"Art as expression, not as market campaigns. Will still capture our imaginations
Given the same, state of integrity. It will surely help us along"
- Rush/"Natural Science"
Given the same, state of integrity. It will surely help us along"
- Rush/"Natural Science"
This is from a personal perspective of a now 54 year old (60 now) that can remember those definitive albums that made me actually say "I need to find more Metal that's 'Progressive' like this". These were the pre-cursors & originators that made a significant impact on my purchases and exploration in this new form of Metal music during 1983 to 1999 that were adding something extraordinary to this growing music genre before the 3rd wave (found in Part 2), and huge boom of the 4th wave in 2000.
This is an essay labored in love that I began on 6/18/14 and have gone back to the files of memory of those who changed the course of Metal music. But I wanted to tell my story as if you were there too, and hopefully you can feel the excitement I had when the needle hit the album, or hearing a particular CD for the 1st time. The music also helped me get through some rough times, it was cathartic, inspiring and kept my sanity. For me, music saved my life, as it does today. I see it as divine gifts to those that were
"blessed" to create these musics, and share it with all of us to enjoy.
I grew up with various musics from 1963, thanks to my Mom and especially my Father who enjoyed
guitar players of the time, Rock music and The British Invasion thru the classic FM AOR era, the Rock 'n Roll of the 50's, classic vocalists, Pop songs/R&B/Funk of the 60's and 70's and early Country & Western, including various Latin musics. Which led me to Classical, Blues, Jazz/Fusion, Soundtrack Scores and the music presented in this essay. But surely, because of my father; it was The Beatles and Santana that awakened my senses of what music was, what it could be. My life was a learning experience in music history - as well as an education of the music that was invented in my lifetime. I was open to all of it, though there were a few genres I didn't care for, but others I wanted to experience further, and eventually collect. And it opened my awareness, honed my senses to a wider understanding what music could create, beyond what was being limited on the radio.
As always, these stories are not only for those who follow these musics, but for the layman. Those who are looking for something exciting and to see what's beyond the boundaries of what radio and the media offer as "entertainment", and take an adventurous step into the unknown. Or even if you are just curious about my personal story. I hope always to shed light on music that has much more to offer.
. . . So let the journey begin!
This is an essay labored in love that I began on 6/18/14 and have gone back to the files of memory of those who changed the course of Metal music. But I wanted to tell my story as if you were there too, and hopefully you can feel the excitement I had when the needle hit the album, or hearing a particular CD for the 1st time. The music also helped me get through some rough times, it was cathartic, inspiring and kept my sanity. For me, music saved my life, as it does today. I see it as divine gifts to those that were
"blessed" to create these musics, and share it with all of us to enjoy.
I grew up with various musics from 1963, thanks to my Mom and especially my Father who enjoyed
guitar players of the time, Rock music and The British Invasion thru the classic FM AOR era, the Rock 'n Roll of the 50's, classic vocalists, Pop songs/R&B/Funk of the 60's and 70's and early Country & Western, including various Latin musics. Which led me to Classical, Blues, Jazz/Fusion, Soundtrack Scores and the music presented in this essay. But surely, because of my father; it was The Beatles and Santana that awakened my senses of what music was, what it could be. My life was a learning experience in music history - as well as an education of the music that was invented in my lifetime. I was open to all of it, though there were a few genres I didn't care for, but others I wanted to experience further, and eventually collect. And it opened my awareness, honed my senses to a wider understanding what music could create, beyond what was being limited on the radio.
As always, these stories are not only for those who follow these musics, but for the layman. Those who are looking for something exciting and to see what's beyond the boundaries of what radio and the media offer as "entertainment", and take an adventurous step into the unknown. Or even if you are just curious about my personal story. I hope always to shed light on music that has much more to offer.
. . . So let the journey begin!
Please note that the amber colored words are "active" with links to videos, citations, biographies, factoids and more. So there is plenty to look at and explore, take your time and enjoy the whole journey! I am trying my best to stay-up on deleted albums and tracks, but it is a HUGE chore, so I thank you for your patience. I will get to it all as soon as humanly possible.
And if you are able, please checkout this and other essays with a tablet, laptop or desktop computer to enjoy fully in its intended
formatting for the best experience :). Click on most photos to enlarge as well.
And if you are able, please checkout this and other essays with a tablet, laptop or desktop computer to enjoy fully in its intended
formatting for the best experience :). Click on most photos to enlarge as well.
~ Part 1 ~
| Presented in Nine Chapters |
To Progress or not to Progress . . .
It's a comment I run into all the time; "This isn't progressive!" "It's not progressing" and so on. Fights and
debates breakout, harsh words are hurled online, enough to make you bash your computer screen with
your guitar :p For the sake of this essay and my personal experience - I am only talking about the "Genre" title.
But, put yourself back into the 1980's (maybe before many of you were born) when these musics were
forming and changing, when it was all "new". We are talking very early stages of what Metal was
progressing into, and for the bands that were at the forefront creating "Prog Metal", no one else was doing
it. But it had to start somewhere, and it was a process to get to that point to shape it into its final form. And
as many of us know, its final form has been making new shapes year after year since.
So put yourself in the time machine, get your Beer Stein, or a cup of joe and travel back with me when this
sub-genre got its start and grew into the International genre called Prog Metal.
It's a comment I run into all the time; "This isn't progressive!" "It's not progressing" and so on. Fights and
debates breakout, harsh words are hurled online, enough to make you bash your computer screen with
your guitar :p For the sake of this essay and my personal experience - I am only talking about the "Genre" title.
But, put yourself back into the 1980's (maybe before many of you were born) when these musics were
forming and changing, when it was all "new". We are talking very early stages of what Metal was
progressing into, and for the bands that were at the forefront creating "Prog Metal", no one else was doing
it. But it had to start somewhere, and it was a process to get to that point to shape it into its final form. And
as many of us know, its final form has been making new shapes year after year since.
So put yourself in the time machine, get your Beer Stein, or a cup of joe and travel back with me when this
sub-genre got its start and grew into the International genre called Prog Metal.
A progression of experience
If you are bold enough to go through this grand journey with me, and are so kind that you actually come back a second time to start checking out the music presented ~ You will take an elapsed journey of each
band and genre of music that I encountered, letting it soak in, and be in that same amazement that I
experienced. You will discover that you're going through the development of this music and its
progression from its beginnings a thru z, its roots and branches, from the grand, melodious, strange and beautiful. All the way to its more heavier and extreme era where we are now, and all points in-between, from the astounding, to thinking on a new level.
Maligned and ridiculed, championed and enjoyed all over the globe - You might find you are enjoying
musics you never knew existed, never thought you'd gravitate to, and that the learning experience has
opened your senses to something wider, different, and heck . . . you may just like it all. All it takes is your
patience, let it all sink in gradually, take it for what it is and discover all its layers.
And maybe, the pieces that made you wince at 1st, there may have been something there you can't get out of your mind, and you'll go back and listen with new ears.
This will be your way of taking a faster journey that took decades for it all to sink into my conscience, and
now I have an endless soundtrack of music and musicians playing in my head, that I am here to share with
all of you. For me it was an education in many genres of music, all its elements, and it gave me a want of discovery. . . but its only a beginning.
band and genre of music that I encountered, letting it soak in, and be in that same amazement that I
experienced. You will discover that you're going through the development of this music and its
progression from its beginnings a thru z, its roots and branches, from the grand, melodious, strange and beautiful. All the way to its more heavier and extreme era where we are now, and all points in-between, from the astounding, to thinking on a new level.
Maligned and ridiculed, championed and enjoyed all over the globe - You might find you are enjoying
musics you never knew existed, never thought you'd gravitate to, and that the learning experience has
opened your senses to something wider, different, and heck . . . you may just like it all. All it takes is your
patience, let it all sink in gradually, take it for what it is and discover all its layers.
And maybe, the pieces that made you wince at 1st, there may have been something there you can't get out of your mind, and you'll go back and listen with new ears.
This will be your way of taking a faster journey that took decades for it all to sink into my conscience, and
now I have an endless soundtrack of music and musicians playing in my head, that I am here to share with
all of you. For me it was an education in many genres of music, all its elements, and it gave me a want of discovery. . . but its only a beginning.
Lyrics to the lists of bands can be found at these sources:
- https://www.musixmatch.com/
- https://genius.com/
- http://www.darklyrics.com/index.html
- Or directly from the bands themselves.
Please search out for the lyrics of each band because the words can be just as important as the music. Their voice for a different point of view, history, flights of fantasy and imagination, and maybe something that stirs in all of us to know we are not alone, in our plight or victory, and beyond.
And very important: I include "Albums" when I can, because I believe the whole experience should be taken in for each band - but I IMPLORE you all, please purchase their albums as it supports what they do so that they can keep making more, tour the world and put a little in their pockets to live. No matter how big you think they are, they still have bills and families to support just like YOU.
So go BUY their albums :D.
Go! Do it! Do it NOW!
So go BUY their albums :D.
Go! Do it! Do it NOW!
Note: Again, trying to keep up with deleted music links, so thank you for your patience :)
This essay has also gone through a complete overhaul within February of 2017 and May of 2018, and on, so welcome back!
This essay has also gone through a complete overhaul within February of 2017 and May of 2018, and on, so welcome back!
Prologue: Seedlings
Before we jump on that long road of a journey, let's take a short detour . . .
I would like to submit 2 bands that may have been the "awakening" from the progressive genre that came way before my own awakening to this music, when I was still a little kid listening to radio hits. Heavier than their English peers, they were creating something not only meticulous and complex in its compositions, but harder hitting than the dark satanic mills of Birmingham's factories in the late 1960's.
I would like to submit 2 bands that may have been the "awakening" from the progressive genre that came way before my own awakening to this music, when I was still a little kid listening to radio hits. Heavier than their English peers, they were creating something not only meticulous and complex in its compositions, but harder hitting than the dark satanic mills of Birmingham's factories in the late 1960's.
Note: as for 2020, Robert Fripp/DGM is on a "purging" rampage yet again on YOUtube, deleting his own catalogue of studio recordings and
fanmade videos. So, many of the links below may be deleted at any given time. HUGE apologies :(.
Point A:
King Crimson, with their 1st record in 1969 "In the Court of the Crimson King" basically scared everyone (including other proggers of the day) with their startling and unconventional approach of music and
individual skills - but the piece that instilled that fear in particular was the song;
"21st Century Schizoid Man": https://youtu.be/7OvW8Z7kiws
For 1969, this opening track was a bludgeoning aural assault with the heaviness of MC5 or Blue Cheer, but with top notch musicianship on another level - yet it was a setup for what was to come on the album that was a respite from the carnage, with amazing moods and subtle nuances.
Robert Fripp (and lyricist Pete Sinfield respectfully), guitarist and madd scientist/composer would
introduce a complex, heavier, and often atmospheric tone, along with its moody pieces that infused Jazz,
and Classical - put into a blender without a cap, splattering its contents all over the walls. It could be
beautiful, or controlled chaos. But it woke up many that would dare take bits and pieces to inspire or
influence something never tapped into.
You could take Crimson's 1995's title-track "Thrak", along with other tracks (recorded in 1994) and hear it in extreme bands like Meshuggah, from 1994 thru its current incarnation. The bashing of instruments as if all members were percussionists, intertwined with mathematical precision, atmospheric interludes,
soloing and fills. Their instruments were used as weapons. But even with Crimson's more subtle hues,
they're legacy can be traced in the roots and sinews of the melodic and aggressive fare of progressive
music, who were not only HEAVY, but who added a complexity no one could ever imagine. Crimson's
albums after would take all the above and create a new mutated animal as well, keeping with the times and elaborating on new ideas.
Most of the King Crimson catalogue of lyrics can be found here:
https://www.musixmatch.com/artist/King-Crimson/albums
fanmade videos. So, many of the links below may be deleted at any given time. HUGE apologies :(.
Point A:
King Crimson, with their 1st record in 1969 "In the Court of the Crimson King" basically scared everyone (including other proggers of the day) with their startling and unconventional approach of music and
individual skills - but the piece that instilled that fear in particular was the song;
"21st Century Schizoid Man": https://youtu.be/7OvW8Z7kiws
For 1969, this opening track was a bludgeoning aural assault with the heaviness of MC5 or Blue Cheer, but with top notch musicianship on another level - yet it was a setup for what was to come on the album that was a respite from the carnage, with amazing moods and subtle nuances.
Robert Fripp (and lyricist Pete Sinfield respectfully), guitarist and madd scientist/composer would
introduce a complex, heavier, and often atmospheric tone, along with its moody pieces that infused Jazz,
and Classical - put into a blender without a cap, splattering its contents all over the walls. It could be
beautiful, or controlled chaos. But it woke up many that would dare take bits and pieces to inspire or
influence something never tapped into.
You could take Crimson's 1995's title-track "Thrak", along with other tracks (recorded in 1994) and hear it in extreme bands like Meshuggah, from 1994 thru its current incarnation. The bashing of instruments as if all members were percussionists, intertwined with mathematical precision, atmospheric interludes,
soloing and fills. Their instruments were used as weapons. But even with Crimson's more subtle hues,
they're legacy can be traced in the roots and sinews of the melodic and aggressive fare of progressive
music, who were not only HEAVY, but who added a complexity no one could ever imagine. Crimson's
albums after would take all the above and create a new mutated animal as well, keeping with the times and elaborating on new ideas.
Most of the King Crimson catalogue of lyrics can be found here:
https://www.musixmatch.com/artist/King-Crimson/albums
Point B.
Emerson Lake & Palmer, the super group made up of members of "The Nice" (Keith Emerson), "The Crazy World of Arthur Brown"/"Atomic Rooster" (Carl Palmer) and "King Crimson" (Vocalist of King Crimson's 1st 2 albums, Greg Lake). This power trio of amazing musicians seemed to come out of the gate with the purpose to attack its listeners with each instrument they played along with its vocals with a knife's edge. The heaviness of Prog music was even more defined for their debut in 1970. They open the album with the appropriately titled track "The Barbarian" to announce to their 1st time listeners, we come to make your ears bleed with heaviness and over the top music that is relentless:
https://youtu.be/Ao8VE79zjrk
Keith Emerson taking keyboards and his wooden beast, the Hammond B3 organ, as a lead instrument with its classical flurry's, jazz motifs of any era and the unconventional, with Carl Palmer adding the battery of percussive concussions intricately or subtly with the same colours and music history as the keys. As Greg Lake on either Bass, Electric or Acoustic Guitar could take the lead, the backbeat or beautiful musical
interlude/preludes along with his strong vocals and creative rhymes. All of it coming together to create many moods, shades and heaviness, and like King Crimson, it didn't matter if the songs were 5 minutes or 15+, rules were meant to be broken and the listener was meant to be challenged as much as the musicians. If something needed to be broken or destroyed, ELP was there on stage to do the job for everyone to see, as Keith and Carl pounded their instruments into submission, and Greg gave it it's voice.
Though ELP were often branded as being "self-indulgent", "excessive", "pompous", "over the top" and
"soulless", and that favorite chestnut; "pretentious", their music clearly wasn't for everyone. But for
those who understood, who wanted musicianship to not only expand their senses but to thrill - which
Keith and Carl did in spades with their extended solos and antics live (Keith attacking his Hammond with
knives to keep the keys sustaining, twirling the beast to feed off the feedback, jumping over it and playing it upside down . . . and that was just for starters!).
ELP can be heard in just about all Prog Metal (if people liked it or not, even its detractors, be it critics or in contemporary band members themselves) who especially utilized keyboards and after the 2nd wave of Prog Metal with the likes of Dream Theater (and their 3 eras of different keyboardists, especially the current, Jordan Rudess), Lemur Voice, Ivanhoe, Artension, Time Requiem, Ayreon, Symphony X, Haken and the
many others that followed.
"Corpse Rock" resurrected and immortalized.
Again, with influences of many 70's Progressive Rock bands, including the developing Hard/Heavy Rock
bands of the late 70's and who they influenced in the 80's underground - It is these 2 important bands;
King Crimson and Emerson Lake & Palmer who I believe are the heavier side of Prog Rock that would in-turn, influence those looking to be even heavier decades later.
In 1969, Black Sabbath were in the studio and the following year would release their debut album, along with Led Zeppelin's debut. Deep Purple would release "In Rock" in 1970, along with Uriah Heep "…Very 'Eavy …Very 'Umble" , all taking Rock into even heavier territory (the latter 2 with Keyboards, Synths and
the Hammond B3 as well).
The seed was indeed planted for its roots to reach out through the growing family tree. It was only a
beginning, a seedling, but it all had to start somewhere. With each band, album, classical tropes and
adventurous experimentation, step by step, each year after.
Most of the Emerson Lake & Palmer lyrical catalogue can be found here:
https://genius.com/artists/Emerson-lake-and-palmer
Emerson Lake & Powell:
https://genius.com/albums/Emerson-lake-and-powell/Emerson-lake-powell
Emerson Lake & Palmer, the super group made up of members of "The Nice" (Keith Emerson), "The Crazy World of Arthur Brown"/"Atomic Rooster" (Carl Palmer) and "King Crimson" (Vocalist of King Crimson's 1st 2 albums, Greg Lake). This power trio of amazing musicians seemed to come out of the gate with the purpose to attack its listeners with each instrument they played along with its vocals with a knife's edge. The heaviness of Prog music was even more defined for their debut in 1970. They open the album with the appropriately titled track "The Barbarian" to announce to their 1st time listeners, we come to make your ears bleed with heaviness and over the top music that is relentless:
https://youtu.be/Ao8VE79zjrk
Keith Emerson taking keyboards and his wooden beast, the Hammond B3 organ, as a lead instrument with its classical flurry's, jazz motifs of any era and the unconventional, with Carl Palmer adding the battery of percussive concussions intricately or subtly with the same colours and music history as the keys. As Greg Lake on either Bass, Electric or Acoustic Guitar could take the lead, the backbeat or beautiful musical
interlude/preludes along with his strong vocals and creative rhymes. All of it coming together to create many moods, shades and heaviness, and like King Crimson, it didn't matter if the songs were 5 minutes or 15+, rules were meant to be broken and the listener was meant to be challenged as much as the musicians. If something needed to be broken or destroyed, ELP was there on stage to do the job for everyone to see, as Keith and Carl pounded their instruments into submission, and Greg gave it it's voice.
Though ELP were often branded as being "self-indulgent", "excessive", "pompous", "over the top" and
"soulless", and that favorite chestnut; "pretentious", their music clearly wasn't for everyone. But for
those who understood, who wanted musicianship to not only expand their senses but to thrill - which
Keith and Carl did in spades with their extended solos and antics live (Keith attacking his Hammond with
knives to keep the keys sustaining, twirling the beast to feed off the feedback, jumping over it and playing it upside down . . . and that was just for starters!).
ELP can be heard in just about all Prog Metal (if people liked it or not, even its detractors, be it critics or in contemporary band members themselves) who especially utilized keyboards and after the 2nd wave of Prog Metal with the likes of Dream Theater (and their 3 eras of different keyboardists, especially the current, Jordan Rudess), Lemur Voice, Ivanhoe, Artension, Time Requiem, Ayreon, Symphony X, Haken and the
many others that followed.
"Corpse Rock" resurrected and immortalized.
Again, with influences of many 70's Progressive Rock bands, including the developing Hard/Heavy Rock
bands of the late 70's and who they influenced in the 80's underground - It is these 2 important bands;
King Crimson and Emerson Lake & Palmer who I believe are the heavier side of Prog Rock that would in-turn, influence those looking to be even heavier decades later.
In 1969, Black Sabbath were in the studio and the following year would release their debut album, along with Led Zeppelin's debut. Deep Purple would release "In Rock" in 1970, along with Uriah Heep "…Very 'Eavy …Very 'Umble" , all taking Rock into even heavier territory (the latter 2 with Keyboards, Synths and
the Hammond B3 as well).
The seed was indeed planted for its roots to reach out through the growing family tree. It was only a
beginning, a seedling, but it all had to start somewhere. With each band, album, classical tropes and
adventurous experimentation, step by step, each year after.
Most of the Emerson Lake & Palmer lyrical catalogue can be found here:
https://genius.com/artists/Emerson-lake-and-palmer
Emerson Lake & Powell:
https://genius.com/albums/Emerson-lake-and-powell/Emerson-lake-powell
Chapter I
Searching: The beginning of a journey.
I was already a Progressive Rocker (1977) and Metalhead by 1982 (though looking pretty nerdy and not
owning a Metal band shirt as of yet and being part of the "Black Shirt Club"). I was following as many
bands that were growing in these genres as I could find, read about and blindly purchased (meaning;
buying an LP that I knew nothing about, gauging it by the cover art, song titles, the instruments the band
members played etc.).
But Metal was growing leaps and bounds as Progressive Rock stood still for a time, now belittled as
"Dinosaurs" in the late 70's early 80's. Punk Rock and New Wave were taking over the airwaves in my
town on the local Los Angeles stations. With the exception of releases by bands not giving up and throwing
in the towel respectively:
Gentle Giant, Genesis, Peter Gabriel, Steve Hackett, Yes, King Crimson, Supertramp, Caravan, Kayak,
Van der Graaf Generator, Starcastle, Electric Light Orchestra, Kansas, Rush, Saga, FM, Frank Zappa,
Kate Bush, Eloy, Camel, Jethro Tull, Brand X, Dixie Dregs, Premiata Forneria Marconi, Crack the Sky,
Asia, Happy The Man, Uriah Heep, Pink Floyd, ELP (be it 3 and including Emerson Lake & Powell) and
a handful of others were still continuing on, some with a more commercial sound.
Until "Marillion" from England, released their debut "Script for a Jester's Tear" in 1983, "IQ" also from
England, with "Tales from the Lush Attic" in 1983, "It Bites" also from England with "The Big Lad in the
Windmill" in 1983, and "Pallas" from Scotland would continue the new wave of Neo-Progressive Rock
in 1984 with their debut album "The Sentinel". They may not have been huge, but they started a spark that
would start a new movement. Tiny flickers would start here and there until the torch was lit again.
But many of these bands of the 70's were being influenced by the New Wave musics and the sound bent
toward the 80's to keep relevant, but retaining their progressive roots.
Heavy Metal music had always been an underground movement for the most part and as it progressed, it
found that "rules did not apply", at-least for those who wanted to move it forward. With its many links of
influence and inspiration. Unbeknownst to many at the time, were much like the mindset of Progressive
Rock (believe it or not) but to be heavier in their search for the lost chord - and how heavy could those
chords get, if more aggressive, raw or polished, complex, and what could they venture to do differently
than others, from where it began.
It begs the question; were Metal bands progressing forward than "most" Progressive Rock bands at the
time (which will be shown throughout this essay)? But those Hard/Heavy Rock bands would find
inspiration from what came before, to create something new, it didn't happen "all the sudden", but it was a
gradual process for something new. Each band was a ladder to another phase, another level of discovery -
in-turn, another wave of bands took the baton and created yet another new idea for the next generation to
discover. And so it goes, the cycle continues . . .
owning a Metal band shirt as of yet and being part of the "Black Shirt Club"). I was following as many
bands that were growing in these genres as I could find, read about and blindly purchased (meaning;
buying an LP that I knew nothing about, gauging it by the cover art, song titles, the instruments the band
members played etc.).
But Metal was growing leaps and bounds as Progressive Rock stood still for a time, now belittled as
"Dinosaurs" in the late 70's early 80's. Punk Rock and New Wave were taking over the airwaves in my
town on the local Los Angeles stations. With the exception of releases by bands not giving up and throwing
in the towel respectively:
Gentle Giant, Genesis, Peter Gabriel, Steve Hackett, Yes, King Crimson, Supertramp, Caravan, Kayak,
Van der Graaf Generator, Starcastle, Electric Light Orchestra, Kansas, Rush, Saga, FM, Frank Zappa,
Kate Bush, Eloy, Camel, Jethro Tull, Brand X, Dixie Dregs, Premiata Forneria Marconi, Crack the Sky,
Asia, Happy The Man, Uriah Heep, Pink Floyd, ELP (be it 3 and including Emerson Lake & Powell) and
a handful of others were still continuing on, some with a more commercial sound.
Until "Marillion" from England, released their debut "Script for a Jester's Tear" in 1983, "IQ" also from
England, with "Tales from the Lush Attic" in 1983, "It Bites" also from England with "The Big Lad in the
Windmill" in 1983, and "Pallas" from Scotland would continue the new wave of Neo-Progressive Rock
in 1984 with their debut album "The Sentinel". They may not have been huge, but they started a spark that
would start a new movement. Tiny flickers would start here and there until the torch was lit again.
But many of these bands of the 70's were being influenced by the New Wave musics and the sound bent
toward the 80's to keep relevant, but retaining their progressive roots.
Heavy Metal music had always been an underground movement for the most part and as it progressed, it
found that "rules did not apply", at-least for those who wanted to move it forward. With its many links of
influence and inspiration. Unbeknownst to many at the time, were much like the mindset of Progressive
Rock (believe it or not) but to be heavier in their search for the lost chord - and how heavy could those
chords get, if more aggressive, raw or polished, complex, and what could they venture to do differently
than others, from where it began.
It begs the question; were Metal bands progressing forward than "most" Progressive Rock bands at the
time (which will be shown throughout this essay)? But those Hard/Heavy Rock bands would find
inspiration from what came before, to create something new, it didn't happen "all the sudden", but it was a
gradual process for something new. Each band was a ladder to another phase, another level of discovery -
in-turn, another wave of bands took the baton and created yet another new idea for the next generation to
discover. And so it goes, the cycle continues . . .
The source . . .
What is "Progressive Rock"?
Here's a great Documentary to find out how it all started; "BBC Prog Rock Britannia":
https://www.documentarymania.com/video/Prog%20Rock%20Britannia/
What is Progressive Metal (Prog Metal)?
https://ok.ru/video/28567079554
(Note that the "Prog Metal Listing" shown in the doc has been updated, but if you are like me, there are quite a few "frustrations" of unsung heroes).
Words from Mike Portnoy (ex-Drummer and co-founder of Dream Theater):
https://www.youtube.com/watch?v=_6ISFr8xoLI
. . . and what do the Proggers themselves think?:
https://www.youtube.com/playlist?list=PL2DU3TBNutEfGuVpwTBZkQ9Modd11e8CI
Or, how about a layman explanation (in which he may have issue with even some of my explanations). He does an excellent job of making it easy to understand what is Progressive music vs Pop and Rock music:
https://www.youtube.com/watch?v=yHSywtulJ3A&t=306s
Here's a great Documentary to find out how it all started; "BBC Prog Rock Britannia":
https://www.documentarymania.com/video/Prog%20Rock%20Britannia/
What is Progressive Metal (Prog Metal)?
https://ok.ru/video/28567079554
(Note that the "Prog Metal Listing" shown in the doc has been updated, but if you are like me, there are quite a few "frustrations" of unsung heroes).
Words from Mike Portnoy (ex-Drummer and co-founder of Dream Theater):
https://www.youtube.com/watch?v=_6ISFr8xoLI
. . . and what do the Proggers themselves think?:
https://www.youtube.com/playlist?list=PL2DU3TBNutEfGuVpwTBZkQ9Modd11e8CI
Or, how about a layman explanation (in which he may have issue with even some of my explanations). He does an excellent job of making it easy to understand what is Progressive music vs Pop and Rock music:
https://www.youtube.com/watch?v=yHSywtulJ3A&t=306s
The Grand Fathers of a genre to come
. . . Beginnings . . .
~ Seeds of change ~
"Though my eyes could see I still was a blind man, though my mind could think I still was a mad man
I hear the voices when I'm dreamin', I can hear them say! . . ."
- Kansas/"Carry on Wayward Son"
I hear the voices when I'm dreamin', I can hear them say! . . ."
- Kansas/"Carry on Wayward Son"
As I came into my teens, I started to tune into what FM radio had to offer, slowly weaning off the AM dial. There were probably bands that caught my ear but never catching who they were so that I could search them out. But certain bands came, at the right place at the right time.
