Hold On

90125

G.K Chesterton is the alleged source for Yes’ terrific 90125 song, “Hold On.”

Frank Weathers cites personal correspondence between Jon Anderson and a friend of his, in which Anderson attributes the song’s inspiration to this quotation:

In the struggle for existence, it is only on those who hang on for ten minutes after all is hopeless, that hope begins to dawn.

I searched the Internet and this quote is all over the place, attributed to Chesterton, as if writing thus in The Speaker on February 2, 1901.

Of course, that doesn’t mean Chesterton actually wrote it. There are lots of fake quotations propagated by the Internet.

And the way the “struggle for existence” phrase is placed in that sentence doesn’t sound like Chesterton to me.

I did a search through the Collected Works of Chesterton published by Ignatius Press but I have been unable to verify the quotation.

In addition, my scouring of Chesterton books via the tremendous power of Google Books yields no results.

Is there anyone out there who can cite me a published source, in order to verify this Chesterton quotation?

Until then, I will have to conclude that it is fake.

Still, this would be a marvelous case of felix culpa…

Marvelous that Anderson could read a simple fake quotation somewhere and then spin a glorious Yes song out of it.

Perhaps it would not be too much to say that Anderson had a connatural understanding of Chesterton on this one point, in somewhat the same way that Chesterton himself had an intuitive grasp of Thomas Aquinas by way of connaturality, as Marshall McLuhan has argued in his “Introduction” to Hugh Kenner’s Paradox in Chesterton:

[Chesterton] seems never to have reached any position by dialectic or doctrine, but to have enjoyed a kind of connaturality with every kind of reasonableness.

According to Weathers’ friend, Anderson apparently had this to say about his inspiration:

He told me that the song was about pressing forward into a new world—like moving from black and white into technicolor. We could either accept the end of the world, war, corruption, the extermination of mankind, or we could work toward a bright, peaceful world based on “common sense.”

He wrote—and this is why I’ve always remembered it—that “hang on” doesn’t sound as pleasing when sung as “hold on.”

Sounds connatural to me…

After all, Chesterton is the Apostle of Common Sense.

Howe Quits Asia

Steve Howe has quit Asia to concentrate on Yes and other projects.

Prog magazine has more on this story.

An interview with Yes, December 10, 1971

yes patchby Frank Urbaniak

As a sophomore at Lafayette College I became program director of the college radio station, and Larry Fast (Synergy) became the general manager.  We had access to early releases and concert passes in one of the great periods in progressive music.  To generate better distribution for college stations, I published a newsletter called The Rolling Paper that we distributed each month on campus and to all record labels.

We were fortunate to interview our three favorite bands between 1971 and 1973-Yes, Genesis on their first US performance at Lincoln Center, and King Crimson on the second Larks Tongue tour through the Bill Bruford connection with Yes.

We met and interviewed Yes at Dickinson College in 1971.  I had seen Yes the previous summer supporting Jethro Tull ($5) with Tony Kaye and had been blown away by the energy of the band.  By December the Yes album was taking off, and Fragile had arrived that week as an import from Jem Records.  We requested an interview through Atlantic Records, and received a warm welcome from the band members who were delighted that we were holding import copies of Fragile in the US.  For the next several years we were fortunate to have backstage passes to more than 20 Yes shows at area colleges, and later at the big arenas like Madison Square Garden and the Spectrum in Philly during their prime including several shows with Bruford on drums prior to his departure.  We watched the band grow from being third on bills (Yes, King Crimson, Procol Harum ) to headliners for the Close to the Edge through the Tales from Topographic Oceans tour.  Larry built a strong connection with Rick Wakeman through electronics and keyboards, and he went on to build some sequencers for him over the next few years. My connection was forged through and over beer, as Rick and I shared a fondness for brew.  I was but a lightweight while Rick’s consumption of Budweiser was unrivaled and eventually unsustainable.

I thought it would be fun to revisit this interview 40+ years later and have condensed the original piece, but not changed the content. Continue reading “An interview with Yes, December 10, 1971”

Danny Manners Boards Big Big Train

Nick, Andy, Dave, David, Danny, Greg.  Photo by Willem Klopper.
Nick, Andy, Dave, David, Danny, big red sign, Greg.
Photo by Willem Klopper.

Great news today on Facebook from the station master himself, Greg Spawton of Big Big Train.  Bassist and keyboardist Danny Manners has officially become a member of the band, joining Spawton, Andy Poole, David Longdon, Dave Gregory, and Nick D’Virgilio.

Spawton wrote:

We are pleased to announce that Danny Manners has joined Big Big Train as the band’s keyboard player. Danny made a significant contribution to English Electric Part One, playing keyboards and double bass and we are delighted that Danny has accepted our offer to join the band in time for the release of English Electric Part Two on March 4th. Danny’s past credits include Louis Philippe and Cathal Coughlan.

