progressive track. Hawks can shriek like Gillan or croon like Greg Lake depending on what is called for; it is an impressive vocal performance to say the least. Newman finally earns a spot front and center to display his talents on guitar, and he does not disappoint.

This is not an album to ignore: the musicianship is top-notch and the overall quality something you will not typically find in some of these older, more obscure releases. It’s time to give Touch a go.

Stay tuned for number twenty!

Take A Trip With Evership – “The Uncrowned King: Act 1”

On By Bryan MoreyIn Progressive rockLeave a comment

Evership, The Uncrowned King: Act 1, 2021

  1. The Pilgrimage: I. Desert of Facts, II. The Temple of Truth, III. The Quiet Room (10:38)
  2. The Voice of the Waves (3:08)
  3. Crownshine/Allthetime (10:51)
  4. The Tower (9:48)
  5. The Voice of the Evening Wind (4:24)
  6. Yettocome/itmightbe (16:42)
  7. Wait (5:13)

Nashville-based prog outfit Evership is the brainchild of Shane Atkinson, a musician with a background in Contemporary Christian Music dating back to the 1980s. It’s too bad CCM today doesn’t sound more like Evership’s music, because this group combines some of the best elements of the various eras of progressive rock. Atkinson has also been active in music for films, commercials, and theater, but he left the music industry years ago for the more stable world of software development after the birth of his first child. In 2005 he quit that and began his own music production company, with the goal of funding future albums. That future is here, with three Evership albums since the first was released in 2016.

The latest Evership album, The Uncrowned King: Act 1, is based off the 1910 book of the same name by Harold Bell Wright, a bestselling American author in the early twentieth century. This album only tells part of the story, so be on the lookout for Act 2.

The music displays myriad influences, including 1970s prog, 80s synth rock, and the production values of today. The drums, which Shane plays himself, have a bit of the 80s sound, and some of the guitars, played by James Atkinson and John Rose, have an 80s Yes sound. The keyboards (played by Shane) often have a Rick Wakeman-esque flair, giving the album a strong Yes influence. The frequent use of piano reminds me of some of the better moments of CCM over the last thirty years, but I’ve spent my whole life going to churches that play CCM (of varying quality), so this may not mean much to most of our readers.

Beau West’s vocals elevate the story to the next level with a beautiful tone and range that befits the story. He really shines on “Yettocome/itmightbe,” which is a reflective song that focuses on the vocals with calm piano, synths, bass, and appropriate drumming.

The concept is rather compelling, with the whole musical and lyrical tapestry reminding me a bit of the Neal Morse Band. With three tracks over 10 minutes (one of them almost 17 minutes), you could say this is all rather epic. The length of the tracks gives the music and story room to breathe and develop. The musicianship itself is stellar. Ben Young’s bass provides a nice low end to what is a somewhat ethereal-sounding album. It’s definitely a rock album, but it’s more on the symphonic prog side of things. The guitar solos soar, and the drumming fits the mood at every moment. Simply put, the music helps tell the story.

There’s a touch of musical theater with tracks like “Wait,” again reminds me of the Neal Morse Band or even Ayreon. Vocal harmonies are used sparingly throughout to add extra depth to the music. These help provide that lovely prog aesthetic that’s becoming rather prominent with some bands in the genre. I hope Evership make even more use of it on Act 2.

All in all, The Uncrowned King: Act 1 is a wonderful album. It’s so nice to hear music like this being made by an American band. I wouldn’t be surprised if Evership will have a wider listening audience in Europe than here in America, but I certainly would enjoy hearing their music live.

http://evership.com/index.html
https://www.facebook.com/evershipband

Big Big Train Release Acoustic Version of “Common Ground” – New Album Out Now

On By Bryan MoreyIn Big Big Train, Progressive rockLeave a comment

Today Big Big Train released a special live-in-studio acoustic version of their song “Common Ground” off their new album of the same name. The album was released on Friday, and it’s the top release of the year thus far, in my opinion.