Kansas was my 1st real Progressive Rock band (possibly Electric Light Orchestra as well, Procal Harum's debut, the Fusion/Rock of Santana, and The Beatles "Sgt. Pepper..." when I was a child in the late 1960's early 70's).
1976 brought "Leftoverture" to the world and its huge hit single "Carry on Wayward Son". But I picked up on the difference, this was much more than just a Rock song. There was more going on here and I wanted
to explore that, but that journey would start a year later because, again at the time, I was stuck listening to Radio on the AM dial. In-fact I did not purchase this album till about 6 years later.
It's amazing to think back when this "Hit" was all new. Who would have thought it would become a staple
on FM radio, and would have influenced so many people in various music genres?
In the summer of 1977 I moved back with my family to California from 7 long years in Gretna, Louisiana. I received the 1st records of my own for my birthday; Boston - "Don't Look Back" (actually, this album was released in 78, I may have received this for Christmas that year with Kansas "Monolith"), Electric Light Orchestra - "Out of the Blue", Foreigner's debut, Kiss - "Alive II" and the album that would totally wake
me up to what music could be; Kansas - "Point of Know Return".
I'm not sure if I requested these albums or that my parents were keen on what I was interested in, but my Father had a little influence on what I might like because our tastes at the time were similar. "Kiss" was an interest of mine for a brief time because of my friends in school the year before with "Destroyer" (along with other Rock bands on Cassettes), but my tastes started to advance to something more. So it became my music "evolution"; from Kiss, ELO, Foreigner, Boston and then fully into Kansas.
Kansas was the epiphany. There was something here I couldn't put my finger on, but there was much more to absorb and this was very intriguing for a 14 years old who was just beginning to understand the power of music. This album didn't just come and go like the rest, it stayed with me, it had longevity.
For some reason I gravitated to the more obscure deeper cuts/B-sides than the hit singles. As I grew older I continued to follow them, but when I was 17-18, I decided to go backwards in their catalogue and find what
I had missed during my Pop AM Radio days. Bands like this created Albums as a whole, and filling it with well composed musics. It wasn't an emphasis on hit singles, when I learned much later that the "Hits" were happenstance for the founder of the band . . .
Kansas was my 1st real Progressive Rock band (possibly Electric Light Orchestra as well, Procal Harum's debut, the Fusion/Rock of Santana, and The Beatles "Sgt. Pepper..." when I was a child in the late 1960's early 70's).
1976 brought "Leftoverture" to the world and its huge hit single "Carry on Wayward Son". But I picked up on the difference, this was much more than just a Rock song. There was more going on here and I wanted
to explore that, but that journey would start a year later because, again at the time, I was stuck listening to Radio on the AM dial. In-fact I did not purchase this album till about 6 years later.
It's amazing to think back when this "Hit" was all new. Who would have thought it would become a staple
on FM radio, and would have influenced so many people in various music genres?
In the summer of 1977 I moved back with my family to California from 7 long years in Gretna, Louisiana. I received the 1st records of my own for my birthday; Boston - "Don't Look Back" (actually, this album was released in 78, I may have received this for Christmas that year with Kansas "Monolith"), Electric Light Orchestra - "Out of the Blue", Foreigner's debut, Kiss - "Alive II" and the album that would totally wake
me up to what music could be; Kansas - "Point of Know Return".
I'm not sure if I requested these albums or that my parents were keen on what I was interested in, but my Father had a little influence on what I might like because our tastes at the time were similar. "Kiss" was an interest of mine for a brief time because of my friends in school the year before with "Destroyer" (along with other Rock bands on Cassettes), but my tastes started to advance to something more. So it became my music "evolution"; from Kiss, ELO, Foreigner, Boston and then fully into Kansas.
Kansas was the epiphany. There was something here I couldn't put my finger on, but there was much more to absorb and this was very intriguing for a 14 years old who was just beginning to understand the power of music. This album didn't just come and go like the rest, it stayed with me, it had longevity.
For some reason I gravitated to the more obscure deeper cuts/B-sides than the hit singles. As I grew older I continued to follow them, but when I was 17-18, I decided to go backwards in their catalogue and find what
I had missed during my Pop AM Radio days. Bands like this created Albums as a whole, and filling it with well composed musics. It wasn't an emphasis on hit singles, when I learned much later that the "Hits" were happenstance for the founder of the band . . .
- Kerry Livgren (Co-founder/guitarist/keyboardist/lyricist/composer) along with other members would just happen upon an interesting melody, Livgren would write the words and POW! He is a prolific lyricist, which I imagine comes from his voracious reading (and tackling such heavy subjects from the likes of Friedrich Nietzsche as a boy) and studying various eastern philosophies in his adulthood that led him back to his roots (See his book: "Seeds of Change" by Kerry Livgren and Kenneth D. Boa).
But he also touched on topics that the everyday person could relate to, and often I'd refer to a lyric on any given topic of conversation with friends.
His compositions were like composing symphonies, meticulous, but also letting them breathe with a lot of heart and soul. As a Guitarist and Keyboardist he had his equal strengths, power and precision yet soulful, dynamic and majestic, that included his own unique sound in which he interpreted the emotion of his words.
- And Livgren's physical voice was found in Steve Walsh, still to this day one of my fave vocalists. He could hit incredible highs and sustain a note and decrease or elevate the key, but he had different timbre's that would convey various emotions and fills (listen to "Cheyenne Anthem" at the end when Robby Steinhardt sings the last verse, as Walsh adds vocal notes far in the background with inhuman highs!). He also played Organ and Synthesizers to augment Livgren.
He had a very strong stage presence too, engaging the crowd, and in his younger days doing "handstands" on the keys!
- There was also Robby Steinhardt, who had a unique strong voice himself who also added the other unique aspect to the music as a fantastic Violinist. Great harmonies and counterpoint vocals with Walsh and the band, was a force to be reckoned with. He was usually the spokesman, interacting with the audience and doing introductions on stage.
- Rich Williams was a great Guitar Lead in his own right, not getting enough credit for his soloing and laying down the rhythm's that gave Kansas their sound with his distinct tone. Those big hands were very nimble and was something to behold when he'd take the lead. Adding the emotional edge to Kerry's words, dueling and harmonizing with him on Guitar or keyboards.
- Bassist Dave Hope always up on any odd changes and added unique fills, that I can hear in my head back in their early days - he too had a very distinctful tone with his picking style.
- And Drummer/Founder Phil Ehart, the impressive battery that kept the beat to every odd-meter and technical composition as well as keeping it simple. But even when precise, the technicality was subtle, it was all for the song and not so much as to show off. Everything he played was for a reason.
His Kit sizes have changed throughout the years, but always a unique sound and feel, indicative of the music that is Kansas.
But there was a "sound" I sorted through between the Prog Rock Epics, at times they were very Heavy
Rock. Kansas could have an edge that other Prog Rockers didn't have. For example:
"Carry On my Wayward Son", "Mysteries and Mayhem", "Child of Innocence" "Down the Road",
"Sparks of the Tempest", "Lightning's Hand", the heavier riffs during "Glimpse of Home", "Angels
have Fallen", "How my Soul Cries Out for You", "Stay out of Trouble", "Loner", "Curtain of Iron" (and
later albums "Fair Exchange", "Crossfire", "Fight Fire with Fire", "Mainstream" "I Can Fly", "Freak of Nature", "Icarus II").
These songs gave me a taste for the heavier, but spoiled me because of their musicianship and creativity
was on such a high level. I re-live these "feelings" I had when 1st hearing each album I'd find, much like
Kerry Livgren reflecting on waiting for his cue to go on stage as he hears the roar of the crowd in the
opening of his book Seeds of Change:
"The lights went on, and all through the din of thousands of conversations, the roadies scrambled to take down one set of equipment and get our own in place. Preparations for our show had begun early that morning, and the truckloads of paraphernalia including backdrops, amplification equipment, lights, speakers and instruments were all checked and ready to go. As the lights in the coliseum began to fade, 20,000 voices combined together into a roar that filled the place with the electricity of anticipation. Hundreds of cigarette lighters and matches pierced the darkness, and the chaos of applause was transmuted into a regular cadence of clapping and foot-stamping as
the audience rhythmically chanted, "Kansas! Kansas!" The audience began to hear music, but it certainly wasn't
what they expected—they found themselves listening to a recording of the Prelude to Act III of Richard Wagner's Lohengrin!
For many, this is an unorthodox way to begin a rock concert, but Wagner’s majestic created a mood of
exhilaration that readied the audience for what was to follow. In the darkness the six of us walked on stage, picked up our instruments, and blended in with the recorded music so that when the lights suddenly came on, the audience found us already playing our own version of what they had been hearing. To add to the effect, smoke was rising from the stage and a green laser light began to create images of musical instruments that hovered and rotated above us as a unit, the audience responded with wild enthusiasm. The show had begun . . ."
When I had discovered their earlier albums later and then with the advent of YOUtube and Videos on the DVD of the Kansas retrospective box set "Sail Away", I came across one of their 1st live performances on
Don Kirchner's Rock Concert TV program (though they did not actually perform before an audience - btw, I never saw this particular appearance even though I watched this show almost every Saturday at 12:30am) but I wondered what people must have thought when 1st seeing them. Showing up on stage looking like "Country Bumpkins" and an audience snickering "Yee Haww! What kind of Country do you guys play!?"
. . . then THIS came out of them:
https://youtu.be/3wzFCEjdMZc
The Film Director "Cameron Crowe", who created such great movies as; Singles, Jerry McGuire, Say
Anything and my fave, "Almost Famous" (based on his teenage years working for Rolling Stone as a
journalist) also wrote a glowing essay for Kansas in their Tour Program for The Point of Know Return.
Waxing poetic that "KANSAS had taken their place among the great bands of our time".
I'd follow the band (changes in lineup and all) right up to their last recorded album "Somewhere to
Elsewhere" where Kerry Livgren came back only as a member to write/record. They are still on the road
playing their classics, even though Steve Walsh has recently retired after 41 years. Hopefully there will be
plans for a new album (with new vocalist David Manion) for possibly an end to an incredible journey.
(Updated: which to my happiness they did in 2016 called "The Prelude Implicit", they may have a few
albums under their belt after all :).
Rock. Kansas could have an edge that other Prog Rockers didn't have. For example:
"Carry On my Wayward Son", "Mysteries and Mayhem", "Child of Innocence" "Down the Road",
"Sparks of the Tempest", "Lightning's Hand", the heavier riffs during "Glimpse of Home", "Angels
have Fallen", "How my Soul Cries Out for You", "Stay out of Trouble", "Loner", "Curtain of Iron" (and
later albums "Fair Exchange", "Crossfire", "Fight Fire with Fire", "Mainstream" "I Can Fly", "Freak of Nature", "Icarus II").
These songs gave me a taste for the heavier, but spoiled me because of their musicianship and creativity
was on such a high level. I re-live these "feelings" I had when 1st hearing each album I'd find, much like
Kerry Livgren reflecting on waiting for his cue to go on stage as he hears the roar of the crowd in the
opening of his book Seeds of Change:
"The lights went on, and all through the din of thousands of conversations, the roadies scrambled to take down one set of equipment and get our own in place. Preparations for our show had begun early that morning, and the truckloads of paraphernalia including backdrops, amplification equipment, lights, speakers and instruments were all checked and ready to go. As the lights in the coliseum began to fade, 20,000 voices combined together into a roar that filled the place with the electricity of anticipation. Hundreds of cigarette lighters and matches pierced the darkness, and the chaos of applause was transmuted into a regular cadence of clapping and foot-stamping as
the audience rhythmically chanted, "Kansas! Kansas!" The audience began to hear music, but it certainly wasn't
what they expected—they found themselves listening to a recording of the Prelude to Act III of Richard Wagner's Lohengrin!
For many, this is an unorthodox way to begin a rock concert, but Wagner’s majestic created a mood of
exhilaration that readied the audience for what was to follow. In the darkness the six of us walked on stage, picked up our instruments, and blended in with the recorded music so that when the lights suddenly came on, the audience found us already playing our own version of what they had been hearing. To add to the effect, smoke was rising from the stage and a green laser light began to create images of musical instruments that hovered and rotated above us as a unit, the audience responded with wild enthusiasm. The show had begun . . ."
When I had discovered their earlier albums later and then with the advent of YOUtube and Videos on the DVD of the Kansas retrospective box set "Sail Away", I came across one of their 1st live performances on
Don Kirchner's Rock Concert TV program (though they did not actually perform before an audience - btw, I never saw this particular appearance even though I watched this show almost every Saturday at 12:30am) but I wondered what people must have thought when 1st seeing them. Showing up on stage looking like "Country Bumpkins" and an audience snickering "Yee Haww! What kind of Country do you guys play!?"
. . . then THIS came out of them:
https://youtu.be/3wzFCEjdMZc
The Film Director "Cameron Crowe", who created such great movies as; Singles, Jerry McGuire, Say
Anything and my fave, "Almost Famous" (based on his teenage years working for Rolling Stone as a
journalist) also wrote a glowing essay for Kansas in their Tour Program for The Point of Know Return.
Waxing poetic that "KANSAS had taken their place among the great bands of our time".
I'd follow the band (changes in lineup and all) right up to their last recorded album "Somewhere to
Elsewhere" where Kerry Livgren came back only as a member to write/record. They are still on the road
playing their classics, even though Steve Walsh has recently retired after 41 years. Hopefully there will be
plans for a new album (with new vocalist David Manion) for possibly an end to an incredible journey.
(Updated: which to my happiness they did in 2016 called "The Prelude Implicit", they may have a few
albums under their belt after all :).
M O N O L I T H I C
My favorite Christmas memory was in 1979, I had requested a few albums from my parents, but the one I
remembered most was "Kansas - Monolith". It was out before summer, but it now remains a very
"Winter" album. That Christmas was particularly cold, we were living in West Covina California at the
time, and I was a sophomore in High School. The room seemed all auburn with only the Christmas tree
lights, the fireplace crackling, and the yellow lights of the Grundig Red Oak Console glowing.
I unwrapped the album, opened the lid that made a creaking noise from the small pneumatic hinge, placed
the Lp on the turntable and sat back. Listening to this perfect music, dark, yet warm and soothing, as I
scanned the beautiful album cover (my fave Kansas logo to date) and the inner sleeve (which unfortunately is not shown in the CD version) I read every credit and lyric till the album was done. Everytime I play a
track, it conjures up that Christmas evening - probably the best Christmas in my lifetime. I know that this
album isn't one that people mention often, but the whole setting reflects the mood of the music and
layout, and brings back warm memories :).
remembered most was "Kansas - Monolith". It was out before summer, but it now remains a very
"Winter" album. That Christmas was particularly cold, we were living in West Covina California at the
time, and I was a sophomore in High School. The room seemed all auburn with only the Christmas tree
lights, the fireplace crackling, and the yellow lights of the Grundig Red Oak Console glowing.
I unwrapped the album, opened the lid that made a creaking noise from the small pneumatic hinge, placed
the Lp on the turntable and sat back. Listening to this perfect music, dark, yet warm and soothing, as I
scanned the beautiful album cover (my fave Kansas logo to date) and the inner sleeve (which unfortunately is not shown in the CD version) I read every credit and lyric till the album was done. Everytime I play a
track, it conjures up that Christmas evening - probably the best Christmas in my lifetime. I know that this
album isn't one that people mention often, but the whole setting reflects the mood of the music and
layout, and brings back warm memories :).
"Now I've got nothing to lose, as I see your reflection, all the answers I desire become so clear
Like a page that is turning, I can look into the future without fear"
- Kansas/"A Glimpse of Home"
Like a page that is turning, I can look into the future without fear"
- Kansas/"A Glimpse of Home"
The album was an accumulation of all they had experienced and learned as musicians into something more concise and dynamic. It didn't have the epics they were known for, but "mini epics" that fit within 7 minutes at the most. It was an emphasis on songs, yet they were very progressive, but in a sense like Rush singles on "Permanent Waves", AOR friendly but underneath, there was more to it.
Many of the songs started musically subtle and unassuming with Steve Walsh's voice that would make it more beautiful, but then Livgren and Williams would come in with VERY heavy riffs, and/or the songs
would twist and turn. The only other way to explain the sound is to compare it to Dream Theater's "Image and Words", "Falling Into Infinity", and Fates Warning's "Parallels" and "Inside Out", but mind you, this
was created in 1979.
It was a bit ahead of its time, and for me it was majestic. The recording and engineering was clear and
intricate, any "empty" space was filled with sound. For example, if you listen to the opener "The Other Side" on headphones, in the middle of the track, as Walsh sings, you can hear the beat of wooden "Claves" filling the space and keeping time (or off-time) from the melody. The whole album is like that, its lush with sounds and atmosphere (an album that demands headphones folks, then turn it up on the speakers for a 2nd go! Make sure you do both, for what happens in the song "How my soul cries out for you" if you've never heard the album before).
Everyone's a critic...
I had just witnessed someone getting bent out of shape on YOUtube comments under the song The Other Side, just because someone said that the track was "genius", and they ranted at what they thought was
better. Listing their other albums, as well as other Prog bands. Well, I had to agree with the genius
comment, not only for that song but the whole recording of Monolith, the ambience and everything crafted into this album is pure genius (you can even hear at certain moments how they filter Walsh's voice, and then it becomes clearer to emphasise the words/meaning what he is singing).
The cover and layout matched what was in the music, all put together with imagination and care. But it could Rock, it "Procked"! and it had the soul that Kansas have always exhibited. Again, It was "crafted", not just composed. The band may have been going through turbulent times, which may have attributed to what went into the album, and being what it was for fans like me - Livgren continued on his spiritual
quest, and maybe a majority of fans were wanting more Leftoverture or Masque, but I wanted them to keep pushing forward, I wanted to see what they came up with on the other side. Each album they've made has a special place for me. But this is an album that conjures great memories, and I still listen to it often
because the music is so damn gorgeous.
It is my favorite among the epic and rich albums they have made throughout their illustrious career.
To the nay-sayers, you like what you want, I have no reason to tell you different. But this is my personal
jewel in their catalogue ~ Indeed, it was a Monolith.
Many of the songs started musically subtle and unassuming with Steve Walsh's voice that would make it more beautiful, but then Livgren and Williams would come in with VERY heavy riffs, and/or the songs
would twist and turn. The only other way to explain the sound is to compare it to Dream Theater's "Image and Words", "Falling Into Infinity", and Fates Warning's "Parallels" and "Inside Out", but mind you, this
was created in 1979.
It was a bit ahead of its time, and for me it was majestic. The recording and engineering was clear and
intricate, any "empty" space was filled with sound. For example, if you listen to the opener "The Other Side" on headphones, in the middle of the track, as Walsh sings, you can hear the beat of wooden "Claves" filling the space and keeping time (or off-time) from the melody. The whole album is like that, its lush with sounds and atmosphere (an album that demands headphones folks, then turn it up on the speakers for a 2nd go! Make sure you do both, for what happens in the song "How my soul cries out for you" if you've never heard the album before).
Everyone's a critic...
I had just witnessed someone getting bent out of shape on YOUtube comments under the song The Other Side, just because someone said that the track was "genius", and they ranted at what they thought was
better. Listing their other albums, as well as other Prog bands. Well, I had to agree with the genius
comment, not only for that song but the whole recording of Monolith, the ambience and everything crafted into this album is pure genius (you can even hear at certain moments how they filter Walsh's voice, and then it becomes clearer to emphasise the words/meaning what he is singing).
The cover and layout matched what was in the music, all put together with imagination and care. But it could Rock, it "Procked"! and it had the soul that Kansas have always exhibited. Again, It was "crafted", not just composed. The band may have been going through turbulent times, which may have attributed to what went into the album, and being what it was for fans like me - Livgren continued on his spiritual
quest, and maybe a majority of fans were wanting more Leftoverture or Masque, but I wanted them to keep pushing forward, I wanted to see what they came up with on the other side. Each album they've made has a special place for me. But this is an album that conjures great memories, and I still listen to it often
because the music is so damn gorgeous.
It is my favorite among the epic and rich albums they have made throughout their illustrious career.
To the nay-sayers, you like what you want, I have no reason to tell you different. But this is my personal
jewel in their catalogue ~ Indeed, it was a Monolith.
Trivia: The "shimmering" sound effects at the end of "Glimpse of Home" were pinched by the Prog Metal band Ark on the song "Mother Love" at the beginning and end of the track (you can hear the beginning clearer with the transition from the previous song "At the World's Dawn" ;).
K a n s a s - "M o n o l i t h" (1979)
https://www.youtube.com/playlist?list=PL2DU3TBNutEcAD2DRnKSV4EIYsfIRiBxK
The playlist also includes the 4 "promotional videos" that I saw on Don Kirshner's Rock Concert.
Which have also been available on The Kansas compendium "Sail On".
https://www.youtube.com/playlist?list=PL2DU3TBNutEcAD2DRnKSV4EIYsfIRiBxK
The playlist also includes the 4 "promotional videos" that I saw on Don Kirshner's Rock Concert.
Which have also been available on The Kansas compendium "Sail On".
I was late in life going to see concerts. I was 18 when Kansas released "Vinyl Confessions" and was
invited by my friend Glenn Mayfield to go see them. It was my 1st concert experience and still a fave. The same tour as shown here, even though it was without Steve Walsh, John Elefante was excellent! I have seen them only 3 other times, and hope to see their latest incarnation.
https://www.youtube.com/watch?v=c94AUvVf_hU
invited by my friend Glenn Mayfield to go see them. It was my 1st concert experience and still a fave. The same tour as shown here, even though it was without Steve Walsh, John Elefante was excellent! I have seen them only 3 other times, and hope to see their latest incarnation.
https://www.youtube.com/watch?v=c94AUvVf_hU
Most of the Kansas catalogue of lyrics can be found here:
https://www.musixmatch.com/artist/Kansas/albums
https://www.musixmatch.com/artist/Kansas/albums
Pushing harder . . .
Now with the harder music I was beginning to pick-up on from FM radio (from Montrose, Thin Lizzy,
UFO, Nazareth, Van Halen, to Ozzy, Judas Priest, Scorpions and Black Sabbath), the Kansas sound and a curiosity beginning to actually play guitar, I guess I was looking for a heavier Kansas and Yes, but couldn't imagine the sounds in my head actually making its way on "somebody's" album. My Metal knowledge was just on its feet, so I missed out on many bands already making their mark.
By the time I got fully into Heavy Metal (1980/81), I was super picky, I wanted the musicianship of my
Progressive Rock faves as much as the heaviness of Metal. I discovered Ritchie Blackmore's Rainbow, and then (backwards into) Deep Purple whom, at any given time, were on hiatus, broken-up or a whole different line-up. I would learn of other bands too but Deep Purple and Rainbow peaked my interest in these harder bands that also utilized keyboards and/or, odd-meter, counterpoint exchanges and neo-classical, blues and often jazz-like motifs. This was all so very new to me (albeit late finds) and I was ready
to explore for more of this. Which was sparked further by a local video show called "Rock World" late Saturday nights with an edited version of Rainbow: Live at Castle Donnington's "Monsters of Rock
Festival" (The rest of the show after Cozy segment here). Even though it was after the "Dio" era, I enjoyed
Graham Bonnett's powerful vocals very much on "Down to Earth" and recognized their singles "Since you've been Gone", "All night long" and a particular fave "Lost in Hollywood". It had its very progressive moments, and something in the music clicked with me.
But I would venture backwards (the Dio era) in their catalogue after the Joe Lynn Turner era on "Difficult to Cure" that was released soon after my discovery of Down to Earth, with their more "commercial" sound. But the Castle Donnington performance showed Blackmore in full form with his stage presence and it was very exciting to watch! Often it seemed he was off in his own world as he soloed on guitar, it was as if he were mimicking each note with his mouth and feeling each emotion (hear the guitar FX solo at Castle Donington). For an 18 year old this was awe-inspiring!
What a great time for music too because it was all so new, with limited genres, but the genres were
expanding without a name to put on them.
Coming to an understanding . . .
A few years later I'd discover Rush. Though a bit late in their career, it was "Spirit of Radio" that would give me a taste, but it was a bit over my head. This one song sounded like 3 songs in 1! How do they do that!? I had never heard anything like that and did not know what to make of it (much like when I first heard Genesis). I had no clue what "tempo changes" were, but whatever they were doing with the timing was super intriguing! I wouldn't purchase Permanent Waves till years later.
In 1981, "Moving Pictures" was just released and the singles touched a nerve, this is something really unique here. A friend in school was going to see the Concert and gushed about the band.
I would not purchase my 1st Rush album till "Exit... Stage Left" and "Signals". And after finding my 2nd
job (at a printing press), I'd purchase the whole back catalogue, after going across the street to a Zodys
Department Store and all their Lp's were on sale from $5.99 to $7.99! It's a very fond memory of sitting in my room just being blown away by each album as the needle hit the groove one after the other.
But because of Rush, as an influence and inspiration, many bands would emerge to offer something still
"Metal" yet had different sub-genre influences, but no one could put a name to it. "They sound a lot like
________", would start the trend.
Many of these also had the addition of Thrash Metal (and Speed Metal?) while others melodic, and classical
motifs not heard before, except subtly in the past. Bigger arrangements and experimentation with odd-time signatures, syncopated rhythms, point-counterpoint complex structures, and song lengths going
over the 7 minute mark.
More than blues . . .
Again, Rush was doing this with a slightly harder edge, not quite Metal to today's notion, but these ideas
would inspire others to embellish and expand on these ideas with more of a bite and pension for
musicality. Including other classic Prog Rock influences with a harder edge and/or experimented with
complex compositions from; Kansas, King Crimson, Gentle Giant. And Jazz-Fusion artists; Allan
Holdsworth, Weather Report, Mahavishnu Orchestra, Dixie Dregs, Return To Forever, Al Di Meola and
the like that showed off their chops. But also the complexity of various movements that also had the more
melodic emphasis on songs like Yes, Genesis and ELP.
Also bands that incorporate many Classical, Blues, Jazz and Progressive Rock elements who were "Hard
Rockers" and precursors of the growing Metal movement, adding whatever influenced them; Led
Zeppelin, Uriah Heep, Deep Purple, Queen, Rainbow, Budgie and a few others (earlier albums of UFO,
Judas Priest and the Uli Jon Roth era of Scorpions could be made a point of reference as well).
Guitar "Shredders" would appear combining many of the same themes as instrumentalists, mostly as
"Solo" artists.
Bands like Budgie, Triumph and Zebra (Power Trio's) also had a Hard Rock/Metal edge to the FM "AOR
(Album Oriented Rock)" style, but included Progressive elements (Neo-Classical, Blues, Jazz-Fusion)
sneaking onto radio rock, much like Rush, Rainbow and Led Zeppelin. Though Zeppelin had its share of
Progressive elements on a few tracks, though Hard Rock Blues was always the dominant foundation
(examples: No Quarter, Battle of Evermore, Achilles Last Stand, Kashmir etc.). Playing for the most part
was loose and lucid and precision wasn't as important as the other bands, it all had a more emotional
improvisational "feel" to the song writing. Zeppelin would always be a point of example, having its fans
and critics say; "This music has more Soul", or "________ is too techno for its own good, at-least Zeppelin has
melody". But I was ready for whatever new band had to offer out there. I just needed to find them.
UFO, Nazareth, Van Halen, to Ozzy, Judas Priest, Scorpions and Black Sabbath), the Kansas sound and a curiosity beginning to actually play guitar, I guess I was looking for a heavier Kansas and Yes, but couldn't imagine the sounds in my head actually making its way on "somebody's" album. My Metal knowledge was just on its feet, so I missed out on many bands already making their mark.
