Sinkadus

The name of this Gothenburg band can be interpreted in two ways. One definition is to box a person’s ears, as if to say pay attention. The other comes from a Swedish variation of Backgammon. When a five and a two is rolled, the player will shout, “sink a dus.” Take from it what you will.

The origin is with Fredrik Karlsson and Robert Sjöback, who began playing in a rock cover band in 1987. Over time, they added more progressive songs to the set list. After the band partially dissolved in 1990, they reformed in 1991 with drummer Rickard Biström and a new singer. With this lineup, they played only progressive covers, and started to compose originals.

Playing two instruments proved to be too taxing for Karlsson, so in 1993 they added flautist Linda Johansson. Finding the right vocalist was also a problem, so the job went to Biström and Johansson. This year saw them working with the Pschedelic Band Roots of Echo, and writing more of their own material. This was also when they changed their name to Sinkadus. Shortly afterward the bass player quit. Instead of finding a new bass player, they found drummer Bo Guting. Biström then changed positions, and took over on bass. In 1995 Cellist Lena Petterson joined, and Bo left. Mats Svensson took over on drums, and Rickard remained on bass.

In 1996 the band recorded a demo tape, solely for the purpose of landing gigs. They also decided to send it to some record labels. This led to them getting signed by Cyclops. Toward the end of the year, the songs were rerecorded. “Aurum Nostrum” was released in early 1997. This led to performing at Progfest ‘97. The show was recorded, and (with the original demos) released as “Live at Progfest.” In essence it provides two alternate versions of “Aurum Nostrum.” They again entered the studio in 1998, and recorded “Cirkus” (released in 1999).

The next few years saw the departure of Linda and Lena. A second guitarist entered, and left. In 2000, an American flautist named Van joined the group. They have been off the radar for a while now, but there has been no official news of a breakup.

The main comparison to other music is Änglagård. Although Sinkadus existed first, their first album came along after “Hybris” and “Epilog.” It is highly likely that Änglagård did have an influence on their sound.

Transatlantic: The Whirlwind

The Whirlwind: 2009

Transatlantic made quite an impression on me when I heard the first two albums. It was love at first spin. Sadly the band had long been kaput by that time. Neal Morse had struck out on his own to do spiritually based music, and had left both his bands behind. I understand his decision to leave Spock’s Beard. They were just on different paths. But Transatlantic was a collaborative side project, so I didn’t see that as something that could never happen again. I figured Neal would do what he had to do, say what he needed to say, and then find room for something that was more secular. Well, I was right.

The first hint came when my buddy Eric Walker ran into Roine Stolt at O’hare airport. Roine told him that he was working on a project in the U.S., but was very guarded about the details. Eric was actually returning from a Montreal Marillion convention in April 2009 (yeah, talk about right place at the right time). Through investigation he also discovered that Pete Trewavas was not traveling with the rest of the band after the weekend, and was heading to Nashville (where Neal Morse is based). For people like us, that was a gigantic scoop. It may not have been official, but we knew.

For all the naysayers that said we were dreaming, vindication came with the release of  “The Whirlwind” in October of 2009. As a matter of fact, it became known that the guys had convened in April to begin work on the project. Nice job Eric (or should I say Inspector Walker).

“The Whirlwind” is an epic to rival all epics. Transatlantic had done extremely long tracks before, but this album consists solely of one piece. It is broken up into movements, but the whole is one conceptual composition. The sound is still familiar, and doesn’t stray too far from the comfort zone of their previous work. However, they do broaden the scope. Anyone who has heard Transatlantic knows that there is no subtlety in showing its influences. Beatles and Genesis inspired riffs, among others, are par for the course. But they show even more this time. I was especially surprised to hear Zappa and Jan Hammer moments. Other than that, there are no really big surprises. The band does what it does very well. The time apart also seems to have been beneficial, as they are doing what they do even better now.

I have seen much criticism concerning the length of Transatlantic (or just about anything Neal Morse is involved with) compositions. The accusation is that they just try to fill all available space on a CD, striving for quantity instead of quality. I disagree. I am hard pressed to find anything that sounds like filler. Each time I have played it from beginning to end, and never got bored. Neither are any of the movements skipped.

