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 […]
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:

— Rick Krueger
This Is All the Fault of Stranger Things …
So apparently, a Twitter user wanted Weezer to cover Toto’s “Africa,” after hearing the iconic 1980s yacht-rock classic on the season 1 soundtrack of Stranger Things. After the meme went viral, in very short order:
- Weezer tried to troll Twitter with a cover of “Rosanna.” The masses were not appeased.
- Four days later, the inevitable Weezer version of “Africa” dropped. And it was a hit, scoring their first Alternative No. 1 song in 10 years.
- Of course, Weezer now had to play “Africa” in concert; Toto synthesizer whiz Steve Porcaro even joined in the fun for the keyboard solo on “Jimmy Kimmel Live.” And last night, Weezer was joined by a very special guest for a even more very special solo:
- Clearly enjoying the whole thing, Toto (currently on the US leg of their 40 Trips Around the Sun tour), have started covering a Weezer song for their encore:
- And of course, Toto’s single of “Hash Pipe” will be released tomorrow.
All of which, to quote Robert Plant, makes me wonder:
- Will Rivers Cuomo crash the stage when I see Toto live in a couple of weeks?
- Are we witnessing the birth of a new supergroup, the likes of which the world has never seen? Is a mashup of “Buddy Holly” and “Hold the Line” inevitable?
- Is all this really the Upside Down’s revenge?
- Can this astonishing turn of events be stopped before it’s too late? Should we be frightened of this thing that it’s become?
On the other hand, perhaps we should all just relax. And plan to tune in to season 3 of Stranger Things. If only to see what music is hot in Sam Goody’s at … the Starcourt Mall …
— 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 […]
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
I offer some words about three exciting new releases.
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

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.





