THE REVIEW CORNER: Rush kickstart a latter day rennaisance with Vapor Trails (original [2002, Anthem/Atlantic] & remixed [2013, Anthem/Atlantic])

For those who were following the Rush camp in the early 2000s, it was probably the most fascinating, if not the most trying time for fans of the band -- and for the band itself. 

In Rush, the focus has always been on the music -- where the band themselves write (Alex & Ged the music, Neil the lyrics), record, and perform all of their own material. It's never been about partying, drugs & sex (unless Kiss is touring with you, of course), or any of the sort of garbage that was more typical of Axl Rose and his camp. 

To function like the well-oiled machine Rush is, not only did it involve talent and discipline, but also the simple matter of just getting along -- probably the #1 reason bands don't stay together. In the case of Alex, Ged & Neil, by all accounts egos never got in the way, which was spearheaded by the fact that the drummer in this band also happened to be the lyricist -- a situation that forced a partnership with the band's singer, to edit the words and shape them into a final form with the vocal delivery. 

Rush are the example of positive band dynamics in the rock world....and one of the hardest working bands out there, essentially touring and putting out recordings nonstop since the early 70s. Writing, recording, rehearsing, tour, break. Rinse and repeat year after year. Winning over audiences one show at a time. Establishing themselves more like the Mt. Rushmore of rock than Rush -- the definition of a solid and enduring rock band that shines on record -- and even brighter live onstage.

For God's sake, Rush were indestructible. Literally. Nothing could stop them. Ever. They're immortal. 

Or so we thought.

Almost immediately following the band touring off Test for Echo in the summer of 1997, drummer Neil Peart tragically lost his daughter Salina in a car accident in Toronto that August....and if that wasn't enough heartbreak and tragedy to contend with, approximately one year later his wife Jackie succumbed to cancer. From a fan's perspective, stuff that was as strange and random as it was horrific and unimaginable. Sad times.

Having followed the band as an ardent fan since the early 1980s, I can still feel the emotions from these series of events to this day.

Needless to say, these tragedies put the band instantly on hiatus. The whole machine, in which everyone was like a large family, shut down. The thought of them continuing seemed like a far cry, and frankly it was more of an afterthought since everyone was more concerned about Neil in his recovery and how he was doing -- fans like myself included. 

As far as I was concerned, fuck the band -- our brother Neil needed our support, any way we could provide it -- be it posts to the band's website, emails, or care packages sent by parcel to the Anthem Records office in Toronto.

"No Neil, no Rush." Geddy Lee signaled to fans at some point during these events. He would later state: "I don't want to play in Rush with anyone else. It is the band, the three of us." 

As Neil's coping and way of sorting through all of it, he hopped on his motorcycle and zigzagged all over the North American continent, covering over 40,000 miles when all was said and done -- these journeys were later chronicled in his book Ghost Rider. Guitarist Alex Lifeson and singer/bassist/keyboardist Geddy Lee (after a long break themselves) eventually took on projects of their own. Alex engineered a recording for a band out of Mississippi called 3 Doors Down and dabbled into other projects. Ged put out his first solo project of his career in 2000, My Favorite Headache -- a good CD that's worth your time and money. Interestingly, it sounds very Rush-y, with Ben Mink sounding rather Alex-y on guitar. I can't speak for all Rush fans, but I have always thought of it as the "lost Rush recording" that probably would have been a Rush record under different circumstances.

Then, after a few years, someone we all know and love resurfaced, claiming he needed "gainful employment" again. 

Hello, Neil. Welcome back.

Around late 2000, grumblings in the Rush camp began to surface about the boys getting together to record a new project. Then sometime in 2001 the news came around that they were writing, then in the studio. Then, in early 2002, "One Little Victory" hit the airwaves, signaling Rush's return with an opening drumming fervor that sounded like an octopus spinning out of control.

Released in May, Vapor Trails was the miracle nobody thought they'd ever have the privilege to hear. It was followed by a world tour marking the band's glorious return, and ended with them performing in front of 50,000 fans in Rio de Janiero going completely mental -- check out Rush in Rio for that.

With all the circumstances leading up to and surrounding it, it's of no surprise that Vapor Trails is a very unique animal in the Rush canon -- not necessarily in a sonic sense as much as the theme and tone of the recording -- deeply raw and personal. 

Sonically, the band maintain the slow evolution of the heaviness and edge that began to evolve in earnest with 1993's Counterparts and continued on 1996's Test for Echo. VT is even heavier, to the effect that some of Alex's guitarwork takes on almost more of a punk rock attitude.

Indeed, this record is all about tone and 'tude. The music is driven by the themes Neil was grappling with at the time -- and while much of it focused on rebirth, self-examination and discovery through love -- there's absolutely no way the recording can NOT cross paths with the loss and sadness of what had taken place in recent years. In particular, "Ghost Rider," "Vapor Trail," and "Earthshine" grapple with the latter. In particular with "Ghost Rider," Ged's opening bass line sets a tone for the tune, singing on its own in a mournful sadness and highlighting the genius that Ged has become known for on that instrument. Like a knife through butter.

As would be expected, the musicianship on VT is second to none, however there were a few rules in place going into recording it. First off, Alex imposed a policy on himself that he would not solo on the record -- but this triggered a new idea -- there would be sections of songs where the whole band would solo together. This limitation turned to band jam by design is one of the more unique and endearing aspects of VT in the Rush catalog.

Alex and Geddy have always been genius when it came to "decorating" Neil's lyrics, as Peart has stated in the past....and certainly VT is all about the themes and the lyrics, which drive the record.

