Bill Bruford was the original drummer in Yes and was a long-term member of King Crimson. His band ‘Bruford’ recorded this BBC broadcast in 1979.
The DVD in this package is the only officially released concert footage of the band that exists, and as such has achieved legendary status.
The line-up on this album is: Bill Bruford (drums, percussion), Allan Holdsworth (guitar), Dave Stewart (keyboards), Jeff Berlin (bass) and Annette Peacock (voice).
Bill says of the re-release: “This was a baptism by fire, our first gig in the first few days of the band’s existence. At the beginning of it I wasn’t sure. By the end, I knew we were on to something serious.”
This definitive re-release was overseen personally by Bill Bruford and is released on his own Winterfold Records via Cherry Red.
Red Planet is the newest release from The Caped Crusader, otherwise known as Rick Wakeman. Rick is probably one of the best known prog musicians and a pioneer in the use of electronic keyboards in rock music. As well as previously having been a member of The Strawbs, Yes and Anderson, Bruford, Wakeman and Howe (a Yes offshoot), not forgetting AWR (Anderson, Wakeman, and Rabin appearing as Yes), he has a list of session credits that almost stretch to the Red Planet. This list includes David Bowie, Elton John, Black Sabbath, Cat Stevens, Al Stewart, Lou Reed, and many more. Rick has also found time to release more than 100 solo albums across a swathe of genres.
The Red Planet is a return to the beginning, in that Rick has returned to the symphonic prog that appeared in many of his early albums, such as 6 Wives of Henry XIII, Journey To The Centre Of The Earth, The Myths And Legends Of King Arthur And The Knights Of The Round Table and No Earthly Connection.
The band on The Red Planet is Rick Wakeman (keyboards), Dave Colquhoun (guitars), Lee Pomeroy (bass), and Ash Soan (drums) and the other musicians are given the collective name of The English Rock Ensemble.
The Red Planet is an eight-track album with a total running time of just over 56 minutes (56:24), with track 4, “Olympus Mons” being the shortest at 5:20 minutes and the final track, “Valles Marineris” being the longest at just over 10 minutes (10:02).
The opening track, “Ascraeus Mons” (5:52) immediately puts the listener into a high plane of expectation with the superb swathe of swirling keyboards that ride over the top of that tight power unit of drums (Ash) and bass (Lee). Initially starting with a church-like organ passage, the drums and bass soon boost the sound before the excellent keyboard passages follow one another, revisiting earlier themes, but exuding first-class symphonic prog. A choral sound provides several passages before the guitar (Dave) gets a chance to shine. As an opening track, this is a very satisfying return to Rick’s symphonic prog areas and leaves the listener eager to sample the remaining seven tracks.
Track 5, “The North Plain” (6:53) has a spacey, quiet start with a piano theme, which gently builds in intensity until the drums, bass, guitar, and keyboards launch into the mix around the 1:30 minute point. A wonderful passage on keyboards follows while the powerhouse of drum and bass underpin everything so well. At 2:50 minutes, Rick’s keyboards start to soar above all else before a return to a similar passage to the start, which is very atmospheric and takes the track on past 4:40 minutes. Cue again another keyboard passage from the Caped Crusader himself, before a return to one of the earlier keyboard themes and a relaunching of another theme, but this time on guitar rather than keyboards which takes the track out.
“Pavonis Mons (7:13), track 6 starts with the band in unison before a nice passage from the keyboards, them a sudden change in tempo before returning to the opening theme. Superb keyboards over the solid rhythm section lead to a change of tack at the 2:00 minute mark, with a different keyboard theme before morphing into a piano passage and back into the keyboards. The track swings back into the earlier themes and changes tempo a couple of times as it starts to wind towards the finale. There is, however, still time for another flurry of keyboard work from Rick as we enter the last minute.
The Red Planet is an excellent example of keyboard-based symphonic progressive music played by one of the best, if not the best, keyboard players in the music environment. If you enjoy the earlier works by Rick, mentioned earlier in the review, this album is definitely for you and if you are new to Rick Wakeman, get this album as a superb example of a very skillful keyboard player at his very best.
Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff October 12, 2020
Tracks: 1. Ascraeus Mons (5:52) 2. Tharsis Tholus (6:16) 3. Arsia Mons (6:10) 4. Olympus Mons (5:20) 5. The North Plain (6:53) 6. Pavonis Mons (7:13) 7. South Pole (7:35) 8. Valles Marineris (10:02)
Los Angeles, CA - Arthur Brown is a truly groundbreaking rock music icon who pioneered a theatrical approach to musical performance that has been cited as an influence on Rock Hall of Famers Alice Cooper and KISS. Going under the memorable moniker The Crazy World of Arthur Brown, the British-born singer achieved breakthrough success with a blockbuster hit single in 1968, the colossal freakout “Fire,” which he used as a launching pad for an incredible career that continues to this day! And today he releases a superb new track, “Zombie Yelp,” just in time to get all the groovy ghoulies, young and old, in the mood for the Halloween season!
Written by Brown and Alan Davey, formerly of British space rock kings Hawkwind, who not only produced the track but performs on it as well, “Zombie Yelp” rides a distinctively spooky retro groove laid down by the vintage keyboards of Vanilla Fudge founder Mark Stein as well as Davey’s driving bass guitar, all of which set the stage for the Brown’s unearthly vocal delivery that ranges from piercing howls to demonic growls. It’s the perfect mix of psych rock ecstasy and campy fun!
Davey shares these thoughts about working on the track, “It was great fun writing this new song with Arthur, he’s always a hoot to work with and his lyrics on this are funny as feck! I’m proud to have mixed and produced it too. Take your Zombie Yelp this Halloween and see what happens!”
Stein reflects on his own history with Brown, saying “The Crazy World of Arthur Brown and Vanilla Fudge shared the stage back in the late ‘60s. Arthur is still crazy after all these years and still killin’ it! ‘Zombie Yelp’ is a wild tune with great grooves and lyrics. I had a blast playing organ on it. Just wait till you hear this track…lovin' it!”
And Brown sums it up perfectly, in his typically enigmatic fashion, “Spirits lagging? Need some help? Dive right in to the ‘Zombie Yelp’!”
Prog Stock 2017 was attended by actual people, how different? Things that were normal every day things have changed in the new norm. I usually attend at least 5 concerts a year and I went to one just before the virus spread like wildfire.
Circulive New View just came out this month. I covered Circuline-Circulive::Majestik DVD in 2018. That was an excellent prog-rock experience so I anticipate the same with the new release and was not disappointed.
The band Circuline is a prog-rock band out of New York that is no stranger to the stage. Circuline is Andrew Colyer (keyboards, vocals), Darin Brannon (drums, percussion), Alek Darson (guitars), Joel Simches (bass), and lead vocalists Billy Spillane and Natalie Brown.
Their performance at the festival was captured on a magnificent Blu-ray and DVD. This is a 3-disc set including a CD so all formats are covered for thirteen tracks offered on this superb audio-visual experience. There also bonus features with official videos, tour posters, images, and more.
Circuline members are polished professionals and bring a very entertaining show to the stage. Their music is distinctively prog-rock with an in-sync rhythm section, two incredibly talented vocalists, a guitar player suited to play through all the many changes one song can go through, and of course the amazing Andrew Colyer on keyboards. Andrew is recognized for his accomplishments but not on the level he should be. Based on what I have heard over the last few years, he ranks right up there with some of the best and most tasteful players active today.
Coming in under the wire in the prog world is nothing new because it refuses to go mainstream. Fans such as myself and thousands more are grateful for that and thank them for staying true to themselves and the music. That is something that is accepted going into this type of music and the music remains the most important factor, endearing fans of all ages to their work. This set is a document to the excellence of Circuline as a functioning musical unit without exception.