Check out Progarchy’s interview with David Longdon about the album: https://progarchy.com/2021/06/29/big-big-trains-david-longdon-the-progarchy-interview/

And check out my review: https://progarchy.com/2021/07/18/big-big-train-common-ground-2/

https://youtu.be/M2eu2SPjdb4

Also check out the band’s release day video, which features not one, not two, not even three – but four Nick D’Virgilios.

https://youtu.be/XmY3IU8NBBc

The Best Prog Bands You’ve Never Heard Of (Part Eighteen): Principal Edwards Magic Theatre

On By Connor MullinIn Progressive rockLeave a comment

One of the hallmarks of the classic era of progressive rock was the theatrics: Peter Gabriel’s eclectic costumes, Keith Emerson’s knives and flying piano, and Rick Wakeman’s flowing capes are just a few that come to mind. But few prog bands ever included an entire troupe on tour. Enter Principal Edwards Magic Theatre (PEMT), a fourteen member ensemble that included singers, musicians, poets, dancers, and sound and light technicians. This cast of characters, who at the time were students at the University of Essex, initially sought to express their artistic abilities through the medium of print, but it did not take them long to realize that it was more enjoyable to display their talents on stage.

Although they managed to release only two albums (in 1969 and 1971) before splitting up, they rubbed shoulders with some of the luminaries of prog and classic rock, including Pink Floyd (Nick Mason even produced their second album), Elton John, Yes, Fleetwood Mac, and King Crimson. Combining whimsical lyrics with flute, violin, acoustic guitar, a healthy dose of electric guitar, and spoken word vocals, PEMT sounds something like a blend of Fairport Convention and Pink Floyd. Here are a few standouts from their debut album, Soundtrack:

“Enigmatic Insomniac Machine,” besides earning the award for best-titled song on the album, is as bizarre as the title suggests. And if you can’t follow the story the song tells, you can at least enjoy Vivienne McAuliffe’s soothingly beautiful vocals. Fans of Judy Dyble, Sandy Denny, or Sonja Kristina will be impressed.

Root Cartwright’s electric guitar explodes onto the scene in “Sacrifice,” a song concerning, well, a human sacrifice. Cartwright’s guitar calms down for a few minutes before taking centerstage again after the murder of the poor lady about halfway through the song.

The peculiar man of La Mancha who fought windmills is dispatched in a somewhat unorthodox fashion in “The Death of Don Quixote,” a patchwork epic that jumps from one mood to the next without much warning.

The album closes with “Pinky: A Mystery Cycle,” which features some eerie violin courtesy of the multi-instrumentalist Belinda Bourquin and ominous spoken word vocals courtesy of McAuliffe. Cartwright again shines on electric guitar.

Soundtrack is an eclectic patchwork of psychedelia, folk, grunge, and prog. The album is neither particularly coherent nor consistent, but for some this will be part of its charm. For those who enjoy Curved Air, Fairport Convention, or Strawbs, this will be worth a listen. And judging by the live performance below, they must have been quite a group to see, too.

Stay tuned for number nineteen!

The Neal Morse Band’s Randy George: The Progarchy Interview

On By Bryan MoreyIn Neal Morse, Progressive rock2 Comments

The Neal Morse Band, Innocence & Danger, Inside Out Music, August 27, 2021
Tracks: CD 1: 1. Do It All Again (08:55) 2. Bird On A Wire (07:22) 3. Your Place In The Sun (04:12) 4. Another Story To Tell (04:50) 5. The Way It Had To Be (07:14) 6. Emergence (03:12) 7. Not Afraid Pt 1 (04:53) 8. Bridge Over Troubled Water (08:08)
CD2: 9. Not Afraid Pt 2 (19:32) 10.Beyond The Years (31:22)

Last week I had the wonderful opportunity to interview Randy George from the Neal Morse Band about their upcoming album, Innocence & Danger. What an album! After back-to-back double concept albums, the band decided to make an album of independent songs. It’s still a double album, but it’s very digestible.