For all the beatings I've seen Peart take over the years for his obscure lyrics (most unfounded, a few not) from so-called music reviewers, I fail to see how he isn't brilliant with his words on VT. He takes deeply personal themes in which he's able to impart and echo sentiments and details from his tragedies and recovery -- yet frames them is such a way that makes them applicable not just to what was on his mind, but also relatable to a wide listening audience. He does it with all the hallmarks of the Peart voice; inventing his own metaphors, witty rhymes, and by taking ideas from other writers by repurposing their words into his own lyrical puzzle. Then it's channeled through Ged's beautifully unique vocal delivery, where he sings so convincingly that you'd think he'd written them himself.

Since VT marked the band's return to recording after a long hiatus, it also meant that they needed time to get back into a form that would meet their expectations and be worthy of the Rush brand. Plus, Alex and Ged simply wanted to give Neil all the time he needed, with no pressure. It was enough that he was back, and simply a contributing member of the band. With the extra time being part of the plan, it spanned over a year (if I recall correctly) in which they rented out a warehouse to jam together and reorient themselves, then booked studio time. 

While the circumstances dictated as such, the down side to taking the extra time was that when the recording of VT was finally complete, the band let loose the controls and handed the engineering and mixing over to other folks. Typically Alex was involved and supervised the engineering portion of the process, but in this case everyone took a much-needed break.

Unfortunately the result was a recording that sounds very dull and muddy, which is way below the standard that Rush is known for. When first released, I recall something to this effect but didn't initially have much of a complaint since I was more focused on the material and simply elated that they had even put something out in the first place. 

However, as time went on and the band put out other recordings, I found myself coming back to VT less often....and I have to admit this is due in part to the muddy production of the recording. Many fans in the Rush camp, who were used to the high standards of recording quality from the band, also called out the substandard production as well.

I know Rush enough to realize that they're a band who not only prides on high quality in recording and musicianship from themselves, but also listens to the pulse of their fan base.

So, in an effort to make things right, the band remixed Vapor Trails and released this version in 2013 to much higher reviews and acclaim. It's also available as part of the Atlantic era box set covering Presto (1989), Roll the Bones (1991), Counterparts (1993), Test for Echo (1996), Vapor Trails remixed (2002/2013), Feedback (2004), and Snakes & Arrows (2007). All of these recordings are also now available individually on vinyl in limited editions.

The remixed version is not perfect. There are added guitar solos to "One Little Victory" for example, which I personally didn't find necessary and sound a bit forced -- especially considering how adamant Alex was about not soloing in the original recording sessions in 2000-01.  

I'd been meaning to write a review of this record for years, as it marks the rebirth of this great band. From the pain and rebirth seeping out of Vapor Trails, Rush would go on to enjoy a historic renaissance over the next 15 years -- recording three more albums (two of original material, another EP of covers to celebrate their 30th anniversary), even more live recordings, perform live with strings, have a documentary filmed about them, enjoy an entry in to the Rock Hall in 2013 -- then capping it all off with a 40th anniversary tour in 2015 before seriously contemplating a well-earned retirement. 

To get a true feel for this recording, a completest would need to hear both versions. For someone new to it, I have to point them towards the remixed version....small differences or an extra guitar solo added here or there aside, the sound quality and production definitely trumps. 

However, there's something to be said about the original, despite the lackluster and muddy production. The rawness....the themes of sadness, anger, confusion, then rebirth that capture the essence of Vapor Trails....the unselfishness and exercised sensitivity with Alex's policy to not solo on the record, out of consideration for his drummer and brother....and that opening drum assault that brought a collective tear to the eye of all Rush fans -- the original version echoes all of this at its finest. To those fans who lived through this phase of the band and understood the story leading up to this recording, the original captures the mood and essence of what the band -- Neil especially -- was going through at the time.

Album highlights: One Little Victory, Ghost Rider, The Stars Look Down, How it Is, Vapor Trail, Secret Touch, Earthshine

Jon Lord (1941-2012): the Centerpiece of Deep Purple

Jon Lord, the innovative keyboard player for Deep Purple (and with Whitesnake, among collaborations with other musicians) passed away last month.

I'm here to focus on his work with Deep Purple.

I was fortunate enough to see Jon Lord and Deep Purple perform in 1985, which at the time featured a reunion of the Mark II lineup with Ian Gillan (vocals), Ian Paice (drums), Roger Glover (bass), Ritchie Blackmore (guitar), and Lord (Hammond organ & various keys).

This lineup of the band -- its most famous incarnation presented to the world in 1970 with Deep Purple in Rock -- was making a comeback off Perfect Strangers, arguably the band's strongest post 70s studio effort.

The show I saw in Tacoma, WA for the Perfect Strangers tour was one of the loudest and rowdiest shows I've ever attended. I was 16 at the time, and the little skinny fella getting hammered into a sardine on the general admission floor space amongst a pack of older, bigger Harley Davidson-riding gangsters.

Still, the show was amazing, and Lord's keyboard solo was one of the highlights.

Lord lighting the stage on fire!

Lord "emancipated" (his own words, via Sam Dunn's series on heavy metal this last year) the Hammond organ in the world of rock, amplifying and distorting its sound so that it could play a more substantial role as a lead instrument in a rock paradigm. I've concluded that Lord's friendly (and perhaps unfriendly more often than most realize) competition with the egomaniac element of Purple, guitarist Blackmore, helped to fuel and craft the sounds he put through his keys.

Nothing like thumbing your nose at a lead guitarist who thinks he's all that!

Like Richard Wright of Pink Floyd, Jon Lord was the mortar that held the bricks of Deep Purple together, although it may not be apparent to a first-time listener with certain Purple tracks; most rock enthusiasts' ears aren't tuned to hear (or expect) the keys as a centerpiece on a rock record. To truly appreciate the Purple sound, and Lord's work, you need to reframe your ears to bring in the wall of sound coming out of Lord's instrument. We'll dig through the band's catalog and highlight some Lord nuggets (more of that in a minute).

