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Tag: Transatlantic
Rush 2.0: Clockwork Angels Tour (2013) Review
A friend of mine said to me—in response to my obvious glee that Rush’s Clockwork Angels Tour Blu-ray had just arrived in the mail—“it’s good to be childlike every once in a while.” Well, maybe it was the reaction of a 13-year old trapped in a 46 year-old body. Regardless, the reaction was sincere. Rush!
Three thoughts and images (images as thoughts, and thoughts as images) come to me whenever I think of Rush. Rush—brilliance. Rush—inspiration. Rush—comfort. For thirty-three years, they’ve been all of these things to me. Thank the Good Lord for that detention in seventh grade, and thank the Good Lord again for sharing that detention with Brad and Troy, the two guys who introduced me to Moving Pictures and, consequently, to Rush. That was a heady spring. I had also heard The Wall for the first time, the U.S. had just defeated the Soviets in hockey, and some idiots tried to kill the U.S. president and the Pope and came damn close to succeeding. 7th grade. Prog Rock, Dr. Who, and Dungeons and Dragons. But, most of all, Rush.
Maybe I never grew up. These are still the things I love and share with my own kids (the oldest, now 14; he proudly wears a “prog rock—all else is noise” t-shirt; he and my twelve-year old daughter will be seeing that majesty that is Transatlantic in Chicago this coming February).
Oh, fair reader, back to the subject at hand. Rush, Clockwork Angels Tour Blu-ray. Holy schnikees. Yep, God rest Chris Farley’s soul. Holy schnikees. What a work of absolute joy. Over three hours of absolute joy. A precious document of their massive tour, 2012-2013, the blu-ray captures them for a Dallas, Texas, show.
As Kev pointed out in his review of the same, there was a time when Rush fans could calculate an era by what live CD had been or was just about to be released. All the World’s a Stage for the hard prog stage; Exit Stage Left for the melodic prog stage; A Show of Hands for the synth prog stage; and Different Stages for the return to guitar/alt rock stage.
But, this was all for Rush 1.0, testing for echo.
After the horrific tragedies in Peart’s life, his purgatory and redemption (symbolically), we’re at Rush 2.0.
I would argue rather forcefully that this is a different band, a band that finally (yes, these guys are truly humble and always have been despite their driving ambition) realizes its more than a mere band. You can see this realization dawn, finally (again, finally!) on them in Beyond on the Lighted Stage and on the Colbert Show.
They have nothing to prove anymore when it comes to acceptance. They never really did, but they always thought they did. They only have to prove their excellence. And, to me, they’ve done this in spades. As one of my favorite Rush writers, Rob Freedman, wrote about a year ago (and I quote this whenever I can)
The story of Rush is a story of validation. When the band first started out, the mainstream music establishment largely ignored them. Geddy’s voice was the brunt of jokes, Alex’s guitar playing got no respect, Neil’s lyrics were pretentious and channeled a kooky Ayn Randian ideology, and he played too many drums, all of them with the passion of a mathematician. Meanwhile, musicians and music aficionados loved them, so you had this great narrative tension. Now they’re nearing their 40-year anniversary, their old critics are in nursing homes, their fans are in leadership positions in business, science, government, and the arts, and they’re looked to as elder statesmen of rock.
Amen, Rob. Amen. On this issue, I can speak from some personal experience. As I look back over my own life as a historian, a writer, and an academic, I can easily claim that Peart has had as much influence on my own thinking as any of the other greats I looks to for ideas and inspiration: Russell Kirk, Friedrich Hayek, Edmund Burke, Adam Smith, J.R.R. Tolkien, Ray Bradbury. . . . A whole generation of us can claim to be Peart’s little brothers. Like any older brother, Neil almost certainly will not agree with all of my own views, or with what I’ve done with his ideas. But, then, Neil never—in any way—sought to conform the world. One of the greatest things Neil gave to a generation was the advice to develop and hone what is best in each of us, whatever that best might be.
