RUSH GETS INTO THE ROCK HALL!!!

APRIL FOOL!

Happy April Fools Day.

FROM THE VAULT -- The Stones' "Waiting on a Friend"

This has long been one of my favorites by the Stones...there's some special memories attached to it. While it's a bit dated - in most humorous fashion - the video's worth a spin.

Obscure album artwork

Here's something new...a site worth visiting for really weird album artwork.

Check out this list of the 100 most obscure and remarkable album covers of all time.

Your bound to run into a few things that you've never seen before...such as this sample from a band named Orca Survive, who I've never heard of before.

It's a testament to the power of a picture...it's one of those cases where the artwork gets you interested in what the band sounds like.

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!

News, Weather, and Sports: Neil Peart & the Canadian Hockey Theme

For those of you who aren't aware, Neil Peart (drummer of Rush) is now the face of the new Canadian Hockey Theme. You can probably catch him at the beginning of hockey broadcasts on channels like ESPN or others.

Actually, I'm only guessing that...I really don't know when it's on, as I personally haven't seen it on a live broadcast yet.  You can get a flavor for it at the end of this post.

Meanwhile, Neil has written about his connection to hockey and how he got involved with this latest project, which can be read at his website.

Here's the you tube video of Neil drumming in the hockey theme song.

Dive into Britain's underground with the 'Mixtaped' DVD by No-Man

The following is a preview to No-Man, the Steven Wilson /Steven Bowness collaboration.  Last fall they released Mixtaped, their first live video DVD, available on Amazon as a 2-disc set (includes an 84 minute documentary about the band).  If you want some insight into the progressive pop underground of Britain over the last 20 years, this band is an excellent example and Mixtaped is the prime place to start with No-Man.


No-Man - Mixtaped 2DVD trailer from Kscope on Vimeo.

Two weeks left to vote in the "Insanity Poll!"

We've got several votes so far...but with less than two weeks left, we need several more!  If you haven't voted already, please do so in the margin to the right and let us know what you think.

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 ultimate edition of Cash at Folsom Prison appears!

Something very, very special appeared under the tree in the last 24 hours...the Legacy Edition of Johnny Cash At Folsom Prison. It had been on my Amazon list since it came out in October 2008.

This is the ultimate edition of Folsom Prison...it has the complete unadulterated, unedited versions of both shows that he did there when he visited the prison in January 1968 -- so you can hear how it played out that day, as if you're a fly on the wall watching the whole thing.

It also contains a bonus DVD with a fascinating 90-minute documentary on everything surrounding the Folsom Prison concerts and what happened in the aftermath of it.

I'm not usually a fan of these sorts of reissued expanded editions of old recordings, but this appears to be an exception to the rule since it appears to be a comprehensive document of his Folsom Prison shows, and the experience is further amplified with the DVD documentary.

I want to perform due diligence and give the discs a thorough listen, and study the documentary before I go into too much detail...so look for a review on this in the near future.

Shucky darns...foiled again! No Vince Neil for us.

Well, my 80s metal-loving buddy dragged me to another one...to the same casino up I-90...this time in freezing rain rather than a torrential downpour.

This time, however, the mission was to see Mr. Vince Neil, the frontman for Motley Crue, touring with his own band.

Uhhh...uhhh...mission failed, sir.

Problem was, the show began at 8:00PM, and an assumption was made that there would be an opening band, and that he wouldn't go onstage for an hour or so -- as basically 9 times out of 10 such a thing typically happens with a rock 'n' roll concert.

We arrived at about 9:15, just as the show was getting out. I thought this shot of Neil is fitting, as he seems to be waving at us from afar with an annoyed expression like, "You missed the friggin' show, you idiots."

Yep, that's us.

Needless to say, my buddy was disappointed...and then insult was further added to injury in a comedy of several ways.

First off, all we could do was just stand there as the show was JUST getting out -- literally inches away from the counter where we would have purchased our tickets -- which also happens to be at the bottlenecked route to and from the entrance to the ballroom where the gig took place. So, as we stood in that choice location, we got to hear from all the attendees shuffling past on how great the show was. Apparently he not only played all the Motley Crue stuff, but did a few covers -- including "Heaven and Hell" by Black Sabbath!

If that wasn't bad enough, several folks shuffling by us took notice of my buddy's Ratt tour shirt showcasing the band's name with "Ratt and Roll" underneath, which he had worn on top of a thermal layer. So, needless to say, the typical pro-80s metal fanatical comments were dropped here and there when they saw the shirt...comments such as......

"Wow, cool dude! Ratt rules!"

"Rock on, man!" (hand showing Dio "devil fingers" sign -- \m/)

\m/ "Hey look, it's Ratt...didn't they play last month?!?!" Editor's note: Yes, they most certainly did...and you can read aaaaaaaaaallllllllllllll about it here.