I could try to break down “The Whirlwind, but there is no way I could do it justice. I like the traditional structure with an overture, and a reprise at the end. There are definitely ups and downs, and virtuosic musicianship. Let’s face it these guys are four of the best in the business. There are some absolutely striking moments. One of my favorites is “Lay Down Your Life.” It comes purely from hard rockin’ Beatles land. There are also some very nice, and unexpected jazz keyboard moments. On the downside, the melodies really are far too familiar. It’s high time Neal Morse got out of his compositional comfort zone. But, that doesn’t make it any less enjoyable. The music is hook heavy, and always captivating. They also do a very good job with bombast this time out. There are parts that almost make me forget I am not listening to a studio orchestra. In essence, “The Whirlwind” is a symphony. It could be the purest example of this in strictly rock form I have ever heard.

I bought the special edition, which includes a bonus disc. Neal Morse has been doing this for years now, but unlike other artists who provide additional discs, it is not the usual alternate takes and demos. There are four tracks that weren’t part of “The Whirlwind,” and of course the covers.

The two Roine Stolt tracks are likeable, but nothing to really rave about. I’ve never been much of a fan of Stolt as a composer, but with the other guys along he provides songs I will listen to on a regular basis. “For such a Time” sounds like standard Neal Morse, even if Pete Trewavas is credited. “Lending a Hand” is the one that stands out for me. Trewavas has come up with a cool psychedelic a la Beatles tune. It is really endearing, and quite different from Marillion.

The covers are real reason to have the second disc. They go back to the Procol Harum catalogue with “A Salty Dog.’ Apparently Mike Portnoy’s Dad was a big fan of this one. America’s “I need You” is right out of the blue. I never would have expected to see this done by a prog group. I actually forgot how good a tune it is. Blending it with The Beatles’ “I Need You” is a bit gimmicky, but it’s fun. Genesis’ “The Return of the Giant Hogweed” and Santana’s “Soul Sacrifice” are what make it worth the extra money. They stay pretty true to the originals, but crank up the intensity as high as it can go. Portnoy practically outdoes Phil Collins on “Hogweed”, and has an amazing solo on Soul Sacrifice. Trewavas’ bass is just jelly on this one as well. They all get a chance to shine, but those two just blow it out. It ends with a little vaudevillian ukulele namesake tune tagged on the end of “Soul Sacrifice”

At the time when I first heard of Transatlantic Spock’s Beard was new to my ears, I had given up on any post Fish Marillion, and didn’t know any Dream Theater or Flower Kings. Now I am very familiar with the base bands of all these musicians, and it still strikes me that they all seem most at home with this collaboration. This is even more true eight years after their last album. There may not have been a lot of compositional growth, but more Transatlantic is still a good thing. I love this band, and I love this album (I knew I would). If you are a fan of any of these guys, and especially Neal Morse, go get it. You won’t be sorry.

Neal Morse – keyboards, acoustic guitars, percussion & vocals

Mike Portnoy – drums & vocals

Roine Stolt – electric guitars, vocals, percussion, additional mellotron, minimoog & sounscapes

Pete Trewavas – bass, vocals, occasional VST synth & orchestration

Genesis: The Lamb Lies Down on Broadway

The Lamb Lies Down on Broadway: 1974

Much like Yes’ “Tales from Topographic Oceans,”  “The Lamb Lies Down on Broadway” stirs up a certain amount of controversy. It is a big, grandiose concept album, that some will say is pretentious and too long. Honestly, I don’t think anyone could approach progressive rock in the 70s without a certain amount of pretense. These musicians were trying to be the Mozarts and Beethovens of rock. So that also means that lengthy works would be inherent to the genre. For my taste, they got it just right (admittedly, I did have quite a few double vinyls in my collection). I have listened to “The Lamb” from start to finish every time since I first heard it, and consider Peter Gabriel’s final outing with Genesis a masterwork.