By the time I got fully into Heavy Metal (1980/81), I was super picky, I wanted the musicianship of my
Progressive Rock faves as much as the heaviness of Metal. I discovered Ritchie Blackmore's Rainbow, and then (backwards into) Deep Purple whom, at any given time, were on hiatus, broken-up or a whole different line-up. I would learn of other bands too but Deep Purple and Rainbow peaked my interest in these harder bands that also utilized keyboards and/or, odd-meter, counterpoint exchanges and neo-classical, blues and often jazz-like motifs. This was all so very new to me (albeit late finds) and I was ready
to explore for more of this. Which was sparked further by a local video show called "Rock World" late Saturday nights with an edited version of Rainbow: Live at Castle Donnington's "Monsters of Rock
Festival" (The rest of the show after Cozy segment here). Even though it was after the "Dio" era, I enjoyed
Graham Bonnett's powerful vocals very much on "Down to Earth" and recognized their singles "Since you've been Gone", "All night long" and a particular fave "Lost in Hollywood". It had its very progressive moments, and something in the music clicked with me.
But I would venture backwards (the Dio era) in their catalogue after the Joe Lynn Turner era on "Difficult to Cure" that was released soon after my discovery of Down to Earth, with their more "commercial" sound. But the Castle Donnington performance showed Blackmore in full form with his stage presence and it was very exciting to watch! Often it seemed he was off in his own world as he soloed on guitar, it was as if he were mimicking each note with his mouth and feeling each emotion (hear the guitar FX solo at Castle Donington). For an 18 year old this was awe-inspiring!
What a great time for music too because it was all so new, with limited genres, but the genres were
expanding without a name to put on them.
Coming to an understanding . . .
A few years later I'd discover Rush. Though a bit late in their career, it was "Spirit of Radio" that would give me a taste, but it was a bit over my head. This one song sounded like 3 songs in 1! How do they do that!? I had never heard anything like that and did not know what to make of it (much like when I first heard Genesis). I had no clue what "tempo changes" were, but whatever they were doing with the timing was super intriguing! I wouldn't purchase Permanent Waves till years later.
In 1981, "Moving Pictures" was just released and the singles touched a nerve, this is something really unique here. A friend in school was going to see the Concert and gushed about the band.
I would not purchase my 1st Rush album till "Exit... Stage Left" and "Signals". And after finding my 2nd
job (at a printing press), I'd purchase the whole back catalogue, after going across the street to a Zodys
Department Store and all their Lp's were on sale from $5.99 to $7.99! It's a very fond memory of sitting in my room just being blown away by each album as the needle hit the groove one after the other.
But because of Rush, as an influence and inspiration, many bands would emerge to offer something still
"Metal" yet had different sub-genre influences, but no one could put a name to it. "They sound a lot like
________", would start the trend.
Many of these also had the addition of Thrash Metal (and Speed Metal?) while others melodic, and classical
motifs not heard before, except subtly in the past. Bigger arrangements and experimentation with odd-time signatures, syncopated rhythms, point-counterpoint complex structures, and song lengths going
over the 7 minute mark.
More than blues . . .
Again, Rush was doing this with a slightly harder edge, not quite Metal to today's notion, but these ideas
would inspire others to embellish and expand on these ideas with more of a bite and pension for
musicality. Including other classic Prog Rock influences with a harder edge and/or experimented with
complex compositions from; Kansas, King Crimson, Gentle Giant. And Jazz-Fusion artists; Allan
Holdsworth, Weather Report, Mahavishnu Orchestra, Dixie Dregs, Return To Forever, Al Di Meola and
the like that showed off their chops. But also the complexity of various movements that also had the more
melodic emphasis on songs like Yes, Genesis and ELP.
Also bands that incorporate many Classical, Blues, Jazz and Progressive Rock elements who were "Hard
Rockers" and precursors of the growing Metal movement, adding whatever influenced them; Led
Zeppelin, Uriah Heep, Deep Purple, Queen, Rainbow, Budgie and a few others (earlier albums of UFO,
Judas Priest and the Uli Jon Roth era of Scorpions could be made a point of reference as well).
Guitar "Shredders" would appear combining many of the same themes as instrumentalists, mostly as
"Solo" artists.
Bands like Budgie, Triumph and Zebra (Power Trio's) also had a Hard Rock/Metal edge to the FM "AOR
(Album Oriented Rock)" style, but included Progressive elements (Neo-Classical, Blues, Jazz-Fusion)
sneaking onto radio rock, much like Rush, Rainbow and Led Zeppelin. Though Zeppelin had its share of
Progressive elements on a few tracks, though Hard Rock Blues was always the dominant foundation
(examples: No Quarter, Battle of Evermore, Achilles Last Stand, Kashmir etc.). Playing for the most part
was loose and lucid and precision wasn't as important as the other bands, it all had a more emotional
improvisational "feel" to the song writing. Zeppelin would always be a point of example, having its fans
and critics say; "This music has more Soul", or "________ is too techno for its own good, at-least Zeppelin has
melody". But I was ready for whatever new band had to offer out there. I just needed to find them.
To be or not to be Hard, Heavy or Metal . . .
It is also important to note that the term "Heavy Metal" was not widely used till the mid-to late 80's.
Though the"New Wave of British Heavy Metal ("NWOBHM")" clearly defined the sound from 1979 to
approximately 1985. International as-well as the U.S. bands started to emerge rapidly by 1982-83.
I go into a bit more depth in my essay "Classical meets Metal" toward the end (See the "Opus Insert").
The Grandfathers of this heavier music set the stage for what was to come. The Metal wave was still at a distance, so those few in the know titled these musics Heavy Rock, or Hard Rock. The various influences
blended together and were hammered and shaped into many forms until taking on its inevitable casts,
extremes, and quenched as Heavy Metal. But the pounding and hammering continues on.
It is also important to note that the term "Heavy Metal" was not widely used till the mid-to late 80's.
Though the"New Wave of British Heavy Metal ("NWOBHM")" clearly defined the sound from 1979 to
approximately 1985. International as-well as the U.S. bands started to emerge rapidly by 1982-83.
I go into a bit more depth in my essay "Classical meets Metal" toward the end (See the "Opus Insert").
The Grandfathers of this heavier music set the stage for what was to come. The Metal wave was still at a distance, so those few in the know titled these musics Heavy Rock, or Hard Rock. The various influences
blended together and were hammered and shaped into many forms until taking on its inevitable casts,
extremes, and quenched as Heavy Metal. But the pounding and hammering continues on.
Seeds for the future.
I submit these examples of bands as a direct influence of what was to come. They were much more than
just "Hard Rock". Their ingredients came from whatever they were raised on. If it was; Rhythm & Blues, Funk, Soul, Rock, Jazz, Classical, Blues, Progressive Rock. But infused with Fantasy, Science Fiction,
Mythology, epic tales, social, self-introspection, world plight, politics and life stories. As well as the
proverbial "Love song" (dare I say; Ballads too). Each album progressed into something else, sometimes simpler, commercial, more concise, or all out "progressive" and experimental.
Boundaries were being broken, or at-least perceptions of what Hard Rock had to be. Keyboards were as
prevalent as Yes, Genesis, ELP, or UK, but there was a constant "Bite" to the music, more attack, and often
more self-indulgent, which can be a good or bad thing depending on your taste. For these ears, I didn't
mind it at all. I wanted to hear the musicians full potential, and I had plenty of other music interests to
augment the variety I enjoyed. For every mood and whatever spoke to me.
This excited me! Everything I wanted out of Metal, but had the elements of Progressive Rock, which was a
musical form I embraced as a whole - But I was a bit spoiled, there were some "attempts" I couldn't get
into, even though I respected the "polish" and almost perfection in their abilities to play their respective
instruments like those in an orchestra - certain bands sounded either too wimpy or not well put together (if it was badly constructed lyrics, compositions, and or instrument "tones", or overproduction that
watered down the guitars or "edge" of a song). For the most part, each band was an enthralling experience
to put an LP on a turntable and take it all in.
I submit these examples of bands as a direct influence of what was to come. They were much more than
just "Hard Rock". Their ingredients came from whatever they were raised on. If it was; Rhythm & Blues, Funk, Soul, Rock, Jazz, Classical, Blues, Progressive Rock. But infused with Fantasy, Science Fiction,
Mythology, epic tales, social, self-introspection, world plight, politics and life stories. As well as the
proverbial "Love song" (dare I say; Ballads too). Each album progressed into something else, sometimes simpler, commercial, more concise, or all out "progressive" and experimental.
Boundaries were being broken, or at-least perceptions of what Hard Rock had to be. Keyboards were as
prevalent as Yes, Genesis, ELP, or UK, but there was a constant "Bite" to the music, more attack, and often
more self-indulgent, which can be a good or bad thing depending on your taste. For these ears, I didn't
mind it at all. I wanted to hear the musicians full potential, and I had plenty of other music interests to
augment the variety I enjoyed. For every mood and whatever spoke to me.
This excited me! Everything I wanted out of Metal, but had the elements of Progressive Rock, which was a
musical form I embraced as a whole - But I was a bit spoiled, there were some "attempts" I couldn't get
into, even though I respected the "polish" and almost perfection in their abilities to play their respective
instruments like those in an orchestra - certain bands sounded either too wimpy or not well put together (if it was badly constructed lyrics, compositions, and or instrument "tones", or overproduction that
watered down the guitars or "edge" of a song). For the most part, each band was an enthralling experience
to put an LP on a turntable and take it all in.
Shades of Purple . . .
"The fireball that we rode was moving, but now we've got a new machine, yeah yeah yeah yeah the
freaks say, yeah those cats can really swing . . ."
- Deep Purple/"Space Truckin' "
For the exception of Rush, who would use keyboards to enhance the drama and was not so-much for
soloing (though Geddy did have a few), but adding colours for the various shades of music and to fill the gaps in-between the Drums, Bass, Guitar and Vocals that were in front - 7 years prior Deep Purple were the band that could be ultra heavy for its time, with keyboards in the forefront along with the guitar as a
lead and rhythm instrument. Though many did not like it, many more took it for what it was and put them
at the top of heap as many fans and musicians were highly influenced or inspired by them.
And Ritchie Blackmore inspiring soo many guitarists, with his re-arranging the blues and embracing
Classical motifs, as well as being a showman and letting out his violence with his Strat.
And Jon Lord making the guitar even heavier with his amplified Hammond Organ, playing rhythm,
harmonizing with Blackmore, or taking a left turn and going off soloing on his own with his wide range of musical knowledge at his fingertips.
The backbeat of Ian Paice and Roger Glover were excellent laying it down, Roger with his groove and Ian's technique that he squeezed into his small kit, but played with finesse and technicality as if in a Big Band
Jazz Orchestra, but with a harder edge.
And Ian Gillan as the voice to add the rage and hints of R&B, Blues yet could sing, wail and SCREAM like a banshee with incredible highs. He poured heart and soul into each word and song with many sources of music to draw from to make the perfect voice for the band's high energy and aggression
Though they didn't have that heaviness for their 1st 3 albums, they were finding their way, and by the 4th
album with the new MK II lineup, they were the 1st band of its kind to play with an Orchestra (let me re-emphasise that, the "first", before even ELP). Way ahead of their time in many respects, and would create iconic music, even if the band were at odds at times with each other - they are living legends (one of the greatest losses in Rock history, losing the innovative Keyboardist Jon Lord in 2012) in Hard Rock music, and one of its important branches in the development of Heavy Metal (though its members may have questioned if they were "Heavy Metal"). I would also follow the David Coverdale and Glenn Hughes era of Purple as well, but not the era after Blackmore leaving. To me he was the core band member leading the way (saying this, I did get into the current Steve Morse era because I am such a huge fan of his). But I will have to try out the Tommy Bolin era soon.
Made in Japan Documentary . . .
https://youtu.be/bJ6dFY0nbcU
Setting the standard for Hard Rock, and Live Albums . . .
- Deep Purple - Made in Japan (1972):
https://youtu.be/psFdqiPfhmg
Most of Deep Purple's lyric catalogue can be found here:
https://www.musixmatch.com/artist/Deep-Purple/albums
I was also able to see Deep Purple reform the original line-up for the album "Perfect Strangers" and
perform in 1985 at the Long Beach Arena. They were incredibly amazing and Ian Gillan's voice was as
powerful as it was in the early 70's, his screams and high notes during "Child in Time" were astounding and shook the arena! Jon Lords keyboard solo as well as Blackmore's "sound effect" and musical solo panning back and forth from the front to the back of the arena was pretty spectacular. Was my only time to see the great Purple but its a very cherished memory.
The roots of the Deep Purple Family Tree would extend its branches far and wide, seeping through the bloodstream of heavier music . . .
freaks say, yeah those cats can really swing . . ."
- Deep Purple/"Space Truckin' "
For the exception of Rush, who would use keyboards to enhance the drama and was not so-much for
soloing (though Geddy did have a few), but adding colours for the various shades of music and to fill the gaps in-between the Drums, Bass, Guitar and Vocals that were in front - 7 years prior Deep Purple were the band that could be ultra heavy for its time, with keyboards in the forefront along with the guitar as a
lead and rhythm instrument. Though many did not like it, many more took it for what it was and put them
at the top of heap as many fans and musicians were highly influenced or inspired by them.
And Ritchie Blackmore inspiring soo many guitarists, with his re-arranging the blues and embracing
Classical motifs, as well as being a showman and letting out his violence with his Strat.
And Jon Lord making the guitar even heavier with his amplified Hammond Organ, playing rhythm,
harmonizing with Blackmore, or taking a left turn and going off soloing on his own with his wide range of musical knowledge at his fingertips.
The backbeat of Ian Paice and Roger Glover were excellent laying it down, Roger with his groove and Ian's technique that he squeezed into his small kit, but played with finesse and technicality as if in a Big Band
Jazz Orchestra, but with a harder edge.
And Ian Gillan as the voice to add the rage and hints of R&B, Blues yet could sing, wail and SCREAM like a banshee with incredible highs. He poured heart and soul into each word and song with many sources of music to draw from to make the perfect voice for the band's high energy and aggression
Though they didn't have that heaviness for their 1st 3 albums, they were finding their way, and by the 4th
album with the new MK II lineup, they were the 1st band of its kind to play with an Orchestra (let me re-emphasise that, the "first", before even ELP). Way ahead of their time in many respects, and would create iconic music, even if the band were at odds at times with each other - they are living legends (one of the greatest losses in Rock history, losing the innovative Keyboardist Jon Lord in 2012) in Hard Rock music, and one of its important branches in the development of Heavy Metal (though its members may have questioned if they were "Heavy Metal"). I would also follow the David Coverdale and Glenn Hughes era of Purple as well, but not the era after Blackmore leaving. To me he was the core band member leading the way (saying this, I did get into the current Steve Morse era because I am such a huge fan of his). But I will have to try out the Tommy Bolin era soon.
Made in Japan Documentary . . .
https://youtu.be/bJ6dFY0nbcU
Setting the standard for Hard Rock, and Live Albums . . .
- Deep Purple - Made in Japan (1972):
https://youtu.be/psFdqiPfhmg
Most of Deep Purple's lyric catalogue can be found here:
https://www.musixmatch.com/artist/Deep-Purple/albums
I was also able to see Deep Purple reform the original line-up for the album "Perfect Strangers" and
perform in 1985 at the Long Beach Arena. They were incredibly amazing and Ian Gillan's voice was as
powerful as it was in the early 70's, his screams and high notes during "Child in Time" were astounding and shook the arena! Jon Lords keyboard solo as well as Blackmore's "sound effect" and musical solo panning back and forth from the front to the back of the arena was pretty spectacular. Was my only time to see the great Purple but its a very cherished memory.
The roots of the Deep Purple Family Tree would extend its branches far and wide, seeping through the bloodstream of heavier music . . .
- Deep Purple, and Uriah Heep were cut from the same cloth of UK Rock/Blues, with a heavy emphasis on the
B3 Hammond Organ that was as overdriven as the Guitars, adding that extra punch to the notes.
- When Guitarist Ritchie Blackmore left Deep Purple, he wanted to get away from the Funk and Blues-based
music that seemed to be the direction of the David Coverdale/Glenn Hughes era of the band . . .
- The Baroque motifs were becoming more prominent, as the classical influence brought on the want of the
more fantasy faire to the lyrical content.
"In a different time when the words didn't rhyme, you could never quite be sure
Then on with the change it was simple but strange, and you knew the feeling seemed to say it all
It cries for you! . . ."
- Rainbow/"Long Live Rock 'n Roll"
Then on with the change it was simple but strange, and you knew the feeling seemed to say it all
It cries for you! . . ."
- Rainbow/"Long Live Rock 'n Roll"
So Blackmore created Rainbow; a band where he could express more of the fantasy themes that Deep Purple had touched on, and branch-out musically.
Sure the Blues would still make its way in, but now Neo-Classical motifs, along with more adventurous
and contemporary Keyboard sounds enhanced Blackmore's new direction (especially on the 2nd album
with "Tony Carey"). A slightly larger Drum sound with double bass (found in"Cozy Powell" on the 2nd
thru 4th album, who had also played for Jeff Beck) and lyrics that became thematic, more poetic and
fantastical. And that he would gain with the addition of "Elf" (a Blues-based Rock band) vocalist Ronnie James Dio who was a charismatic showman as much as Blackmore, and a soaring voice for this new band. Including a gift for writing lyrics that could be straight-forward, or esoteric and prolific.
It was a powerful voice that emoted all the themes Blackmore was looking for, and a discovery that would forever change and inspire the next level of Metal music and its vocalists to come.
Sure the Blues would still make its way in, but now Neo-Classical motifs, along with more adventurous
and contemporary Keyboard sounds enhanced Blackmore's new direction (especially on the 2nd album
with "Tony Carey"). A slightly larger Drum sound with double bass (found in"Cozy Powell" on the 2nd
thru 4th album, who had also played for Jeff Beck) and lyrics that became thematic, more poetic and
fantastical. And that he would gain with the addition of "Elf" (a Blues-based Rock band) vocalist Ronnie James Dio who was a charismatic showman as much as Blackmore, and a soaring voice for this new band. Including a gift for writing lyrics that could be straight-forward, or esoteric and prolific.
It was a powerful voice that emoted all the themes Blackmore was looking for, and a discovery that would forever change and inspire the next level of Metal music and its vocalists to come.
- Dio as a child listened to many Opera's, as a Tenor he was influenced by "Mario Lanza". And according to his interview with HM Magazine; "Despite being known for his powerful singing voice, Dio claimed never to have taken any vocal training. Rather, he attributed his singing ability to the use of correct breathing techniques learned while playing trumpet (from his early career)".
Dio would later join Black Sabbath replacing Ozzy Osbourne, adding a new sound and influence to the band. Later pursuing a solo career under the name "Dio" and along with his era with Sabbath, creating one of the seeds for "Powermetal" which could also find its progressive elements (incorporating Thrash, Classical, Fusion and Prog Rock thematics, which vocally also added the more higher keys and operatic tones).
Rainbow became my new favorite band, along with Ritchie Blackmore as a Guitarist of many sides along with his stage presence, and at the time, my limited viewings of Rainbow and Deep Purple from rare appearances on TV. I would never get a chance to see Rainbow, but I would see 5 album Tours for Dio starting with "Holy Diver" and one of Dio's later years where he performed many Rainbow songs that I thought I might never see in my lifetime, in which I was soo emotionally moved, my eyes were full of tears.
This was in 2006, the 1st leg of the "Holy Diver Anniversary Tour", it was a great but bittersweet show. After the show there was an incredible "Red Moon" in the sky as I stood on a balcony at the House of Blues in Anaheim, and the next day I had found out after a day at work my Father had passed on ~ Even though we butted heads in my late teens onward, I loved him very much, and it was because of him that I became such a huge music fan. Without going into further details it was tough to see him and all the regret floods you as if you were drowning. Its devastating when you think of all that wasted energy when it all could have been resolved with level heads and respecting each other's lives . . .
"Yeah, sometimes I cry for the lost and alone, and for their dreams that will all be ashes
But lately I feel like I'm just gonna' rain, and it goes over, and over, and over again!"
- Black Sabbath/"Over and Over"
This was in 2006, the 1st leg of the "Holy Diver Anniversary Tour", it was a great but bittersweet show. After the show there was an incredible "Red Moon" in the sky as I stood on a balcony at the House of Blues in Anaheim, and the next day I had found out after a day at work my Father had passed on ~ Even though we butted heads in my late teens onward, I loved him very much, and it was because of him that I became such a huge music fan. Without going into further details it was tough to see him and all the regret floods you as if you were drowning. Its devastating when you think of all that wasted energy when it all could have been resolved with level heads and respecting each other's lives . . .
"Yeah, sometimes I cry for the lost and alone, and for their dreams that will all be ashes
But lately I feel like I'm just gonna' rain, and it goes over, and over, and over again!"
- Black Sabbath/"Over and Over"
The album that I gravitated to the most . . .
Rainbow - "Long Live Rock 'n Roll" (1978):
https://youtu.be/7UFEKH9GfOs
Maybe it's the cover art that fit the music within. I was really into
medieval history and the film "Excalibur". The cover, "Lady of the
Lake", "Kill the King" and "Rainbow Eye's" were songs that
reflected that. Though the album "Rising" is the more likely fan
favorite, I loved it too, but there was something about the, for lack
of a better word, maturity of this album. Apparently this was a
"commercial" album trying to get on the charts, but it has some very heavy hard rocking songs.
"Lady of the Lake" and "Gates of Babylon" were definitely the progressive side. While "Long Live Rock 'n
Roll", "LA Connection", "The Shed", "Sensitive to Light" and "Kill the King" were the heavier faire.
I love this album, and when I finally discovered it in 1981, I played it just about everyday for months. But
I guess I also played Rising and "On Stage" just as often. Everytime I see that beautiful art on the cover, it takes me back to sitting in front of my turntable, while reading the lyric sheet and scanning over the inside gatefold (even as a 18 year old I could see that the banner was altered, I guess because I was a budding artist). Gates of Babylon and Kill the King have been covered by many Metal bands as both have lasted the
test of time (and many are excellent!) but the original has the charm and dynamics of Cozy Powell's powerful drumming, Blackmore's wailing guitar and tone, and Dio's one of a kind vocals that can never be duplicated.
"Rainbow Eyes" is such a beautiful song to end with, the recorder and strings takes it over the top along with Dio's perfect voice, well suited for such a baroque piece. And a swan song for his tenure . . .
This would be the last album for Ronnie James Dio unfortunately, as he would join Black Sabbath in 1979.
I know I may be burned at the stake, but I can actually hear Dio singing on the following album "Down to Earth", but it may have been quite the departure for him. He would make some exceptional music with
Sabbath in the years to come.
This album has since been re-released as a remastered Deluxe Edition with bonus tracks in 2012, along
with Down to Earth and previous albums.
Lyrics: https://genius.com/albums/Rainbow/Long-live-rock-n-roll
Rainbow - "Long Live Rock 'n Roll" (1978):
https://youtu.be/7UFEKH9GfOs
Maybe it's the cover art that fit the music within. I was really into
medieval history and the film "Excalibur". The cover, "Lady of the
Lake", "Kill the King" and "Rainbow Eye's" were songs that
reflected that. Though the album "Rising" is the more likely fan
favorite, I loved it too, but there was something about the, for lack
of a better word, maturity of this album. Apparently this was a
"commercial" album trying to get on the charts, but it has some very heavy hard rocking songs.
"Lady of the Lake" and "Gates of Babylon" were definitely the progressive side. While "Long Live Rock 'n
Roll", "LA Connection", "The Shed", "Sensitive to Light" and "Kill the King" were the heavier faire.
I love this album, and when I finally discovered it in 1981, I played it just about everyday for months. But
I guess I also played Rising and "On Stage" just as often. Everytime I see that beautiful art on the cover, it takes me back to sitting in front of my turntable, while reading the lyric sheet and scanning over the inside gatefold (even as a 18 year old I could see that the banner was altered, I guess because I was a budding artist). Gates of Babylon and Kill the King have been covered by many Metal bands as both have lasted the
test of time (and many are excellent!) but the original has the charm and dynamics of Cozy Powell's powerful drumming, Blackmore's wailing guitar and tone, and Dio's one of a kind vocals that can never be duplicated.
"Rainbow Eyes" is such a beautiful song to end with, the recorder and strings takes it over the top along with Dio's perfect voice, well suited for such a baroque piece. And a swan song for his tenure . . .
This would be the last album for Ronnie James Dio unfortunately, as he would join Black Sabbath in 1979.
I know I may be burned at the stake, but I can actually hear Dio singing on the following album "Down to Earth", but it may have been quite the departure for him. He would make some exceptional music with
Sabbath in the years to come.
This album has since been re-released as a remastered Deluxe Edition with bonus tracks in 2012, along
with Down to Earth and previous albums.
Lyrics: https://genius.com/albums/Rainbow/Long-live-rock-n-roll
I would also become a "Rainbow Collector" of Lp's, Ep's and anything I could get my hands on (this was the same for Yes, Rush and Kansas). Though I have a long way to go as I'm sure compared to others I have a tiny collection, it will be fun when I'm back on my feet to purchase more rare finds and all the new
releases of remasters and DVD's :).
Rainbow's entire catalogue of lyrics can be found here:
http://www.darklyrics.com/r/rainbow.html
releases of remasters and DVD's :).
Rainbow's entire catalogue of lyrics can be found here:
http://www.darklyrics.com/r/rainbow.html
Tales of Uriah . . .
- Uriah Heep had been in my ears because of AOR Radio and their American "Hits" that reached our shores (and UK Pop Charts). Later in my teens I'd meet someone who was very much into them, as well as the Art that graced the covers. But they wouldn't make their way into my collection for some reason, till much later in life.
It was clear though that the "David Byron / Ken Hensley" era was what interested me the most. Like Jon
Lord of Deep Purple, Ken was master of the Hammond B3 as a main instrument among his Synth arsenal.
Though he also sang Lead and played various Guitars with Lead Guitarist Mick Box.
David Byron was a vocalist that was very much a combination of Purple's Ian Gillan / David Coverdale,
having a wide range of vocal styles, but very bluesy and just as powerful.
Their lyrical topics ranged from Fantasy to just about anything else which had no time constraints as
they could be from 3:00 to almost 11:00 minute Epics with dramatic interludes.
They have an impressive catalogue which spans 24 albums from 1970 to 2014, so it will be my task to
explore their musical journey as line-ups changed.
Most lyrics by Uriah Heep can be found here: https://genius.com/search?q=uriah+heep
Lord of Deep Purple, Ken was master of the Hammond B3 as a main instrument among his Synth arsenal.
Though he also sang Lead and played various Guitars with Lead Guitarist Mick Box.
David Byron was a vocalist that was very much a combination of Purple's Ian Gillan / David Coverdale,
having a wide range of vocal styles, but very bluesy and just as powerful.
Their lyrical topics ranged from Fantasy to just about anything else which had no time constraints as
they could be from 3:00 to almost 11:00 minute Epics with dramatic interludes.
They have an impressive catalogue which spans 24 albums from 1970 to 2014, so it will be my task to
explore their musical journey as line-ups changed.
Most lyrics by Uriah Heep can be found here: https://genius.com/search?q=uriah+heep
In her Majesty's Service . . .
Queen is a band that can be disputed as being another precursor of the heavier Rock meeting the
progressive. Yes, they were touted as an AOR band, but again, they were different than their peers. They were adding various music tropes that ranged from; turn of the century music, blues, classical/opera, pop and blending it all into a style never heard before. They were taking rock into a new road that yet again,
would influence the next generation forming a new chapter.
progressive. Yes, they were touted as an AOR band, but again, they were different than their peers. They were adding various music tropes that ranged from; turn of the century music, blues, classical/opera, pop and blending it all into a style never heard before. They were taking rock into a new road that yet again,
would influence the next generation forming a new chapter.
