Fleetwood Mac's 'Tango in the Night' -- when will it be reissued?

Over the last decade, I've checked up on 1987's Tango in the Night recording by Fleetwood Mac, to see when it will be reissued as a remaster with extra tracks.

It's not one of the band's more popular recordings, but marked the time that I really started listening to them. It was the first recording from the Mac that I ever purchased, and I saw them live for the first time as they toured on it near the end of that same year.

No luck thus far, but in the meantime I stumbled across this post from TheSecondDisc.com. It appears I'm not the only one out there who's anticipating this release.

http://theseconddisc.com/2014/01/14/reissue-theory-fleetwood-mac-tango-in-the-night/#

New Vertical Horizon video "Instamatic" features Neil Peart

Who's your favorite axe murderer rock star?

We can't all look handsome like the Beatles now, can we. So, that said, I'm submitting a pole to figure out which rock star, based solely on appearances, might be the most likely to be mistaken for an axe murderer.

Here's our contestants, presented in alphabetical order. See the pole to cast your vote in the top right margin of the blog.


Marilyn Manson

Marilyn Manson took over the reign of scariness in the 1990s -- with a flash of originality and that over-the-edge creepiness that would make a grown man wake up screaming in his sleep. "Boo!" said the freaky eyeball satanic dude that went bump in the night.

Ozzy Osbourne

Ozzy is the original evil bad boy of rock n roll. The Sabbath front man from the 70s had a knack for biting off the heads of doves and bats alike. Who's to say he's exclusive only to those animals? Watch out!

Robert Smith

Much like the Velvet Underground was to Flower Power in the late 60s, the front man from The Cure was the king of 80s weirdness. Smith influenced a generation of kids into the black clothing and anti-metal makeup-oozing styles that spun into the likes of goth & emo -- with plenty of funny hairdos -- for both females and males alike. Scaaaaarrrrry....

Roger Waters

Ah, it's Raa Jaa. Our favorite Floyd man. Waters has a style all his own....that combination of enigma, genius, and temperament-to-seemingly-go-awry sort of thing. He's our dark horse on this list. Hearing his speech and his lanky body motions would definitely do him justice for this list, but unfortunately all we have to go by is a photo. You can bet that Raa Jaa's arch enemy, Andrew Lloyd Weber, would be his first target....that is, if he hasn't smashed the opera man's fingers in the piano cover already.

Neil Young

Good 'ol Neil. We can't help but feel love for this peace-promoting icon, but if you haven't been exposed to his music and all you've ever been able to do is see a photo, you'd probably run the other way screaming. That glare that burns through your back. Ack!


Please submit your vote in the margin to the right, just below the blog's heading!

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!

THE REVIEW CORNER: The Allman Brothers Band's first four studio recordings

Many of you born after 1970 probably never had this band on your radar, but The Allman Brothers Band is totally worth your time and money to check out -- and their first four studio albums in particular. I'm going outside of Live at the Fillmore East 1971, their classic live album....that, of course, goes without saying.

The cover of The Allman Brothers Band's self-titled debut recording from 1969

Their first four recordings go as follows: The Allman Brothers Band (1969), Idlewild South (1970), Eat a Peach (1972), and Brothers and Sisters (1973). The growth of the band over the span of these recordings is a fascinating study....with the hard blues of the first album to the explorations, instrumentals, and extended jams of each later recording.

While their eponymous debut doesn't carry a long string of hits except for "Whippin Post," there's lots of wonderful bluesy numbers on this album that are substantive, resonating, and feature some fantastic guitar from Duane Allman. Highlights include "Black Hearted Woman," "Trouble No More," and my personal favorite on the album, "Dreams," with some of Duane Allman's more experimental picking -- almost like an early effort at tapping or hammer-ons. "Whippin Post," the album's last number, is the perfect closer and hints at the band finding its true voice....a mere sign of things to come.

With the next three albums, things just keep progressing....the band solidifies its sound through each successive recording. I find the music from this band to have a very soulful and almost wistful edge to their blues explorations....tunes from Idlewild South like "Midnight Rider," the instrumental "In Memory of Elizabeth Reed," and the funk-tinged "Leave My Blues at Home" -- with some killer drumming grooves.