Not content to fade, Rush 2.0 has decided to shimmer with excellence. I can’t help but think of Neil’s words off of Signals, “Losing It.”
Some are born to move the world
To live their fantasies
But most of us just dream about
The things we’d like to be
Sadder still to watch it die
Than never to have known it
For you, the blind who once could see
The bell tolls for thee….
Rush is proving that greatness can beget greatness. As I see it, Rush’s last three studio albums have done nothing if not prove this. Vapor Trails, Snakes and Arrows, and, especially, Clockwork Angels. While building upon everything from Rush to Test for Echo, the last three Rush albums come with a confidence, not of resignation, but assertion. Nature has given us this time, I’ll be damned if I let it fly by unused and unappreciated. Indeed, one can say with the last three albums, Rush looked at the world not just with confidence, but with gratitude.
So, when the band decides to release a live album for each tour, I can only shout “hooray.” Give us as much as you can, Rush. So many of us want to keep journeying with you in any way we can.
As with the previous tour, this one is a massive production. Explosions, lasers, weird sets, and, best of all, incredible film clips add to the already stunning music. The background story for the Clockwork Angels Tour film clips—an IRS agent looking for the Watchmaker is just outstanding, drop-down, gut-wrenching funny. Geddy, Alex, and Neil appear as rather mischievous “G”nomes.
And, it’s just a joy to watch these guys perform. They obviously love each other and what they’re doing. In terms of playing, none of the members of Rush have ever been this good. They are each in top form. Watching each of them play guitar, bass, and drums is nothing if not humbling. I hope I give as much in my lectures as these guys give in their playing. Phew.
Musically, of course, what more could we want? Knowing that they’ve been releasing lots of tour material over the last decade, Rush chose to play a significant portion of their 1980s material—stuff that’s not appeared on any of their live releases in a long time. It’s worth remembering, however, that this is Rush 2.0. They bring the sensibilities of the last three albums to the previous multitude of albums. There’s not a dud in the live set, but songs that stand out in ways the originals didn’t: Force Ten; The Body Electric; and The Analog Kids. Schnikees (again, apologies to Chris Farley), these are amazing. Rocking, rocking, rocking.
It’s set two, however, that boggles the mind, the set that includes almost all of Clockwork Angels and—gasp!—a string quartet. Phew. Amazing. So much energy emerges from the blu-ray in set two, it’s actually a bit wonderfully overwhelming. YYZ is especially spectacular with the strings.
Bonus material on the blu-ray includes: Limelight, Middletown Dreams, The Pass, and Manhattan Project, as well as all of the movie clips from the tour and some documentaries.
For me, this is pretty much perfection itself. 33 years of loving this band comes down to this 3plus hour set. Yes, Geddy, Neil, and Alex, I could never thank you enough for the confidence you’ve given me, the excellence you’ve shown me, and the hope you embody. Whether you ever expected to get here or not, you are the embodiment of the best of rock, you are now the elder statesmen of culture. You have persevered, and we have as well!
May the journey long continue.
Desolation Rose: The Flower Kings’ Reflections on the Revolution in Media
Unlike Eric Perry in his earlier, excellent review, I approached the new Flower Kings album from a position of relative ignorance. I greatly admire Roine Stolt’s work with Transatlantic, but I do not have any Flower Kings in my music library. However, after listening closely to Desolation Rose the past few days, that is about to change!
21st century media provide wonderful benefits (could something like Progarchy have even existed 15 years ago?), but any technology can also be perverted into something terribly harmful. Desolation Rose is a dark and brooding jeremiad on the dangers of corrupt media and government, perpetual war and violence, and religious fanaticism. Freedom is not a given, and Desolation Rose is a dire warning to those who would trade it for “security”, whether by indiscriminately believing what governments and mainstream media tell us, or by neglecting critical thinking when it comes to the claims of deceptive religious figures. Each song segues seamlessly into the next, reinforcing the overall impact of the lyrics. It may take a few listens for them to take hold, but once they do, they are very powerful.