- About the same time of Uriah Heep, Queen was another unique English voice in Hard Rock. Literally with the Operatic and dramatic vocals of "Freddie Mercury" as lead Showman. And another unique voice by way of guitar tone from "Brian May" who could play any style, and had a gift for producing. He had built his guitar (The "Red Special") from scratch with his father as a teen. Along with May, who could sing as-well (Lead and Back-up), was their excellent Drummer "Roger Taylor" (a powerhouse in his own right) who had a rougher vocal style that complimented Freddie's various ranges (over 4 octaves; Baritone, Bass, Soprano and Tenor). So there were some great 3 and 4-part harmonies going on in most of their songs (with Bassist/Keyboardist "John Deacon").
Biographer David Bret ("Living on the Edge: The Freddie Mercury Story") described Freddie's voice as
"escalating within a few bars from a deep, throaty rock-growl to tender, vibrant tenor, then on to a high-pitched,
perfect coloratura, pure and crystalline in the upper reaches". All this with no formal training.
With all these elements, it made this "AOR Hard Rock" seem a bit more progressive. With its carny, opera,
fantasy and rock anthemed motifs. Love/lust, introspective laden lyrics to brief or epic songs, and just about every type of music thrown in for good measure. Either by their Hit Singles or fan fave B-Sides, it
was very progressive if you listened carefully, but it was subtle enough if you didn't pay attention because
of their emphasis on songwriting along with the music.
I came to really respect Brian May though, much later in my adulthood. His guitar "tone" was so unique,
especially when it was doubled/split in-studio, on their albums. He had a stage presence as big as Freddie in my humble opinion.
But for me at that time of their popularity, other than hearing "Killer Queen", "Bohemian Rhapsody" and
2 female cousins of mine who were into them, I did not really get into Queen till later in my life. But it was
the earlier days of the band that I'd embrace, the heavier days (with the few exceptions later, especially their last album "Innuendo").
"escalating within a few bars from a deep, throaty rock-growl to tender, vibrant tenor, then on to a high-pitched,
perfect coloratura, pure and crystalline in the upper reaches". All this with no formal training.
With all these elements, it made this "AOR Hard Rock" seem a bit more progressive. With its carny, opera,
fantasy and rock anthemed motifs. Love/lust, introspective laden lyrics to brief or epic songs, and just about every type of music thrown in for good measure. Either by their Hit Singles or fan fave B-Sides, it
was very progressive if you listened carefully, but it was subtle enough if you didn't pay attention because
of their emphasis on songwriting along with the music.
I came to really respect Brian May though, much later in my adulthood. His guitar "tone" was so unique,
especially when it was doubled/split in-studio, on their albums. He had a stage presence as big as Freddie in my humble opinion.
But for me at that time of their popularity, other than hearing "Killer Queen", "Bohemian Rhapsody" and
2 female cousins of mine who were into them, I did not really get into Queen till later in my life. But it was
the earlier days of the band that I'd embrace, the heavier days (with the few exceptions later, especially their last album "Innuendo").
- I do believe these 2 voices; Dio and Freddie (along with Judas Priest's "Rob Halford") would be the voice of the Progressive Metal and Powermetal (and other sub-genres) to come, to inspire and influence.
Lyrics to the entire Queen catalogue can be found at their official site:
http://www.queenonline.com/en/the-band/discography/queen-album/
http://www.queenonline.com/en/the-band/discography/queen-album/
A branch off the Maple Tree.
"The Godfathers of Progressive Metal"
Raised on Cream, Buffalo Springfield, The Who, The Beatles, Genesis, King Crimson, Yes, Deep Purple, Led
Zeppelin and more - It is Toronto Ontario's Rush that many believe are the main influence for the
Progressive Metal wave with their heavier side of Progressive Rock. With its high production value,
experimentation, odd-time signatures and musicianship played at a higher level that was more precise.
Again, many a critic would say; "it was too mechanical, lacks feeling, emotion and soul". But it struck a chord
with the growing following, no one else was playing like this. That playing with such perfection you
needed the skills as well as a soul to perform in such a degree, that this music could have the same
discipline as any Classical or Jazz Musician playing with all they had learned to master their instruments.
And for a Trio to sound so HUGE, to understand how to record, engineer and mix (including when playing
Live on-stage). Such music set a standard for Prog Metal to be on par with Progressive Rock and to play
"tight". I was very happy that they also appreciated various musics throughout their career.
They weren't afraid to admit that the times shaped era's of their music and not afraid to embrace and
incorporate those styles within their compositions, just enough to enhance the sound and be current, but
they created something unique out of it, their own voice.
Zeppelin and more - It is Toronto Ontario's Rush that many believe are the main influence for the
Progressive Metal wave with their heavier side of Progressive Rock. With its high production value,
experimentation, odd-time signatures and musicianship played at a higher level that was more precise.
Again, many a critic would say; "it was too mechanical, lacks feeling, emotion and soul". But it struck a chord
with the growing following, no one else was playing like this. That playing with such perfection you
needed the skills as well as a soul to perform in such a degree, that this music could have the same
discipline as any Classical or Jazz Musician playing with all they had learned to master their instruments.
And for a Trio to sound so HUGE, to understand how to record, engineer and mix (including when playing
Live on-stage). Such music set a standard for Prog Metal to be on par with Progressive Rock and to play
"tight". I was very happy that they also appreciated various musics throughout their career.
They weren't afraid to admit that the times shaped era's of their music and not afraid to embrace and
incorporate those styles within their compositions, just enough to enhance the sound and be current, but
they created something unique out of it, their own voice.
- Lyrically, the intelligence of the songs no matter what the topic, became an important ingredient and it was another strong influence for what was to come. And for most of the lyrics to be written by a well-read Drummer "Neil Peart", who's technical efficiency, complex arrangements were amazing in itself. To create such beautifully constructed words in prolific prose pushed the band even further. If the earlier days of the band were known for their Sci-Fi/Fantasy themes, so to (and more-so later in their career) were the introspective and worldly topics that were very identifiable in our own lives. His words resonated with the everyday man.
His drumming was incredible to listen to and watch, with his kit growing larger by each album, yet he utilized every piece of percussion, as well as embracing new technology.
- "Geddy Lee", who has the most unique voice in Rock (along with fellow Bassist/Vocalist Burke Shelley of Budgie) was also an outstanding Bassist who would not only laydown the pulse, but could create multi-layered and intricate notes as if playing a Guitar (and often having a brief solo here and there) playing back and forth with the Lead riffs. And his Bass tone is like no other. And could add any style from anywhere at a drop of a hat.
Lets not forget that he also plays Keyboards and uses Taurus Pedals (with his feet) in-between Bass or at the same time as he sings! The man can't stand still as he leaps to and fro or does the "Geddy goose step", and interacts with Alex and Neil on stage at every show.
- "Alex Lifeson" is a master of full-landscapes in his Guitar abilities, through various styles within everything he plays. His technique makes it sound like two guitarists, its HIS signature along with his tone. You know right off the bat that's Alex. From Classical expressions, complex multi-layered chords and riffs to Jazz/Fusion influenced structures (only overdriven) or Hard Rock Anthemic emotive fills (and that signature scrape of the pick across the fretboard!), leads and solos that make his guitars cry or scream in desperation. He is not only a technician but an emotional, soulful musician that takes the band to any direction they need to be. If subtle or in your face, its why he is my fave guitarist.
I give a simple (yet complex) example of how the 3 interact with each other:
One of my faves, if not THEE fave solo that Alex Lifeson has created, is from their famous hit song
"Freewill" ~ Take a listen while you read, then sit back and take it all in . . .
Rush - "Freewill" (1980):
https://youtu.be/OnxkfLe4G74
But this is more of a mad combination of Jazz Fusion, shred, technicality and emotional creativity. The flash of chords that are thrown into the middle of the soloing - that extraordinary signature technique he has that make him sound like 2 guitarists (which he pulls off live)! It happens so fast that he must have 4 hands! Note: I do realize, many times on album, its overdubs/layering of the chords with soloing, but Alex takes care of both live, which is amazing to hear and watch.
It wasn't until I got older and more mature in my hearing when I noticed what Geddy was doing on Bass after he sets Alex up for the solo - Listen to what Ged plays in the background! As if Jaco and McLaughlin
turned the overdrive up and let loose!
Neil Peart not only in the words he puts together, but the drumming is incredible during the solo as well
- as Ged and he counterpoint Alex. Astounding!
But ironically, it was the 1st single off this album that left me perplexed when I 1st heard it.
One of my faves, if not THEE fave solo that Alex Lifeson has created, is from their famous hit song
"Freewill" ~ Take a listen while you read, then sit back and take it all in . . .
Rush - "Freewill" (1980):
https://youtu.be/OnxkfLe4G74
But this is more of a mad combination of Jazz Fusion, shred, technicality and emotional creativity. The flash of chords that are thrown into the middle of the soloing - that extraordinary signature technique he has that make him sound like 2 guitarists (which he pulls off live)! It happens so fast that he must have 4 hands! Note: I do realize, many times on album, its overdubs/layering of the chords with soloing, but Alex takes care of both live, which is amazing to hear and watch.
It wasn't until I got older and more mature in my hearing when I noticed what Geddy was doing on Bass after he sets Alex up for the solo - Listen to what Ged plays in the background! As if Jaco and McLaughlin
turned the overdrive up and let loose!
Neil Peart not only in the words he puts together, but the drumming is incredible during the solo as well
- as Ged and he counterpoint Alex. Astounding!
But ironically, it was the 1st single off this album that left me perplexed when I 1st heard it.
Finding my way . . .
The 1st time I had "seen" Rush was a visit to the supermarket with my mom in 1978. In the nearby corner
of the stripmall, there was a new record shop, though it mostly catered to R&B, on a turnstile I was
spinning, there was this light blue album that caught my attention.
I pulled it out and to my surprise, there was:
1. A "brain".
2. A naked man standing on it in an eloquent pose.
3. With his attention to this chap in a suit and derby.
With a bewildered smirk I put it back and thought "How gay...". Ha! I had no idea at the time what might be
the music within, that would be represented by this album cover.
I was just an ignorant 15 year old, also in having an album in my hands, as if it was a rare gift, a long lost treasure box that I had no idea what could be waiting for me inside. It would become my FAVE Rush album
many years later. But that unique logo had always intrigued me, as if it represented "who" they actually
were (thanks to their cover artist since "Caress of Steel", the creative 4th member Hugh Syme, who would also design their iconic "Man vs Star", representing the purity of man against the masses).
Hemispheres would be played on my turntable over and over, especially in the dark on headphones, just
laying back on my bed and letting it take me away, especially Side A.
But that would come after discovering THIS song and album, that completely blew me away:
https://youtu.be/1OMibr8CqQ4
And that it continued on Hemispheres was something I'd never experienced before in Rock music, but it is
because of Kansas, that I was set-up, ready to have my senses open to what music could be. Now, being
taken to the next level. And to bands not getting as much airplay as other bands, or none at all.
The 1st time I had "seen" Rush was a visit to the supermarket with my mom in 1978. In the nearby corner
of the stripmall, there was a new record shop, though it mostly catered to R&B, on a turnstile I was
spinning, there was this light blue album that caught my attention.
I pulled it out and to my surprise, there was:
1. A "brain".
2. A naked man standing on it in an eloquent pose.
3. With his attention to this chap in a suit and derby.
With a bewildered smirk I put it back and thought "How gay...". Ha! I had no idea at the time what might be
the music within, that would be represented by this album cover.
I was just an ignorant 15 year old, also in having an album in my hands, as if it was a rare gift, a long lost treasure box that I had no idea what could be waiting for me inside. It would become my FAVE Rush album
many years later. But that unique logo had always intrigued me, as if it represented "who" they actually
were (thanks to their cover artist since "Caress of Steel", the creative 4th member Hugh Syme, who would also design their iconic "Man vs Star", representing the purity of man against the masses).
Hemispheres would be played on my turntable over and over, especially in the dark on headphones, just
laying back on my bed and letting it take me away, especially Side A.
But that would come after discovering THIS song and album, that completely blew me away:
https://youtu.be/1OMibr8CqQ4
And that it continued on Hemispheres was something I'd never experienced before in Rock music, but it is
because of Kansas, that I was set-up, ready to have my senses open to what music could be. Now, being
taken to the next level. And to bands not getting as much airplay as other bands, or none at all.
But what got me into Rush, was a classmate in Continuation School. I was not into school at all (except my Advanced Drawing class) for various reasons that started from experiences living in Louisiana dealing with
bullies and teachers that were just as screwed-up, in Catholic School. I wasn't a "bad" kid, I just couldn't
learn as easy as the other kids, I was always different. So it went as I got older, I was a huge disappointment to my parents - not graduating with my classmates in high school, I just didn't care. I had always read on my own, had interests in world history & military history, art, especially Sci-Fi/Fantasy (just starting my collection in Art of books and magazines), film of just about all types (except the gory type/grindhouse horror), various musics, played soccer and catch/football for fun, and studied Shotokan Karate for 5 years (in Louisiana). Though "music" was just becoming my newest passion as was art & illustrators.
But in 1981 I went to continuation school to get my diploma and met a kid that looked 10 years older (ha!). He was a "bear"of a guy with semi long brown hair, but he actually was very smart and articulate, he was like the (much) smarter, more mature version of me, another black sheep that just thought differently. He was soon going to see Rush on the "Moving Pictures" Tour. And he would tell me about them in detail, which intrigued me. This album was the catalyst for me to become totally enthralled with Rush.
The first time hearing them was their 1st single from Permanent Waves, "The Spirit of Radio". A song we all take for granted now, even for many who are tired of hearing it as its one of their tracks that ironically the radio overplays, but who knew that it would become such a classic in 1980? I sure didn't, because . . . I didn't know what to make of it!
This was something I NEVER heard before. Not just because of the vocal style (which was the least of what I didn't understand, I actually liked and accepted it right off), but how the hell did they make the song sound like 3-4 songs in 1?
I used to whistle a lot, I got that from my Father who was always whistling various songs, so it rubbed off on me. I used to imitate various instruments and would make up my own melodies. Many a time had this concept, without knowing what it was called, melodies that would change from one moment to the next. Radical ideas for a kid just learning about music, and here I was in the shower whistling odd meter
techniques I did not understand as of yet (odd-meter/time signature, polyrhythms, tempo-changes,
modulation, modes, motifs, phrases, etc.. Its a wonder I didn't become a musician :P) . . .
That's what Spirit of Radio was all to me, but come to fruition. I could not perceive it in reality, so this song was a bit beyond me.
The band talks about the album, during or shortly after its release: https://youtu.be/XGK2uWbOH30
bullies and teachers that were just as screwed-up, in Catholic School. I wasn't a "bad" kid, I just couldn't
learn as easy as the other kids, I was always different. So it went as I got older, I was a huge disappointment to my parents - not graduating with my classmates in high school, I just didn't care. I had always read on my own, had interests in world history & military history, art, especially Sci-Fi/Fantasy (just starting my collection in Art of books and magazines), film of just about all types (except the gory type/grindhouse horror), various musics, played soccer and catch/football for fun, and studied Shotokan Karate for 5 years (in Louisiana). Though "music" was just becoming my newest passion as was art & illustrators.
But in 1981 I went to continuation school to get my diploma and met a kid that looked 10 years older (ha!). He was a "bear"of a guy with semi long brown hair, but he actually was very smart and articulate, he was like the (much) smarter, more mature version of me, another black sheep that just thought differently. He was soon going to see Rush on the "Moving Pictures" Tour. And he would tell me about them in detail, which intrigued me. This album was the catalyst for me to become totally enthralled with Rush.
The first time hearing them was their 1st single from Permanent Waves, "The Spirit of Radio". A song we all take for granted now, even for many who are tired of hearing it as its one of their tracks that ironically the radio overplays, but who knew that it would become such a classic in 1980? I sure didn't, because . . . I didn't know what to make of it!
This was something I NEVER heard before. Not just because of the vocal style (which was the least of what I didn't understand, I actually liked and accepted it right off), but how the hell did they make the song sound like 3-4 songs in 1?
I used to whistle a lot, I got that from my Father who was always whistling various songs, so it rubbed off on me. I used to imitate various instruments and would make up my own melodies. Many a time had this concept, without knowing what it was called, melodies that would change from one moment to the next. Radical ideas for a kid just learning about music, and here I was in the shower whistling odd meter
techniques I did not understand as of yet (odd-meter/time signature, polyrhythms, tempo-changes,
modulation, modes, motifs, phrases, etc.. Its a wonder I didn't become a musician :P) . . .
That's what Spirit of Radio was all to me, but come to fruition. I could not perceive it in reality, so this song was a bit beyond me.
The band talks about the album, during or shortly after its release: https://youtu.be/XGK2uWbOH30
Take a listen to it, and imagine yourself back in 1980, not NOW when most Metal, Prog Rock & Metal bands use these musical elements on a regular basis - take that out of your head and imagine hearing this in 1980 and all the other music that existed then. I can think of the few Progressive Rock bands doing this of course, but especially Yes on the heavier album Drama, and the latest lineup in the 80's for King Crimson, but this was still very different . . .
Break it down . . .
- The Opening riff (a "Radio Waves" interpretation perhaps? Invisible airwaves crackle with life) . . .
- At 0:05 The famous percussive beats of drums, overlayed guitar and bass literally kick in . . .
- A very fluid beginning, it has time changes that are pretty radical but they make it almost subtle. It begins as a harder edged AOR song (Begin the day with a friendly voice indeed!) . . .
- So with that, the 1st time change is at about 0:15 as an intro - it slowly creeps in the 1st melody at about 0:30
- With that seemingly lengthy intro we start at 0:40 with Ged singing "Begin the day with a friendly voice..."
- At about 1:26 for the chorus we recapitulate (recapitulation) back to the opening guitar "Radio Waves" riff that sets up the song and then we continue with the songs AOR melody . . .
- And into the chorus again with the same sounds, and now into the melody solo at 2:52 - And here's where it went over my head, as this kid was just learning about music . . .
- About 1:32 the intro/Radio Waves riff introduces the radical time change!
- At 3:36 we enter almost a totally different song with the recapitulation of the melody at 0:16!
- 3:49 we then have the Ska/Reggae riffs that come out of left field . . .
- 3:59 Concert Hall! we have the next change with the opening riff (which always reminded me of some sort of quasi-Jazz/Stage Show motif) that started at 0:30 - Crowd goes wild! . . .
- About 4:04, back to the Ska/Reggae riffs/melody - Of salesmen...
- 4:10 back to the "stage show" riff - 4:17 Of Salesmen! fade-in the fantastic solo which displays just about everything in Alex Lifeson's arsenal with Geddy laying down the heavy Bass melody -
- Back to the stage show riff including the constant beat of Geddy on the piano with one key into the sweep . . .
- Last change at 4:45 with the recapitulation of the "radio waves" riff and the triumphant ending! POW! (Let me also include that what Neil Peart was doing through all this was akin to Jazz/Fusion - intricate and precise, that anyone needing to read its sheets of music could not just play it by the notes, but needed the "soul" to play it like the professor).
You can also watch Alex break it down here:
https://youtu.be/RyjJeTpHScw
Playthrough: https://youtu.be/rSsRBxdse7k
- okay, so I had never heard Alex describe the opening sounds till "just" watching this link (from 2007), so I'm now very happy that he describes it very much how I interpreted it * pats myself on my back :p.
. . . it went totally over my head when I 1st heard it! My brain was not ready for it yet. It's amazing to
me that a song like that became an instant hit on AOR radio, even if on the FM dial. A song a bit heavier
than most, with progressive elements infused with soo many time changes and radical movements.
Moving Pictures (also hear an interview with the Neil Peart on the album, and the band also reflect on it
years later with 2112) eased my way into this new understanding what music could be (almost the same
reaction as above, a few years later, would be for one of the founding bands of Prog Metal - Fates Warning.
I will expand on that in the next chapter).
By the time "Exit... Stage Left", the live recording came, I was ready to jump right into their past.
The spirit of music.
There was also this excellent observation by a fellow fan of these "Reaction Videos" who pointed out:
"I think "The Spirit of Radio" has so many transitions and different genre feels in it because the whole song is
meant to reflect listening to the radio and changing the channels as you go through the day, or even more
existentially the way your musical taste changes and evolves/matures as you go through life".
- Jonathan Woodson
These type of videos as well, for us veteran fans, help us relive the 1st time we heard many a Rush song,
and how blown away we were by their talents and skills.
To expand on this . . .
me that a song like that became an instant hit on AOR radio, even if on the FM dial. A song a bit heavier
than most, with progressive elements infused with soo many time changes and radical movements.
Moving Pictures (also hear an interview with the Neil Peart on the album, and the band also reflect on it
years later with 2112) eased my way into this new understanding what music could be (almost the same
reaction as above, a few years later, would be for one of the founding bands of Prog Metal - Fates Warning.
I will expand on that in the next chapter).
By the time "Exit... Stage Left", the live recording came, I was ready to jump right into their past.
The spirit of music.
There was also this excellent observation by a fellow fan of these "Reaction Videos" who pointed out:
"I think "The Spirit of Radio" has so many transitions and different genre feels in it because the whole song is
meant to reflect listening to the radio and changing the channels as you go through the day, or even more
existentially the way your musical taste changes and evolves/matures as you go through life".
- Jonathan Woodson
These type of videos as well, for us veteran fans, help us relive the 1st time we heard many a Rush song,
and how blown away we were by their talents and skills.
To expand on this . . .
A changing of the dial . . .
Many people have described why the song is structured the way it is and the sound/music shifts within;
- The 1st sound is Alex emulating "Radio Waves" on his guitar (he always figures out a way to "describe" a sound through his guitar).
- The shifts in tempo is basically changing the radio dial.
- The change to ska, same principle (a sound they get into more on the next album Moving Pictures with
"Vital Signs" and on the album after Signals with "Digital Man", "The Weapon" and "New World Man") of
changing the dial to one station to another.
"New Wave" was becoming the thing and reggae/ska was a big influencer in the music (see The Police). Rush also embraced the new music as well.
- The guitar solo is various radio frequencies, sounds of changing the dial, trying to get it focused on a
station etc. Like we used to do on our stereos trying to get a station from out of town or the county.
- The lyrical content is of a by-gone era where "Glittering prizes and endless compromises, shatter the
illusion of integrity" (the "critics" hated that line) took away the "Freedom of music" that had promise,
and influenced artistic change. But instead, Radio stations were being bought out by conglomerates, no
more independence from the big corporations, and radio just became muzak for the masses. And Rock died
a slow death, became something else, and I followed it all into the underground and bought music through
word of mouth, trade-mags and blind purchases. I gave-up on radio in 1997. But Rush was able to get their
audience before its demise, even when many critics were trashing them and making fun of its core
audience.
Many people have described why the song is structured the way it is and the sound/music shifts within;
- The 1st sound is Alex emulating "Radio Waves" on his guitar (he always figures out a way to "describe" a sound through his guitar).
- The shifts in tempo is basically changing the radio dial.
- The change to ska, same principle (a sound they get into more on the next album Moving Pictures with
"Vital Signs" and on the album after Signals with "Digital Man", "The Weapon" and "New World Man") of
changing the dial to one station to another.
"New Wave" was becoming the thing and reggae/ska was a big influencer in the music (see The Police). Rush also embraced the new music as well.
- The guitar solo is various radio frequencies, sounds of changing the dial, trying to get it focused on a
station etc. Like we used to do on our stereos trying to get a station from out of town or the county.
- The lyrical content is of a by-gone era where "Glittering prizes and endless compromises, shatter the
illusion of integrity" (the "critics" hated that line) took away the "Freedom of music" that had promise,
and influenced artistic change. But instead, Radio stations were being bought out by conglomerates, no
more independence from the big corporations, and radio just became muzak for the masses. And Rock died
a slow death, became something else, and I followed it all into the underground and bought music through
word of mouth, trade-mags and blind purchases. I gave-up on radio in 1997. But Rush was able to get their
audience before its demise, even when many critics were trashing them and making fun of its core
audience.
~ The Philosophy of the Guitar "Narrative" ~
This recent video was a revelation to me . . .
Though I figured, with all the topics that Neil had written, it was Alex (and at times Geddy) that had to
"Emotionally" tell the story, of what was felt in the emotion of the subject matter. A sound that you
connected to, a sonic representation of a meaning, a phrase, theme, or an aural/physical sound or
soundscape that made you think of how it related to the song, and what you were to perceive; "My God! He
created a sound that makes me think of __________!". If it was pain, love, laughter, loss, longing,
confusion, anger, bitterness, what we could achieve to living the dream (or not), or what it took to grab the brass ring, it was Alex that would manifest those emotions in a pivotal part of the song . . . the solo.
Again, he did it with the changing of the radio dial & air waves in "The Spirit of Radio", but on many other
songs, he became the narrator or sound designer/sound editor for our senses, the audience, to understand
what they were feeling. And here he explains that with the solo of "Limelight"; a little influence from Allan
Holdsworth's "Legato" style, his own improvisation at the moment, and the philosophy behind it . . .
Though I figured, with all the topics that Neil had written, it was Alex (and at times Geddy) that had to
"Emotionally" tell the story, of what was felt in the emotion of the subject matter. A sound that you
connected to, a sonic representation of a meaning, a phrase, theme, or an aural/physical sound or
soundscape that made you think of how it related to the song, and what you were to perceive; "My God! He
created a sound that makes me think of __________!". If it was pain, love, laughter, loss, longing,
confusion, anger, bitterness, what we could achieve to living the dream (or not), or what it took to grab the brass ring, it was Alex that would manifest those emotions in a pivotal part of the song . . . the solo.
Again, he did it with the changing of the radio dial & air waves in "The Spirit of Radio", but on many other
songs, he became the narrator or sound designer/sound editor for our senses, the audience, to understand
what they were feeling. And here he explains that with the solo of "Limelight"; a little influence from Allan
Holdsworth's "Legato" style, his own improvisation at the moment, and the philosophy behind it . . .
I'd listen to as many interviews, simulcasts of live shows, read and buy magazines with articles on all or
individual members to become a total fanatic of the band. Was blessed to see them since "Signals", but
missed the "Counterparts Tour", and 1 other tour before the official "Clockwork Angels Tour", but made
sure I saw the last for their farewell 40th Anniversary at Irvine Meadows Ca. that was very bittersweet :').
No matter if its their hit singles, or deep cuts on every album (even from those certain albums that many
hardly mention or don't care for), there was something for me to point out lyrically or how each stood out
as musicians. It was all there to dig in deeply, rave and enjoy.
They also have a familiar sense of humor that I could also relate to, if its on stage/back stage, interviews or
a fly on the wall watching them interact with each other. It was refreshing to see a band actually have a
great time and enjoy each other's company. They don't take themselves as serious as the critics and even
some of their own fans perceive them.
You can also get to know more about them throughout the years right here:
https://www.youtube.com/playlist?list=PL2DU3TBNutEfeaQgz5ywBdM7VOfuHMcz4
Rush were indeed the Go-Between, the influence and inspiration for the harder edged Progressive Rock to
morph into something heavier . . .
individual members to become a total fanatic of the band. Was blessed to see them since "Signals", but
missed the "Counterparts Tour", and 1 other tour before the official "Clockwork Angels Tour", but made
sure I saw the last for their farewell 40th Anniversary at Irvine Meadows Ca. that was very bittersweet :').
No matter if its their hit singles, or deep cuts on every album (even from those certain albums that many
hardly mention or don't care for), there was something for me to point out lyrically or how each stood out
as musicians. It was all there to dig in deeply, rave and enjoy.
They also have a familiar sense of humor that I could also relate to, if its on stage/back stage, interviews or
a fly on the wall watching them interact with each other. It was refreshing to see a band actually have a
great time and enjoy each other's company. They don't take themselves as serious as the critics and even
some of their own fans perceive them.
You can also get to know more about them throughout the years right here:
https://www.youtube.com/playlist?list=PL2DU3TBNutEfeaQgz5ywBdM7VOfuHMcz4
Rush were indeed the Go-Between, the influence and inspiration for the harder edged Progressive Rock to
morph into something heavier . . .