Eat a Peach kicks off with "Ain't Wastin Time No More," and features highlights such as "Les Brers in A Minor" (with an almost Santana-infused approach), "Melissa" and my personal favorite "Blue Sky" while Brothers and Sisters highlights "Wasted Words," "Rambin Man," "Southbound," and the popular instrumental "Jessica."

You can't go wrong with any of these recordings.....but I believe to get a full perspective of them all, and to give yourself the best possible listening experience, you need to listen to them in succession. That's where the development of the band reveals itself.

What's even more amazing -- and not necessarily evident in the recordings (unless you're a student of Duane Allman & Dickey Betts' styles and can differentiate them) -- is that the band suffered not one, but two casualties during the span of these recordings. Duane Allman, their lead guitarist, was killed in a motorcycle accident during the recording sessions to Eat a Peach, and their bass player Berry Oakley during the sessions to Brothers and Sisters -- also killed from head injuries sustained from a motorcycle accident a mere three blocks from the location of Allman's fatal accident. Spooky stuff.

Still, the music speaks for itself. Yes, I'm sure this is technically considered "Southern Rock," however that definition might be stretched....but when I listen to these boys, I just hear some killer blues by one of the all-time great jam bands. I hear more shades of The Paul Butterfield Blues Band, The Grateful Dead, The Band, and Santana before I hear anything "southern."

The CD version to their first four studio albums are available at Amazon for around five bucks apiece, with the exception of Eat a Peach, which is a double album featuring selected live cuts from the Fillmore East recording....you should be able to get outfitted with all four works for under $30.

The Secret to the Greatness of Sonny Rollins

Sonny in his heyday

Typically my interest in jazz has been driven and inspired by piano players.

Andrew Hill, McCoy Tyner, Cecil Taylor, and Herbie Hancock are some of the classic fellas I really like...more contemporary artists would include Matthew Shipp and Jason Moran; pianists who are really pushing the envelope and jazz into new directions these days.

My interest has also involved trumpet players...Miles Davis, Louis Armstrong, Dizzy Gillespie, and Lee Morgan, to name a few...plus my all-time personal favorite, Clifford Brown.

However, I've never really embraced the saxophone players...and I've never really figured out why.

I think it might be partly John Coltrane's fault...and I say that with unequivocal acknowledgement and respect at how Coltrane influenced jazz and how he's one of the all-time jazz giants.

While I love Coltran's earlier work such as Blue Train and his work in the 1950s Miles Davis Quintet, his latter material takes some getting used to...sorta like getting used to the idea of liking it when the baby wails ceaselessly. I understand with Coltrane it's a spirituality thing that's going on...and while I can appreciate that, I find it really difficult to make it work for me.

Unfortunately, my hit and miss explorations of Coltrane's work made me run from saxophone players for awhile...and especially the sax players out of the 60s, where I'd have the preconceived notion if they were even distantly associated with the avant garde style that was typical at the time, I'd be getting something you'd hear from the sax that was akin to the styles of Coltrane, Pharoah Sanders, or Albert Ayler...again, I love these guys, but only if I'm in the right mood. Despite being more accessible than these prior artists I've mentioned, Wayne Shorter even skirts the precipice.  

That's not to say non-avant garde sax players aren't out there, clearly they are. You can noodle through the catalogs of players like Dexter Gordon, Stanley Turrentine, Joe Henderson, Gerry Mulligan, Art Pepper, or Ben Webster....however while these are fine sax players, I don't necessarily see them as great innovators and as uniquely distinct in sound as the artist of focus in this post. This is just my personal opinion, and I'm sure I'm opening myself up to debate with folks who know more about these artists than I do.

The problem for me, in finding a sax player that appeals to my taste, is that classic great ones seem to be fewer and farther between and less accessible on this particular instrument than, say, piano players or trumpeters. I find myself having to go back to the big band material of Lester Young or Coleman Hawkins, however you start getting into sound quality issues with their catalog.
 

21st Century Jedi Master: Sonny and his sax

Receiving the 2010 National Medal of the Arts award

However, there's one fella in my mind who stands apart from the rest...who has the most interesting and accessible sound of any saxophone player out there and has endured for nearly 60 years -- all the way from the early 1950s to this very day.