\m/ "Wooooooooooooooooooooooooo!!!" (from very inebriated and flirty rocker chick showing off cleavage and tiny metal skull necklass)

\m/ "Cool dude." (cigarette smoke exhaling in face)

\m/ "Hey man, I thought you were the drummer."

Yep, not kidding...my buddy's long blonde locks -- coupled with his getup -- somehow had a few of the metalheads convinced he was the drummer in the Vince Neil concert (the drummer which, ironically, we were unable to lay our eyes on ourselves to verify the apparent likeness since we missed the goddamn show in the first place). So my buddy had these random rockers coming up to him to give him high fives and so forth...someone may have even tried to have their picture taken with him.

So, despite the dissapointment of missing the show, there was a humorous ending to the whole thing, and we laughed it off...AND as we were driving back toward civilization, I mused on how this was going to be an interesting blog post and in the process realized a new category for live performance had been created -- "live performance (barely missed)."

The category appears due to the fact that as I thought about it this show, believe it or not, wasn't the first one that I had barely missed -- I also ran into a similar, and in some ways more humorous situation with a Dio-led Black Sabbath tour from the early 90s (a story for another day).

So how do we end the night? By nothing other than making our way to a theater in town to catch 2012, the latest CG uber disaster film...laughing through the specter of the world ending two years from now, of course.

I guess anything pales in comparison to barely missing a $15 Vince Neil performance.

The BEST and WORST Holiday Albums EVER

There are a ton of holiday albums out there, with more and more coming out every year...everything from the cool and kid-friendly Burl Ives singing "Frosty the Snow Man" to something obscure and horrific, I'm sure.

That being said, I don't seek out many "new" holiday albums, as I tend to cling to childhood memories or old familiar ways.

But I do have a definite favorite that I throw on...and also one that I loathe beyond words.

So then, let's start with the good stuff first.

The award for "The BEST holiday album of all-time" goes to Merry Axemas: A Guitar Christmas, put out in the 1997 by various rock artists.

This album has some great quality tunes on it, and provides a potpourri of variety; from rocking renditions to acoustic layered compositions. It features some classic guitarists from Jeff Beck and Eric Johnson to Kenny Wayne Shepherd, Joe Satriani, and Steve Vai.

It also showcases my favorite Canadian son, Alex Lifeson, in a somber and moving acoustic version of "The Little Drummer Boy" that builds in layers to a beautiful spectrum of acoustic guitars. I remember thinking at the time that the song was as interesting of a choice as the way it was played with delicate sensitivity, and couldn't help but notice how it was chosen and arranged on the heels of Neil Peart losing his daughter Selena in a car accident the summer before. All said, the song showcases Lifeson's acoustic guitar work as good -- if not better -- than any Rush project.

Now, let's let the freak show begin...the award for "The Most Annoying Holiday Music EVER" goes to Manheim Steamroller's Christmas Celebration, which came out in the early 1980s (ya think?) and has since been reissued.

This thing is so ridiculously dated it's embarrassing to write about, let alone throw on in the CD changer. It's a bloodbath of synthesizer cheese, to say the least.

I believe the 80s revival of elevator music can be traced back to the release of this album, because all the elevator music lovers went running in screams of horror back to their favorite section after hearing this abonimation of Christmas music.

In particular, "Deck the Halls," the one that was popular on the radio (and still can be heard, unfortunately) is especially annoying. I believe the last time I heard it, cheese bled from my ears...literally.

To add to the annoyance, I have a family member who loves the stuff. Relishes in it. Friggin' bathes in it...so I just tolerate it and enjoy the "fest o' cheddar."

Happy holiday shopping, everyone!

No-Man live -- after 20 years as a band

I've mentioned before in this blog that the best-kept secret in the rock format today is Steven Wilson out of Britain, and all the incarnations of his artistry in the form of various bands such as Blackfield, Bass Communion, IEM, and as a solo artist...all very different from one another.

Frankly, it's very puzzling how Wilson isn't better known; almost to the effect that the scenario drums up large label conspiracy theories. This argument could be validated by the way Wilson works out of his home studio dubbed "No Man's Land" and purposefully avoids the big labels by conducting as an independent songwriter, arranger, musician, recording engineer, and through many of the other album production roles typically segmented and spread out among various individuals under the guise of a large label.

It appears that about the only thing Wilson doesn't handle is distribution. He's as much of a one-man show in music as you'll ever find. If one considers the variety of talent Wilson brings to the table, there could even be an argument for Rock Hall accolades...but unfortunately he just isn't that well known.

Most who are familiar with Wilson's work know him as the brains behind Porcupine Tree...but few realize that he was in a band called No-Man back when PT was merely an idea. No-Man has evolved over the years as a progressive pop/electronica/rock act, and is a living breathing entity to this day.