Innocence & Danger has quickly risen to one of my favorite albums of the year, and Randy George’s brilliant bass playing has a lot to do with that. His bass is more prominent in the mix, and it really shines opposite Mike Portnoy’s drums in the rhythm section. I think Neal Morse’s vocals also deserve a mention as they are the best they have sounded in years. Maybe that’s due to a lack of touring over the past year+, but he (and everyone else) sound great. The vocal harmonies are turned up to the max, and the prog is in full force. But don’t be surprised if you hear a few other surprise elements in the music – something we talk a bit about in the interview below. Oh, and “Beyond the Years,” the album’s 31-minute epic, may be the best long song I’ve heard from Neal Morse and company.

This interview was conducted on July 21, 2021 via Zoom. There was quite a bit of scratchiness in the Zoom audio, so I’ve decided to spare you that and just give you the transcript, which was edited lightly for readability. The interview is pretty wide ranging. We start with an update on the last year and a half for Randy before we go into a deep dive of the album. Then we discuss some of Randy’s influences as a musician before we talk a bit about the history of prog, it’s place in the music world, and how the future will look back on their music. 

NealMorseBand_2

Bryan: Thanks for joining me here for Progarchy. I really appreciate you taking the time.

Randy: Yeah! Happy to do it.

Bryan: It’s been tough career-wise for musicians without being able to tour. How’ve you been in that regard?

Randy: Well, you know, I guess we’re all feeling it to some degree. I guess as a function of where I live it hasn’t really been that bad. We had done that Cover to Cover 3 CD, and it was wrapped and delivered to the label before the pandemic hit. There were some videos that needed to be [made]. We wanted to do videos, so there were a few videos, and I did a couple of those. And then Neal [Morse] did Sola Gratia. I recorded that and then we did videos for that. Then we did Morsefest in September, and my wife and I have been playing locally since September, pretty much twice a month or three times a month ever since last September.

In a lot of ways, yeah we had to wear masks a little more during the time, but for the most part we kept busy. We felt it most right at the beginning. Everybody was sort of freaked out, got shut down March through July or whatever. Then people started to open up a bit. So initially everyone was a little bit like, wow, there’s nowhere to go. But we both work from home. We really didn’t travel outside very much. We’re here on our own little plot. Plenty to keep us busy here. But yeah I watched it from a distance. I’m sure for some people it was really hard, and it sucks that it had to happen like that. I look forward to the end.

Bryan: Yeah I think everybody does. Morsefest was one of the first – definitely one of the biggest in the prog world of concerts that came back in person. That was kind of exciting because it was a glimmer of hope after so many months of nothing at all live-wise.

Randy: People will always find a way.

Bryan: Yeah exactly. I’ve had a chance to listen to Innocence and Danger a little bit over the last couple of days. It’s a fantastic album. It feels like a little bit of a different direction, especially after the last two concept albums. Can you tell me about how the album came together?

Randy: Well, the whole thing – we were going to start working on Innocence & Danger way back in the beginning of 2020. We initially signed a record deal with Inside Out. Then the pandemic hit. Mike [Portnoy] was really busy with Sons of Apollo, and we didn’t really have any clear cut date in mind that we could get together and do this. So quite honestly between signing the deal and getting in the studio to do this, it was more than a year. We did in January come together at Neal’s house and wrote the whole thing in about twelve days and tracked the drums and took it home and developed it over the next couple months, and Rich [Mouser] mixed it.