The two performances I enjoyed the most were the “Piano Challenge” on track #5 and “The Forbidden Planet + Drum Feature” on track 10. The drum performance was quite entertaining as everyone on stage was playing some sort of percussion. They all were in sync as well, which is not an easy task, especially if it is not your primary instrument.
The bonus you get has two choices of viewing for the video and then the soundtrack on CD for strictly the audio experience. Also, something interesting is the option of watching the video to a band commentary, however, I would recommend watching just the concert first then the commentary version to see what they all have to say about the performance. Circulive New View is the complete audio and visual experience you could have. Excellent musicianship is the most important factor and that is what makes everything else the icing on the cake.
Keith “MuzikMan” Hannaleck-Prog Rock Music Talk Founder October 24, 2020
Chicago prog rockers District 97 present their first animated short film, the epic tale of “Ghost Girl.” Taken from their most recent release “Screens,” “Ghost Girl” is the musical journey of a little girl who longs to fit in. The only problem? She's terrorized by malevolent spirits, and nobody believes her—except for her loving but overbearing mother.
WATCH IT HERE:
Jonathan Schang, District 97's drummer/primary composer and “Ghost Girl” Executive Producer states: “For well over a year, I've had a vision in my head of an animated short film for Leslie's and my song 'Ghost Girl' from District 97's 'Screens' album. I imagined something that conjured a similar mood to Steven Wilson's and Owl House Studios' stop motion videos. Through happenstance I was put in touch with director Christopher Kezelos (Zero, The Maker), who enthusiastically took on the project. Since January, we closely collaborated to bring Ghost Girl and her world to life.
“I never could've guessed how much all of our lives would change during the making of this film, but I feel that makes its story of isolation, alienation, and redemption all the more relevant. I hope it captivates music and film fans everywhere this Halloween season and beyond.”
Christopher Kezelos, Director says: “When I first heard the song 'Ghost Girl' by District 97, I was instantly drawn into the disturbing tale of a young medium terrorized by evil spirits and the epic highs and lows of this sweeping rock ballad.
“Every line of the song conjured haunting and beautiful images in my mind that I wanted to bring to the screen.
“The song, sung from the protagonist's point of view, felt very personal. I wanted to portray her story through a diary as she journals her life and shares her intimate secrets with the viewer. Sketches that ebb from dark and gritty to light and calm as she pours her heart and soul onto the page.
“I wanted every scene to feel like a beautiful cinemagraph. A memory captured in time, with a hint of motion that draws you into Ghost Girl's world.
“My hope is that her tale of transformation resonates with audiences struggling with their own demons.”
DISTRICT 97 is undoubtedly the most musically adventurous rock band in the world to feature an American Idol Top 10 Female Finalist. Since 2008, this quintet from Chicago has melded an adventurous, uncompromising instrumental prowess with the look, sound, and stage presence of vocalist Leslie Hunt. Through world tours and a stream of studio and live releases, the band has garnered a worldwide fanbase; collaborating with the late iconic singer/bassist John Wetton (King Crimson, Asia, UK) and drawing praise from Bill Bruford (drummer of Yes/King Crimson/Genesis), Mike Portnoy (drummer of Dream Theater/Transatlantic) and other rock luminaries along the way.
DISTRICT 97 rehearses doggedly to refine their compositions, ensemble-playing, and stage presentation; their standards for excellence have only grown more rigorous with the passage of time. Their latest album “Screens” (released October 2019) and its accompanying live shows set a high watermark of composition and musicianship.
The covid-19 pandemic has not stopped the band from innovating. Their Virtual Screening Tour and the stunning “Ghost Girl” animated short film have kept them at the top of the current prog rock heap.
In 2005 in a studio far, far away, (Norfolk), an elderly musician would broadcast and stream “Rick’s Plaice” to the world on Saturday Morning. Nobody really knew who he was, but a select few believed him to be the alter ego “Hands Solo” named after his exploits on the mini Moog.