As I alluded to before, this was the last Genesis album with Peter Gabriel, and he was the main force behind it. The story was his, as well as the lion’s share of the lyrics. Mike, Tony, and Phil were definitely involved with the composing, but unfortunately Steve’s input was limited. He was suffering from a hand injury, but did recover in time to play all his parts on the album. Interestingly, Brian Eno is also credited under ‘Enossification’ for some of the keyboard effects.

The tale is about a tough street kid from New York named Rael, who gets transported to an alternate sci-fi / fantasy reality. Accompanied by his brother (or is he?), Rael encounters mythical creatures and other odd beings. In the end, all of the trials end up composing a journey of self-discovery and redemption. It may not be exactly easy to follow, even with the liner notes, but I have come across others that are far more difficult to discern (see “Imaginos”).

In this period, Genesis was on the forefront of the melodic, symphonic style. However, unlike similar works by Yes and Emerson Lake and Palmer, “The Lamb” is not comprised of a few large movements. It is more a series of songs strung together with a purpose, much like they did on “Supper’s Ready.” Another unique factor was how hard they rocked. Don’t misunderstand, the entirety is structured into symphonic movements, but songs like “In the Cage” and “Back in N.Y.C.” have some serious huevos. Like any symphony the mood does not stay the same. “The Carpet Crawlers” and “Cuckoo Cocoon” are beautiful soft interludes, and “Anyway” basically is classical music with vocals.

As with all “golden age” Genesis, the musicianship is superb, and the lyrical wordplay is extremely clever. The cultural references in “Fly on a Windshield” are intricately woven together, and “Counting out Time” is a hilarious account of a first sexual experience. The only problem with the latter is that it doesn’t really fit into the story line. As unlikely as it may seem, even the combination of the New York experience and the fantasy word works well.

At first, this album may come off as a bit much to the casual listener, but I think there is something for everybody here. As grandiose, complex, or ‘high-brow’ appearances may be, it is always accessible. Even something as out there, and downright weird, as “The Waiting Room” is an appealing curiosity. This is also a rare case where the songs still work when taken out of context. When I was a teenager, WLAV in Grand Rapids used to play “In the Cage” and the title track all the time. I even heard “Carpet Crawlers” piped into a restaurant not too long ago.

The band mounted a huge tour to support the album. Not only did Peter create his usual costumes, he even cut his hair short for the Rael character. Because of the compelling story and visual possibilities, there were even plans for a movie version. Gabriel’s departure made this more difficult, so it never came to pass. We are left with an epic musical masterpiece, and Peter Gabriel’s farewell.

I instantly fell in love with this album, and it soon became my second favorite of the Gabriel era (nothing tops “Foxtrot”). I don’t think they ever composed or played as tightly on anything else. Even if it wasn’t as much of a group effort, the quality is not diminished. To those that know it, it is as much of a classic as “Dark Side of the Moon,” or “Quadrophenia.”

Michael Rutherford – bass, twelve string guitar
Phil Collins –  percussion, vibing and voicing
Tony Banks – keyboards
Steve Hackett – guitars
Peter Gabriel – voices and flute

First+Aid: Nostradamus

Nostradamus:1977

I don’t know if it was planned, or if it is just a coincidence, but “Nostradamus” has the appearance of being a big farewell to grandiose ’70s prog. Being that it was released in 1977 (the golden age of punk), and it is First+Aid’s only release, leads me to believe this. The classic prog bands were already adjusting their sounds by this time. However, this one album band decided to record a pompous, ultra-pretentious, symphonic, concept album. I think it was their way of giving one last bombastic blast.

As you may have already guessed, the concept is based on Nostradamus, and his prophecies. In the middle, it shifts to a bit about Catherine de Medici. Sometimes it works quite well, at other times it is downright cheesy. The lyrics in the title track are especially trite. The compositions, however, are very strong. The instrumentation is also worked out very well with a blend of straight rock, and a studio orchestra. The vocalist has a strong voice, but I wonder if this might have worked better as a strictly instrumental affair. With the absence of the lyrics, it might have been a very powerful musical interpretation.