A sampling of some of the most memorable lines (as best I can decipher them; I do not have a lyrics booklet):
“Lies bring comfort to the king and his nation/Like fools, we just stare at the sun.” (‘Tower ONE’)
“In the silent soil of Eden lie the bones of a predator/From the sun and the stars, a dreamless penitentiary.” (‘Sleeping Bones’)
“In silent graveyards we look for saviors/A promised land beyond our prayers” (‘Desolation Road’)
“So if you follow, go look beyond the lies/A brand new kingdom will brighten up the skies/Close to the sea, the river’s getting wider/Take off the blinders, and love will take you higher” (‘Resurrected Judas’)
“We are just the silent masses/The things you need are out of fashion/And so the clock keeps ticking out of time” (‘Silent Masses’)
“When a man is not a man, but hostage to machinery/Will they ever let you out from this dreamless penitentiary?” ‘(Last Carnivore’)
“So the state has become the offender/To the point where there’s no turning back/Now you dream of your new independence/While they tighten their grip round your neck” (‘Dark Fascist Skies’)
“We are stardust and we’re sun-kissed/We are brothers and still we’re strangers” (‘Blood of Eden’)
Just as words and phrases are repeated in the songs, musical themes recur throughout, making the album a remarkably cohesive work. The propulsive drumming of Felix Lehrmann is terrific; Tomas Bodin’s manic organ locks horns with Roine Stolt’s lead guitar and musical sparks result. Hasse Froberg’s vocals are outstanding – full of dark menace one moment, and aching lament the next. Jonas Reingold’s bass work is as melodic and inventive as Geddy Lee’s.
Highlights are ‘Resurrected Judas’, which has a nice “Trick of the Tail”-era Genesis vibe and a graceful, loping guitar solo; the straight-ahead rocker ‘Silent Masses’, with its jaunty piano riff and nimble bass line; and ‘Last Carnivore’, which is very dark and oppressive until a key change brings relief and light. ‘Last Carnivore’ is representative of the album as a whole – from the first track, the band creates an atmosphere of conflict, darkness, and oppression which isn’t relieved until the beautiful and stately ‘Blood of Eden’ makes its appearance near the end. Hearing it is like seeing clouds part and the sun shine through after a violent thunderstorm. However, lest we think everything’s going to be fine, the ‘Silent Graveyards’ show up one last time in a musical coda that ties together the various themes masterfully. Froberg’s voice rises as if he’s framing a question, and it is unsettling to realize that ‘Dark Fascist Skies’ are always lurking around the corner.
With Desolation Rose, the Flower Kings have produced an album of extraordinary power and depth. Lyrics and music combine to pack an emotional punch that cannot be ignored. Detta är en att älska.
Prog News on this Day of Thor!
Radiant Records–Outrageous clearance sale right now.
Progarchy readers, Radiant Records (Neal Morse’s company) is having an incredible sale right now. Lots of early Spock’s Beard for $1.99/cd. Also, Transatlantic and Yellow Matter Custard. DVDs and some really rare stuff, all on sale. Worth checking out.
http://www.radiantrecords.com/category/191735-clearance.aspx
Give Lobate Scarp some time and space—and volume!
January was incredibly busy. And February was incredibly surreal. When you edit a magazine titled Catholic World Report and the pope resigns while you are fighting the nastiest flu known to mankind, it is really surreal. And a new pope will soon be elected. Whew!
But I’m putting all of that on hold for a few moments so I can write what is apparently my monthly—or is it bi-monthly?—post. I have grand plans to post much more often, but for now it is a monthly splurge. I intended (and promised, I’m ashamed to admit) to review the recently released Lobate Scarp album, “Time and Space”, several weeks ago. Russell Clarke has already penned a Progarchy.com review, but I wanted to also share a few thoughts about the album, in part because Russell and I have different takes on a few things about the album and because I have, at the moment, nothing to add to the many reviews of the excellent new Big Big Train album.
Upon first listening to “Time and Space”, my initial impression was quite positive. I’m happy to say that having now listened to it another 10 or 12 times, that impression remains and deepens.