"The greatest honor one can be given is that of 'teacher.'" ~Alex Lifeson

Simply put, Lord was the centerpiece component of the Purple sound, which was (and still is) unique for its time. It's his work on the keys that made the band stand out from its heavy (and better known in most circles) counterparts at the time, Led Zeppelin and Black Sabbath. It's widely understood and accepted that all three of these bands are godfathers of the heavy metal genre and influenced a generation of bands.

In my opinion, it was Lord's presence in Deep Purple that makes them stand out from other band's in the day, and made them more dynamic and interesting as a live act. In some instances of songs, Lord was actually heavier than Blackmore's guitar and brings about brainmelters with his sound, with "Hard Lovin' Man" arguably the standout performance of his career. In other instances, his classic training stands out through his delicate decorating of songs such as "Child in Time" and "Woman from Tokyo."

Throughout all of his work, Lord always had a foot dragging behind in the blues, and the influence of the blues on his work is part of what makes the musician's sound so unique in the world of rock.

However, for this Purple fan, I point to "Knockin' at Your Back Door" and "Perfect Strangers" as the best examples of how Lord was the heart of Deep Purple's sound, blending his work on the keys the way the brick layer fills his work in with mortar....plus the Hammond intros to these tunes are just plain cool and slick.

Some Jon Lord moments to check out from the Deep Purple catalog:

• From In Rock (1970): "Child in Time," "Living Wreck," and "Hard Lovin' Man"
• From Fireball (1971): "Fireball"
• From Machine Head (1972): "Highway Star," "Pictures of Home," "Smoke on the Water," and "Lazy"
• From Who Do We Think We Are (1973): "Woman from Tokyo"
• From Perfect Strangers (1984): "Knockin' at Your Back Door," "Perfect Strangers," "Gypsy's Kiss," and "Wasted Sunsets"

As complete works, the albums In Rock, Machine Head, and Perfect Strangers are excellent and should be in any rock enthusiast's collection. Also, Made In Japan is an excellent example of Purple's live work.

R.I.P. Jon Lord. The contributions of this talented and inventive man to the world of rock cannot be emphasized enough. His work is forever etched in stone....err, I mean In Rock, of course!

RUSH GETS INTO THE ROCK HALL!!!

APRIL FOOL!

Happy April Fools Day.

Song "Caravan" Out June 1, Name of New Rush Album Revealed

Heads up!: Spoiler alert involving title of Rush album slated for release in 2011!

With two new tunes available for download next Tuesday and their Time Machine Tour starting in June, more information from the Rush camp keeps getting revealed.

The band has been recording a handful of songs through the spring, with the intention of releasing a couple of them as MP3 downloads and limited edition CD singles, then taking the material out on the tour to road test it.  

The new songs "Caravan" and "BU2B" will be available on June 1, next Tuesday, for download through Amazon and other sources.

The plan following this short 2010 summer tour is to go back into the studio and record the remaining songs (and perhaps even re-recording the two songs if they evolve on the tour) for completing a forthcoming album in 2011.

So that being said, the last thing folks in the Rush camp were expecting was a leak of the album name...but that's what's so beautiful about surprises...they're so, well, unexpected...right?

It turns out that the new album will be called Clockwork Angels.  This is the source, which appears to be legit...so that's the latest and greatest.

FYI: the image you see here is the CD single for "Caravan"...which appears to have song lyrics as part of the background.

'Rush: Beyond the Lighted Stage' premiers in less than two weeks

The much anticipated documentary movie on the Canadian rock band Rush will premier at the Tribeca Film Festival in New York City.

Cool movie poster!

I can't help but noticing on the poster the mention that the film's slated for a release in theaters in the summer...it should be interesting to see what the response to it is and how widespread the release ends up being.

Now that I think about it, there's a remote possibility that I may have a cameo in it...being that when I was at RushCon7 three years ago, Sam Dunn was there filming the event.

At any rate, the Rush machine is revving up again...this new documentary, new material being recorded, and the Time Machine Tour this coming summer.

Jacob Moon steals Rush's "Subdivisions" and makes it all his own

I'm not typically a fan of the cover tune.  At first glance, it's always seemed like a cheap cop-out or a shortcut to getting your foot in the door as a musician...like you're not being authentic or something...I don't know, I'm sure I'm being way to critical of the idea.

There are exceptions to the rule, however...and from a cursory all-encompassing arc in my head (with eyes squinted shut), I can think of three sets of circumstances. 

1. The first circumstance would be when an artist is really able to outshine the original version if it because it was subpar...or, dare we say, it completely sucked.  Examples (arguable, as many might disagree) might include Van Halen covering "You Really Got Me" by the Kinks.  All respect for Ray Davies & Co., but VH simply blows their version into the 4th Dimension.
2. The second circumstance would involve the cover of a song, from an original version that's simply unknown...to the effect that the cover becomes the famous version.  The perfect example here is Jimi Hendrix covering Bob Dylan's "All Along the Watchtower."  Even for some of you reading this for the first time, that may be news to you...if you're wondering: "You mean Dylan originally sang that?  Really?"  I've even known Hendrix fans to be unaware of that little factoid...so sorry everyone, Jimi didn't write that.  He just did a killer version of it.
3. Then there's the third instance, which to me is the most special...it's where the original version is a classic ingrained in the pantheon of music...YET an artist, perhaps many years later, is able to come along and morph it into something new and engaging.  This post is about that instance.

Canadian artist Jacob Moon, out of Hamilton, Ontario, accomplished that in 2008 when he shot this video covering "Subdivisions" by Rush -- a very, very difficult act to follow -- and he pulled it off all by himself.  