The band just released their first live DVD Mixtaped, which can be ordered through the band's independent distributor Burning Shed. The DVD features a second disc with an interesting documentary on the band, and some videos you might recall from late night MTV or VH1 in the mid-90s.

Here's a cut from it. If after some time it gets pulled off the web or something, check out the personal videos from the Savoy Theater by You Tube poster 'lahemi.' It appears this individual personally recorded the whole gig.

Of course Steven Wilson is the lead guitarist fella (wearing glasses) to the left. The singer Tim Bowness, who comes across as a breathy cross between Brian Ferry and Rick Astley, might take a little getting used to -- but he grows on you...as long as you don't get Rickroll'd (or even better, Barackroll'd!!!)

THE STAGE HECKLER: Gin Blossoms' Greatness Goes Beyond the Music

What you see here is the set list from tonight's live performance, courtesy of the Gin Blossoms. I grabbed it at the end of the gig, much to the amazement of 20 onlookers with the "I didn't know you could do that!" look on their face.

Grabbing the set list is the ultimate souvenir in many ways. It's hand-crafted by the band for just that show (printed from a computer, but you know what I mean), and typically reveals quirks or things they were considering playing that they didn't, such as the "Cajun Song" that you see on the list...and if you're lucky, and it was on the ground, you might get the guitarist's shoe print on it...or someone's spit. Or worse.

I'm always amazed how many other attendees don't think to ask, as tonight I was the only one inquiring to a roadie about it. He nodded, knelt down in front of where guitarist Jesse Valenzuela had been playing on stage right, removed the tape, and handed it over. No problem. I think that's the fourth set list I've been part of grabbing...there was Live in 1994, Matthew Sweet in 1996, Ratt a couple weeks ago, and now the Gin Blossoms.

Now let's talk about the band.

They might be touring the casino circuit these days, and they might be leaning heavily on material from their signature album, 1992's New Miserable Experience, for their live set...but this band from Tempe, Arizona -- now going on 20 years strong -- are survivors.

The sound of the Gin Blossoms is timeless in some ways, but also heavily rooted in the Tempe bar scene of the late 1980s & early 90s around the Arizona State campus. I should know, as I was attending ASU during those exact years that the Blossoms flourished from bars like Long Wong's, which has sadly since been demolished as Mill Avenue literally erased any sign of its history block after block (when Tempe whored out what remained of its soul to development interests in the late 90s -- Long Wong's...Bandersnatch...Cannery Row...the list goes on -- but that's a long story for another day). They'd also play local frat houses until they turned into a worldwide touring act. I had the pleasure of seeing them perform at several parties back in the day.

Seeing them live tonight conjured up many of the influences from back in the day that one might overlook, but are rather obvious if you know their music. The Stones and R.E.M. seemed to be the most obvious...the interplay between the two guitarists, Jesse Valenzuela and Scotty Johnson, echoed elements of the duo of Keith Richards and Ronnie Wood. Lead singer Robin Wilson seemed to have a mic & stage style in the likeness of Michael Stype. He handed his tambourine to someone in the audience to play along, and sang into someone's cell phone on a couple of occasions. It was amazing how much he sounded like Elton John when they played "Rocket Man" in the encore.

The Blossoms are one of those bands born to play live. They shine and thrive in the live setting, and very much have a live sound even in their studio recordings.

In their early days, there were years of hiccups, false starts, and the difficulty of getting known beyond the Tempe scene. Between the long frustration of trying to get on with a major record label, losing their co-founder /guitarist /main songwriter Nicky Hopkins to alcohol and eventually a suicide in 1993 (as the melancholy lyrics and feel of Experience reveals much of his illness), and after surviving a breakup in the late 90s, these guys appear to be back and stronger than ever. A new album is due out in 2010.

The most impressive thing about this band, however, is their character and heroism...which comes from an incident that occurred in 1994. Every August, when students start the fall semester at ASU, a popular activity is to raft down the Salt River. Unfortunately there can be lots of accidents on the river, and to/from the river, caused by drinking or recklessness. That fall, a female student was severely injured in a motorcycle accident enroute to the river and didn't have medical insurance...so while she lay recovering in a local hospital, the band got together to put on a benefit concert at Long Wong's bar in Tempe. The result was thousands of dollars raised through donations to help pay for the girl's medical bills...and remember, this is 1994...interesting context to current times.

If that isn't the mark of greatness, I don't know what is. The music of the Gin Blossoms is timeless and a personal sentiment, as they are part of the soundtrack to some incredible and memorable college years...but I believe it's that single act of thoughtfulness and heroism that defines them.