"Heavy Metal Progressive Rock"
(as said in a documentary circa "1980"):
http://youtu.be/NZkCajA_ghc?t=1m
(as said in a documentary circa "1980"):
http://youtu.be/NZkCajA_ghc?t=1m
~ What the band thinks of the accolades on Donald Sutherland's script, is another story ;) ~
Re-examining the past.
Now that you have put yourself in the mind-frame of the early days, possibly before many of you were born to witness these early up and coming bands (but that's great! You can get excited as we did back in the day!), let's listen to the sounds of the past, before "Heavy Metal" was the term used. Everyone who had a harder edge were either "Hard Rock" or "Heavy Rock" until The New Wave of British Heavy Metal changed the genre for the more aggressive, heavier sound. But for now let's take a listen to these tracks from Rush's earlier albums . . .
- Debut album (1974):
Finding my Way
What you're doing
Before and After
Working Man
Now if this wasn't HEAVY for 1974, then you are denying your ears and mind for its time (one of 2 songs
that didn't make the final cut):
Garden Road (Live)
For the sake of argument, maybe this album is as hard and heavy as the heavier Led Zeppelin songs. But
then we have the next album . . .
- Fly By Night (1975):
Anthem
Best I can
Beneath, Between & Behind
Bytor and the Snowdog
In the End
- Caress of Steel (1976):
Bastille Day
The Necromancer
The Fountain of Lamneth
Hmm . . . Maybe "Heavy Prog's" 1st concept piece?
- 2112 (1976):
2112
Something from Nothing
How about live?
- All the World's a Stage (1976)
- Farewell to Kings (1977)
Xanadu
Cygnus X-1
How are these songs not as heavy as Dream Theater's "Images and Words" in 1992?
The same can be said for . . .
- Hemispheres (1978)
Hemispheres: Cygnus X-1 Book II
Circumstances
La Villa Strangiato
So was this AS heavy as other bands before 1978? Forget what you know for the past 25 years and put
yourself in front of the FM radio or your older brothers, or even your "Dad's" turntable and think what it
was like to hear these albums for the 1st time and think about who else was playing like this?
Later songs, much like modern Prog Metal, starting out a song mellow/melodic as a prelude to the more
aggressive themes and ending with a grander intense crescendo . . . so why is this not "metal", if this genre
title was used earlier in the days of hard rock/heavy rock?
. . . its something to ponder.
Now that you have put yourself in the mind-frame of the early days, possibly before many of you were born to witness these early up and coming bands (but that's great! You can get excited as we did back in the day!), let's listen to the sounds of the past, before "Heavy Metal" was the term used. Everyone who had a harder edge were either "Hard Rock" or "Heavy Rock" until The New Wave of British Heavy Metal changed the genre for the more aggressive, heavier sound. But for now let's take a listen to these tracks from Rush's earlier albums . . .
- Debut album (1974):
Finding my Way
What you're doing
Before and After
Working Man
Now if this wasn't HEAVY for 1974, then you are denying your ears and mind for its time (one of 2 songs
that didn't make the final cut):
Garden Road (Live)
For the sake of argument, maybe this album is as hard and heavy as the heavier Led Zeppelin songs. But
then we have the next album . . .
- Fly By Night (1975):
Anthem
Best I can
Beneath, Between & Behind
Bytor and the Snowdog
In the End
- Caress of Steel (1976):
Bastille Day
The Necromancer
The Fountain of Lamneth
Hmm . . . Maybe "Heavy Prog's" 1st concept piece?
- 2112 (1976):
2112
Something from Nothing
How about live?
- All the World's a Stage (1976)
- Farewell to Kings (1977)
Xanadu
Cygnus X-1
How are these songs not as heavy as Dream Theater's "Images and Words" in 1992?
The same can be said for . . .
- Hemispheres (1978)
Hemispheres: Cygnus X-1 Book II
Circumstances
La Villa Strangiato
So was this AS heavy as other bands before 1978? Forget what you know for the past 25 years and put
yourself in front of the FM radio or your older brothers, or even your "Dad's" turntable and think what it
was like to hear these albums for the 1st time and think about who else was playing like this?
Later songs, much like modern Prog Metal, starting out a song mellow/melodic as a prelude to the more
aggressive themes and ending with a grander intense crescendo . . . so why is this not "metal", if this genre
title was used earlier in the days of hard rock/heavy rock?
. . . its something to ponder.
"All the world’s indeed a stage, and we are merely players
Performers and portrayers, each another’s audience
Outside the gilded cage"
- Rush/"Limelight"
Performers and portrayers, each another’s audience
Outside the gilded cage"
- Rush/"Limelight"
A rush of inspiration . . .
It is always amazing to hear who was inspired and influenced by Rush, if it was directly from the three
members abilities with their instruments, Peart's lyrical prowess, and/or the songs they were able to put
together from any era of the band that stood out for its peers to take notice and say "that was a turning
point for me", "That was the album/song that spoke to me and made me want to be a musician".
I can watch a random interview and hear RUSH come out of the mouth of any given musician out there.
From AOR Rockers, Alternative, Death Metal, Thrashers and a slew of others, especially in Prog Metal and
Neo-Progressive Rockers. From the likes of; Meshuggah, Gene Hoglan (Drummer/Lyricist for his band
Dark Angel, also drummer for Death, Strapping Young Lad, Testament), Fates Warning, Enchant,
Sebastian Bach (Skid Row), Kirk Hammett (of Metallica), Dream Theater, Mike Portnoy, (ex drummer
of Dream Theater), John Petrucci, Mike Mangini (guitarist and drummer for Dream Theater), Steve
Wilson (of Porcupine Tree, Bass Communion), Yngwie J. Malmsteen, Queensryche, Paul Gilbert, Billy
Corgan (of Smashing Pumpkins), Primus, Ty Tabor (of King's X), Mastodon, Chad Smith (Red Hot Chili
Peppers) and so many more that admire, as youngsters learning, to adults still enjoying their music.
Rush entire catalogue of lyrics can be found officially at their site: http://www.rush.com/albums/
It is always amazing to hear who was inspired and influenced by Rush, if it was directly from the three
members abilities with their instruments, Peart's lyrical prowess, and/or the songs they were able to put
together from any era of the band that stood out for its peers to take notice and say "that was a turning
point for me", "That was the album/song that spoke to me and made me want to be a musician".
I can watch a random interview and hear RUSH come out of the mouth of any given musician out there.
From AOR Rockers, Alternative, Death Metal, Thrashers and a slew of others, especially in Prog Metal and
Neo-Progressive Rockers. From the likes of; Meshuggah, Gene Hoglan (Drummer/Lyricist for his band
Dark Angel, also drummer for Death, Strapping Young Lad, Testament), Fates Warning, Enchant,
Sebastian Bach (Skid Row), Kirk Hammett (of Metallica), Dream Theater, Mike Portnoy, (ex drummer
of Dream Theater), John Petrucci, Mike Mangini (guitarist and drummer for Dream Theater), Steve
Wilson (of Porcupine Tree, Bass Communion), Yngwie J. Malmsteen, Queensryche, Paul Gilbert, Billy
Corgan (of Smashing Pumpkins), Primus, Ty Tabor (of King's X), Mastodon, Chad Smith (Red Hot Chili
Peppers) and so many more that admire, as youngsters learning, to adults still enjoying their music.
Rush entire catalogue of lyrics can be found officially at their site: http://www.rush.com/albums/
A personal archive of my favorite tracks from their entire catalogue
and special additions along the way, as they progressed, matured and
added to the world a unique difference to Rock music.
Please click on the album cover for the Playlist, and share with the
uninitiated.
The original album was released in 1978 which featured the 1st 3 Rush
albums, and was only released on Lp/Vinyl. It was available in the grey
cover as shown, and a black version.
and special additions along the way, as they progressed, matured and
added to the world a unique difference to Rock music.
Please click on the album cover for the Playlist, and share with the
uninitiated.
The original album was released in 1978 which featured the 1st 3 Rush
albums, and was only released on Lp/Vinyl. It was available in the grey
cover as shown, and a black version.
"The treasure of a life is a measure of love and respect
The way you live, the gifts that you give
In the fullness of time
It’s the only return that you expect
The future disappears into memory
With only a moment between
Forever dwells in that moment
Hope is what remains to be seen"
- The Garden
The way you live, the gifts that you give
In the fullness of time
It’s the only return that you expect
The future disappears into memory
With only a moment between
Forever dwells in that moment
Hope is what remains to be seen"
- The Garden
| Neil Ellwood Peart |
September 12, 1952 ~ January 7, 2020
September 12, 1952 ~ January 7, 2020
To what you left, to those you loved and cared for. To those you influenced and inspired. To those who
were moved to tears, motivated and left with introspection of your words. And your chops as a drummer
extraordinaire, who shaped peers and air-drummer alike. You are sorely missed, but your words and
music, and the roads you paved and ventured, will live on generation after generation.
For those that were all near and dear to you who brought you love and great joy, to those that waited for
you to call you home, and your partners in crime and their families . . .
were moved to tears, motivated and left with introspection of your words. And your chops as a drummer
extraordinaire, who shaped peers and air-drummer alike. You are sorely missed, but your words and
music, and the roads you paved and ventured, will live on generation after generation.
For those that were all near and dear to you who brought you love and great joy, to those that waited for
you to call you home, and your partners in crime and their families . . .
"At the speed of love, the radiance that travels
At the speed of love, my heart goes out to you"
At the speed of love, my heart goes out to you"
The Grey area . . .
"Welcome to the Grand illusion, come on in and see what's happening, pay the price
get your tickets for the show!"
- Styx/"Grand Illusion"
get your tickets for the show!"
- Styx/"Grand Illusion"
An observation of a Chicago Hard Rock Band.
I also submit Styx of Chicago Illinois, although a very contentious subject how "Prog" were they? I can discuss till I'm blue in the face how progressive they were, but fans and naysayers will argue different.
For me it was all there, dramatic music with an AOR sound. But various sub-structures, moods, tempos,
classical breaks (mainly from Dennis DeYoung's HUGE Keyboard sounds that were VERY prevalent in most
of the songs along with soloing) and concepts/themes fully developed with epic compositions, along with hard rocking songs that were short enough for FM Radio. I hear many bands of today (Prog Rock and
Metal) that don't stray far from what Styx had done, yet they are called "Progressive" without hesitation.
I do believe Styx fits in nicely with the history. From its earlier days till their last studio albums, and their so-called "Pop" era. If "ELO" can be considered Prog with their many "Hits", why not Styx? Prog with a heavier punch.
But here it lingers in that grey area that teeters either way to each ear that has heard them throughout
their career. I wouldn't buy my 1st Styx album until (my favorite) I received "Pieces of Eight" as a
Christmas gift and then go backwards through their history.
It seemed they would lose that heavier edge after Pieces, I began to drift after "Paradise Theatre". Even a
song like "Lady" had an edge to it. "Midnight Ride", "Born for Adventure", "Shooz", "Miss America",
"Renegade", "Blue Collar Man", "The Great White Hope", "Queen of Spades", "Eddie" and close enough
for Progressive Heavy Rock "Lords of the Ring", "Crystal Ball", "Grand Illusion", "Castle Walls", and "I'm
Okay" (yet again, like today's Prog Metal, starting a song off very melodic and gradually getting heavier as
the song progresses further).
They were heavy without trying (I say that because of the cheesy "Heavy Metal Poisoning" as if they were
trying too hard - thanks "Dennis DeYoung"? :p).
Below I will provide a number of their albums to illustrate how harder the music became with each album,
the various themes they touch-on, as-well as how the production value and writing style from the album "Man of Miracles" jumped to "Equinox" (and at this time, creating songs that became "Hit Singles").
Btw - Dennis himself does NOT think that Styx is a "Progressive Rock Band" - Oh the disappointment! :D
Also see: In my later years I discovered a Prog Metal band called "Ice Age" which is featured later in this
essay, the vocalist Josh Pincas is very reminiscent of Dennis DeYoung of Styx. Including another Prog Metal
band "Vox Tempus" (who once called themselves "Equinox") whose vocalist Dan Reed also sounded like DeYoung. And earlier/later albums by "Sun Caged", their vocalist André Vuurboom (who also sang for
"Sphere of Souls") and Paul Adrian Villarreal sounded at times like Tommy Shaw.
For me it was all there, dramatic music with an AOR sound. But various sub-structures, moods, tempos,
classical breaks (mainly from Dennis DeYoung's HUGE Keyboard sounds that were VERY prevalent in most
of the songs along with soloing) and concepts/themes fully developed with epic compositions, along with hard rocking songs that were short enough for FM Radio. I hear many bands of today (Prog Rock and
Metal) that don't stray far from what Styx had done, yet they are called "Progressive" without hesitation.
I do believe Styx fits in nicely with the history. From its earlier days till their last studio albums, and their so-called "Pop" era. If "ELO" can be considered Prog with their many "Hits", why not Styx? Prog with a heavier punch.
But here it lingers in that grey area that teeters either way to each ear that has heard them throughout
their career. I wouldn't buy my 1st Styx album until (my favorite) I received "Pieces of Eight" as a
Christmas gift and then go backwards through their history.
It seemed they would lose that heavier edge after Pieces, I began to drift after "Paradise Theatre". Even a
song like "Lady" had an edge to it. "Midnight Ride", "Born for Adventure", "Shooz", "Miss America",
"Renegade", "Blue Collar Man", "The Great White Hope", "Queen of Spades", "Eddie" and close enough
for Progressive Heavy Rock "Lords of the Ring", "Crystal Ball", "Grand Illusion", "Castle Walls", and "I'm
Okay" (yet again, like today's Prog Metal, starting a song off very melodic and gradually getting heavier as
the song progresses further).
They were heavy without trying (I say that because of the cheesy "Heavy Metal Poisoning" as if they were
trying too hard - thanks "Dennis DeYoung"? :p).
Below I will provide a number of their albums to illustrate how harder the music became with each album,
the various themes they touch-on, as-well as how the production value and writing style from the album "Man of Miracles" jumped to "Equinox" (and at this time, creating songs that became "Hit Singles").
Btw - Dennis himself does NOT think that Styx is a "Progressive Rock Band" - Oh the disappointment! :D
Also see: In my later years I discovered a Prog Metal band called "Ice Age" which is featured later in this
essay, the vocalist Josh Pincas is very reminiscent of Dennis DeYoung of Styx. Including another Prog Metal
band "Vox Tempus" (who once called themselves "Equinox") whose vocalist Dan Reed also sounded like DeYoung. And earlier/later albums by "Sun Caged", their vocalist André Vuurboom (who also sang for
"Sphere of Souls") and Paul Adrian Villarreal sounded at times like Tommy Shaw.
I leave you with this comparison . . .
Styx - "Castle Walls" (1977) vs Opeth - "A Fair Judgement" & "For Absent Friends" (2002)
(I thought this when hearing "Opeth - Deliverance" for the first time)
Styx - "Castle Walls" (1977) vs Opeth - "A Fair Judgement" & "For Absent Friends" (2002)
(I thought this when hearing "Opeth - Deliverance" for the first time)
Most lyrics by Styx can be located here: https://www.musixmatch.com/artist/Styx-4/albums
I guess let the "hate mail" commence, but I only hear what I hear, and I hear bits and pieces of the past with the new. More to come
with the following (and past) bands, so if you lose your lunch, I hope you understand that this is a journey that I traveled and am just
relaying what these ears have heard for decades. YOUR hearing may differ ;). I just hope you can be civil and not give into the madness
and anger as on YOUtube. Just be sure to remember the word "precursor". Now go get something to eat, your stomach is empty . . .
with the following (and past) bands, so if you lose your lunch, I hope you understand that this is a journey that I traveled and am just
relaying what these ears have heard for decades. YOUR hearing may differ ;). I just hope you can be civil and not give into the madness
and anger as on YOUtube. Just be sure to remember the word "precursor". Now go get something to eat, your stomach is empty . . .
Another Ontario saga . . .
"You'd better stop the running 'round and listen, 'Cause when the lights come up i'll have my eye on you!"
- Saga/"No Stranger"
- Saga/"No Stranger"
While Rush and the other power trio of Canada, the Heavy Metal/Hard Rockers Triumph (which I'll go in depth later) put the Great White North on the map - Progressive Rockers Saga were making a name for themselves. I discovered them on the very album that added them on the map of AOR Radio when it debuted in 1981; "Worlds Apart" which included the songs; "Wind him Up" and "On the Loose".
I loved this album, often playing it late at night on headphones, especially enjoying the various effects on the closer "No Stranger", as the Projector played past album tracks as-well as what just transpired on the album.
But this band had a "bite" to their music, they were in-between Hard Rock, AOR and Prog much like
"Enchant" from San Francisco (another I'll feature later) which wouldn't come to our ears for many years. In the case of Saga, not "metal" per-say but a heavier side at times, with a finesse and polish like many prog bands, but their music was unlike anyone else's.
I'd also go backwards and then forwards in their catalogue becoming a huge fan. As their sound changed from the Prog Rock to an almost "AOR Pop Prog" feel, and back again to their roots. But by their 4th
album Worlds Apart, they found their sound with an edge.
Vocalist "Michael Sadler" would become yet another fave vocalist (and also plays Keyboards, Bass and
electronic percussion), who really hasn't lost his voice at all to my amazement after all these years!
Every member of Saga is truly amazing, many of them being multi-instrumentalists.
And I loved the unique sounds of keyboards (and Clarinet) by "Jim Gilmour" who also sings lead and
back-up from time to time. "Ian Critchton" reminded me a bit of Al Di Meola with his unique staccato
style, only a bit heavier, who had many interesting fills and techniques playing in any given style a song called for. Also Ian and Jim dueling and harmonizing with each other is awesome to hear and watch!
His brother "Jim Critchton" is an excellent bassist that also plays Synths, as well as Bass on the keys.
And their Drummer (who left Saga permanently in 2003) "Steve Negus", with his Jazz/Fusion-like style, was the engine that pounded the rhythm in any time signature with his acoustic/electronic kit whom he would duel with Michael Sadler when he'd bring out . . . "the Case".
Throughout their career they have teetered from the straight ahead Prog Rock style, a Pop influence (just
about "danceable") to Hard/Heavy Rock, but always with that Progressive tone that wasn't just "Rock" or any semblance of blues-based rock. They were very tight on-stage as well, though they hardly toured the States sadly, they were bigger in Europe but especially throughout Germany for some reason, who embraced them.
They also treated us from time to time with "Chapters" which was a conceptual theme that started in 1978.
After the band took a detour for a more poppy sound (which I loved, they did it in a way that was still the Saga sound), they returned in 1995 - at the time, I had no idea that Saga was still recording (I had missed 3 albums!), and at a Record Store called "Lou's Records" in Encinitas Calif., where I found "Generation 13", it was as if they said; So you guys want a real Progressive album again? Well how about a full concept album!?
I was floored - it was funny, strange, VERY progressive and in my opinion it reinvented the band. It was very contemporary, but still Saga. The albums after were a combination of their pre-Worlds Apart sound with a bit of the new which was wonderful.
But 2 albums would have a different bite of their own; "Pleasure & the Pain" (1997) had a definite Metal tinge to it, though not a very popular album with fans but I loved it.
The other saw the surprising loss of Michael Sadler as he tried to have more time with Family and start a solo career. He was replaced with a very capable vocalist "Rob Moratti" and the hard-edged "The Human Condition" (2009). But a huge wave of fans wanted Sadler back into the fold ~ Saga heard the call and
Michael came back for "20/20" in 2012, and is the vocalist to take them into parts unknown (including
their latest album "Sagacity" for 2014).
They still play precise on-stage and we are treated with many videos for us that don't have the
opportunity to see them face to face ~ they have been making great music for almost 40 years.
Here you can see various era's of the band live:
1981 Germany:
https://youtu.be/zL9rh8TKAI0
Live in Bonn 2002:
https://youtu.be/HXHKW9CuIWg
Most of the lyrics to Saga's catalogue can be found here:
https://www.musixmatch.com/artist/Saga-2/albums
Saga Q & A from 2014:
https://www.youtube.com/watch?v=QQQPlY7uZtQ
I loved this album, often playing it late at night on headphones, especially enjoying the various effects on the closer "No Stranger", as the Projector played past album tracks as-well as what just transpired on the album.
But this band had a "bite" to their music, they were in-between Hard Rock, AOR and Prog much like
"Enchant" from San Francisco (another I'll feature later) which wouldn't come to our ears for many years. In the case of Saga, not "metal" per-say but a heavier side at times, with a finesse and polish like many prog bands, but their music was unlike anyone else's.
I'd also go backwards and then forwards in their catalogue becoming a huge fan. As their sound changed from the Prog Rock to an almost "AOR Pop Prog" feel, and back again to their roots. But by their 4th
album Worlds Apart, they found their sound with an edge.
Vocalist "Michael Sadler" would become yet another fave vocalist (and also plays Keyboards, Bass and
electronic percussion), who really hasn't lost his voice at all to my amazement after all these years!
Every member of Saga is truly amazing, many of them being multi-instrumentalists.
And I loved the unique sounds of keyboards (and Clarinet) by "Jim Gilmour" who also sings lead and
back-up from time to time. "Ian Critchton" reminded me a bit of Al Di Meola with his unique staccato
style, only a bit heavier, who had many interesting fills and techniques playing in any given style a song called for. Also Ian and Jim dueling and harmonizing with each other is awesome to hear and watch!
His brother "Jim Critchton" is an excellent bassist that also plays Synths, as well as Bass on the keys.
And their Drummer (who left Saga permanently in 2003) "Steve Negus", with his Jazz/Fusion-like style, was the engine that pounded the rhythm in any time signature with his acoustic/electronic kit whom he would duel with Michael Sadler when he'd bring out . . . "the Case".
Throughout their career they have teetered from the straight ahead Prog Rock style, a Pop influence (just
about "danceable") to Hard/Heavy Rock, but always with that Progressive tone that wasn't just "Rock" or any semblance of blues-based rock. They were very tight on-stage as well, though they hardly toured the States sadly, they were bigger in Europe but especially throughout Germany for some reason, who embraced them.
They also treated us from time to time with "Chapters" which was a conceptual theme that started in 1978.
After the band took a detour for a more poppy sound (which I loved, they did it in a way that was still the Saga sound), they returned in 1995 - at the time, I had no idea that Saga was still recording (I had missed 3 albums!), and at a Record Store called "Lou's Records" in Encinitas Calif., where I found "Generation 13", it was as if they said; So you guys want a real Progressive album again? Well how about a full concept album!?
I was floored - it was funny, strange, VERY progressive and in my opinion it reinvented the band. It was very contemporary, but still Saga. The albums after were a combination of their pre-Worlds Apart sound with a bit of the new which was wonderful.
But 2 albums would have a different bite of their own; "Pleasure & the Pain" (1997) had a definite Metal tinge to it, though not a very popular album with fans but I loved it.
The other saw the surprising loss of Michael Sadler as he tried to have more time with Family and start a solo career. He was replaced with a very capable vocalist "Rob Moratti" and the hard-edged "The Human Condition" (2009). But a huge wave of fans wanted Sadler back into the fold ~ Saga heard the call and
Michael came back for "20/20" in 2012, and is the vocalist to take them into parts unknown (including
their latest album "Sagacity" for 2014).
They still play precise on-stage and we are treated with many videos for us that don't have the
opportunity to see them face to face ~ they have been making great music for almost 40 years.
Here you can see various era's of the band live:
1981 Germany:
https://youtu.be/zL9rh8TKAI0
Live in Bonn 2002:
https://youtu.be/HXHKW9CuIWg
Most of the lyrics to Saga's catalogue can be found here:
https://www.musixmatch.com/artist/Saga-2/albums
Saga Q & A from 2014:
https://www.youtube.com/watch?v=QQQPlY7uZtQ
Sadly, in January 2017, Michael Sadler announced that Saga would retire following their farewell tour dubbed Final Chapter. He also said that a "special one-off performance" would take place at the 2018
edition of Cruise to the Edge in February 2018. The band performed their final show at the Phoenix Concert Theatre in Toronto on 24 February 2018, thus putting an end to Saga.
One of my biggest regrets not to have seen the band, as they hardly, or if ever, made it to the west coast.
With the only opportunity of seeing them on the "Cruise to the Edge" tour in February of 2018.
But here for posterity, the Cruise to the Edge, Germany and Toronto shows . . .
C2tE highlights:
1. https://www.youtube.com/watch?v=aX98Fldi9nI
2. https://www.youtube.com/watch?v=lkxRKhKU4T8
3. https://www.youtube.com/watch?v=_VZ1lVQQJoM
4. https://www.youtube.com/watch?v=ZO5EvvZ_Cvc
Krefeld Königpalast ~ 40th Anniversary - The Final Chapter Tour 2017 (Full):
https://www.youtube.com/watch?v=8kVtfuMFyC0&t=4398s
Toronto highlights:
https://www.youtube.com/watch?v=4WSuI47-JK8
edition of Cruise to the Edge in February 2018. The band performed their final show at the Phoenix Concert Theatre in Toronto on 24 February 2018, thus putting an end to Saga.
One of my biggest regrets not to have seen the band, as they hardly, or if ever, made it to the west coast.
With the only opportunity of seeing them on the "Cruise to the Edge" tour in February of 2018.
But here for posterity, the Cruise to the Edge, Germany and Toronto shows . . .
C2tE highlights:
1. https://www.youtube.com/watch?v=aX98Fldi9nI
2. https://www.youtube.com/watch?v=lkxRKhKU4T8
3. https://www.youtube.com/watch?v=_VZ1lVQQJoM
4. https://www.youtube.com/watch?v=ZO5EvvZ_Cvc
Krefeld Königpalast ~ 40th Anniversary - The Final Chapter Tour 2017 (Full):
https://www.youtube.com/watch?v=8kVtfuMFyC0&t=4398s
Toronto highlights:
https://www.youtube.com/watch?v=4WSuI47-JK8
Album by album, track by track . . .
I ask that the reader take time out to listen to any album of bands as an example of "where" progressive metal gets its roots (or possibly inspiration), its lineage to be what it is "today". As I have said, it has taken time to hone and shape this sub-genre to come, as it did not just appear from the ether, but had to start small and become the "black sheep" of Progressive Rock. With all its aggressiveness, and odd-shapes. But that the musicianship and crafting of albums was still there for those open enough to explore its new form. The ugly brother that took all that Prog Rock had to offer and meld it with the "out cast" Heavy Metal, to create a new monster that still thrives today.
But let's start from its beginnings, those thin threads that possibly create the bigger whole . . .
I ask that the reader take time out to listen to any album of bands as an example of "where" progressive metal gets its roots (or possibly inspiration), its lineage to be what it is "today". As I have said, it has taken time to hone and shape this sub-genre to come, as it did not just appear from the ether, but had to start small and become the "black sheep" of Progressive Rock. With all its aggressiveness, and odd-shapes. But that the musicianship and crafting of albums was still there for those open enough to explore its new form. The ugly brother that took all that Prog Rock had to offer and meld it with the "out cast" Heavy Metal, to create a new monster that still thrives today.
But let's start from its beginnings, those thin threads that possibly create the bigger whole . . .
The Grandfathers . . .
Deep Purple
In Rock (1970)
https://www.youtube.com/playlist?list=PLBzBwYhHpqLKo17BC3RCd9WQlfBwoHbYd
Fireball (1971)
https://www.youtube.com/watch?v=8xQnwoHpz6g
Machine Head (1972)
https://youtu.be/hMCVe0cs4DI
Who Do We Think We Are (1973)
https://www.youtube.com/playlist?list=PLKQLRxwgAWY4_S2if4XIgaLG_PPMWeVQu
Burn (1974)
https://www.youtube.com/playlist?list=PLKQLRxwgAWY7WH7CYcn2ze44BxQOVVVbB
Signs of Rainbow approaching, the song . . .