There is keyboard straight out of the Keith Emerson playbook, guitar grooves, and lush strings. Oh, and the pomposity, I can’t forget the pomposity. It would be easy to immediately write this one off as a result of listening to “Tales from Topographic Oceans,” and “Brain Salad Surgery” one too many times, if it weren’t for the fact that it is good music. Forget the concept, and listen. There is much to enjoy here.

Alan Wormald – guitar & vocals
Norrie Tennet – bass
Keith Parkison – keyboards
Dave Freeman - drums

Izz

I originally wrote a bio for Izz on Prog Archives, but I was never very happy with it. I thought I’d try again because this band deserves it.

Izz, from New York, originates with the Galgano brothers. Tom (keyboards, vocals) and John (bass, guitar, keyboards, vocals) grew up listening to music together, so it was a natural step for them to join forces as musicians. John met Greg DiMiceli (drums and percussion) in college, and thus started a domino effect of introductions. Greg begat Brian Coralian (drums and Percussion) and Paul Bremner (lead guitar), and Paul begat Phil Gaita (bass). As musicians do, they all jammed together and eventually Izz was formed (the name taken from one of John’s favorite Mets players). However, Paul was in another band, so he was not yet an official member.

In 1998 “Sliver of a Sun” was released. For the debut, John handled lead guitar, and Phil was on bass. While putting the finishing touches on the album, Tom met Laura Meade and Anmarie Byrnes. The ladies did not join the club right away, but their vocal and compositional talents would come to have a profound impact on the Izz sound later on.

2002’s “I move” saw Phil’s departure, and the permanent addition of Paul Bremner. This also meant that John was now on Bass duty. The core of the band was now set with a strong lead guitariist, and the unusual aspect of dual drummers.

In 2004 the band released a collection of previously unused material called “Ampesand Vol. 1.” It consisted of outtakes from the first two albums, and some live tracks. It was a decent curiosity, but real excitement was brewing with the following release.

The release of “My River Flows” in 2005 really started to turn some heads. The band was very good before, but the addition of Laura and Anmarie, and the growth of the group itself drove them to create their most accomplished work to date. Enthusiasm for Izz grew as the album got more exposure. The live shows were also met with high praise. This culminated with their appearance at NEARfest 2007. I was in attendance that day, and the most common comment was, “Man, I hope they recorded that!” Thankfully they did, and the performance was released simply as “Live at Nearfest.”

Izz is frequently seen on the Progressive Rock festival circuit. They are influenced by the usual classics (Yes, Genesis, Gentle Giant, The Beatles, etc.), and also modern bands, like Radiohead. There are even those that see a certain pop element in the music, mostly due to Tom Galgano and Laura Meade’s vocals. They seem to have no exceptions when it comes to incorporating styles. It is not unusual to hear Rock, Jazz, Latin, and Funk. This gives them a unique crossover appeal. Kudos are also in order for their contribution to “After the Storm,” a hurricane Katrina relief album.

Once considered neo-prog, further exposure suggested there was something else going on. Some clues might have been the complexity of composition, dual drummers, and full voiced female backing singers (sometimes also taking lead, and would have no problem fronting the band individually). This is what let to the label of modern symphonic. Each album has been released with ever-rising praise.

Izz is currently finishing up work on a new studio album. “The Darkened Room” is set for release in the fall of 2009. So, being that I am writing this in October of 2009, that means very soon.

Traffic: John Barleycorn Must Die

John Barleycorn Must Die: 1970

My first Traffic album was “The Low Spark of High Heeled Boys.” It became an instant favorite, and I couldn’t imagine this band doing any better. Years later I heard “John Barleycorn Must Die,” and realized that they had indeed topped my old love.

“John Barleycorn Must Die” was not even supposed to be a Traffic album. The band had supposedly broken up even before Steve Winwood joined Eric Clapton in Blind Faith. Steve was actually preparing to record a solo album, and asked his former Traffic Partner Jim Capaldi to help. As things went on they brought in Chris Wood. Well, since the core was there, how could they not call it Traffic?

This was the beginning of Traffic’s second phase so don’t look for the hippy stuff here. Not to say the sentiment isn’t there, but it’s actually an all out music-fest.

“Glad” opens with a serious piano crunch, to let you know they aren’t fooling around. The ensuing instrumental jam backs up that statement.