Manners’s training has been mostly in classical and jazz.  He writes of himself at his website:

For those who have stumbled across me: I’m a double bassist, electric bassist, pianist, arranger and composer living in London, England. Starting with classical music as a child and teenager, I worked my way backwards through jazz and finally worked out how to play pop half-decently in my thirties. Along the way I’ve also been involved in improvised and “leftfield” musics. At the moment I’m lucky enough to be doing a little bit of all of these…

He also lists an impressive discography, having played extensively with Louis Phillippe, Louise Le May, Cathal Coughlan, Sandy Dillon, and Muse: http://www.dannymanners.co.uk/albums.html

I must admit, I’m (I–ed., Brad) thoroughly impressed with this addition.  Over twenty years old, beginning with original members, Spawton and Poole, Big Big Train has never ceased to grow, take grand chances, and transform into what is arguably one of the greatest–if not THE greatest–rock band of our era.  With their near collapse after the recording “Bard,” Spawton and Poole have developed the group tremendously with “Gathering Speed,” “The Difference Machine”, “The Underfall Yard”, and “Far Skies Deep Time”.  Their 2012 release, “English Electric Part One”, has received rave reviews and has been labeled the single finest release of 2012 by a number of critics.

To this critic, “English Electric Part One” is not just the best of 2012, it’s the best rock release since Talk Talk’s 1988 magnum opus, “Spirit of Eden.”  Before that, one would have to jump back to Yes’s “Close to the Edge” or Genesis’s “Selling England By the Pound” in the early 1970s or to Dave Brubeck’s “Time Out” to find comparable works of music in the last half century.

It should be noted as well that the engineer for Big Big Train, Rob Aubrey, is the Phill Brown of our era as well.

Finally, Manners has worked with David Longdon before, and–I assume–connected Big Big Train to the famous bassist and keyboardist.

The second part of English Electric will be released on March 4 of this year.  American drummer, Nick D’Virgilio, a full-time member of the band, just finished recording the final drum parts for “English Electric Part Two.”  Additionally, the band will be releasing a limited edition of the full “English Electric” in the fall and the re-imaging of previous tracks on “Station Masters” in 2014.

A Progressive Rock Lexicon (or: How to Talk to a Prog Rocker)

In any field of endeavor, there is a certain language used.  One working in the legal field speaks of briefs, appeals, affidavits, and so on.  A football coach may speak of blocking schemes, blitzes, and pass routes.  And one who flies airplanes may speak of instrument flight rules, crosswind landings, air speed, and fuel mixture.

 

Alas, those that make and listen to music have their own language.  Of course, those of us involved with progressive rock, as listeners, musicians, producers, etc., usually look at the world a little bit differently.  As such, an alternate language has developed.

 

Thinking about this, I have come up with a list of a few terms to aid conversation between prog rockers, as well as to help those who would like to speak to us on our terms.  Of course, this list is by no means considered to be complete.  Fellow Progarchists and readers of this site, in the interest of smooth communications, you are not only welcome, but are encouraged to suggest additions.  So, without further adieu, and with tongue firmly planted in cheek, I present to you a brief glossary of progressive rock terms. 

 

Short song – a song under 10:00 minutes in length.

 

Unusual time signature – 4/4

 

Normal Time Signature – 7/4, 5/8, 7/8, etc.

 

Brick – a unit of measurement for determining thickness.

 

String Section – a group of musicians in an orchestra whose function it is to emulate a Mellotron.

 

Dancing – ??????

 

Pretentious (1) – a word used to describe the critics who accuse prog rockers of being pretentious.

 

Pretentious (2) – the lyrics from this guy:

 

 

Excess – ??????

 

Air Guitar – what rock fans play.

 

Air Keyboards – what progressive rock fans play.

 

Air Bass – Well, a lot of us play this too, especially those of us that are into Geddy Lee and Chris Squire.

 

Bass Guitar – a stringed instrument typically used in the melodic discourse of a progressive rock composition.  Occasionally used as part of the rhythm section.

 

Robert Moog – the greatest electrical engineer of all time.

 

Aaron Copland – a guy who used to write music for Emerson, Lake and Palmer.

 

Alberto Ginastera – See Copland, Aaron.

 

Female Prog Rocker – a woman that participates in progressive rock, either through listening or performing.  Most frequently found in Continental Europe, the U.K. and Scandinavian countries.  A North American variant of the species exists but is extremely rare.  Another related variant of the species is the prog rock spouse, defined as a wife dragged into the prog rock scene by an overzealous prog-rock loving husband. 

 

Consuming alcoholic beverages – rearranging your liver to the solid mental grace.

 

Seed drill – a tool for precisely positioning seeds in the soil, refined by a man who was preemptively named after the band Jethro Tull.

 

Composing – the art of multiple musicians in a band sitting around arguing for hours, sometimes very intensely, over whether the next bar is to be in F or F#.

 

Corporate Attorney – see video:

 

 

(it is rumored that they also did some prog rock in the 70’s)

 

A Different Kind of Truth (Best of 2012 — Part 6)

Van Halen

Mike Portnoy, in an interview with iDrum magazine, made an interesting remark about all the guys in the supergroup Flying Colors; namely, their running joke during the writing process:

We almost felt like the Village People! I’m the metal guy, Neil Morse the prog guy, Casey McPherson the pop guy, [Steve] Morse the country guy and Dave LaRue the funky guy!