Three things stand out. First, the production is exceptional. This album sounds fabulous: the sound is clear, warm, rich, and with a lot of depth and “room”, if that’s the right term. This album is worth getting just to listen to with headphones, volume up, in order to enjoy the variety of tones, the tasteful cello passages, the top-notch rhythm section, the robust harmonies, and lots of nifty details.
Now, beginning a review with praise for production values is usually the kiss of death, with a big, fat, “But…” to follow. But, no—there is no “but” to follow as, secondly, the music is also exceptional. Russell mentioned Spock’s Beard as a point of comparison, and I would add Neal Morse and Transatlantic. Considering that Adam Sears, the band’s leader, is the main lyricist, singer, and keyboardist, it seems apt that the group might draw some comparisons to Morse. The band’s site states, “From progressive rock influences like Genesis, Yes, and Phish, to the rock sensibilities of bands like Kansas, Muse, Faith No More and Styx, and a pop infusion of catchy vocals like Simple Minds, The Killers, The Police, Queen, and Foreigner; Lobate Scarp’s unique Progressive Space-Opera Rock music will surely take you on a musical journey you won’t forget.” That’s an interesting mix of musical influences and comparisons, and I can best hear Kansas, Styx, and Queen in the mix, as well as some Pink Floyd, especially in some of the guitar work by Hoyt Binder. The “space-opera” connection is, however, mostly lost on me; in fact, it is a bit confusing, because to my ears there isn’t much in the album—at least musically (more on they lyrics later)—that warrants such a description. Then again, I’m not exactly sure what a space opera is in a musical context, although the album that comes to mind for whatever reason is ELO’s “Time”, a personal favorite. While we at Progarchy.com rightly disdain most labels, or at least treat them as necessary evils, I would hazard that “Time and Space” is much more of a cross-over prog, or neo-prog, album, if only because the songs—while fairly complex and played with obvious skill—have an immediate accessibility. In fact, one of the real joys of this album is the presence of very good melodies, all of which stick with you and don’t become tired or stale after a few spins.
Third, and closely related to the first two, is the playing. The band’s promo material highlights the abundant contributions made to the album:
Over 50 musicians were involved in this progressive space-opera rock extravaganza. Guitars, Drums, Synths, Organs, Trumpets, Saxophone, Viola, Violin, Cello, Theremin, Glockenspiel, and a Latin singing choir were all recorded on this one. Peru Percussionist Alex Acuña (Weather Report) appears as a special guest percussionist and Rich Mouser (Spock’s Beard, Transatlantic, Tears For Fears) mixed and mastered the album.
One might understandably think the resulting album would be overly busy, with endless layers of keyboards, guitars, strings, and whatever else. Surprisingly—and happily—this is not the case, at least not until the climax of the final cut, “The Mirror”, which features a full-blown choir (and to good effect, I think). As mentioned, this album has a lot of room; it breathes well, and part of that is the restraint shown by Sears and Company, who are clearly aware that there is a time and place for a wall of sound approach (at the Big, Choral-Driven End!) and a time for a less-is-more approach. The majority of the album features a very tight four-piece rock group that uses proggy time changes and proggy solos, but without being overtly, relentlessly proggy. This approach, I suspect, might annoy the more purist prog fans, but I think the band demonstrates they know what they want to do, and they do it very well. Besides, the mastery of various styles—notably jazz, classic rock, and some Latin based motifs—is obvious and adds a lot of flavor to the proceedings.
For instance, “Save My Soul” begins with a prog-icized classic rock riff that eventually works into a muscular bass line before Sears enters with a steadily gaining vocal line that finally releases into a big, power-chorded chorus. Then, at about the 3:20 mark, the song breaks down into a funky, fusion-ish segue with vintage keyboards that brings to mind late ‘60s albums (“Bitches Brew”, etc.) by Miles Davis, before eventually works back into a ripping rock song with horns and organ joining the chaotic fray at the end.