“Freedom Rider” has great melancholy sax, and some serious flute (the piano isn’t bad either). Once again jamming until a fever pitch is reached, and then just falls down out of sheer exhaustion.

“Empty Pages” is a groovy soul number, with enough organ to keep us proggers happy. The vocals (as you would expect) are stellar. Stevie does like his soul.

The next one is an odd combination of blues, country, and rock. Thus it is aptly titled “Stranger to Himself.”

The title track is one of the best adaptations of classic folk you will ever hear.

“Every Mothers Son” is a drawn out epic, and that is the only problem. It just goes on a bit too long. It doesn’t sound like it was a completely finished concept, so they had to fill it out. The ending also leaves a bit to be desired. It is a fadeout, and a pretty poor one at that. Otherwise, another great tune.

This is a near perfect album. A classic by anyone’s definition, and should be sought out.

Jim Capaldi – drums, percussion, vocals
Steve Winwood – guitar, organ, piano, percussion, vocals
Chris Wood – saxophone, flute, organ, electric saxophone, percussion

Jadis

Jadis was formed by guitarist / vocalist Gary Chandler, and drummer Stephen Christey in the late 1980s. They quickly achieved notoriety by opening for IQ, and then Marillion on the “Clutching at Straws” tour. Steve Rothery was impressed enough to produce some demo tapes, which became very popular. As often happens during a band’s beginnings, members move on before the big break happens. Nick May became the new bass player, and Martin Orford shared some of his spare time from IQ to help out on keyboards. This lineup proved even more popular, and Jadis became headliners. Nick didn’t last very long, and they went to the IQ pool again to recruit John Jowitt.

Having established themselves as a prime live act over the course of several years, they felt it was finally time to record an album. 1992’s “More than Meets the Eye” became not only the band’s first release, but it was also the debut for Martin Orford’s new GEP label. The album was met with much acclaim, and even got some radio play. SI Magazine voted it ‘Album of the Year.’ Many still maintain that this is Jadis’ finest work.

They spent the next year concentrating more on a follow up than live work. Striking while the iron was hot was important, but they also had a reputation to protect. While working on the new album, they also wanted to keep interest alive. So, a mini CD called “Once Upon a Time” was offered. It was originally intended to start a series of discs dedicated to new recordings of the band’s early work. The second album, “Across the Water” was released in May 1994, and sold out the first pressing in ten days. Once again the critics were also on board. Classic Rock Society voted Jadis ‘Best Band,’ and “Across the Water” got ‘Album of the Year.’

By 1995, it was time for the “unofficial” members of the band to move on. The funny thing is, they didn’t leave just because of their commitment to IQ. John and Martin joined John Wetton’s band for his tour. Martin did stick around long enough to appear on one track from the 1996 EP “Once or Twice,” but Mike Torr was brought in as the new keyboardist. Steve Hunt came in to fill the bass slot. This lineup stayed intact for 1997’s “Somersault.” This album was also an opportunity for the band to go independent. They had a friendly split with GEP, and did “Somersault” on their own. It was distributed by Steve Rothery’s label, Dorian Music. This is also the point where the critical accolades start to fade. “Somersault” did not generate the type of enthusiasm the first albums had enjoyed. However, the live shows were still going strong. To capitalize on that, “As Daylight Fades” was released in 1998.

Shortly after the release of the live album, it was time for another lineup change. As luck would have it, Martin Orford was able to take his old spot back. By the time they were ready to get back to the studio, John Jowitt had also returned to complete the ‘classic’ Jadis lineup. In 2000, “Understand” was released. The IQ faction would never leave the ranks again.

Jadis released a box set in 2001 (largely made up of re-mastered versions of the previous EP tracks), another live disc, a third EP, a DVD, and continued to record studio albums. Comparisons to IQ are obvious, but the music tends to be more upbeat, and guitar driven. The fact that they are busy with other projects, no longer are the critics’ darlings, and Martin Orford’s ‘retirement’ from the music business, does not seem to deter them. The band appears to be going as strong as ever.