Fraught with danger, he was constantly under attack from the owners of the planet known as “ROCK” for flying too close to the surface of decency and in 2010 was eventually banished to the galaxy known as “Grumpy” where, for the last 10 years, he has secretly plotted a return to the airwaves and now the time has come…
“I can’t wait for the first series of the new ‘Rick’s Plaice’ to be shown as it will be a nice guideline for me for the second series as to how much weight I need to lose. And if you have as much fun watching the shows with all of the live music performances, guided tours around my equipment, facts about musicians I have worked with and even a quiz, then you will have enjoyed them as much as I enjoyed making them…which I have to say was most enjoyable. We’re already planning for the filming of the New Year's Special and also getting ready for a second series, and I really hope that once the unsocial distancing rules are relaxed, that for the recording and filming we can have live audiences in with us without them having to wear masks and stinking of hand sanitizer. Enjoy…we did.” – Rick Wakeman
Watch the promotional video here:
“Rick’s Plaice” premieres on Saturday November 7th and then broadcast every Saturday for the following five weeks.
“Rick’s Plaice” is offering a season ticket pass (all six episodes + the New Year’s special) at a special price and a discount code for the first 5,000 subscribers offering a 25% discount on the season pass.
A limited number (250) VIP season passes are also available which gives you merch + a signed DVD of all six episodes + the New Year’s special.
Back in 2019 in Finland, guitarist Sami Sarhamaa and his colleague, Olli Huhtanen, a sound engineer, made the move from talking about music to actually making the music. Surprisingly quickly they had 5 tracks completed and a mini album, The Deep End was released.
In effect, Olli produces the basics of the track and Sami adds things to his liking and they decided that rather than aim to produce prog rock, art rock or whatever, they would simply “go with the flow” of what they produced.
The onset of Covid – 19 lockdowns meant that time to finalize these 5 tracks became available. Via the internet, the two friends, working in their own studios, collaborated with other musicians, namely Miri Miettinen (drums) and Trio Tingo (backing vocals). This ultimately resulted in The Deep End being released at the beginning of August.
The Deep End is a 5 track mini album with a total running time of just over 30 minutes (30:11) with track 3, “Shallow End” being the shortest at 4:45 minutes and the final track, “Gravity” the longest with a playing time in excess of 7:00 minutes (7:11).
The opening track “Gravest Danger” (6:17) starts with a great guitar riff which falls away to a gentler scenario before the crystal-clear vocals enter. The track slowly builds in intensity and the gentle guitar passages are sublime. Around the halfway point the track has an excellent synth theme before the guitar sets down another excellent passage and ushers in the vocals again. Another excellent passage builds with the musicians showing their skills before the sound drops away to end with a solo piano motif. This track has certainly been successful in getting the listeners interest and for relative newcomers, this has been an excellent taster for the 4 tracks still to come.
Track 2, “Scales” (7:00) carries on from the opening track with more excellent vocals and superb guitar riffs. After 4 minutes, the track takes a different direction with some exquisite piano and synth passages, prior to the vocals appearing. Only 2 tracks in and this release is looking like a stunning debut for Lighthouse Sparrows.
The third track, “Shallow End” (4:46) continues the good work with a much more laidback feel, which highlights another facet of the band. The vocals sound very relaxed but can “roughen up” when required. Synth passages carry the track on with sudden seamless changes in tempo and a guitar passage with a little more “punch” takes the track to its finale.
The last 2 tracks, “Deep End” and “Gravity,” (4:57 and 7:11 respectively), continue to impress to the listener, bearing in mind that this release is a debut mini album. Synths, great drum and bass from the engine room, excellent vocals and stunning guitar passages. The range of the band over the 5 tracks on offer is exceptional.
The Deep End is an amazing debut and gives the listener the perception of a band that has been playing and recording for a long time as the band just exudes confidence in what they do. I have no hesitation in suggesting that this mini album would be money well spent and I look forward, in anticipation, to where Lighthouse Sparrows go from this point.
Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff. October 10, 2020
Tracks: 1. Gravest Danger (6:17) 2. Scales (7:00) 3. Shallow End (4:46) 4. Deep End (4.57) 5. Gravity (7:11)