"Stormbringer" (1975): https://www.youtube.com/watch?v=4C2K889u_90
In Rock (1970)
https://www.youtube.com/playlist?list=PLBzBwYhHpqLKo17BC3RCd9WQlfBwoHbYd
Fireball (1971)
https://www.youtube.com/watch?v=8xQnwoHpz6g
Machine Head (1972)
https://youtu.be/hMCVe0cs4DI
Who Do We Think We Are (1973)
https://www.youtube.com/playlist?list=PLKQLRxwgAWY4_S2if4XIgaLG_PPMWeVQu
Burn (1974)
https://www.youtube.com/playlist?list=PLKQLRxwgAWY7WH7CYcn2ze44BxQOVVVbB
Signs of Rainbow approaching, the song . . .
"Stormbringer" (1975): https://www.youtube.com/watch?v=4C2K889u_90
Uriah Heep
Look at yourself (1971)
https://youtu.be/kk5K6L2OPj4
Demons and Wizards (1972)
https://youtu.be/PjTHfKjNI7g
The Magician's Birthday (1972)
https://youtu.be/zQOTaasHwWM
Sweet Freedom (1973)
https://www.youtube.com/playlist?list=PL0-HE3hssJZNT2s0Tv-M-5o17RTD_AGNT
Wonderworld (1974)
https://youtu.be/KfG92j5s6mk
Return to Fantasy (1975)
https://youtu.be/2o-CSc0j3dE
Look at yourself (1971)
https://youtu.be/kk5K6L2OPj4
Demons and Wizards (1972)
https://youtu.be/PjTHfKjNI7g
The Magician's Birthday (1972)
https://youtu.be/zQOTaasHwWM
Sweet Freedom (1973)
https://www.youtube.com/playlist?list=PL0-HE3hssJZNT2s0Tv-M-5o17RTD_AGNT
Wonderworld (1974)
https://youtu.be/KfG92j5s6mk
Return to Fantasy (1975)
https://youtu.be/2o-CSc0j3dE
Rainbow
Ritchie Blackmore's Rainbow (1975)
https://youtu.be/GeQyx4i111A
Rising (1976)
https://youtu.be/FrJ0OCITw6g
On Stage (1977)
https://youtu.be/qQi2GH-t-NE
Long Live Rock 'n' Roll (1978)
https://youtu.be/7UFEKH9GfOs
Down to Earth (1979)
https://youtu.be/8Wqjp8gBOr8
Difficult to Cure (1981)
https://youtu.be/C3lmzB27H4Q
Ritchie Blackmore's Rainbow (1975)
https://youtu.be/GeQyx4i111A
Rising (1976)
https://youtu.be/FrJ0OCITw6g
On Stage (1977)
https://youtu.be/qQi2GH-t-NE
Long Live Rock 'n' Roll (1978)
https://youtu.be/7UFEKH9GfOs
Down to Earth (1979)
https://youtu.be/8Wqjp8gBOr8
Difficult to Cure (1981)
https://youtu.be/C3lmzB27H4Q
Queen
Debut (1973)
https://www.youtube.com/playlist?list=PL2tMgWgIvcWl2sRiJx4DfCptw0fM6Cwgx
II (1974)
https://www.youtube.com/playlist?list=PL2tMgWgIvcWlgHLog2-vv5Zrky4PmcQZf
Sheer Heart Attack (1974)
https://www.youtube.com/playlist?list=PL2tMgWgIvcWkRcM73biuw1X0PFOHNR49T
A Night at the Opera (1975)
https://www.youtube.com/playlist?list=PLKsS-HV7qF3PWB2ux_JujxC7MDqT8CGfP
A Day at the Races (1976)
https://www.youtube.com/playlist?list=PLeoBVKHKNsGpoI2MYz4BVpUCrZblmF5Rm
News of the World (1977)
https://www.youtube.com/watch?v=K8pPtuH7AIw
Jazz (1978)
https://youtu.be/Dm2s8rVNcic
Debut (1973)
https://www.youtube.com/playlist?list=PL2tMgWgIvcWl2sRiJx4DfCptw0fM6Cwgx
II (1974)
https://www.youtube.com/playlist?list=PL2tMgWgIvcWlgHLog2-vv5Zrky4PmcQZf
Sheer Heart Attack (1974)
https://www.youtube.com/playlist?list=PL2tMgWgIvcWkRcM73biuw1X0PFOHNR49T
A Night at the Opera (1975)
https://www.youtube.com/playlist?list=PLKsS-HV7qF3PWB2ux_JujxC7MDqT8CGfP
A Day at the Races (1976)
https://www.youtube.com/playlist?list=PLeoBVKHKNsGpoI2MYz4BVpUCrZblmF5Rm
News of the World (1977)
https://www.youtube.com/watch?v=K8pPtuH7AIw
Jazz (1978)
https://youtu.be/Dm2s8rVNcic
Rush
Fly By Night (1975)
https://www.youtube.com/playlist?list=PLHbJwjT5h7KDnX9y48f3eoSHpvq0qKmNn
Caress of Steel (1975)
https://youtu.be/hYbeuri1ptY
2112 (1976)
https://youtu.be/wPpQWyMjQ-s
Farewell to Kings (1977)
https://www.youtube.com/playlist?list=PLVcjFRMrDGaLjKn8y67RGzHY1eYDWuGxr
Hemispheres (1978)
https://youtu.be/fMoHes_BChQ
Permanent Waves (1980)
https://www.youtube.com/playlist?list=PLXPYMcRIi2fGOpLgAdEI6HsM41Ic-hEYO
Moving Pictures (1981)
https://www.youtube.com/playlist?list=PLBN3ghd51d_QZ1Z6YpN7ksY86INPEXW93
Signals (1982)
https://www.youtube.com/playlist?list=PLRFpOiS40r9yOAuK3IoYGMAj1T_JQJGUE
Grace Under Pressure (1984)
https://www.youtube.com/playlist?list=PLxIMVu_yolanAtrpYVa97N2fXCe34cbM_
Fly By Night (1975)
https://www.youtube.com/playlist?list=PLHbJwjT5h7KDnX9y48f3eoSHpvq0qKmNn
Caress of Steel (1975)
https://youtu.be/hYbeuri1ptY
2112 (1976)
https://youtu.be/wPpQWyMjQ-s
Farewell to Kings (1977)
https://www.youtube.com/playlist?list=PLVcjFRMrDGaLjKn8y67RGzHY1eYDWuGxr
Hemispheres (1978)
https://youtu.be/fMoHes_BChQ
Permanent Waves (1980)
https://www.youtube.com/playlist?list=PLXPYMcRIi2fGOpLgAdEI6HsM41Ic-hEYO
Moving Pictures (1981)
https://www.youtube.com/playlist?list=PLBN3ghd51d_QZ1Z6YpN7ksY86INPEXW93
Signals (1982)
https://www.youtube.com/playlist?list=PLRFpOiS40r9yOAuK3IoYGMAj1T_JQJGUE
Grace Under Pressure (1984)
https://www.youtube.com/playlist?list=PLxIMVu_yolanAtrpYVa97N2fXCe34cbM_
Styx
Debut (1972) Opening Track:
1. "Movement for the Common Man" – 13:11
I. "Children of the Land" (James Young)
II. "Street Collage" (John Ryan)
III. "Fanfare for the Common Man" (Aaron Copland)
IV. "Mother Nature's Matinee" (Young, Dennis DeYoung)
https://www.youtube.com/watch?v=5NBZTkPxWek
II (1973)
http://www.youtube.com/playlist?list=PL67C968EB3C5A2CE7
The Serpent is Rising (1973)
http://www.youtube.com/playlist?list=PL4A04D3A12E083863
Man of Miracles (1974)
http://www.youtube.com/playlist?list=PLCA00F514787C4FD2
Equinox (1975)
http://www.youtube.com/playlist?list=PL9421DD70FF5A6353
Crystal Ball (1976)
http://www.youtube.com/playlist?list=PL6FABB03D257AC893
The Grand Illusion (1977)
http://www.youtube.com/playlist?list=PL15D2FB6E422EC88B
Pieces of Eight (1978)
http://www.youtube.com/playlist?list=PLAFA5AC6331D3F6BD
Debut (1972) Opening Track:
1. "Movement for the Common Man" – 13:11
I. "Children of the Land" (James Young)
II. "Street Collage" (John Ryan)
III. "Fanfare for the Common Man" (Aaron Copland)
IV. "Mother Nature's Matinee" (Young, Dennis DeYoung)
https://www.youtube.com/watch?v=5NBZTkPxWek
II (1973)
http://www.youtube.com/playlist?list=PL67C968EB3C5A2CE7
The Serpent is Rising (1973)
http://www.youtube.com/playlist?list=PL4A04D3A12E083863
Man of Miracles (1974)
http://www.youtube.com/playlist?list=PLCA00F514787C4FD2
Equinox (1975)
http://www.youtube.com/playlist?list=PL9421DD70FF5A6353
Crystal Ball (1976)
http://www.youtube.com/playlist?list=PL6FABB03D257AC893
The Grand Illusion (1977)
http://www.youtube.com/playlist?list=PL15D2FB6E422EC88B
Pieces of Eight (1978)
http://www.youtube.com/playlist?list=PLAFA5AC6331D3F6BD
Saga
A sample platter featuring the heavier albums or songs . . .
"Images at Twilight" (1979)
https://youtu.be/HjyXg7KkLnc
"Silent Knight" (1980)
https://youtu.be/Z07vdZrNBQg
"Worlds Apart" (1981)
https://www.youtube.com/playlist?list=PL58D52D2B7901EB96
"Heads or Tails" (1983)
https://www.youtube.com/playlist?list=PLYE4xQIRLJyRNBKtg4WelfEe50QkQ538s
"Generation 13"(1995)
https://youtu.be/6QuRDvnjYPM
"Pleasure & the Pain" (1997)
https://youtu.be/mzNPAfZUelw
"The Human Condition" (2009)
https://www.youtube.com/playlist?list=PLE3E3F831E1A4F9A6
"20/20" (2012)
https://youtu.be/n8zVMB1H0_4
"Sagacity" (2014)
https://youtu.be/BqMSCK05gTM
From their 1st album onward, the interlinked saga:
"Chapters" . . .
https://www.youtube.com/watch?v=KdrZS42_5tk
A sample platter featuring the heavier albums or songs . . .
"Images at Twilight" (1979)
https://youtu.be/HjyXg7KkLnc
"Silent Knight" (1980)
https://youtu.be/Z07vdZrNBQg
"Worlds Apart" (1981)
https://www.youtube.com/playlist?list=PL58D52D2B7901EB96
"Heads or Tails" (1983)
https://www.youtube.com/playlist?list=PLYE4xQIRLJyRNBKtg4WelfEe50QkQ538s
"Generation 13"(1995)
https://youtu.be/6QuRDvnjYPM
"Pleasure & the Pain" (1997)
https://youtu.be/mzNPAfZUelw
"The Human Condition" (2009)
https://www.youtube.com/playlist?list=PLE3E3F831E1A4F9A6
"20/20" (2012)
https://youtu.be/n8zVMB1H0_4
"Sagacity" (2014)
https://youtu.be/BqMSCK05gTM
From their 1st album onward, the interlinked saga:
"Chapters" . . .
https://www.youtube.com/watch?v=KdrZS42_5tk
Chapter II
Origins and the Pirates of the Underground.
"Painted plastic faces stealing mommies make-up, Masque the false gods with mannequin smiles
Prima donna's play upon their pedestal of fame. Unborn girls false facade illegitimate child
I won't play your game"
- Fates Warning/"The Valley of the Dolls"
With these various interests within the musician's repertoire we had the bands that would plant the seed, and become "Progressive Metal (or Prog Metal)" in the years that followed. I would actually see the term before the 90's (especially as sub-genres were being created like Death Metal, Thrash, Grindcore, Doom, The Guitar Shredders and Glamm. Including the surge during the Grunge/Seattle Sound to come).
While the 1980's bring back memories for those who followed the New Wave, Top 40 Pop, and later; the coming wave of Rap/Hip-Hop, and "Glamm Rock/Hair bands" - circa 1984-85 (though I think many
bands that were donned the "Hair Band" moniker, were unfair and downplayed their actual musical
abilities), I listened to the underground Metal acts as my balanced diet, while getting my doses of
Progressive Rock as well.
These were not just "memories" for me, these were bands that I still listen to on a regular basis because the music had longevity. They may not have sold-out arenas or had huge record sales but they had
substance, they created "Albums" not Hit Singles, and had something to say.
These particular bands that grew out of this movement, had a deep impact in what I was looking to
explore. A few were expanding their abilities and ideas, breaking away from the mold to offer more.
Lyrical themes were changing as well, but the proverbial "Love Songs" still made its way onto the lyrics of many. But other topics would creep-in this new form of expression where walls started to crumble.
The Valley of the Dolls . . .
Unfortunately these bands were not the million sellers like the flash in the pan Glamm bands or those that had been gaining popularity (the type of music the female persuasion attracted in droves to our
disappointment) that garnered all the hype that were flooding the Hollywood Valley and the Sunset Strip Clubs. As-well as getting the polished high end videos on MTV and local Video programs with feminine painted faces, neon colors accented the black leather and pouting at the camera. Yet because of their popularity, many not in the know of the underground scene thought "these" were representatives of
what "Metal" was (much like any band with satanic, anti-religious or horrific themes, as if it represented
the whole. The cliches and presumptions still haunt us).
Many of us lived through the Glamm/Sleaze and later the NUmetal period and stood on our soap boxes trying to voice our opinions over all the hype. If it was misdirected or highly elitist, we just did not want these musics to represent "Us" (if that was YOU by the way...) as "Metalheads".
But there was a movement that regarded the "True" Metal bands (again, depending on your point of view and what you enjoyed) as the heavier choice, both musically and lyrically. There were not very many
outlets to hear the heavier Metal. Even a station like 105.5 "KNAC" in LA that catered to the metal listener would give-in to what was more popular a couple of years after it started, they made Metal boring, when there were soo many Metal bands that were contributing something very significant.
I wasn't into the Glamm-rocker attitude and I wasn't a "partier". Pot gave me a headache from its skunky
smell, even though most people around me smoked it, I didn't really drink either, admiring girls was
an understatement but I didn't refer to girls/women as pieces of meat or the "B" word (sure! I made some stupid jokes occasionally, but for a time I was around a lot of "guys" that were over the top crude where I worked, so it turned me off. That wasn't me, and don't get me wrong, the girls or "ladies" could be
assholes too!). So the Glamm topics were not my scene. I guess I was never "hip" and I followed my own
boring path as an Artist so I just thought differently than most people. But I was content with that. It
wasn't about the lifestyle, It was about the music. And it had a fierce integrity that I could relate to. The
older and the Thrashier bands seemed to hold onto that and I gave them huge respect.
. . . But these would come later.
Something new to AOR and beyond (circa 79-85).
The Underground Scene was getting bigger Internationally and as many of us know today, leaving a more longer lasting impact and a certain few were forward thinking for their time. Though the mud-slinging of both parties continue - What is true Metal and who's the poseur, will carry on as long as Metal continues to rule the underground niche'.
Though I missed-out on various bands coming from many sides of Europe, eventually in time I would catch-up band by band and learn of their importance to the growth of the new genre. But slowly but surely the new discoveries opened me up to a wider world. Many bands I heard in the wee-hours of a FM Station and I'd be exposed to these "new" sounds like someone waking me from sleep. "What was that!?" and I'd sit and wait to have the Dj tell me this awesome mystery. Many were a Hard Rock band that was a bit different than the typical AOR fair, and many of these bands of the time were not following the Rock band rule book. They were experimenting beyond its parameters, maybe not in every song, but they were challenging themselves to expand into something that didn't have a name. They were open to influences of the past, from those who fully embraced Progressive Rock which now was infusing with ideas for new directions of Heavy Rock . . .
Prima donna's play upon their pedestal of fame. Unborn girls false facade illegitimate child
I won't play your game"
- Fates Warning/"The Valley of the Dolls"
With these various interests within the musician's repertoire we had the bands that would plant the seed, and become "Progressive Metal (or Prog Metal)" in the years that followed. I would actually see the term before the 90's (especially as sub-genres were being created like Death Metal, Thrash, Grindcore, Doom, The Guitar Shredders and Glamm. Including the surge during the Grunge/Seattle Sound to come).
While the 1980's bring back memories for those who followed the New Wave, Top 40 Pop, and later; the coming wave of Rap/Hip-Hop, and "Glamm Rock/Hair bands" - circa 1984-85 (though I think many
bands that were donned the "Hair Band" moniker, were unfair and downplayed their actual musical
abilities), I listened to the underground Metal acts as my balanced diet, while getting my doses of
Progressive Rock as well.
These were not just "memories" for me, these were bands that I still listen to on a regular basis because the music had longevity. They may not have sold-out arenas or had huge record sales but they had
substance, they created "Albums" not Hit Singles, and had something to say.
These particular bands that grew out of this movement, had a deep impact in what I was looking to
explore. A few were expanding their abilities and ideas, breaking away from the mold to offer more.
Lyrical themes were changing as well, but the proverbial "Love Songs" still made its way onto the lyrics of many. But other topics would creep-in this new form of expression where walls started to crumble.
The Valley of the Dolls . . .
Unfortunately these bands were not the million sellers like the flash in the pan Glamm bands or those that had been gaining popularity (the type of music the female persuasion attracted in droves to our
disappointment) that garnered all the hype that were flooding the Hollywood Valley and the Sunset Strip Clubs. As-well as getting the polished high end videos on MTV and local Video programs with feminine painted faces, neon colors accented the black leather and pouting at the camera. Yet because of their popularity, many not in the know of the underground scene thought "these" were representatives of
what "Metal" was (much like any band with satanic, anti-religious or horrific themes, as if it represented
the whole. The cliches and presumptions still haunt us).
Many of us lived through the Glamm/Sleaze and later the NUmetal period and stood on our soap boxes trying to voice our opinions over all the hype. If it was misdirected or highly elitist, we just did not want these musics to represent "Us" (if that was YOU by the way...) as "Metalheads".
But there was a movement that regarded the "True" Metal bands (again, depending on your point of view and what you enjoyed) as the heavier choice, both musically and lyrically. There were not very many
outlets to hear the heavier Metal. Even a station like 105.5 "KNAC" in LA that catered to the metal listener would give-in to what was more popular a couple of years after it started, they made Metal boring, when there were soo many Metal bands that were contributing something very significant.
I wasn't into the Glamm-rocker attitude and I wasn't a "partier". Pot gave me a headache from its skunky
smell, even though most people around me smoked it, I didn't really drink either, admiring girls was
an understatement but I didn't refer to girls/women as pieces of meat or the "B" word (sure! I made some stupid jokes occasionally, but for a time I was around a lot of "guys" that were over the top crude where I worked, so it turned me off. That wasn't me, and don't get me wrong, the girls or "ladies" could be
assholes too!). So the Glamm topics were not my scene. I guess I was never "hip" and I followed my own
boring path as an Artist so I just thought differently than most people. But I was content with that. It
wasn't about the lifestyle, It was about the music. And it had a fierce integrity that I could relate to. The
older and the Thrashier bands seemed to hold onto that and I gave them huge respect.
. . . But these would come later.
Something new to AOR and beyond (circa 79-85).
The Underground Scene was getting bigger Internationally and as many of us know today, leaving a more longer lasting impact and a certain few were forward thinking for their time. Though the mud-slinging of both parties continue - What is true Metal and who's the poseur, will carry on as long as Metal continues to rule the underground niche'.
Though I missed-out on various bands coming from many sides of Europe, eventually in time I would catch-up band by band and learn of their importance to the growth of the new genre. But slowly but surely the new discoveries opened me up to a wider world. Many bands I heard in the wee-hours of a FM Station and I'd be exposed to these "new" sounds like someone waking me from sleep. "What was that!?" and I'd sit and wait to have the Dj tell me this awesome mystery. Many were a Hard Rock band that was a bit different than the typical AOR fair, and many of these bands of the time were not following the Rock band rule book. They were experimenting beyond its parameters, maybe not in every song, but they were challenging themselves to expand into something that didn't have a name. They were open to influences of the past, from those who fully embraced Progressive Rock which now was infusing with ideas for new directions of Heavy Rock . . .
Metal in the year of our Lord 1982 ~ 1985
For now, in 1982-83, I came across some bands being played on FM AOR Radio that had a heavier side but with a obvious difference. Either later finds or what would catch my ear on the late night shifts of stations (KMET 94.7, KWEST 106 and KLOS 95.5 Los Angeles) and finding weak signals from local college radio stations.
In particular the FM AOR Station KMET 94.7 every Friday at 10pm with Jim Ladd, would host one of the 1st all Metal programs in the nation called "The Mighty Metal Shop (KMETal Shop)". I was introduced to
debuts (albums or bands) from the likes of; Queensrÿche, Loudness, Saxon, Metallica, Exciter, Iron
Maiden, Accept, Savatage, Metal Church, Dio, Mercyful Fate, Abattoir, Trouble, Anthrax and tons of
others that would become huge, disappear into the ether or the more obscure bands that I lost track of (but would find a few years later) in 1983-84 thru the shows duration till 1986 or 87. Which included a
particular band and album ("Night on Bröcken") that I seemed to have missed, but their career would help create a new genre along with Queensryche whom I'd become a great admirer of. The program also brought to light the British Invasion of The New Wave of British Heavy Metal.
From 10pm to 1am I'd get my weekly education of all the new and classic Heavy Metal bands!
The Discovery of "Talent" (not so much, mine).
It was during this time that "Savatage" (their debut "Sirens" that I had picked-up the 1st print of the
album with the original art), along with Rainbow/Deep Purple, I was intrigued with the sound of the guitar on the album, and I was trying to figure out guitarists Criss Oliva's "tone" and got as close as I could with a DigiTech Chorus, MXR Delay, and a Electro harmonix "Big Muff π" pedal, along with my friends Studio 22
Mesa Boogie amplifier. Trying to get it through some Hot Rail pickups jimmy-rigged on a torn-up
Memphis Strat made of plywood :p. I'll never say I was a "musician", but it revealed to me what it took to
compose music.
I was coming to an understanding, of the electronics, amps and fundamentals of producing, playing, the theory of music and what it took to achieve the sounds produced that I was admiring from my heroes. But found that I was much better at improvising than reading tablature or sheet music - my "learning
disability" unfortunately did not change, even for the things I wanted to learn (this is not being self-
deprecating, just truth. Certain things I couldn't do or cross over to).
But I began to very much appreciate what it took to record, produce, compose and play music, like art in general, most people think all these talents and skills come naturally. It takes time, effort, patience,
dexterity, theory and creativity to get to a level of mastery, and you never really "master" it, you keep
going forward to find that lost chord..
Many people say things like; "Oh I mastered that song! Thats soo easy to play, that song wasn't as difficult as
people think! If you're not playing it right, why play it at all!" - well what about "Composing it"?
Try composing an original song and finding your own voice! Then tell me if its as easy as you think.
People judge others too quickly and harshly about creativity (and the "young", who need to be coached,
nurtured, encouraged and are just starting out, like YOU), it just doesn't come into being from the ether, it took many years, hardship, blood, sweat and tears to create something people can see and hear the
craftsmanship, the care and time it took to shape, carve, smooth out and present it to the world that
this has value, this is art to its full potential. You start small, and work up to each level, to bigger and better
abilities. For the ones that struggle, and are trying to get better at whatever they do, this should "evoke
compassion", not insults and discouragement. This also makes us better and helps them know that they are on the right path, and will be a success in the end, but that they (and YOU) can get better and better.
So I valued those that "created", and we all followed and were inspired! Don't tear down, because when YOU think you're "it" and you record an album or 2 (or a demo, or video) - YOU too will be torn up by the
armchair critics, who will also be torn down. No one is perfect, and all are vulnerable, and the cycle
will continue. Be appreciative and encouraging to those sharing their skills, they are giving it their best.
In particular the FM AOR Station KMET 94.7 every Friday at 10pm with Jim Ladd, would host one of the 1st all Metal programs in the nation called "The Mighty Metal Shop (KMETal Shop)". I was introduced to
debuts (albums or bands) from the likes of; Queensrÿche, Loudness, Saxon, Metallica, Exciter, Iron
Maiden, Accept, Savatage, Metal Church, Dio, Mercyful Fate, Abattoir, Trouble, Anthrax and tons of
others that would become huge, disappear into the ether or the more obscure bands that I lost track of (but would find a few years later) in 1983-84 thru the shows duration till 1986 or 87. Which included a
particular band and album ("Night on Bröcken") that I seemed to have missed, but their career would help create a new genre along with Queensryche whom I'd become a great admirer of. The program also brought to light the British Invasion of The New Wave of British Heavy Metal.
From 10pm to 1am I'd get my weekly education of all the new and classic Heavy Metal bands!
The Discovery of "Talent" (not so much, mine).
It was during this time that "Savatage" (their debut "Sirens" that I had picked-up the 1st print of the
album with the original art), along with Rainbow/Deep Purple, I was intrigued with the sound of the guitar on the album, and I was trying to figure out guitarists Criss Oliva's "tone" and got as close as I could with a DigiTech Chorus, MXR Delay, and a Electro harmonix "Big Muff π" pedal, along with my friends Studio 22
Mesa Boogie amplifier. Trying to get it through some Hot Rail pickups jimmy-rigged on a torn-up
Memphis Strat made of plywood :p. I'll never say I was a "musician", but it revealed to me what it took to
compose music.
I was coming to an understanding, of the electronics, amps and fundamentals of producing, playing, the theory of music and what it took to achieve the sounds produced that I was admiring from my heroes. But found that I was much better at improvising than reading tablature or sheet music - my "learning
disability" unfortunately did not change, even for the things I wanted to learn (this is not being self-
deprecating, just truth. Certain things I couldn't do or cross over to).
But I began to very much appreciate what it took to record, produce, compose and play music, like art in general, most people think all these talents and skills come naturally. It takes time, effort, patience,
dexterity, theory and creativity to get to a level of mastery, and you never really "master" it, you keep
going forward to find that lost chord..
Many people say things like; "Oh I mastered that song! Thats soo easy to play, that song wasn't as difficult as
people think! If you're not playing it right, why play it at all!" - well what about "Composing it"?
Try composing an original song and finding your own voice! Then tell me if its as easy as you think.
People judge others too quickly and harshly about creativity (and the "young", who need to be coached,
nurtured, encouraged and are just starting out, like YOU), it just doesn't come into being from the ether, it took many years, hardship, blood, sweat and tears to create something people can see and hear the
craftsmanship, the care and time it took to shape, carve, smooth out and present it to the world that
this has value, this is art to its full potential. You start small, and work up to each level, to bigger and better
abilities. For the ones that struggle, and are trying to get better at whatever they do, this should "evoke
compassion", not insults and discouragement. This also makes us better and helps them know that they are on the right path, and will be a success in the end, but that they (and YOU) can get better and better.
So I valued those that "created", and we all followed and were inspired! Don't tear down, because when YOU think you're "it" and you record an album or 2 (or a demo, or video) - YOU too will be torn up by the
armchair critics, who will also be torn down. No one is perfect, and all are vulnerable, and the cycle
will continue. Be appreciative and encouraging to those sharing their skills, they are giving it their best.
~ Precursors ~
Cornerstones: forming a foundation . . .
"The changing of the guard, means we 'Welcome in the new'; but every summer surely has a fall
The path of least resistance has led me right to you (And) the writing is on the wall!"
- Triumph/"Writing on the wall"
The path of least resistance has led me right to you (And) the writing is on the wall!"
- Triumph/"Writing on the wall"
pre·cur·sor
prēˈkərsər/
noun
noun: precursor; plural noun: precursors
a substance from which another is formed, especially by metabolic reaction.
"pepsinogen is the inactive precursor of pepsin"
Origin:
late Middle English: from Latin praecursor, from praecurs- ‘preceded,’ from praecurrere,
from prae ‘beforehand’ + currere ‘to run.’
prēˈkərsər/
noun
noun: precursor; plural noun: precursors
- a person or thing that comes before another of the same kind; a forerunner.