Moon reinvigorates the song in a way that I could have never imagined.  Through his tinkering with it and use of acoustic guitars, he makes "Subdivisions" even more engaging, tender, and emotional.  For those who understand the significance of the lyrics, it's as if he's "us" -- an audience of Rush fans going back decades with the band -- and representing a real perspective and emotional interpretation of it.  It's like he was the guy you knew in the neighborhood who went through all those things with you.

Not to mention this video of him, a performance taking place on the rooftop of a house in a subdivision...that's a suburb of Toronto...in Canada. It adds even more to the effect and aesthetic of the song.  Whoever thought of that is an absolute genius.

So watch Jacob Moon pull off what I never thought I'd witness in my lifetime: someone taking a classic from the Rush cannon and reworking it into something all their own.  This is great, great stuff.  Thank you Jacob Moon!

The Unknown Legend in Rock Today -- Part 1

As a kid who grew up listening to hard rock, and more or less always rejected music with pop sensibilities, I've spent the better part of the last decade trying to expand my palate with different genres of music.

The effort mostly stemmed from curiosity, but it was also partly driven by my picky tendencies with rock and a degree of boredom with the genre. I knew as I began this "quest of expansion" that I had lots of work ahead of me as I sifted through tons of material -- some rented from the library, and some purchased -- in search of lost or forgotten gems in the form of songs, albums, and artists.

I've expanded very deeply into jazz to establish certain tastes and preferences in that genre...I've also investigated some country, some bluegrass, some classical, some opera, world music, and noodled a bit into the blues. For the most part, I've been willing to dive into almost anything; and in the process I've uncovered a TON of gems ranging from lost Johnny Cash songs to seeing Allison Krauss & Union Station perform in person twice, to a love for Andrew Hill's spellbinding jazz piano work and Clifford Brown's mastery of the trumpet. In the process I also circled around and bit deeply into the catalogs of Radiohead and Neil Young.

However, through it all, perhaps one the biggest gem I've uncovered has been out of the rock genre -- and specifically more of the progressive type -- interestingly enough, where I start and was trying to get away from in the first place. Odd, yet somewhat predictable.

In 2007, as I was anticipating the upcoming release of Snakes & Arrows, I read somewhere in one of the pre-release interviews that Neil Peart was endorsing a band called Porcupine Tree and their new CD Fear of a Blank Planet (a band on the same label as Rush, Atlantic, so I don't know if the record company had anything to do with that -- I'm sure if he didn't like them he wouldn't have said anything). Porcupine Tree was a complete mystery to me at the time, but I decided to take a chance and pick it up...something I don't do very often. I usually like to have a flavor for what the goods are before I dive in...but Neil recommended it, and Alex Lifeson was making a cameo with a guitar solo on it, so there had to be something decent happening with Porcupine Tree.

Needless to say, it was a decision I would not regret.

The album didn't take right away, even though I liked it. I may have been distracted with other things at the time, but through an initial listen I liked what I heard. I could also tell that this was something new and different, so I wanted to sit down and give it a diligent listen when I was in the right frame of mind.

When I did give Fear of a Blank Planet it's deserved time, I was totally blown away with the musicianship and songwriting. In terms of sound and studio wizardry, it's unlike anything I've ever heard before...the sonic textures of Pink Floyd being the closest thing that comes to mind (surprisingly, something few bands have tried to recapture since the Floyd) with some of Radiohead's modern day studio tricks to boot. Those passages are interspersed with the hard rocking and jamming tightness of Rush...and I catch other influences in there too such as Kraftwerk, and maybe a little Beatles...and maybe a little U2.

At some point, typical of my curiosity, I decided to find out who was behind all this...and who I ended up uncovering is a total anomaly in music: Steven Wilson. He's an ultra-talented one-man show who can do everything -- AND does everything very, very well.

Outside of being a songwriter and lyricist, he owns his own home studio in north London, called "No Man's Land," and manages an online distribution of his rarer material through Headphone Dust.

He has all the latest equipment in his studio to noodle with and produce albums. He's a modern-day Renaissance man, serving in no particular order as the writer, arranger, acoustic and electric guitarist, performing multi-instrumentalist, singer, technician, equipment manager, recording engineer, audio mixer, and producer all rolled into one. In addition to being involved in some of the distribution, he works through another independent UK distributor Burning Shed, begun by a longtime collaborator of Wilson's Tim Bowness (more on that partnership in this series -- it's very significant).

It wouldn't surprise me if Wilson was revealed to be the airline pilot who flew the latest copies of his releases over the Atlantic. Seriously...I'd probably shrug my shoulders and say, "Sure, why not? No surprise there."

This talent as a one-man entity also has, in some ways, contributed in part to why he's not very well known. After all, the only reason I found about Steven Wilson was through something Neil Peart said one time in a random interview a couple years back...otherwise I'd have no idea. As a small act, it's difficult to get exposure. Sure, there's the internet, but with so many artists competing for the listener's ear, how does one tap into it deeply enough to be successful and maintain artistic autonomy, let alone simply survive and make a living?

While word of mouth is a slow process and bears a slow trickle of fruit -- there's another way -- which is right out of the rock 'n' roll textbook: touring.

Touring is essential, IMO, to being seen and taken seriously as a real act...and that being said, that can be a full-time job for a man or woman involved with ONE band...but what if you're touring in more than one band?

Now here's the brainmelter about this guy. Wilson has SIX different bands he's in. SIX...and he's the leader and initiator (or co-initiator in the case of 2) for of all of them. SIX bands, and they all make albums and put out material. Out of those six, five of them are touring acts as real living, breathing entities. I don't know if my brain can fully absorb that, let alone understand how it's logistically possible -- but all of it is dead-on and completely true. To add, Wilson has even revealed that he loses money when he tours. That's how dedicated this guy is to his art.