Bob Skon: 2nd Time Around

2nd Time Around: 2005

Right up front, I need to say that Bob is a very good friend of mine. So, it might be implied that I am biased. That is only true to the extent that I wanted to like his music when I first heard it. However, I take a lot of pride in the integrity of my reviews. That is why I felt it necessary to strike out on my own. On a truly objective level, I do like Bob’s music. If I didn’t, I most likely would have avoided this review altogether. It probably would have been a conversation along the lines of, “Yeah Bob, I would love to, but I’m really busy,” or some silly rule about not using friends as subject matter.  Actually I am very busy, but I really wanted to make time to do this.

Bob is a musician best described in the singer / songwriter style, blended with a healthy dose of folk-rock, and a touch of jazz. I often hear him compared to James Taylor, but I find that too limiting. If radio were interested in cultivating quality music anymore, you would most likely hear Bob’s music on an adult contemporary station. Don’t let that scare you off. There is definitely sweetness, but he rocks enough to keep it from being candy-ass. Aside from the quality of the music itself, the lyrics are also extremely well crafted. He has a wonderful ability to use intelligent wordplay for capturing those moments in life we can all identify with. In this Bob could be a peer of the legendary Ray Davies.

“Second Time Around” is an album that was a long time coming. Bob had lived the life of a struggling musician over the years, in different parts of the country. He has had a good steady job in Ann Arbor for quite some time now, but never gave up the music. The dream of releasing an album was finally realized in 2005, and at an age when most people would have long since given up.

This is a collection of songs written at different times, but recorded together. So where the content of many albums reflect one period, this one spans a sizeable portion of a life. Thus making it even more appealing to a variety of audiences.

“Two Hearts” is a pretty subtle opener, but instantly infectious with the upbeat acoustic strumming. It is a song about the struggles of maintaining a relationship. The toe-tapping musical style is actually in contrast with some pretty emotional subject matter.  I have found this to be quite common with many of Bob’s tunes.

The title track took me by surprise when I first heard it. I don’t recall ever hearing a song about a relationship ending for the second time. It is really quite sad, but so recognizable for those of us that have been there. Lyrically the experience is captured perfectly and concisely, without being over poetic. The musical tone is subdued, but not a lament (very nice use of organ on this one as well).

“I’ve Been Away from You Too Long” is a cool and simple little love song. This is also very representative of seeing “The Bob Skon Trio” live, using just guitar bass and drums (or most likely cajon). This one reminds me of a Beatles tune along the lines of “I Need You,” or “You’ve Got to Hide Your Love Away.”

Want a sing along” I dare you not to feel the urge be bellowing the chorus of “A Dose of You” by the end. It starts out simply enough, but it builds, and before you know it you are completely engrossed in the charms of the tune. One again the organ returns, and there is also some cool Jerry Garcia inspired electric guitar thrown in. The elation of a new infatuation is extremely well conveyed through the description of physical manifestations. “Help me I’m having a heart attack, I guess I won’t be getting much older … This pounding heart, this sweating brow…” These are the words you will be singing when the song gets stuck in your head.

“The Night Ain’t Through” has doo-wop harmonies paired with a bit of jazz lounge shuffle. Damn, Bob sure knows how to create an irresistible bit of fun!

The previous track was just a teaser. “A Ghost of a Chance” is pure jazz lounge ballad. And it should be because it is a cover (the only cover) of a Bing Crosby tune. It is beautiful, excellently executed, and a bit embarrassing for how well I understand the sentiment. Well, I’m sure it’s not that uncommon to know the object of your desire is way out of your league.

“Baby’s alright” is a pleasant low-key rocker, with an especially strong vocal. It’s good, but compositionally inferior to the rest of the album. This is also where it becomes unavoidably apparent that Bob does tend to repeat some of his musical themes.

“Till I Stop Thinking of Her” could be the best lyrical snapshot of a moment. This is something that Ray Davies himself would have been very proud of if he was the author. Once again it is familiar territory, but not necessarily for songwriters. Sure, there are songs about still being consumed by the one who is gone, but not usually in this context. I am always brought right back to a situation where I getting to know someone new, but thinking of my last love and being totally honest about it.