"a three-stringed precursor of the violin"
synonyms: forerunner, predecessor, forefather, father, antecedent, ancestor, forebear
"a three-stringed precursor of the guitar"
a substance from which another is formed, especially by metabolic reaction.
"pepsinogen is the inactive precursor of pepsin"
Origin:
late Middle English: from Latin praecursor, from praecurs- ‘preceded,’ from praecurrere,
from prae ‘beforehand’ + currere ‘to run.’
Here I present some bands whose "Rock" had a difference to it. They may not have been "Metal" just yet (think of these formative years, as well as how heavy they were for the time), but these were a bit more than just Rock bands with typical hits. These bands were adding a bit more edge, adventurous sounds, and those that were Metal are starting to add an influence of the progressive. We can argue it wasn't quite there or we can hear the seeds were planted. On many of the bands presented, the songs may have been more AOR, but each would present songs that were something else from the rest of their respective albums, something a bit more expressive and experimental for its time - thus progressing the harder edged rock further. While a few others were solidifying this new sound and are direct links to what would be called "Prog Metal" only a few years later. Though the few were also getting heavier and would embrace the new
title "Heavy Metal".
I leave it to your ears, but my ears picked up on something that was beyond Rock as a 16 thru 18 year old, the change was coming. These bands were not just being influenced by previous Rock and Hard/Heavy Rock bands, but were being influenced by classic Progressive Rock music that they in-fact admired (many
you can read about who influenced who, provided in the links and the citations that are found with each band). Classical, Jazz and Rock converging into Progressive Rock - inspiring Heavy Rockers to create a new way of expression with a harder sound, this was only the beginning . . .
- New England of Boston. This band had pretty much everything that it needed to be a Prog Metal band. Was it the "Mellotron" laden hit "Don't ever want to Lose Ya'" and the dreamy synths and organs through
all the songs? Layered with various sounds along with the various Guitar tones, it was different than the usual AOR Rock band. They were a bit edgy, maybe not "Heavy Metal" but it was something different to my ears as a 16 year old. But there were heavier bands also experimenting with Metal (Rainbow, Judas Priest, Scorpions etc.).
I unfortunately did not follow-up on their next 2 albums "Explorer Suite (1980)" and "Waking Wild
(1981)".
New England
Debut (1978)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeO1Z7wObDDTlrHKTAmxbAq
- Budgie of Cardiff, Wales were more famous overseas, and were born before the New Wave of British Heavy Metal. Their earlier sound was very much like the beginnings of Rush (also a Trio), basic Hard Rock with extended guitar solos, a dynamic drummer and a bass player with an unusual voice. And the music was a blend of Blues, Rock, Hard Rock and a lean toward the progressive. As their history would go through line-up changes and their sound would become more mainstream, I had got into them pretty late (1981-82) with their 3rd album "Never turn your back on a Friend (1973)" which contains the song "Breadfan"
that Metallica would make more famous by covering it in 1988. And my 2nd album was the debut of
"Deliver us from Evil (1982)". The 1st few songs were the typical hard edged AOR lot, but by the time we get to "Flowers in the Attic", the album shows its Progressive side to the Hard Rock as each track builds-up toward the end.
Budgie
Deliver us from Evil (1982)
https://www.youtube.com/watch?v=DlGieKNgJg8
- Triumph from Toronto & Mississauga Canada was gaining more and more popularity as they were often on AOR FM Radio. This was early Heavy Metal before the phrase was being used. Another "Power Trio" that was very melodic and featured "Rick Emmet's" fantastic Guitar presence complete with many acoustic intros and instrumental pieces (many being of Neo-Classical/Flamenco influences). He also had a dynamic vocal range and could sustain and alter the pitch. The band having its mix of Rock, Blues and Metal with keyboards adding accents by Bassist/Back-up vocalist Mike Levine and often lead and back-up vocals by Gil Moore on Drums teetered from ballads to anthems and everything in-between, including 3-part harmonies. "Allied Forces" (1981) put them on the top with its hit songs, better recording and sounding very modern. By the time we get to the next 2 albums, the sound of their Harder Rock is gaining more progressive influences.
"Never Surrender (1983)" was even more streamlined. Tracks for example; "Too much Thinking", "Never
Surrender" and "Writing on the Wall" had all the elements of early Prog Metal (and the songs were now
heavier). But even more-so on "Thunder Seven (1984)"; "Rock Out, Roll On", "Time goes By", "Killing
Time" and "Stranger in a Strange Land", contained more adventurous soundscapes, including some of the heavier sounds that continued from the previous album, with Rik Emmett experimenting with his Crybaby Wah Wah pedal and "Dive Bombing" on the Tremolo. As well as "Gil Moore's" thundering drums and his equally strong lead and back-up vocals.
They were also known for their elaborate stage-shows and lighting effects to enhance their performance making it an "experience" in light and sound.
Triumph
Allied Forces (1982)
https://youtu.be/6Me82SoAjvU
Never Surrender (1983)
https://youtu.be/RE07TjXaWDQ
Thunder Seven (1984)
https://youtu.be/kn_EeQAJjaI
- Zebra from New Orleans had a heavier side than what "New England" offered, with its influences from Led Zeppelin and Rush (which they covered along with The Moody Blues). And its emphasis on Keyboard textures by Bassist Felix Hanemann, Guitar Dynamics and dramatic vocals in various ranges by Randy Jackson and a huge drum sound with Guy Gelso behind the kit. Yet another band that had more to offer than just the standard AOR Rock band, though they had a very rocking side to them.
The Progressive side was undeniable now, it just needed a bit more coaxing to get it over the line further. A another Power Trio with a huge sound and put on a great live show, which happened to be my 3rd concert to attend. Their 1st 2 albums were on my turntable a lot and I still listen to them often. They should have been huge, and I'm just getting into their last 2 albums which I had missed somehow (re-listening to their 3rd album as well).
Zebra
Debut (1983)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeG4Lf_vojuGmt86l8omOa-
No Tellin' Lies (1984)
https://www.youtube.com/playlist?list=PLsq9i9wjMUCXNJa_ns-oGfLsU_cdcziK5
- Warlord of San Jose California were growing into a band much like Fates Warning; many progressive elements yet retaining the Heavy Metal structure, but in a much grander scale conceptually. They were
creating dramatic soundtracks to stories and themes. Very much ahead of their time, but for some reason I lost track of them after their 2nd album. To my amazement, I would later recognize the name "Mark Zonder" as he would join Fates Warning on the "Perfect Symmetry" album in 1989 as their new
Drummer. These guys were onto something here.
At the same time though, I did not listen to these albums as much as I should have, I really don't know why. Sometimes something comes at the right place but wrong time - its something I'm in the process
to remedy. Could it be argued that Warlord might be considered one of the 1st Prog "Metal" bands?
Warlord
Deliver Us (1983)
https://www.youtube.com/watch?v=4eBDUC4s3bY
And the Cannons of Destruction Have Begun... (1984)
https://www.youtube.com/watch?v=7EBhqCc3NqY
- Alcatrazz the multi-International band by way of Los Angeles, made its name from the founders of the band "New England" by enlisting the huge vocals of Rainbow and Michael Schenker Group; "Graham Bonnet" and the soon to be "Guitar God" of shredding; "Yngwie J. Malmsteen". The Neo-Classical with an AOR and slight Progressive sound was becoming more prevalent (at a time when Heavy Metal bands were coming out of the woodwork globally). Unfortunately this line-up lasted for 1 Studio and 1 Live album
("Live Sentence" in 1984) as Yngwie became a superstar as a Solo artist.
But for their next recording "Disturbing the Peace", they hired-on another up and coming Guitarist from Long Island (at this time living in Los Angeles) "Steve Vai" who had gone solo after performing with Frank Zappa's outfit on 3 albums (I 1st read about Vai in Guitar Player magazine in a sub-article about Zappa
entitled "Zappa's Italian Virtuoso" - months later, on a college station from Mt. San Antonio, I heard "The Attitude Song" and was totally blown away, and had to find the album). The music still featured over the top guitar but perfectly filtered to fit within the parameters of the band (sort of reigning in Vai's over the top virtuosity, but still showcasing his versatile skills), this time becoming even more progressive on most of the album. But this too would be short-lived for 1 studio LP and a Live Video in Japan. The band would do 1 more album, that did not quite find a Guitarist of the 2 previous caliber.
Reunion and Story: https://youtu.be/JbpolY1-glo
Alcatrazz
No Parole from Rock 'n Roll (1983)
https://www.youtube.com/playlist?list=PLciK7kw4B2kIgAXkykkOc-8nIFBfbvnSt
Disturbing the Peace (1985)
https://www.youtube.com/playlist?list=PLghkN8xCrgoPhw2lo_Ucv-L9tmaALeq9F
And Vai would appear with "Public Image Ltd.", then "David Lee Roth" and "Whitesnake" before
embarking exclusively on his Solo career. And introduce to the world; "Devin Townsend" on his odd
album "Sex and Religion". Vai and Yngwie being one of many heading the charge of Guitar Shredders
and albums to come embracing all sorts of music infused within their guitars.
title "Heavy Metal".
I leave it to your ears, but my ears picked up on something that was beyond Rock as a 16 thru 18 year old, the change was coming. These bands were not just being influenced by previous Rock and Hard/Heavy Rock bands, but were being influenced by classic Progressive Rock music that they in-fact admired (many
you can read about who influenced who, provided in the links and the citations that are found with each band). Classical, Jazz and Rock converging into Progressive Rock - inspiring Heavy Rockers to create a new way of expression with a harder sound, this was only the beginning . . .
- New England of Boston. This band had pretty much everything that it needed to be a Prog Metal band. Was it the "Mellotron" laden hit "Don't ever want to Lose Ya'" and the dreamy synths and organs through
all the songs? Layered with various sounds along with the various Guitar tones, it was different than the usual AOR Rock band. They were a bit edgy, maybe not "Heavy Metal" but it was something different to my ears as a 16 year old. But there were heavier bands also experimenting with Metal (Rainbow, Judas Priest, Scorpions etc.).
I unfortunately did not follow-up on their next 2 albums "Explorer Suite (1980)" and "Waking Wild
(1981)".
New England
Debut (1978)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeO1Z7wObDDTlrHKTAmxbAq
- Budgie of Cardiff, Wales were more famous overseas, and were born before the New Wave of British Heavy Metal. Their earlier sound was very much like the beginnings of Rush (also a Trio), basic Hard Rock with extended guitar solos, a dynamic drummer and a bass player with an unusual voice. And the music was a blend of Blues, Rock, Hard Rock and a lean toward the progressive. As their history would go through line-up changes and their sound would become more mainstream, I had got into them pretty late (1981-82) with their 3rd album "Never turn your back on a Friend (1973)" which contains the song "Breadfan"
that Metallica would make more famous by covering it in 1988. And my 2nd album was the debut of
"Deliver us from Evil (1982)". The 1st few songs were the typical hard edged AOR lot, but by the time we get to "Flowers in the Attic", the album shows its Progressive side to the Hard Rock as each track builds-up toward the end.
Budgie
Deliver us from Evil (1982)
https://www.youtube.com/watch?v=DlGieKNgJg8
- Triumph from Toronto & Mississauga Canada was gaining more and more popularity as they were often on AOR FM Radio. This was early Heavy Metal before the phrase was being used. Another "Power Trio" that was very melodic and featured "Rick Emmet's" fantastic Guitar presence complete with many acoustic intros and instrumental pieces (many being of Neo-Classical/Flamenco influences). He also had a dynamic vocal range and could sustain and alter the pitch. The band having its mix of Rock, Blues and Metal with keyboards adding accents by Bassist/Back-up vocalist Mike Levine and often lead and back-up vocals by Gil Moore on Drums teetered from ballads to anthems and everything in-between, including 3-part harmonies. "Allied Forces" (1981) put them on the top with its hit songs, better recording and sounding very modern. By the time we get to the next 2 albums, the sound of their Harder Rock is gaining more progressive influences.
"Never Surrender (1983)" was even more streamlined. Tracks for example; "Too much Thinking", "Never
Surrender" and "Writing on the Wall" had all the elements of early Prog Metal (and the songs were now
heavier). But even more-so on "Thunder Seven (1984)"; "Rock Out, Roll On", "Time goes By", "Killing
Time" and "Stranger in a Strange Land", contained more adventurous soundscapes, including some of the heavier sounds that continued from the previous album, with Rik Emmett experimenting with his Crybaby Wah Wah pedal and "Dive Bombing" on the Tremolo. As well as "Gil Moore's" thundering drums and his equally strong lead and back-up vocals.
They were also known for their elaborate stage-shows and lighting effects to enhance their performance making it an "experience" in light and sound.
Triumph
Allied Forces (1982)
https://youtu.be/6Me82SoAjvU
Never Surrender (1983)
https://youtu.be/RE07TjXaWDQ
Thunder Seven (1984)
https://youtu.be/kn_EeQAJjaI
- Zebra from New Orleans had a heavier side than what "New England" offered, with its influences from Led Zeppelin and Rush (which they covered along with The Moody Blues). And its emphasis on Keyboard textures by Bassist Felix Hanemann, Guitar Dynamics and dramatic vocals in various ranges by Randy Jackson and a huge drum sound with Guy Gelso behind the kit. Yet another band that had more to offer than just the standard AOR Rock band, though they had a very rocking side to them.
The Progressive side was undeniable now, it just needed a bit more coaxing to get it over the line further. A another Power Trio with a huge sound and put on a great live show, which happened to be my 3rd concert to attend. Their 1st 2 albums were on my turntable a lot and I still listen to them often. They should have been huge, and I'm just getting into their last 2 albums which I had missed somehow (re-listening to their 3rd album as well).
Zebra
Debut (1983)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeG4Lf_vojuGmt86l8omOa-
No Tellin' Lies (1984)
https://www.youtube.com/playlist?list=PLsq9i9wjMUCXNJa_ns-oGfLsU_cdcziK5
- Warlord of San Jose California were growing into a band much like Fates Warning; many progressive elements yet retaining the Heavy Metal structure, but in a much grander scale conceptually. They were
creating dramatic soundtracks to stories and themes. Very much ahead of their time, but for some reason I lost track of them after their 2nd album. To my amazement, I would later recognize the name "Mark Zonder" as he would join Fates Warning on the "Perfect Symmetry" album in 1989 as their new
Drummer. These guys were onto something here.
At the same time though, I did not listen to these albums as much as I should have, I really don't know why. Sometimes something comes at the right place but wrong time - its something I'm in the process
to remedy. Could it be argued that Warlord might be considered one of the 1st Prog "Metal" bands?
Warlord
Deliver Us (1983)
https://www.youtube.com/watch?v=4eBDUC4s3bY
And the Cannons of Destruction Have Begun... (1984)
https://www.youtube.com/watch?v=7EBhqCc3NqY
- Alcatrazz the multi-International band by way of Los Angeles, made its name from the founders of the band "New England" by enlisting the huge vocals of Rainbow and Michael Schenker Group; "Graham Bonnet" and the soon to be "Guitar God" of shredding; "Yngwie J. Malmsteen". The Neo-Classical with an AOR and slight Progressive sound was becoming more prevalent (at a time when Heavy Metal bands were coming out of the woodwork globally). Unfortunately this line-up lasted for 1 Studio and 1 Live album
("Live Sentence" in 1984) as Yngwie became a superstar as a Solo artist.
But for their next recording "Disturbing the Peace", they hired-on another up and coming Guitarist from Long Island (at this time living in Los Angeles) "Steve Vai" who had gone solo after performing with Frank Zappa's outfit on 3 albums (I 1st read about Vai in Guitar Player magazine in a sub-article about Zappa
entitled "Zappa's Italian Virtuoso" - months later, on a college station from Mt. San Antonio, I heard "The Attitude Song" and was totally blown away, and had to find the album). The music still featured over the top guitar but perfectly filtered to fit within the parameters of the band (sort of reigning in Vai's over the top virtuosity, but still showcasing his versatile skills), this time becoming even more progressive on most of the album. But this too would be short-lived for 1 studio LP and a Live Video in Japan. The band would do 1 more album, that did not quite find a Guitarist of the 2 previous caliber.
Reunion and Story: https://youtu.be/JbpolY1-glo
Alcatrazz
No Parole from Rock 'n Roll (1983)
https://www.youtube.com/playlist?list=PLciK7kw4B2kIgAXkykkOc-8nIFBfbvnSt
Disturbing the Peace (1985)
https://www.youtube.com/playlist?list=PLghkN8xCrgoPhw2lo_Ucv-L9tmaALeq9F
And Vai would appear with "Public Image Ltd.", then "David Lee Roth" and "Whitesnake" before
embarking exclusively on his Solo career. And introduce to the world; "Devin Townsend" on his odd
album "Sex and Religion". Vai and Yngwie being one of many heading the charge of Guitar Shredders
and albums to come embracing all sorts of music infused within their guitars.
A History of a time to come . . .
The 80's Underground.
- Magnum from Birmingham England, had more of a straight ahead "attack" to their harder side than even Uriah Heep, though they too could do ballads and slower tempo songs. They were more polished
than their counterparts emerging from the NWOBHM and seemed more at home with the likes of Triumph and Kansas. They didn't fit in this new wave of Metal, but somewhere new.
Keyboards (complete with unique sounds by Mark Stanway) were utilized as a lead and background
instrument along with the driving force of the guitars and drums. It was presented as a harder side of "Kansas" (Kansas meets the NWOBHM?). Lyrically maybe not as prolific, but well written with the same philosophies nonetheless, with the strong vocals of "Bob Catley" whose voice was unique, and at times soaring with a lot of heart.
Guitarist Tony Clarkin was not only adept at coming up with fantastic riffs, he was a dynamic lead, from acoustic to electric guitars he had a distinct sound and tone.
And Kex Gorin's huge Drum sound and flurries were able to keep the heartbeat of the music interesting.
Wally Lowe on bass also had a unique tone along with his picking technique that also kept a unique pulse.
Magnum was a blind purchase at Tower Records in Brea California in 1982 as I used to scour the many
record stores back then, looking for something new and exciting. And there sat "Chase the Dragon".
The "Art" hit me like a bolt of lightening it was soo beautiful! But I didn't want to be fooled by the cover (Other than seeing the cover art of Nazareth's "No Mean City" many decades ago as a kid, it was because
of the Magnum art I became a Rodney Matthews devotee), but the lyrics were printed on the back along
with what the band played - and that sealed the deal! When I got it home and put it on the turntable, the growing sound of a distant war coming closer (a "battlefield", and then the unique sound of a Synth generated explosion!) and right into "Soldier of the Line", I was floored . . .
This was what I craved and I wanted more like this. I thoroughly enjoyed their earlier 3 albums; "Chase the Dragon (1982)", "The Eleventh Hour (1983)", and the more AOR/Prog Rock; "On a Storytellers Night
(1985)". I was a bit disappointed for their next 3 albums, and lost track of them for a few years. But its these 3 albums that had me search for more music that was heavy and also used the textures of keyboards (much like the bands above). That could go from the melodic to the more aggressive.
. . . Could Magnum actually be the "1st" Prog Metal band? You decide unless your ears deceive.
Magnum
Chase the Dragon (1982)
https://www.youtube.com/playlist?list=PLuxV_iOECwmWl9ZbOtpwOW2tQ4f2YUa1r
The Eleventh Hour (1983)
https://www.youtube.com/playlist?list=PLAF49A6DBF6509AAA
On a Storytellers Night (1985):
https://www.youtube.com/playlist?list=PLLJl8llpYAYMfIruXHbvADSXGQfGmpGLJ
Lyrics to Magnum "Chase the Dragon": https://genius.com/albums/Magnum/Chase-the-dragon
"The Eleventh Hour": https://genius.com/albums/Magnum/The-eleventh-hour
"On a Storytellers Night": https://genius.com/albums/Magnum/On-a-storyteller-s-night
than their counterparts emerging from the NWOBHM and seemed more at home with the likes of Triumph and Kansas. They didn't fit in this new wave of Metal, but somewhere new.
Keyboards (complete with unique sounds by Mark Stanway) were utilized as a lead and background
instrument along with the driving force of the guitars and drums. It was presented as a harder side of "Kansas" (Kansas meets the NWOBHM?). Lyrically maybe not as prolific, but well written with the same philosophies nonetheless, with the strong vocals of "Bob Catley" whose voice was unique, and at times soaring with a lot of heart.
Guitarist Tony Clarkin was not only adept at coming up with fantastic riffs, he was a dynamic lead, from acoustic to electric guitars he had a distinct sound and tone.
And Kex Gorin's huge Drum sound and flurries were able to keep the heartbeat of the music interesting.
Wally Lowe on bass also had a unique tone along with his picking technique that also kept a unique pulse.
Magnum was a blind purchase at Tower Records in Brea California in 1982 as I used to scour the many
record stores back then, looking for something new and exciting. And there sat "Chase the Dragon".
The "Art" hit me like a bolt of lightening it was soo beautiful! But I didn't want to be fooled by the cover (Other than seeing the cover art of Nazareth's "No Mean City" many decades ago as a kid, it was because
of the Magnum art I became a Rodney Matthews devotee), but the lyrics were printed on the back along
with what the band played - and that sealed the deal! When I got it home and put it on the turntable, the growing sound of a distant war coming closer (a "battlefield", and then the unique sound of a Synth generated explosion!) and right into "Soldier of the Line", I was floored . . .
This was what I craved and I wanted more like this. I thoroughly enjoyed their earlier 3 albums; "Chase the Dragon (1982)", "The Eleventh Hour (1983)", and the more AOR/Prog Rock; "On a Storytellers Night
(1985)". I was a bit disappointed for their next 3 albums, and lost track of them for a few years. But its these 3 albums that had me search for more music that was heavy and also used the textures of keyboards (much like the bands above). That could go from the melodic to the more aggressive.
. . . Could Magnum actually be the "1st" Prog Metal band? You decide unless your ears deceive.
Magnum
Chase the Dragon (1982)
https://www.youtube.com/playlist?list=PLuxV_iOECwmWl9ZbOtpwOW2tQ4f2YUa1r
The Eleventh Hour (1983)
https://www.youtube.com/playlist?list=PLAF49A6DBF6509AAA
On a Storytellers Night (1985):
https://www.youtube.com/playlist?list=PLLJl8llpYAYMfIruXHbvADSXGQfGmpGLJ
Lyrics to Magnum "Chase the Dragon": https://genius.com/albums/Magnum/Chase-the-dragon
"The Eleventh Hour": https://genius.com/albums/Magnum/The-eleventh-hour
"On a Storytellers Night": https://genius.com/albums/Magnum/On-a-storyteller-s-night
"To the spirit that guides you, follow it through, to the spirit inside you, always be true!
You know you'll despair, if the spirit inside you is used without care . . ."
- Magnum/"The Spirit"
You know you'll despair, if the spirit inside you is used without care . . ."
- Magnum/"The Spirit"
The Fathers of Prog Metal
I
I
Destiny can't rest you see, now its time . . .
Seattle's Queensrÿche may very well be the 1st true "Prog Metal Band" as the Metal parts were clearly defined yet were precise and well tooled. But "The Warning" album proved to be where Metal started to "progress" into something more. I had followed them since hearing their 1st EP tracks on KMET's Heavy Metal Program in LA (the KMETal Shop). Their namesake track "Queen of the Reich" would be the catalyst for my obsession to find the album (and the now cheesy debut video for the track - but me and my friends loved it! But somehow I missed this vid). Finally finding and purchasing its release a month or 2 later.
Queensrÿche - EP Debut (1983):
https://www.youtube.com/playlist?list=PLixgktXu1xVOnRhDtzVlDAmUlqimfGZ4X
Queensrÿche - EP Debut (1983):
https://www.youtube.com/playlist?list=PLixgktXu1xVOnRhDtzVlDAmUlqimfGZ4X
Inspiring the 1st Wave . . .
But the sophomore release of The Warning was a perfect Metal album of epic proportions. But its
progressive side was subtle, though songs like "Sanctuary", "Before the Storm, "Take Hold", "NM156"
and the epic "Roads to Madness" were pre-viz signs to come for the genre.
The musicianship was flawless by each member, and the F#5/G5 vocals of "Geoff Tate" put him on the map as the next Rob Halford. His vocals were amazing, and for an era he was a new favorite vocalist. He had a powerful voice that he could sustain almost forever it seemed. But very emotional and expressive and he had a great stage presence.
The 2 Guitarists "Chris DeGarmo" and "Michael Wilton" were not only "riffing" but were playing
complicated notes yet could write melodies with hooks. Often with acoustic guitars as a enhancement of
colour or layering tracks. Their leads and solos could cut like a buzzsaw or follow the melody that was
established within a song. DeGarmo could also sing harmony with Tate. Their dueling leads were
something to behold as if they were battling each other on disc or on stage. DeGarmo also wrote many
lyrics along with Tate and composed many of the songs indicative of their style and sound.
Bassist "Eddie Jackson" was able to keep up with any odd-time signature in a style reminiscent of Iron
Maiden's Steve Harris with his galloping finger plucking of strings. But Jackson was able to veer off yet still
keep the pulse for any style of song.
Drummer Scott Rockenfield was a machine. Live you could see he beat his unique kit (the 1st to have
"chains" as hardware for the Cymbal set) into submission but with intricate precision. By the time we get to The Warning, he now added Simmons Electronic Drum pads with his acoustics. And on the Warning album, he had added a sample of "Dirty Harry's Smith & Wesson .44" as a 2nd snare (ex: "Before the Storm"). He was able to play complicated notes to subtle beats and holding back when needed. Whatever fit the mood of the piece of music, it was there for a reason.
All this from a band that never played the Club circuit (except Tate in his own band) and being grabbed-up by a major label (Capitol/EMI), landing a deal from just a Demo (and after, an Indie version of the debut Ep of QR's demo fully produced).
progressive side was subtle, though songs like "Sanctuary", "Before the Storm, "Take Hold", "NM156"
and the epic "Roads to Madness" were pre-viz signs to come for the genre.
The musicianship was flawless by each member, and the F#5/G5 vocals of "Geoff Tate" put him on the map as the next Rob Halford. His vocals were amazing, and for an era he was a new favorite vocalist. He had a powerful voice that he could sustain almost forever it seemed. But very emotional and expressive and he had a great stage presence.
The 2 Guitarists "Chris DeGarmo" and "Michael Wilton" were not only "riffing" but were playing
complicated notes yet could write melodies with hooks. Often with acoustic guitars as a enhancement of
colour or layering tracks. Their leads and solos could cut like a buzzsaw or follow the melody that was
established within a song. DeGarmo could also sing harmony with Tate. Their dueling leads were
something to behold as if they were battling each other on disc or on stage. DeGarmo also wrote many
lyrics along with Tate and composed many of the songs indicative of their style and sound.
Bassist "Eddie Jackson" was able to keep up with any odd-time signature in a style reminiscent of Iron
Maiden's Steve Harris with his galloping finger plucking of strings. But Jackson was able to veer off yet still
keep the pulse for any style of song.
Drummer Scott Rockenfield was a machine. Live you could see he beat his unique kit (the 1st to have
"chains" as hardware for the Cymbal set) into submission but with intricate precision. By the time we get to The Warning, he now added Simmons Electronic Drum pads with his acoustics. And on the Warning album, he had added a sample of "Dirty Harry's Smith & Wesson .44" as a 2nd snare (ex: "Before the Storm"). He was able to play complicated notes to subtle beats and holding back when needed. Whatever fit the mood of the piece of music, it was there for a reason.
All this from a band that never played the Club circuit (except Tate in his own band) and being grabbed-up by a major label (Capitol/EMI), landing a deal from just a Demo (and after, an Indie version of the debut Ep of QR's demo fully produced).
The Warning album would start the ball rolling with its huge
inspiration and influence, would echo for bands to come, soon
after.