Enter Sonny Rollins.

Sonny is the saxophonist who romanticized the instrument. He's the player who inspires that iconic image of the lone sax player practicing under the bridge because he, well, at one time DID practice under a bridge in NYC after being banned from the local club circuit for a number of years (see the Ken Burns jazz documentary for more details).

Sonny can do it all...he can play soft cool sounds to relax to, or he can jam...but he never wails like a baby (at least from what I've heard), thank God...or he can even be silly, which can be interpreted in his deliberate repeated stops at the beginning of "Freedom Suite," or in something like the math-jazz sensibilities and increasing hurriedness in his cover of Thelonius Monk's "Brilliant Corners"...and I've never heard a recording that does something like that.

Certainly his tone and sound are unmistakable. However, most of all, Sonny Rollins has an AMAZING sense of melody, and I believe that's where his greatness lies.

If you want to explore Sonny Rollins, start with Saxophone Colossus, and then move onto Newk's Time or Tenor Madness...but, many of you might already have him on record and you don't realize it. If you own Tattoo You by the Rolling Stones, you can hear him solo on the sentimental classic "Waiting on a Friend," the last track on the recording.

If you find a liking to him, the bulk of Sonny's extensive cannon can be found through his Prestige, Blue Note, and Riverside/Contemporary box set collections -- two of three of which are very reasonably priced, and all worth getting for this iconic saxophone player. I'd then work through his Milestone recordings, and work your way from there chronologically up to the present day.

My Amazon list of best jazz albums

Being the Swiss cheese brain that I am, it never occurred to me to bring my Amazon music lists to the blog.

Here's the link to my list of recommendations to build your Jazz collection at Amazon.com: Amazon.com: "Begin a diversified Jazz collection - for jazz newbies!", with reviews for each recording.

Other recordings beyond the list are also mentioned, but the initial list suggests how you should build your jazz collection...in order.

Here's the list:

1. Miles Davis - Kind of Blue
2. Herbie Hancock - Maiden Voyage
3. Dave Brubeck Quartet - Time Out
4. John Coltrane - Blue Train
5. Miles Davis - In a Silent Way
6. Sonny Rollins - Saxophone Colossus
7. Miles Davis - Bitches Brew
8. Charlie Parker - With Strings (The Master Takes)
   
9. Miles Davis - Birth of the Cool
10. Clifford Brown & Max Roach (eponymous)
    
11. Louis Armstrong - The Hot Fives & Sevens
12. Eric Dolphy - Out to Lunch
13. Matthew Shipp - Harmony & Abyss
14. Frank Sinatra with Count Basie - Sinatra at the Sands
15. Charlie Parker & Dizzy Gillespie - Complete Jazz at Massey Hall
16. Billie Holiday & Lester Young - A Musical Romance
17. Wynton Marsalis - Live at the Village Vanguard
    
18. Ornette Coleman - Free Jazz
19. John Coltrane - Giant Steps
20. Jaco Pastorius (eponymous)
    
21. Dave Holland - Live at Birdland
22. Wayne Shorter - Adams Apple
    
23. McCoy Tyner - The Real McCoy
24. The Complete Ella Fitzgerald & Louis Armstrong
    
25. Thelonius Monk - Straight No Chaser
26. Art Blakey & the Jazz Messengers - A Night in Tunisia
27. Cannonball Adderley - Somethin' Else
28. Jason Moran - The Bandwagon
29. Modern Jazz Quartet - Django
30. Miles Davis - Bags' Groove

Those are my recommendations on starting your jazz collection.

My Theory on the Cover of 'Who's Next'

If you interpret this as the band pissing on the progress of society, then let's beg the question again....who really is next?

 As one of the greatest "monoliths" in rock history (pun intended), Who's Next hits home on several levels.

It's arguably the best work the band ever did....but the argument ends very quickly for most. It's a collection of some of the greatest songs by The Who, and the band is playing in top form....which shouldn't be any surprise, if one spends an evening with the band's live predecessor, Live at Leeds (DEFINITELY get your hands the remastered & expanded edition, with the live material from Tommy). 