And while all of the playing, again, is exceptional, I must single out Sears for his fine vocals (clean and pure in many places; rocking and more raw in others), Binder for his tasteful guitar playing (the sequence in the middle of “Beginning of Us” stands out), and Andy Catt for some dynamic, propulsive bass playing.
Finally, the lyrics. Contra Russell, I heard (and read) the lyrics as working on a couple of different levels: one inter-relational and the other spiritual, or metaphysical. This was confirmed by Sears, who shared the following in an e-mail regarding the song, “The Contradiction”:
I’m sure one may look at it and think that it is about a struggle in a relationship. While this can be true, the deeper meaning of “Contradiction” is about the connection of the spiritual world and the physical world. It is spoken from the point of view of the soul which exists in the spiritual/metaphysical world and this soul is talking to its physical world inhabiter, who is struggling with the contradictions of existing in both worlds. For instance, if there is indeed a spiritual or meta-physical world, this computer I’m typing only exists in the physical world and doesn’t exist at all in the meta-physical world. So it exists, yet doesn’t exist at the same time. If you respect and accept the contradiction your physical self and your soul will be brought together in a strong bond, but if you think too much about the contradiction or try picking it apart, it can drive you mad. “The Contradiction will bring us together or tear us apart.”
I’m not sure I’m on board with the metaphysics outlined here (they sound neo-gnostic, but that’s for another discussion), but the seriousness of the searching is hard to overlook (also readily evident in “Save My Soul”); this is not an ordinary love song. And I suppose the lyrics are what are most obviously “space opera” about the album. Regardless of the descriptive used, I think “Time and Space” is a very good album by a young and talented band that rewards repeated listens—especially loud and with headphones!
Mass x Velocity = Band on Fire
Hot on the heels of his Live Momentum Tour, Neal Morse has released a 5-disc set (3 CDs, 2 DVDs) that is a worthy alternative for those of us who didn’t get a chance to see this band live. You always get your money’s worth when Neal is involved, and this release is no exception. The DVDs (available in Blu-ray, as well) and CDs document the entire 3-hour set, and what a performance it is!
Recorded and filmed in HD on October 11, 2012, at the Highline Ballroom in New York City, Neal and the band turn in an incredibly tight, high-energy set for an enthusiastic audience. Neal’s long-time collaborators Mike Portnoy (drums) and Randy George (bass) are joined by Bill Hubauer (keyboards, violin, sax, vocals), Eric Gillette (guitar, keyboards, vocals), and Adson Sodré (guitar & vocals).
I’ve been a fan of Neal Morse since his days in Spock’s Beard – keeping up with Transatlantic and his solo efforts. He is an amazingly prolific songwriter, but of late his work seemed to be suffering from a “sameness”. Then came last year’s Flying Colors and Momentum albums, where it was clear something lit a roaring fire to his creativity. Momentum is his finest solo work since the Question Mark album.
In the liner notes to this release, Neal mentions that he found Hubauer, Gillette, and Sodré through YouTube auditions, so I before I popped in the first DVD, I was a little apprehensive regarding their ability to keep up with Morse, Portnoy, and George. My fears were completely unfounded, as Adson lays down a jaw-dropping guitar solo in the opening song, “Momentum” (you can see the performance of the song in the promo video below). Eric Gillette shines on guitar, vocals, and keyboards throughout the entire show, and Hubauer adds wonderful depth with his keyboard pyrotechnics and fine violin and sax work.
Basically, what Neal put together is a three-keyboard/three-guitar front lineup that is incredibly versatile. Add in their ability to execute complicated vocal harmonies on songs like “Thoughts Part 5”, and this is one of the best live outfits I’ve ever seen. Mike Portnoy is the hardest working drummer in showbiz, and he is obviously having a blast propelling this group through epic after epic. The avuncular Randy George is the anchor on stage, nimbly laying down rock-solid yet melodic basslines, while eschewing the spotlight.
Neal himself is, of course, the center of attention as he moves back and forth between keyboards and guitar, conducting the band (and the audience) from one emotional peak to another. It’s clear he’s delighted with the tight rapport between himself and the band. They are able to shift from a delicate flamenco-style acoustic interlude to crushing hard rock in the blink of an eye and make it look easy.