All the bands are completely different and have their own unique motif. Wilson's first, No-Man, began in 1987 and has lasted as a collaboration with singer/songwriter Tim Bowness to this day...and they just released their very first DVD Mixedtape, which serves as the perfect introduction to the band. After No-Man began, Wilson started to take on other projects that began as essentially studio experiments...one of which, oddly enough, formed into his most successful band Porcupine Tree. We'll get to them later.

One experiment he formed out of the krautrock/avant garde jazz genre, I.E.M. (short for the Incredible Expanding Mindfuck), put out music in the mid-late 90s, much of which is difficult to find copies of these days.

Another experiment of more of the ambient/electronica genre is Bass Communion, also formed in the mid-90s -- and he's performed live with this act, which is captured in a recent concert in Mexico City and has tracks available for download. Bass Communion has several albums, many of which take on a an ambient drone feel...one of the more acclaimed being Ghosts on Magnetic Tape, which may soon become a rare recording (I believe I just got my hands on one of the last 2CD issues through Headphone Dust).

Blackfield, Wilson's collaboration with Israeli musician Aviv Geffen, formed in the early part of the decade and they have since created two albums of original material, in addition to performing as a worldwide touring act. Check out their DVD Blackfield - NYC (Live in New York) (also just released as a CD/DVD set), which captures the energy and depth of this songwriting collaboration...Geffen's involvement puts a really interesting spin on the love song/melancholy thing. The textures, songwriting, melody, and live presentation of Blackfield is new, fresh, and exciting. I hope we see more material from this band soon!

There's also Wilson's blossoming solo career and Porcupine Tree, which need their own post. We'll talk about those bands in the next post on Steven Wilson's career -- and continue more in-depth discussions of Blackfield and No-Man -- in addition to his other experiments and collaborations.

The Top 10 All-time List of Rock Concept Projects

With Porcupine Tree's latest concept album offering The Incident, the idea came to mind about the strongest and most influential concept albums of all-time...and I like lists...and I don't list things that often, so if I do I:

1. Had better be interested in the subject matter (check), and
2. Had better know something about the subject matter (check too, although I can always learn more).

That being said, I'm hoping I have something to contribute here, and that it might start some discussion.

Here's the list, in countdown format.

#10. ~ Fear of a Blank Planet by Porcupine Tree (2007).

Totally effective in its subject matter, PT originator and songwriting mastermind Steven Wilson grabs the listener by the throat and doesn't let go.

The project tackles a societal issue that has risen into the forefront in recent years, but flies under the radar in many respects -- very serious matters effecting every household in America with children, and the Western World for that matter -- to what extent we medicate our children.

Wilson's take on the subject weave to and fro throughout a bleak urban landscape, creating the imagery of doped up child-zombies walking around with nothing to do, no hope, and no future. After having it on for awhile, if you really listen to the lyrics, the story will put you into the mind of a doped up child and you'll forget who you're listening to.

The whole project is amazing...from the thematically shocking in-your-face opening of the title track, to the beautiful melancholia of "My Ashes," to the winding journey of "Anithetize," every song holds up on its own, yet they all weave together perfectly. "Sentimental" is the strongest track on the album, and while the guitar work might echo something from David Gilmour on The Wall for many, it doesn't lack originality. The album's closer, "Sleep Together," gives the whole experience of Fear of a Blank Planet the necessary dramatic finish.

If you're a parent or guardian dealing with medicating your child during critical years of development (and we're talking about more than aspirin), this piece of art will probably conjure up more questions than answers...but sometimes answering those hard questions can lead to a better result. I believe that's part of what Wilson's up to here...a wake-up call.

In retrospect -- after listening to this project repeatedly over the last two years -- Wilson's story and themes on this album end up suggesting a symptom of a much larger and serious issue, which should immediately come to mind for those of us who have read books such as The Geography of Nowhere by James Howard Kunstler. However, Wilson and Porcupine Tree hint at that too, as the album's title suggests.

While they're not mainstream or very well known, this band and Wilson's focused artistic vision -- with the exception of probably Radiohead -- are pushing the rock format in new directions in the early part of this century while reprocessing and giving a refreshing twist to musical ideas originally spawned by the likes of Pink Floyd (soundscapes), Rush (tight jamming), Kraftwerk (innovative synth layers), and the 2nd wave of the 60s British invasion.

It's really too bad they're not more popular and commercially successful, as they're catalog is full of unique and amazing gems...and despite being limited in scope, they actually LOSE money when they tour...plus Wilson has hinted at wrapping things up soon to focus on other projects such as Blackfield and No-Man, and wants to get into more of the production end. It would be very, very sad and a tremendous loss to music to see these guys go away.

#9. ~ "Cygnus X-1" and "Cygnus X-1 Book II: Hemispheres" from A Farewell to Kings (1977) and Hemispheres (1978) by Rush.

Okay...I know this looks strange, try to follow the logic here. After their 1976 magnum opus 2112 (see #6 on this list), Rush decided to do what I don't believe any other band has managed to pull off: a concept piece that spans two successive albums.

Hence, the mention of two albums...it's more about the Cygnus suite than anything else, and if you were to listen to the two albums in succession on your MP3 (in a most exquisite Rush marathon of 20+ albums, like I do sometimes - not kidding), you'll notice they're linked since Kings ends with "Cygnus Part 1" and Hemispheres starts with "Part 2" (um, excuse me, that would be "BOOK II")

...and who in the hell refers to an 18 minute album side as a "book?" If nothing else, Rush gets on the list with this project for creativity and placing a totally interesting and original spin on how to tinker with the album format.

It's also worth mentioning that they would later do a "Fear Trilogy" over the span of three successive albums from 1981-84 -- in reverse order.


#8. ~ Quadrophenia by The Who.

Arguably the band's last great effort, then the creative juices suddenly seemed to stop flowing, as a listen to this album's follow-up Who By Numbers might reveal.