We went into it not having a lot of pre-written material. Neal didn’t have anything. Bill [Hubauer] and I both brought recorded ideas that were predominantly raw ideas that could be developed rather than finished demos that already had a lot of development to them. The Neal Morse Band tends to – no matter what you bring in, they want to redo it. So we kind of, it’s easier to bring in ideas that they can all sort of get their head into and write with. Some of it is much easier to do that, between Bill and I and Eric [Gillette], we have plenty of musical stuff. Neal, of course, he may not have come in with anything, but he gets up early in the morning and he’ll start writing and work on ideas then we end up working on them the same day or the next day. So Neal does actually write a fair amount of stuff. He just doesn’t always go into the session with all of it prepared, unless it’s a concept thing were he has an idea. We knew this wasn’t going to be another concept album. We just wanted to do an album of songs. We felt it was the right time for that.

Continue reading “The Neal Morse Band’s Randy George: The Progarchy Interview” →

All We Are Is Dust in the Wind… Remembering Robby Steinhardt

On By Bryan MoreyIn Progressive rock8 Comments

Robby-SteinhardtBy now I’m sure you’ve heard that Robby Steinhardt passed away a week ago at age 71 after complications from acute pancreatitis and sepsis. I wanted to write something sooner, but it’s been a busy week. Since Robby Steinhardt is a far more important figure in progressive rock than he is given credit for, I thought I’d share a few thoughts. The timing of his death is doubly tragic since he was in the final phases of finishing a new solo album, and he had plans to tour the country in the future. I hope that album still gets released. 

More so than any other band member, Steinhardt is arguably the one person who set Kansas apart from any other rock band in the 1970s. His violin created an entirely new sound. Sure there were other rock and progressive rock bands incorporating violins into their music, but no one else came close to touching Kansas. Pretty much every other rock band that incorporates a violin does it in a way that allows the violin to shine in a more traditional symphonic way. The violin tends to add a folk element to a rock band’s sound. That isn’t a critique against violinists in rock bands who play that way, but Robby didn’t play that way. Even though he was classically trained, he was able to take that background and apply it to a rock sound, creating something entirely new in the process. 

Steinhardt’s violin had this magnificent ability to supplement Steve Walsh’s and Kerry Livgren’s keyboards in some parts of songs while carefully interplaying with Livgren’s and Rich Williams’ electric guitar riffs at other parts. He played a hard a fast violin for those rock moments, but he could play the gentler, smoother sounds when needed too. “Song For America,” one of Kansas’ best tracks, displays both methods. Without the violin, that song just wouldn’t have the power that it has. It’s pure Americana, and it’s pure progressive rock at it’s finest. Arguably a top ten track in the genre. 

https://youtu.be/DYklWF1lqEM

Like many people, I was initially drawn to Kansas’ music by the violin, as was my Dad, who saw the band play at Six Flags in Missouri in the early 1970s before the band released their first album. As a kid, he was struck by a rock band using a violin. I had the same reaction as a kid. I was exposed to Kansas’ music about the same time I first heard Rush’s music, and both bands ended up playing an enormous role in my life, so much so that I wrote an academic essay on Kerry Livgren for one of Dr. Brad Birzer’s (Progarchy’s founding father) classes in college. But it was that violin that first grabbed my attention and pulled me in for a closer listen. 

If being a whiz on the violin wasn’t enough, Steinhardt also had a golden voice that elevated Kansas’ sound. In his prime, Steve Walsh had the finest voice in rock music, but Steinhardt added a grit to their sound. Walsh was capable of that heavier blues singing, which can be heard on their first couple of albums. Steinhardt didn’t add a blues flair, though. His voice had a natural deepness and tone, and the harmonies the two vocalists made were glorious. His voice had a distinctive sound, and it was backed by a lot of power.

Together Walsh and Steinhardt made a sound that was unique. Just listen to “The Devil Game.” When they harmonize, Walsh takes the highs and Steinhardt takes the lows, providing a well-balanced sound that reflects the lyrics. How many bands would have a secondary singer open up their album, as Kansas did with “Down the Road” off Song For America? That shows how vital Steinhardt’s vocals were to the band’s sound.

Continue reading “All We Are Is Dust in the Wind… Remembering Robby Steinhardt” →