“The Father” is quite interesting because of the fact that it was actually written from someone else’s perspective. Bob doesn’t have any children. It is a wonderful take on the reflections of a new parent. Without knowing, you would think this had to come from personal experience. Yeah, he’s pretty good.

For the sake of sheer beauty, the album closes with “Stephanie.” This is a soft and touching piece of advice for a young girl. Jen White provides a gorgeous backing vocal to insure optimum effectiveness.

This may not be especially groundbreaking stuff, and as I previously mentioned, there is some amount of repetition. However, it is very well crafted and highly enjoyable. It might not be overtly apparent, but there is a certain amount of complexity too. Bob’s composition, lyrics, vocals, and playing style are not just accessible, but also contain substance. This is bolstered by the assistance of longtime collaborator Matt Steward. I just don’t think the songs would be the same without his beats, harmonies, and creative input (didn’t think I was going to leave you out, did you Matt?). “Second Time Around” is a crowd pleaser. Both the casual listener, and the aficionado will be satisfied.

Bob Skon – Acoustic guitar, vocals, tambourine

Matt Steward – drums, percussion, and vocals

Dave Baker – bass and lead guitars

Randy Harper – Keyboards

Jen White – vocals on “Stephanie”

John Tebeau - cover art

Blind Ego

Blind Ego is the “solo” side project of RPWL guitarist Karlheinz “Kalle” Wallner. Wallner states that the Ego part of the name is derived from his desire to make music from a very personal space. He says that Blind comes from his total commitment to this solo work.

The band assembled for this project is a prog super group. He takes on RPWL bandmate Yogi Lang as a musician and producer, but he is credited as a guest instead of a full member of the band. Tommy Eberhardt (from Legazy and Beatfreaks) plays drums, John Jowitt (from IQ and Arena) plays bass, and the vocals are split between John Mitchell (It Bites, Arena, The Urbane, and Kino) and Paul Wrightson (from Arena). Kalle states that John was best for the more “rock like” songs, while Paul was better for the more emotional numbers. There is another guest of note on this album too. While recording Wrigtson’s vocals, Clive Nolan also added his own backing vocals. I think there is a new law that states, Clive Nolan must be included in all Neo collaborations of the new millennium. For the live lineup, Erwin Reider replaces Eberhardt on drums, Wrightson takes the vocals alone, and Yogi Lang becomes full member on keyboards.

In 2009 “Numb” was released, and also saw a bit of a shuffle in the lineup. Sebastian Hamack joined John Jowitt on bass, Michael Schwager and Iggor Cavalera replaced Tommy Eberhardt on drums. Clive Nolan and John Mitchell were not involved this time around.

Although there is a more straightforward approach than RPWL, the metal tendencies are still there. I believe the Neo truly comes from the influence of the rest of the band. Some say that it even smacks of AOR. So, basically what we have is a metal guy trying to make some more widely accessible music. The credentials of the musicians on this project are impressive. Does it work? That’s for the listener to decide.

Rush: Fly By Night

Fly By Night: 1975

When I was younger (much), this was considered a great album in my circle of friends. I didn’t argue. As years went by, it came out less frequently. There was a point when it had been dormant for years. In the more recent past, my collection has been in a state of reconstruction (the reasons for which are another story). There were some classics that seemed necessary to replace. This was one of them.

As I have become reacquainted, something has changed. It’s not quite as good as nostalgia would have it. Not bad, but just not the on the pedestal upon which it was once perched.

Like always, the band can play. They never disappoint as musicians. It’s the compositions. They aren’t especially strong. Even the classic title track is a pretty simple rocker. There are some bright moments. All are mostly held in the last three songs, and “By-Tor (foreshadowing what was to come).” “Rivendell” is a lovely piece, but not earthshakingly so. There is solid rocking all throughout, but no real “wow” moments.

Again, this is a good album. If you want to complete your collection, go get it. It’s more satisfying than most of the post “Signals” output. However, if you are just looking to explore Rush, this one can wait.

Alex Lifeson – electric guitar, six and twelve string guitars
Neil Peart – percussion
Geddy Lee – bass, classical guitar, vocals