Another interesting take on British society, this project bleeds more gritty reality and less in the way of bubbly fiction, opposed to Tommy. It's commentary on what many Americans like myself interpret as a bizarre landscape of 1950s James Dean-ish street gang fighting is both obscure and fascinating all at once, which I believe adds to its appeal...probably due in part to a lack of understanding of Brit streetgang history in the 20th Century.

The Mods and Rockers are having it out on the English coastline! Say that again? Uh, I guess you had to be there.

Sonically, this album is also really strong in its mixing and studio wizardry...that sound of a crashing ocean at the beginning, with the solo trumpet and rainfall. The hints of tunes to come...then the band explodes into an all-out jam. Fucking awesome stuff.

In terms of playing, the band's in top form and Daltry's voice has never sounded edgier or better. Another high point about this album to note, in addition to the strong storyline; Entwistle's bass acrobatics are a total brainmelter. He's all over place in this recording. Easily his stongest Who album in terms of showcasing his talents on mastering the bass...which he did in his classic pose near Moon's drumkit with an expressionless face while his hands moved everywhere liked a blurred Bugs Bunny cartoon.

It's too bad we never had the chance to experience Townsend's Lifehouse project in its full entirety (rejected by the rest of the band, and what eventually became 1971's Who's Next); based on what that project manifested into, for all we know it very well could have been the best concept piece ever by The Who, putting Quadrophenia and Tommy to bed (hardy har har, pun intended). The indicators are there in the form of "Baba O'Rielly," "Bargain," "Behind Blue Eyes," and "Won't Get Fooled Again." I guess we'll never really know.

#7. ~ Operation: Mindcrime by Queensryche (1988).

The most ambitious concept effort of the 1980s by any rock band, during a time when it was anything but cool to put one out. At this time hair metal was the deal, with a never-ending assault of 3-4 minute cheeseball singles to go with it. The 70s during this time were being dissed, and up to this point concept pieces were relegated to only a mere handful of classic bands. By the late 80s, it all seemed like a bygone era, and not the cool thing to do anymore.

This album by Queensryche is what made it "okay" for bands to dive back into the concept project, as it was essentially the first successful project since The Wall from Pink Floyd (see #5 on this list) in 1979...if there were other concept projects put out in that 10 year period, I can't think of any -- and either they weren't successful, or taken seriously.

Not only did Queensryche reopen a door to a room that appeared to have been forbidden and locked shut, they packaged it in the form of an edgy, raw, and downright shocking political manifesto.

Coming out of the heels of the Reagan Era and it's trickle down policies, this project embraces much of the frustration felt by the mid to left politicos as the 80s approached its end.

#6. ~ 2112 by Rush (1976)

I once read somewhere that this album had a big influence on Marilyn Manson, and that it scared him to death. It scared Marilyn Manson.

He must have been talking about it from a conceptual standpoint. Drummer Neil Peart takes the readings of the controversial Ayn Rand, from books such as The Fountainhead and Anthem (from which the band's record label is named)...subject matter which has been interpreted and accused of touching on fascism, among other things. Moreover, an odd author like Rand isn't typically the sort of influence you hear rock bands citing.

However with Rand's influence on Rush, you need to look deeper. What Peart, and ultimately the rest of the band adopt from Rand's writings lean more towards her artistic manifesto.

It's that element that ultimately gives shape to the story in the title track of "2112;" a sci-fi tale about a futuristic society where individualism has been decimated in the complete interest of "the average" -- that is, until the character in the song discovers an old guitar hidden behind a waterfall, and...well, you know...all hell breaks loose with "the priests." Yep, priests are involved.

I hate it when that happens. Seriously now.

It's also Rand's artistic manifesto that gives shape to the bands drive to succeed on their own terms, as they have discussed in numerous interviews over the years.

2112 was the band's mid-70s breakthrough, and at the time they recorded it, EVERYTHING was on the line...their record deal hung in the balance due to the lack of commercial success from their previous work, Caress of Steel. Very few believed they would find success; even folks close to the band doubted it and suggested they fall back on the conventional ways of rock. Ironically, it was the artistic approach to Caress, their development as songwriters on it (notably with the piece "The Fountain of Lamneth"), and it's LACK of success that actually set up their success for 2112. Despite the commercial failure, they hadn't failed as artists.

The band collectively understanding the difference between those two factors was essential to how they approached this project.

So now what do they do? They say f**k it. If we're going to go down, we're going down with the guns ablaze. Against pressure from their label, they write a 20+ minute piece with seven movements and place it as the first track of the album (side 1 at the time of vinyl issues).

It proves successful...and the band never looked back. The body of work Rush has put out since, and their insistence to tour off every single album to present it -- an effort now spanning nearly 40 years -- speaks for itself...and another project of new material is due out in 2010.

On 2112, you can hear them playing on it with a furious edge. If the band sounds like they're playing pissed off, it's because they are. Don't screw with these well-mannered Canadian gents, you'll unleash the beast.

In my opinion, 2112 isn't just an album, it's a way of life...for the band, and for it's dedicated fan base. 2112 is a lifestyle and a creed. It's about having a backbone in the face of adversity, sticking up for yourself or what you believe in, and not compromising your principles -- in much the way the band was feeling at the time they recorded this. It's about putting your fist in the air and telling THE MAN where to stick it! (Something I personally enjoy doing on a repeated basis in a variety of ways, both creative and stupid.)

If you're ever angry after a tough day at the office, put this on and F'N CRANK IT!!! You'll feel much better.

*Special note: the live version of "2112" on the live album Different Stages is also amazing and worth checking out...and it's the only time the band ever performed it live in its entirety...this time in 1996-97.

#5. ~ The Wall by Pink Floyd (1979)

The last classic work by this band, but unfortunately it's also the project that tore the Waters-era Floyd apart -- and as a result deprived a whole generation of Pink Floyd fans of seeing a Waters-era Floyd perform live -- until a select few saw the band come together for one magical night in 2005 (see my post about this event).