The set includes four major epics. “Testimony Suite” clocks in at 21 minutes, and it includes highlights from Morse’s 2003 album, Testimony. Neal is upfront and open about his Christian faith, and it is a genuinely emotional moment for him as he sings this account of his conversion. “The Conflict (From Sola Scriptura)” is 27 minutes long. Initially, I was put off by Sola Scriptura, but this performance illuminated aspects of it that I hadn’t heard before. It’s a beautiful piece. “Question Mark Suite”, at 21 minutes, is an outstanding distillation of Neal’s exploration of the symbolism behind the Exodus and the Hebrew Tabernacle. After a change of pace with the relatively brief “Fly High” (I would have preferred something like “Absolute Beginner” here; “Fly High” isn’t that strong a song, IMO), Neal and the band wrap up the show with the 33 minute magnum opus “World Without End” from Momentum. It’s an incredible performance that outdoes the original, and leaves the audience yelling for more.
The band fulfills that request with a three-song encore: “Crazy Horses” (yes, the Osmonds oldie!) sung by Mike Portnoy while Neal takes over the drums; “Sing It High” (which features every member taking a solo turn), and finally, “King Jesus”. As the exhausted musicians leave the stage, you can clearly hear a member of the audience call out, “Neal! Neal! Thank You!”
The second DVD disc includes an hour-plus tour documentary. Beginning with rehearsals in Tennessee, we follow the band from their first show in Nashville on October 2, 2012 (which, to my eternal regret, I had to miss) to their last in Chicago on October 12. In the space of ten days, they perform shows in Nashville, Jacksonville, Mexico City, Los Angeles, Seattle, Denver, New York City, and Chicago, all the while practicing and continually refining their parts. It’s a marathon run at a sprinter’s pace. There is video footage of every performance, and much of it is quite good. One definitely gets an appreciation for how much hard work and how many hours it takes to make a live performance look easy. As Mike Portnoy says, “This band kicks ass! I mean, the second gig – it’s tight; a really tight second gig.” Neal himself describes them as “A band on fire”. I can’t disagree.
You can order this CD/DVD set direct from Radiant Records.
Here’s the promo video for “Momentum”:
Neal Morse News
Just got great news re: Neal Morse from Richard Schwartz and Radiant Records (yay, Chris Thompson). Neal Morse is releasing the New York show of the Momentum concert on DVD. Here’s the note, directly:
The Momentum Live DVD and Audio Box Set!
YES… yet another big giant Neal Morse live package is on the way! I have been mixing for days now the audio for the live show that was shot in New York City last October. I have to say it’s pretty darn good. Except for that guy in the center, everybody’s really great!
Yeah, it’s a really cool set list. Here’s the track list for the DVD:
DVD 1
MOMENTUM
WEATHERING SKY
AUTHOR OF CONFUSION
THE DISTANCE TO THE SUN
TESTIMONY SUITE
(Sleeping Jesus, Prince of the Power of the Air, The Promise, Wasted Life)
THOUGHTS PART 5
THE CONFLICT (From Sola Scriptura)
DVD 2
QUESTION MARK SUITE
(The Temple of the Living God, Another World, Entrance, Inside His Presence)
FLY HIGH
WORLD WITHOUT END
CRAZY HORSES
SING IT HIGH
KING JESUS
How’s that for some cool info? It’s 2.5 hours plus long, and it’s the entire show. Plus Randy George has made a tour documentary as only he can. So it will be a 5 disc set in a special box, much like the “Testimony 2 Live in Los Angeles” Box Set was, it will be about the same as that.
Progarchist Mark Widhalm and I saw him the next night, in Chicago, but he didn’t play “World Without End.” So, very glad to see this here.
Morse also noted that there will be a new Flying Colors album and, if all goes well, a new Transatlantic.
Great news for the day before the Apocalypse! Thank you, Neal.
Progarchy 