FROM THE VAULT -- Neil Young & Pearl Jam Rockin' the Free World

With Neil Young just celebrating his 64th birthday, here's a little ditty of him with Pearl Jam. I'd guess this took place in the mid-90s, around the time of Young's Mirror Ball collaboration with Vedder & Co.

Remember to put the music machine at the top of the page on pause...and as a prize for doing so, you get to witness some instrument destruction at the end of the video.

THE STAGE HECKLER: Falling Victim to a Ruse to See...Ratt? Yep!

I got dragged to it, I swear!

Yep, I ate my 80s hair metal on Halloween night with Ratt...at the Snoqualmie Casino up I-90. A casino for Ratt, huh? How appropriate.

I really shouldn't complain, as I did get to see them for free...as my buddy needed someone to go with and covered the $30 ticket...but here I am.

Still complaining about it.

It actually ended up being three of us, as a third fella (a former co-worker of my buddy's) suddenly showed up and drove to it in a torrential downpour...I guess he was the backup plan in case I couldn't get talked into going, but I didn't put much thought into it until the day after when I was recalling the series of events.

Ratt is one of my buddy's favorite bands...but you must know something's out of place with the appeal of your band when you have to:

1. Use trickery and deception to get your friend to go to it with you.
2. Have a backup person to fall into the ruse if your first person fails to fall for it or bails on you.
3. Pay for both friends to attend the gig you designed the ruse around.
   

Anyway.

I'm not a bubble gum rocker, but the show was pretty good...at least they seemed like they'd rehearsed a bit and they weren't out of tune. It was of course Stephen Pearcy and the original guitarist, whose name doesn't come to mind. K.K. Downing? No, that's Judas Priest...Robbie Robertson? No, that's The Band (wow, I'm really out of it)...I guess I could look it up right now, here on the computer, but I'm too lazy to right now. Pathetic, huh?

So I'm trying to think who I listen to regularly who comes the closest to this band...hmm...Kiss maybe? And I'm not a super big fan of them either. Maybe Aerosmith? Not a big fan either.

I guess I don't really listen regularly to anything remotely close to Ratt. Oh well.

I tried to keep an open mind...yet here I am, apologetically putting up a post about the damn thing, as if I've been a bad doggie who pooped in the corner of the living room, and I'm expecting to get swatted at any moment.

They played all their "classics," if you want to call 80s bubble gum rock "classic." They went through their whole Out of the Cellar album from the early 80s with hits like "Round and Round" and "Come On Feel the Noise." Kidding! That's Quiet Riot...I was just seeing if you were paying attention.

There was lots of leather there, but unfortunately no screaming girls on the shoulders of their boyfriends showing off their shaking breasts to the band...no panties thrown onstage, either. Oh well...but Pearcy did seem to be bragging about how he's had his share of women over the years, and thought that he saw some out in the audience...or some with kids, whom he also seemed to take responsibility for.

Uh, can you say ick? ...and why would you brag about that when you're a burnout 80s rocker in your 50s, is that all you have to hold onto in the way of amusement? Your slutty rocker seed being sent spawning into random countless netherregions? God, I hope not.

That was pretty much the highlight of the evening...besides the man who won the women's sexiest Halloween costume contest, and the drunk girl at the beer line who seemed to be hitting on me...uh, no thanks rocker Betty. What else was a highlight...oh, the fact that I couldn't stop recalling the first time I heard a Ratt tune on the radio in 1984, and thought for the longest time it was a Judas Priest song. Goes to show you how much I know.

Trust me...I'll be sticking mainly to what I know on this blog...but just wanted to chime in with this random complaint about 80s hair metal live in 2009. I realize I'm probably coming across as a metal uppity.

Guilty as charged.

I will bathe, swim, and be drunk in my sea of 80s metal snobbery...because usually I find this 3 minute cheesefest 80s metal singles crap to be cheaper than the stank of Hello Kitty girl's perfume you find in the young women's section of Macy's. On most days I'd rather bloodlet my ears with leaches...don't believe me? Watch me do it.

Every now and then, however, I'll tolerate it...and consider even slightly indulging in it for one night...but only for a good friend, and only after a few beers...BUT then don't bug me with it until the NEXT TIME it's the 80s...as in the 2080s.

But, you ask, "Won't you be dead by then?"

God I hope so...my point exactly.

Alex on the Rick Mercer Report

Oh, look out...it's Big Al up to the usual silly antics. This is actually one of his better TV moments, which he doesn't get alot of.

Al's the "founder" of Rush? Uh huh, sure, I knew that. He's also an ace at messing up his own song on Guitar Hero. Funny stuff.

FYI, The Orbit Room (a Toronto bar Alex co-owns), which I visited a couple years ago, is TINY...like really, really narrow...just worth mentioning, as that doesn't really translate on the video.

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!