The Wall is an undisputed masterpiece on several levels...while of course there's the MOVIE of The Wall, the LIVE PERFORMANCE of The Wall (probably the most interesting component -- and least known), and now PLAYS of The Wall performed around the world (mainly in schools, with Waters' exclusive permission, of course), this of course is speaking to the original ALBUM of the same work.

The album, a sonic tour de force, spans nearly every identifiable form of music and seems to throw every conceivable piece of ear candy at the listeners. There's some great tunes on this project that turned into staple Floyd classics that can be heard on the radio today; notably "Another Brick in the Wall Part 2," "Comfortably Numb," and "Run Like Hell." While every track is memorable and has a role in the larger work of the album, other highlights include the beauty of the under-your-skin emotive "Mother," the horror of WWII German buzz bombs and innocence lost in "Goodbye Blue Sky," the freefalling horndog-on-the-town element of "Young Lust," the hopeless sorrow of "Hey You," arguably Waters' best-ever singing performance (if not his most interesting in terms of dynamic effect) in "Nobody Home," and the originality of the scary/humorous/poking-at-authority's ass of "The Trial." I think the kitchen sink is somewhere in there too.

However, look closer at those song titles...what sort of mood do they convey?

What they suggest are merely the tip of a massive iceberg of a downer...and that's actually intended as a compliment rather than a diss...but a compliment with a HUGE warning label.

This project lends itself to that classic Floyd motif -- in a most in-your-face manner, unlike the graceful and interpretable Dark Side of the Moon (see the end of this listing). With all its incredible sonic attributes, textured features, and hooks, The Wall won't leave you smiling and feeling positive...frankly, it will probably leave you depressed and confused -- if not wondering "how you can have any pudding if you don't eat your meat."

...but, as I suggest in other parts of this post, that's the beauty of a true and raw artistic statement. It makes you feel something, good or bad...but isn't that part of what's involved with living a meaningful life anyway?

I'd say that's part of what Roger Waters was thinking when he wrote this. Not all of this project is autobiographical -- as there's some Syd Barrett and other reflections on the world of rock stardom thrown in -- however I think it's obvious that the guy obviously had some things to work through, notably the fact that he lost his father in WW2.

I'd imagine part of his therapy was to put it out there. It manifested in this project, and on its successor, The Final Cut. The Wall (notably the movie), along with other fantastically inventive and outside-the-box projects, morphs into the area where Pink Floyd is heavily misunderstood as a druggie band...and barring Syd Barrett's issues with LSD in late 60s, they're NOT a druggie band. The Wall is about Waters baring his soul to the world, and I admire the man for his bravery. I wish other musicians could be as real and creative at expression as he is.

The faint of heart or those damaged by horrible childhood experiences should be warned...The Wall will either be your therapy or drive you insane...but either way, you're probably doing yourself a favor and can find help -- for the sake of you and everyone around you. All being said, The Wall commands a close and meaningful study. There's nothing else like it out there.

#4. ~ Sgt. Pepper's Lonely Hearts Club Band by The Beatles (1967)

The seed for the concept album was planted here...and while Sgt. Pepper isn't whole-heartedly a concept album, many of the ideas that led to projects by other bands down the road would point back to this.

This CD just recently got better, being released this year in its remastered version! You can also get it as part of a comprehensive Beatles box set.

Of course, there's no denying the opening track, which is reprised at the end with "A Day in the Life," one of the all-time greatest rock tunes ever.

An interesting back-story to Sgt. Pepper is how the Beatles received their influence from The Beach Boys' Pet Sounds album (didn't make this list - however it might make a Top 20 list). It goes to show how our most inspiring and influential musicians, and artists in general, definitely don't live in a vacuum.

#3. ~ Tales from Topographic Oceans by Yes (1973)

First thing, I'll admit that I'm more of a Trevor Rabin-era Yes fan (i.e. projects such as 90125, Big Generator, and Talk), and have had a tough time absorbing the more obscure portions of their earlier catalog from the 70s. However, that doesn't make me lose any less respect for their art.

Still, this is rock at its proggiest, in a fashion that might make the boldest listener's head explode...or if you're not on drugs, it might drive you to use them...or to throw the next mini-moog synthesizer you see ceremoniously off the top of a skyscraper just to prove a point.

Seriously...I've had enough conversations with hardcore Yes fans to know the significance of this album, Tales from Topographic Oceans, which stands out in a long line of Yes concept projects. This is the concept album not just taken to a whole new level, but into the realm of otherworldly. While the spiritual level of the album, and Jon Anderson's shtick, is in a motif that I personally don't quite grasp, that doesn't make it any less effective and meaningful. It commands our respect and praise.

There's deep, deep stuff going on here. Hardcore Yes fans "get it" the way I "get it" with 2112 by Rush...so, in the interest of all due respect to Yes fans, I will defer to one of them.

An Amazon reviewer writes:

"Tales" is a deeply philosophical album that is not for the meditative faint of heart. While much music is created to be toe-tapping and easy to sing to, "Tales" is in that genre usually called progressive rock, in a sub-genre that requires intense analysis to understand. The result is an album that is inaccessible and incomprehensible to a casual listener. In order to understand this music you must read the lyrics and listen, and listen, and then listen some more. Even then you might fail to gain a glimmer of Yes' intent.

"Tales from Topographic Oceans" would have to qualify as one of the most if not the most deeply complicated rock music ever created. Again, if you are a casual listener the complexity of the music can be frustrating or boring. However, if you consider that classical music is often complex, and to be understood requires extended focused listening, it should be of little surprise that Yes took that complexity for its own in the development of this music, creating a symphony in four movements.