1969-73 is a period where the band is rehearsed, on their A-game as players, and at their creative peak -- and Who's Next is the sweet spot in the middle of a succession of classic albums that changed rock music -- Tommy (1969), Live at Leeds (1970), Who's Next (1971), and Quadrophenia (1973).

The album also boasts innovations with the use of synthesizers....and what's so mind-blowing about this is the fact that it was the first use of their kind on a rock album, and they don't sound dated or kitschy. Townsend's use of them in a more textural sense is part of what makes the whole experiment successful. It was a very ballsy move for its time, especially for a band as rocking as The Who. If you want to read up on this a bit more, read this insightful and passionate article over at Ben Pringle's blog for added perspectives.

Then there's the bass acrobatics of John Entwistle (a.k.a. "The Ox" or "Thunderfingers"), who I highly respect and regard as the best on the planet at his instrument. Here's a post on him from a few years ago....we'll revisit The Ox again in the future, and more on the electric bass, as there are some new developments in my life with that instrument.

But why are we here? Let's talk about this most intriguing album cover.

Here's what Wikipedia has to say regarding some background of the cover.

Cover artwork shows a photograph, taken at Easington Colliery, of the band apparently having just urinated on a large concrete piling protruding from a slag heap. According to photographer Ethan Russell, most of the members were unable to urinate, so rainwater was tipped from an empty film canister to achieve the desired effect. The photograph is often seen to be a reference to the monolith discovered on the moon in the film 2001: A Space Odyssey, which had been released only about three years earlier.^[8] In 2003, the United States cable television channel VH1 named Who's Next's cover one of the greatest album covers of all time.

That's all fine and factual, but let me give you my take....because I know Pete Townsend's approach to music, as an artist in the truest sense, to understand that there's symbolism and deeper meaning behind all his ideas and in everything he does. For God's sake, the man has written nearly a half dozen concept albums in his lifetime....so you're going to tell me the album cover of Who's Next was just some random occurrence?

I see the wasteland of the slab heap, and the monolith, representing the ugliness of modern society and progress in all its forms -- the stupidity and narrow thinking of humanity, desecration of the planet to mine for ores, results from the ravages of human consumption, war, a lack of regard (or advancements, being that it was 1971) for sustainability practices, and all that goes with it -- or perhaps it's just the twisted logic, upper stupidity, and lack of imagination involved with an engineer's decision to construct a useless monolith in a goddam coal dump. 

I believe the band is urinating on that monolith as a protest to the ugliness of progress as I've just described it, as that is their right....as it should be within all of our rights to protest what we perceive as the evils (deemed necessary or not) of humanity and society. 

Of course, the album title Who's Next carries multiple meanings and reveals the band's humor, to include what I see as:

1. It's announcing that it's the band's next album. Duh.
2. Who's next to urinate on this ugly thing?
3. Who's next to stand up, make yourself heard, be counted, and fight these injustices? (per my rambling theory)

Heck, for that matter, why stop with pissing? They should have vomited and defecated on the fucking thing too. If you follow my sentiments, then hopefully you appreciate that as well. Now THAT would be rock 'n' roll.

Wanna know how I really feel?

Even if a societal commentary wasn't Townsend or the band's primary intention, I will go as far as saying that it at least served as an undercurrent or primal projection out of the reptilian part of Townsend's brain.

I welcome any additional thoughts or insights into my theory on the Who's Next album cover.

FROM THE VAULT -- A Li'l Screamin' Ted Nugent for You Adrenaline Junkies

You gotta dig Ted Nugent live in 1977.

Oh the sweaty long hair. Oh those red spandex pants. Oh the blood-curling screams at the end of every other line. Oh the "look at me, I'm a crazy rock star who's lost his mind" faces. Jumping off speakers and landing on your ass, but never missing a beat...and while Nugent claims he was never "on" anything, he still leaves some of us wondering.

Most of it, if not all of it, is more or less acting the rock 'n' roll part and a silly, campy fo' show...but it's also still jammin' rock 'n' roll for its time.

See a clip of Nugent here...it wouldn't let me embed it but at this link you can check out the Live rendition of Motor City Madhouse from 1977. DON'T MISS HIS DISPLAY OF INSANITY AND BLOOD-CURLING SCREAM AT THE 6 MINUTE MARK!

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.