I feel the same way about the supergroup team here at Progarchy. In addition to our shared loves, we also have our distinctive tastes. Me, I’m the metal guy; Brad Birzer is the prog guy; Carl Olson is the jazz guy; Kevin McCormick is the classical guy…

Continue reading “A Different Kind of Truth (Best of 2012 — Part 6)”

The Best 15 Albums of 2012, The Greatest Year in Prog. Ever.

IMG_3725by Brad Birzer, Progarchy editor

One of my greatest pleasures of 2012–and there have been many–has been listening to massive quantities of progressive rock, mostly for pleasure.

Being a literary and humanities guy, I’d contemplated rejecting the entire numerical ranking scheme.  Rather, I thought about labeling each of my best albums with various qualities of myth.  These albums achieved the level of Virgil; these of Dante; these of Tolkien, etc.  But, I finally decided this was way too pretentious . . . even for me.

Below are my rankings for the year.  Anyone who knows me will not be surprised by any of these choices.  I’m not exactly subtle in what I like and dislike.  Before listing them, though, I must state three things.

First, I loved all of these albums, or I wouldn’t be listing them here.  That is, once you’ve made it to Valhalla or Olympus, why bother with too many distinctions.  The differences between my appreciation of number 8 and number 2, for example, are marginal at best.

Second, I am intentionally leaving a couple of releases out of the rankings: releases from Echolyn, The Enid, Minstrel’s Ghost, Galahad, and Kompendium, in particular, as I simply did not have time to digest them.  Though, from what I’ve heard, I like each very much.

Third, I think that 2012 has proven to be the single greatest year in prog history.  DPRP’s Brian Watson has argued that we’re in the “third wave of prog.”  He might very well be right.  But, I don’t think we’ve ever surpassed the sheer quality of albums released this year.  This is not to belittle anything that has come before.  Quite the contrary.  I am, after all, a historian by profession and training.  The past is always prologue.  Close to the Edge, Selling England by the Pound, and  Spirit of Eden will always be the great markers of the past.

Ok, be quiet, Brad.  On with the rankings.

Continue reading “The Best 15 Albums of 2012, The Greatest Year in Prog. Ever.”

New Yes Tour Announced

Yes will be undertaking a three-month US tour next spring.

“Big Deal!” I hear you cry.

Well yes, it is, as a matter of fact – because they will be playing The Yes Album, Close To The Edge and Going For The One, all three albums, in their entirety.

Changes to the lead vocalist role in recent years will have left many Yes fans uneasy, but this seems too good an opportunity to miss. I am praying that they bring this show to Europe soon!

Further details will no doubt appear soon at http://www.yesworld.com/

Trevor Rabin: “As long as it’s good and well-played, all music is worth listening to.”

Once again, the AllAboutJazz.com site has another great piece about a prog musician: “Trevor Rabin: All Colors Considered”, by Ian Patterson. The focus is on Rabin’s outstanding new solo album, Jacaranda  (one of my favorites of 2012), which is Rabin’s first solo excursion since his exceptional 1989 album, Don’t Look Away, which I played incessantly back in the day and revisit on occasion. Patterson begins by putting Rabin’s impressive career in perspective:

Whether taking a stance against apartheid in the early ’70s in his native South Africa or turning down the opportunity to play in super group Asia for artistic reasons, Rabin has always done things his own way and stuck to his principles at every step. Rabin is perhaps best known around the world for the mega-hit “Owner of a Lonely Heart” and his 12-year stint with progressive rock giant Yes, but there are a surprising number of strings to the musician’s bow.

While it would have been easy to carry on touring and recording with the legendary British group, Rabin felt that after a dozen years a new challenge was needed, and he said no to Yes. So it was in the mid-1990s that Rabin embarked upon another career as a composer of film soundtracks. In a little over 15 years, Rabin has recorded 40 film soundtracks of varying genres, winning numerous awards in the process.

Just when it seemed as though Rabin’s music would only be heard in cinema houses around the world, he’s back with another surprise in the form of his sixth solo album, Jacaranda (Varese Fontana, 2012). It’s his first solo album of original material since Can’t Look Away (Elektra, 1989), and it’s an inspired collection of guitar- based instrumental compositions.

Continue reading “Trevor Rabin: “As long as it’s good and well-played, all music is worth listening to.””

A Couple of Links

Over at In The Studio.net, there is an interview with Yes on the occasion of the 40th anniversary of Close to the Edge.  It’s about 20 minutes long and well worth a listen.  Hat tip to Paul Watson who previously posted about this on the BBT Facebook page.

On YouTube, I stumbled across an interview with Neal Peart regarding Clockwork Angels, and thought it would be a good companion to the post below regarding the same album.  Its about 43 minutes in length, but like almost any interview with Peart, you can be sure it’s interesting.