Whoa! Enough said, I already have a headache and I haven't even put the thing on yet. Seriously, I look forward to sitting down with this project one day, when I have the time and patience to give it the required due diligence to explore it further.

I gave it the high ranking because of its artistic boldness and depth unlike any other concept album, and how it serves the diehard Yes fan in spades...and while I've given it a few listens and walked away wondering and not totally getting it, that's MY issue. I can still appreciate the boldness of the statement and the uncompromising artistry.

#2. ~ Tommy by The Who (1969)

The ranking is high because of the originality...Tommy is THE original rock opera.

With this project, The Who gave birth to the first bona-fide concept piece.

Tommy is structured as the perfect double album, with an interesting story line...and like The Wall, it formed into a movie, live performance, and has made it to the stage -- and in the case of the latter, I had the opportunity to see one of those live stage performances -- and loved it.

I highly recommend seeing any rock album performed as a play, it gives the original work a wonderfully fresh twist.

#1. ~ The Dark Side of the Moon by Pink Floyd (1973).

Hands down, IMO, it's the best rock album of all time, and therefore also the best concept album. Pure bliss and perfection; both compositional, sonically, and in the band's playing. The album cover evokes the feel and vibe of the album in its power, mystery, and simplicity.

Less is more.

See? Just when you read that, didn't the idea of that just mushroom out into lots of things? Sure it did. Shut up.

Dark Side of the Moon is a graceful, timeless, and perfect ride wrapped in the power and mystery of the whole Floyd thing. If the definition of the "power of music" was in the dictionary, this album cover would be next to it.

I see this album as a bold statement about modern life. It has a mellow vibe, offers variety, and unlike The Wall is more accessible and interpretive. However some are generally turned off by the often dark motif of Pink Floyd, and this project has it's share through Water's songwriting...but isn't that the beauty of art? Sometimes sad or dark music revealing the pain of real life can be healing -- and can be the most beautiful. It rejuvenates our soul.

Any idiot can write songs about sex, drugs, and rock and roll. This is the rock format at its deepest and most artistic. Even if you don't really like anything about Pink Floyd, this is the exception to that rule...and while it's Floyd, it's really not...there's Divine Intervention at work here. This album has the power to resonate with you forever and change your outlook on life.

Simply put, nothing touches it...nothing. I can't say that anything else in the rock genre even comes close -- Dark Side is in a higher league on its own. 'Nuff said...again, less is more.

If you don't know, just listen to the damn thing! Seriously, if you haven't heard it before, then find a killer stereo system and set aside some time...light a candle and turn down the lights...it's a moment you'll never forget.

If you're not a rock person -- and could only own one rock project in your lifetime -- this is it.

So that's a wrap!

As a final note here...it's about time that I post something meaningful up here...sorry for how I've been putting off posting something decent on this site for awhile.

I believe this blog space is more meaningful when I put something together that involves a deeper level of thought, and that requires some time and insight...so when time is short with other things, the beefier postings can fall off. Blame it on life stuff I guess.

I realize there are only 10 works mentioned here, with no honorable mentions to boot either...so I apologize if something glaring and obvious was left off! Part of it could be due to bands I'm not a big fan of -- the Genesis and ELP camps come to mind, for example...and there's lots of new stuff out there I might not be aware of. So please chime in and leave a comment on who should be added, as I'd consider expanding this to a Top 20 or Top 25 list...but you need to bring forth a compelling reason!

Pissed...no, ENRAGED. Another favorite band flies under the radar.

Good morning, bitch central here.

Porcupine Tree passed through Seattle on 9/15. It's more than a month later, AND I'M JUST HEARING ABOUT IT NOW...and that's only happening because I happened to walk by a record store last week, where I saw this promo poster in the window saying: "PORCUPINE TREE ~ THE INCIDENT."

...so I thought: "Oh. P.T. must have a new one out. Strange that I was on the Burning Shed website two months ago and didn't hear anything about a new album."

I have a question for all of you...the world, whatever. How is it that two bands, that I've never seen before, simply fly under the radar when they come through town, and I HEAR ABSOLUTELY NOTHING ABOUT IT?

Hey, don't mind me and my angst over this...P.T.'s only in my Top 5 of favorite rock bands, along names in the likes of Neil Young, Pink Floyd, and Rush...so yes. In my mind, this was like missing Pink Floyd on tour and not hearing about it.

It's not like I'm a casual fan either...I RUN A FRIGGIN MUSIC BLOG, for Christ's sake. I also make it a point to pick up a copy of the Seattle Weekly at least once a month, but can't always peter through their detailed music pages. It's information overload, and I don't like getting the newsprint on my fingers.

If it's not a major band, they're probably really limited on having a P.R. budget...so how does a person who's running their own business and being a caretaker to aging parents keep on top of it without driving themselves nuts? Even if you go to a band's website, something can change two months later and suddenly "poof" they've come and gone. Steven Wilson in particular is hard to keep up with, as the guy seems like he has literally a dozen projects going on at once. I can sit here on the P.T. website and stare at the "alerts" list, but what good is the goddam thing going to do me now, besides alerting me to stops on a tour that I've already missed? No thanks.

This is the second time this has happened to me this year...this happened before with The Church last spring.

Did anyone out there catch Porcupine Tree on their latest U.S. leg? How did you hear about it? Did anyone actually show up and attend the shows? I'm dying to know how you found out about it.

Bubba's Bar 'n' Grill...GRAND OPENING!

It's finally here! Get out your kitchen utensils!

Bubba's Bar 'n' Grill, from Neil Peart's personal website, will impress and astound you with a variety of menu items...along with some rather amusing anecdotes to go along with the culinary stuff.

For Rush fans, just make sure you give some attention to the ads on the perimeter of the menu when you first go to the link...you may notice some colorful characters there from your readings and concert viewings of yore.