Queensrÿche - The Warning (1984):
https://www.youtube.com/watch?v=jleSyVFNJgM
Geoff Tate would inspire many a front-man, challenge vocal
ranges and emotional expressions from its vocalists to come.
Along with their albums after, and peers Fates Warning, would
also solidify the foundations of Prog Metal and make their
presence known for its new audience. Each album sounding
different than its previous and progressing into uncharted waters. But "The Warning" also had its set-
backs according to Geoff Tate, but for myself and friends at this time, we had never heard "Metal" like this
in 1984. We had no name for its "sound", especially for the songs we picked out from the album that progressed metal to somewhere new . . .
Lyrics: http://www.darklyrics.com/lyrics/queensryche/thewarning.html
inspiration and influence, would echo for bands to come, soon
after.
Queensrÿche - The Warning (1984):
https://www.youtube.com/watch?v=jleSyVFNJgM
Geoff Tate would inspire many a front-man, challenge vocal
ranges and emotional expressions from its vocalists to come.
Along with their albums after, and peers Fates Warning, would
also solidify the foundations of Prog Metal and make their
presence known for its new audience. Each album sounding
different than its previous and progressing into uncharted waters. But "The Warning" also had its set-
backs according to Geoff Tate, but for myself and friends at this time, we had never heard "Metal" like this
in 1984. We had no name for its "sound", especially for the songs we picked out from the album that progressed metal to somewhere new . . .
Lyrics: http://www.darklyrics.com/lyrics/queensryche/thewarning.html
Rage for Order was the next step for 1985, even more sound
effects and dialogue was added between and within songs, and
many tracks more adventurous with keyboards for color. The
band members had even taken on a "new look", which was a
style of, dare I speak it, "Glamm" meets Gothic, which I hoped
didn't reflect the music (other than the odd choice to cover a
Synth Pop song "Gonna' get close to you" almost to a T), but
the music progressed even further and a bit heavier. It was
reading a trade magazine that I 1st heard the title "Progressive
Metal" by a journalist (I wish I knew where and who) who finally
gave this "sound" a name to identify it. THIS is what I wanted more of, and I was determined to find it,
as much as the bands they and Fates Warning would soon influence and inspire.
This type of metal had twists and turns, a storyline not only by the words but the music itself. It could be very aggressive or melodically speaking a new language that wasn't harsh, but beautiful, yet had a bite.
A bite with enough aggression to digest.
Queensrÿche - "Rage for Order" (1985):
https://www.youtube.com/watch?v=q35a3JhxW14
Lyrics: http://www.darklyrics.com/lyrics/queensryche/ragefororder.html
effects and dialogue was added between and within songs, and
many tracks more adventurous with keyboards for color. The
band members had even taken on a "new look", which was a
style of, dare I speak it, "Glamm" meets Gothic, which I hoped
didn't reflect the music (other than the odd choice to cover a
Synth Pop song "Gonna' get close to you" almost to a T), but
the music progressed even further and a bit heavier. It was
reading a trade magazine that I 1st heard the title "Progressive
Metal" by a journalist (I wish I knew where and who) who finally
gave this "sound" a name to identify it. THIS is what I wanted more of, and I was determined to find it,
as much as the bands they and Fates Warning would soon influence and inspire.
This type of metal had twists and turns, a storyline not only by the words but the music itself. It could be very aggressive or melodically speaking a new language that wasn't harsh, but beautiful, yet had a bite.
A bite with enough aggression to digest.
Queensrÿche - "Rage for Order" (1985):
https://www.youtube.com/watch?v=q35a3JhxW14
Lyrics: http://www.darklyrics.com/lyrics/queensryche/ragefororder.html
Skipping onward to the future ~ 1998 and beyond
click on image for each corresponding album or single
It would be 2 albums that would send them to super stardom . . .
Operation Mindcrime (1988) that would be compared to a Metal version of Pink Floyd's "The Wall" or
The Who's "Tommy" (or I like to compare it to "Quadrophenia"). A harder edged album, almost more straightforward than its predecessors (even though at the time, I thought "Rage" was heavier), with about half the songs having those "progressive" qualities they were solidifying. But, the press and many fans this day believe this is the album that represented "Prog Metal" for the generations to come. I had been lucky to see them open for Metallica on their "...And Justice for All Tour" where they played most of the album. But they were also able to do the album in its entirety with visuals on their next albums tour.
Another important element added to an already thematic concept; conductor, composer/arranger of many soundtracks, Michael Kamen added another level of music with a full orchestra to heighten the drama, and who would soon be a "6th" honorary member for the next few albums.
This album brought them to the forefront of new Metal, along with Metallica and few others . . .
And then the release of Empire (1990) sent them into the stratosphere with their single "Silent Lucidity", now exposing them to a wider audience in the Top 4o world (which is kinda' strange I have to admit) but the rest of the album still retained a bit of aggression, progressiveness that was more subtle, but a very strong emphasis on "songs", complete with the audio dialogue and effects that "Rage"/Mindcrime had featured, along with Tate adding a "different voice" at times that I picked-up on.
This album also brought in Michael Kamen again, but even more so throughout the album to add yet
another dimension to the music to give it a much grander scale and atmosphere.
Very polished, but even for QR, it was amazing how tight they were on stage. Again, was blessed to have seen it all go down live, with now beautiful women showing up in mini-skirts and high heels at the Los Angeles Forum :p. But these new fans would soon get a dose of Prog Metal with the entire album of Operation Mindcrime!
It was amazing to be there for the whole thing, and they pulled off with perfection, and I can remember Tate saying to the audience "A lot of you are saying to yourself . . . what the hell is this music they're playing?"
Referring to the newer fans that are hearing Operation Mindcrime (and older songs) for the first time :D.
And possibly this genre of music that many were not exposed to, yet.
Operation Mindcrime lyrics:
http://www.darklyrics.com/lyrics/queensryche/operationmindcrime.html
Empire lyrics:
http://www.darklyrics.com/lyrics/queensryche/empire.html
Operation Mindcrime (1988) that would be compared to a Metal version of Pink Floyd's "The Wall" or
The Who's "Tommy" (or I like to compare it to "Quadrophenia"). A harder edged album, almost more straightforward than its predecessors (even though at the time, I thought "Rage" was heavier), with about half the songs having those "progressive" qualities they were solidifying. But, the press and many fans this day believe this is the album that represented "Prog Metal" for the generations to come. I had been lucky to see them open for Metallica on their "...And Justice for All Tour" where they played most of the album. But they were also able to do the album in its entirety with visuals on their next albums tour.
Another important element added to an already thematic concept; conductor, composer/arranger of many soundtracks, Michael Kamen added another level of music with a full orchestra to heighten the drama, and who would soon be a "6th" honorary member for the next few albums.
This album brought them to the forefront of new Metal, along with Metallica and few others . . .
And then the release of Empire (1990) sent them into the stratosphere with their single "Silent Lucidity", now exposing them to a wider audience in the Top 4o world (which is kinda' strange I have to admit) but the rest of the album still retained a bit of aggression, progressiveness that was more subtle, but a very strong emphasis on "songs", complete with the audio dialogue and effects that "Rage"/Mindcrime had featured, along with Tate adding a "different voice" at times that I picked-up on.
This album also brought in Michael Kamen again, but even more so throughout the album to add yet
another dimension to the music to give it a much grander scale and atmosphere.
Very polished, but even for QR, it was amazing how tight they were on stage. Again, was blessed to have seen it all go down live, with now beautiful women showing up in mini-skirts and high heels at the Los Angeles Forum :p. But these new fans would soon get a dose of Prog Metal with the entire album of Operation Mindcrime!
It was amazing to be there for the whole thing, and they pulled off with perfection, and I can remember Tate saying to the audience "A lot of you are saying to yourself . . . what the hell is this music they're playing?"
Referring to the newer fans that are hearing Operation Mindcrime (and older songs) for the first time :D.
And possibly this genre of music that many were not exposed to, yet.
Operation Mindcrime lyrics:
http://www.darklyrics.com/lyrics/queensryche/operationmindcrime.html
Empire lyrics:
http://www.darklyrics.com/lyrics/queensryche/empire.html
My personal favorite . . .
Promised Land (1994):
https://www.youtube.com/watch?v=FTUL5QSnav8&t=5s
Promised Land was the album that was an accumulation of
everything they were (except for the faster aggressive) that
came into one very progressive album. Part Progressive Rock
part Prog Metal. If they were ever compared with touches of Pink Floyd before, this was the album that uncovered that
admiration. But that's not why I gravitated to this particular release. It was polished, very different than all its previous
efforts, yet it had a lot of soul, and thought behind it. Its very dark, moody, evocative in sound and that is what gives it personality. Each member shines on this album, the lyrics can be very sad, internal, self-introspective and worldly (and the interesting audio dialogue and sound effects throughout). I saw this
album as a band truly progressing, dare I say, reinventing themselves.
And the gorgeous cover art and clever way to fit in their "Tri-ryche", by Hugh Syme who is known for most of Rush's catalogue and many other infamous covers.
Making of: https://www.youtube.com/watch?v=cezGdwC7Q74
It seemed to have come out when I was looking at my own world and what I witnessed on my travels between San Diego and Los Angeles through the city, and a revelation of what I would go through a few years later.
Even though each album is its own entity, each having much that I came to admire, it was this album that spoke to me personally. A poignant and emotive album that perfectly suited Geoff Tate's vocals.
Michael Kamen also lent his hand for orchestration on the "Bonus Track" Real World, which was also featured in the Last Action Hero soundtrack, which is a wonderful Mini Epic and one of my favorite tracks.
The Concert/Play.
I was also VERY lucky to go see the tour, which was much like a stage show. I imagine it wasn't what the
audience expected and probably wanted something more exciting, but it was very intriguing to me.
The opener "I am I", Tate would be chased around the stage by a small group of paparazzi, trying to get
words out of him while others getting snapshots with old flash cameras. When the song was over, right
on the mark when "Damaged" started, one of the paparazzi snatched his clothes off! Leaving him
cowering in the spotlight in his bike shorts, as if he were "naked" for all to see . . . I got it, it was very
clever and Tate continued on, singing the song as if in agony.
Later, there was a "band" as if at a bar playing languidly in the back, all the sudden, I realized Tate was at the bar that was also on stage, singing to the "bartender" and the girl sitting on the stool next to him, he'd breakout the Sax while playing the title track Promised Land. I then realized that the Bar Band was actually Queensryche! It is a crying shame that it wasn't officially recorded, and the band has said the same years later.
But all in all, what a great experience to see it go down, and an album that each track, holds a special place of admiration for what it was, even if most people ignore it, or don't see it as part of the band's canon. I was lucky enough to find it on Lp, and a Japanese pressing of the CD at "Lou's" in Encinitas when I was working at Angel Studios. So I was able to enjoy the bonus tracks and the Full band version of "Someone Else", before the remaster came years later. It amazes me where my life seemed to be going back then, but have it crashing down in the next 5 years . . .
"Head down, nose in the grindstone; The kiss of life placed on my brow, kept sliddin' to the ground
And now it's buried six feet under.
Preaching from the floor again, the same old sad song, "Bartender, bring another drink for their favorite son."
Where did it all go wrong? What's the use in even holding on?
Here's to love, hate, and promises . . . and lies."
Lyrics: http://www.darklyrics.com/lyrics/queensryche/promisedland.html
Promised Land (1994):
https://www.youtube.com/watch?v=FTUL5QSnav8&t=5s
Promised Land was the album that was an accumulation of
everything they were (except for the faster aggressive) that
came into one very progressive album. Part Progressive Rock
part Prog Metal. If they were ever compared with touches of Pink Floyd before, this was the album that uncovered that
admiration. But that's not why I gravitated to this particular release. It was polished, very different than all its previous
efforts, yet it had a lot of soul, and thought behind it. Its very dark, moody, evocative in sound and that is what gives it personality. Each member shines on this album, the lyrics can be very sad, internal, self-introspective and worldly (and the interesting audio dialogue and sound effects throughout). I saw this
album as a band truly progressing, dare I say, reinventing themselves.
And the gorgeous cover art and clever way to fit in their "Tri-ryche", by Hugh Syme who is known for most of Rush's catalogue and many other infamous covers.
Making of: https://www.youtube.com/watch?v=cezGdwC7Q74
It seemed to have come out when I was looking at my own world and what I witnessed on my travels between San Diego and Los Angeles through the city, and a revelation of what I would go through a few years later.
Even though each album is its own entity, each having much that I came to admire, it was this album that spoke to me personally. A poignant and emotive album that perfectly suited Geoff Tate's vocals.
Michael Kamen also lent his hand for orchestration on the "Bonus Track" Real World, which was also featured in the Last Action Hero soundtrack, which is a wonderful Mini Epic and one of my favorite tracks.
The Concert/Play.
I was also VERY lucky to go see the tour, which was much like a stage show. I imagine it wasn't what the
audience expected and probably wanted something more exciting, but it was very intriguing to me.
The opener "I am I", Tate would be chased around the stage by a small group of paparazzi, trying to get
words out of him while others getting snapshots with old flash cameras. When the song was over, right
on the mark when "Damaged" started, one of the paparazzi snatched his clothes off! Leaving him
cowering in the spotlight in his bike shorts, as if he were "naked" for all to see . . . I got it, it was very
clever and Tate continued on, singing the song as if in agony.
Later, there was a "band" as if at a bar playing languidly in the back, all the sudden, I realized Tate was at the bar that was also on stage, singing to the "bartender" and the girl sitting on the stool next to him, he'd breakout the Sax while playing the title track Promised Land. I then realized that the Bar Band was actually Queensryche! It is a crying shame that it wasn't officially recorded, and the band has said the same years later.
But all in all, what a great experience to see it go down, and an album that each track, holds a special place of admiration for what it was, even if most people ignore it, or don't see it as part of the band's canon. I was lucky enough to find it on Lp, and a Japanese pressing of the CD at "Lou's" in Encinitas when I was working at Angel Studios. So I was able to enjoy the bonus tracks and the Full band version of "Someone Else", before the remaster came years later. It amazes me where my life seemed to be going back then, but have it crashing down in the next 5 years . . .
"Head down, nose in the grindstone; The kiss of life placed on my brow, kept sliddin' to the ground
And now it's buried six feet under.
Preaching from the floor again, the same old sad song, "Bartender, bring another drink for their favorite son."
Where did it all go wrong? What's the use in even holding on?
Here's to love, hate, and promises . . . and lies."
Lyrics: http://www.darklyrics.com/lyrics/queensryche/promisedland.html
Another album, and again, changing it up as they did, though it was a "Grunge" styled album, even though it was on its way out; "Hear in the Now Frontier" (which had to grow on me), was a stripped down version of the band. But by then their album sales were going down (which started with Promised Land ironically). But Hear would be the last album that I would like in its entirety. I learned that Chris DeGarmo had left the band (under duress or personal reasons?), and became a commercial pilot to the sadness of its dedicated fans. And I could tell the days were numbered when "Q2k" was released.
Awesome album cover, terrible music, and with each album afterward it got worse and worse. A band that
had soo much going and promise for its future, but Tate wasn't keeping up on his voice (my favorite singer along with Steve Walsh, Michael Sadler and Ronnie James Dio) as was shown at the last QR Concert I would attend, the band lost its "dynamics" and a decade would go by without any answers until 2012 it was revealed what was going on sadly. It got pretty ugly, and having read the court transcriptions, it pretty much explained all that was happening all the years prior (and its settlement). I just couldn't believe, once friends and comrades in Metal would be treated in such a way, all because of declining album sales and trying to stay on top.
By the time "Rising West" (see link) started recording and hitting small clubs with new material, it seemed
"The old sound" was back, but finally the new self-titled album came in 2013 with the new vocalist
Todd LaTorre and Guitarist Parker Lundgren, and for me and many others, it was a welcome back to that unique dynamic that we all missed and hoped to return.
Though they have their share of critics and Geoff Tate loyalists, "Queensrÿche" was back to its true self again. In 2015 released the excellent "Condition Human". And for 2019 "The Verdict".
Awesome album cover, terrible music, and with each album afterward it got worse and worse. A band that
had soo much going and promise for its future, but Tate wasn't keeping up on his voice (my favorite singer along with Steve Walsh, Michael Sadler and Ronnie James Dio) as was shown at the last QR Concert I would attend, the band lost its "dynamics" and a decade would go by without any answers until 2012 it was revealed what was going on sadly. It got pretty ugly, and having read the court transcriptions, it pretty much explained all that was happening all the years prior (and its settlement). I just couldn't believe, once friends and comrades in Metal would be treated in such a way, all because of declining album sales and trying to stay on top.
By the time "Rising West" (see link) started recording and hitting small clubs with new material, it seemed
"The old sound" was back, but finally the new self-titled album came in 2013 with the new vocalist
Todd LaTorre and Guitarist Parker Lundgren, and for me and many others, it was a welcome back to that unique dynamic that we all missed and hoped to return.
Though they have their share of critics and Geoff Tate loyalists, "Queensrÿche" was back to its true self again. In 2015 released the excellent "Condition Human". And for 2019 "The Verdict".
Parker Lundgren – lead and rhythm guitars. Michael Wilton – lead and rhythm guitars. Todd La Torre – vocals. Scott Rockenfield – drums, percussion. Eddie Jackson – bass, backing vocals.
A Sampler of Queensrÿche music:
| https://www.youtube.com/playlist?list=PL_zmdsN11qLGyf0u5xyqEYVXv3kN9VT8L |
| https://www.youtube.com/playlist?list=PL_zmdsN11qLGyf0u5xyqEYVXv3kN9VT8L |
"I can hear the chimes, ringing for you for me, I can see your eyes, your hands joining with me
I can feel it's time, it's time for the world to hear Neue Regel is here!"
- Queensrÿche/"Neue Regel"
I can feel it's time, it's time for the world to hear Neue Regel is here!"
- Queensrÿche/"Neue Regel"
- Virgin Steele from New York, was a band I did not know about till hearing their 3rd album. I probably heard them along with a slew of others at the time on the LA FM station KMET during their "Metal Shop"
program. You can hear their sound was very much a precursor to U.S. Powermetal. I can tell by listening to their 2nd album "Guardians of the Flame", I would have wanted the guitars to be heavier to compensate for the screaming vocals. Many bands of the underground were sounding like this, but only a handful really stood out for me. I was a bit spoiled because I wanted these Metal bands to "sound" heavier, yet be well produced to get the right tones, and hear the instruments clearer. Also notice the "Operatic" vocals and
keyboard flurries of things to come.
Agent Steele had a lot going for them, but it wouldn't be till 1999 and 2000 where they matured for their
2 part concept albums; The House of Atreus Act I & Act II, based on the trilogy of Greek tragedies written by Aeschylus which concerns the end of the curse on the House of Atreus. The 2 are highly recommended.
I really need to go back and listen to them a bit more and go through their catalogue, especially the album that many may have come across and hold in high regard as a classic underground album; 1985's "Noble Savage". In many ways, harkens back to a more raw version, of earlier era "Symphony X", as well as other
bands that would take on the more operatic tropes, Viking Lore, Greek tragedies, Medieval, Wagnerian and Sci-Fi/Fantasy concepts, that would be known as "Symphonic Metal/Powermetal".
Virgin Steele
Guardians of the Flame (1983)
https://www.youtube.com/watch?v=oW4DaxsEFk4
Noble Savage (1985)
https://www.youtube.com/watch?v=RbT1dyFKGmE
program. You can hear their sound was very much a precursor to U.S. Powermetal. I can tell by listening to their 2nd album "Guardians of the Flame", I would have wanted the guitars to be heavier to compensate for the screaming vocals. Many bands of the underground were sounding like this, but only a handful really stood out for me. I was a bit spoiled because I wanted these Metal bands to "sound" heavier, yet be well produced to get the right tones, and hear the instruments clearer. Also notice the "Operatic" vocals and
keyboard flurries of things to come.
Agent Steele had a lot going for them, but it wouldn't be till 1999 and 2000 where they matured for their
2 part concept albums; The House of Atreus Act I & Act II, based on the trilogy of Greek tragedies written by Aeschylus which concerns the end of the curse on the House of Atreus. The 2 are highly recommended.
I really need to go back and listen to them a bit more and go through their catalogue, especially the album that many may have come across and hold in high regard as a classic underground album; 1985's "Noble Savage". In many ways, harkens back to a more raw version, of earlier era "Symphony X", as well as other
bands that would take on the more operatic tropes, Viking Lore, Greek tragedies, Medieval, Wagnerian and Sci-Fi/Fantasy concepts, that would be known as "Symphonic Metal/Powermetal".
Virgin Steele
Guardians of the Flame (1983)
https://www.youtube.com/watch?v=oW4DaxsEFk4
Noble Savage (1985)
https://www.youtube.com/watch?v=RbT1dyFKGmE
- Nightwing of England, were another blind purchase. I did not know much about their "NWOBHM" roots
till much later. But the song titles and the Roger Dean painted cover on "My Kingdom Come" was enough
to try them out. Loved this album from start to finish, and really enjoyed the voice of "Max Bacon" (from
the Hard Rock band "Bronz"), who would gain notoriety with a single by "Mike Oldfield ("Magic Touch" 1987)" and the Supergroup "GTR (1986)". Most of the songs were definitely Progressive influenced and with a hard edge. A Metal-Hard Rock/AOR feel with enough Prog to want more like this.
I would purchase the previous album with Max Bacon "Stand-up and be Counted (1983)" months later.
But it was clear My Kingdom Come was a few more steps forward in their sound.
Nightwing
My Kingdom Come (1984)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdPYuKh1pXBOMYTvdBazAWE
- Warrior from San Diego by way of LA, was making a name for themselves down the SoCal coast at
various clubs. A demo circulated and eventually made it to a LA FM Rock station KMET and was feature
regularly (and on their Metal show "The KMETal Shop"). They were soon signed by MCA and had a nicely
budgeted video for the title track "Fighting for the Earth" (which included "PTM1" for an intro).
Yet another band that was a bit beyond just another Heavy Metal outfit fitting into what was being
marketed and following the trends coming out of the LA Club scene. It had everything going for them to
evolve into something else and ready to progress on another album. But inner turmoil and problems with
the label saw the last of this line-up. 13 Years later they'd try over and over with various line-ups, but
never quite capturing the magic of the 1st album for me personally. But there were many that followed till
their last album. They could also be credited for advancing U.S. Powermetal along with the likes of; (early)
Queensryche, (early) Fates Warning, Fifth Angel, Crimson Glory, Warlord, Vicious Rumors, Sanctuary,
Virgin Steele and more.
Video: "PTM1/Fighting for the Earth": https://www.youtube.com/watch?v=nl07EnbyHhQ
Yet again, could Warrior also be considered one of the 1st true "Prog Metal" bands?
Warrior
Fighting for the Earth (1985)
https://www.youtube.com/playlist?list=PLg5O_y4l_-Z5nvZTpzgogXNGPAlWm3Ma5
till much later. But the song titles and the Roger Dean painted cover on "My Kingdom Come" was enough
to try them out. Loved this album from start to finish, and really enjoyed the voice of "Max Bacon" (from
the Hard Rock band "Bronz"), who would gain notoriety with a single by "Mike Oldfield ("Magic Touch" 1987)" and the Supergroup "GTR (1986)". Most of the songs were definitely Progressive influenced and with a hard edge. A Metal-Hard Rock/AOR feel with enough Prog to want more like this.
I would purchase the previous album with Max Bacon "Stand-up and be Counted (1983)" months later.
But it was clear My Kingdom Come was a few more steps forward in their sound.
Nightwing
My Kingdom Come (1984)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdPYuKh1pXBOMYTvdBazAWE
- Warrior from San Diego by way of LA, was making a name for themselves down the SoCal coast at
various clubs. A demo circulated and eventually made it to a LA FM Rock station KMET and was feature
regularly (and on their Metal show "The KMETal Shop"). They were soon signed by MCA and had a nicely
budgeted video for the title track "Fighting for the Earth" (which included "PTM1" for an intro).
Yet another band that was a bit beyond just another Heavy Metal outfit fitting into what was being
marketed and following the trends coming out of the LA Club scene. It had everything going for them to
evolve into something else and ready to progress on another album. But inner turmoil and problems with
the label saw the last of this line-up. 13 Years later they'd try over and over with various line-ups, but
never quite capturing the magic of the 1st album for me personally. But there were many that followed till
their last album. They could also be credited for advancing U.S. Powermetal along with the likes of; (early)
Queensryche, (early) Fates Warning, Fifth Angel, Crimson Glory, Warlord, Vicious Rumors, Sanctuary,
Virgin Steele and more.
Video: "PTM1/Fighting for the Earth": https://www.youtube.com/watch?v=nl07EnbyHhQ
Yet again, could Warrior also be considered one of the 1st true "Prog Metal" bands?
Warrior
Fighting for the Earth (1985)
https://www.youtube.com/playlist?list=PLg5O_y4l_-Z5nvZTpzgogXNGPAlWm3Ma5
The Fathers of Prog Metal
I I
I I
May fate, have their way . . .
"Very often fans and critic credit Dream Theater for creating a whole new genre of progressive metal music in
the late '90s/early '90s, But the truth is Fates Warning were doing it years before us."
- Mike Portnoy/ taken from liner notes of the 2005 expanded edition of the Awaken the Guardian album.
the late '90s/early '90s, But the truth is Fates Warning were doing it years before us."
- Mike Portnoy/ taken from liner notes of the 2005 expanded edition of the Awaken the Guardian album.
- Fates Warning from Hartford Connecticut, was now growing into another form. Taking the Thrash Metal
foundation to build on, though very melodic, it was aggressive, adventurous and filled with fantasy and
mythological imagery (Night on Bröcken and The Spectre Within):
Fates Warning -
Night on Bröcken (1984)
https://www.youtube.com/playlist?list=PL2y6HmSptWH8ZedlqSkHE8wtkgi5aMAuP
The Spectre Within (1985)
https://www.youtube.com/watch?v=BRi2G3ARoO8
foundation to build on, though very melodic, it was aggressive, adventurous and filled with fantasy and
mythological imagery (Night on Bröcken and The Spectre Within):
Fates Warning -
Night on Bröcken (1984)
https://www.youtube.com/playlist?list=PL2y6HmSptWH8ZedlqSkHE8wtkgi5aMAuP
The Spectre Within (1985)
https://www.youtube.com/watch?v=BRi2G3ARoO8
Though it was their next effort that would find their unique voice, leaving the Maiden influence behind on their 3rd Album (especially John Arch coming into his own from a Bruce Dickinson influence), the 1986 release "Awaken the Guardian". Having the music change its course in the middle of a song and in a different tempo, then recapitulate, much like techniques found in; Yes, Genesis and especially Rush and other bands in Progressive rock, which was VERY different for a Metal band.
The 1st Wave of Prog Metal may have taken shape with QR, but Fates was right behind with its own take and
inspiration, if people were just catching onto them, or years down the road as direct influences . . .
Co-Founder/Guitarist "Jim Matheos" and newcomer "Frank Aresti" (replacing Victor Arduini) seemed to have found a new synergy in the band's new sound. Complicated riffs in a Thrash-like structure, but could
also go from fluid chords to complex chord progressions to suit each mood that flowed through each song. And their lead and counterpoint guitar duels were amazing to hear and watch. And Jim occasionally adding Acoustic Guitars to emote a certain sound for a theme with classical/baroque tropes, making the Metal pieces have a breath of fresh air, that also showed their abilities as well educated/creative musicians.
"Joe DiBiasi" was a subtle bassist at times, but again, from the school of Steve Harris (Iron Maiden
Bassist) as a finger picker. But Joe was also able to play any complex structure very precisely with any
rhythm that Frank and Jim could compose adding his own interesting fills. Joe may have been subtle but without him there would be a hole in the music.
The drumming was now a bit more tighter and "Steve Zimmerman" kept-up with the complexity and many of the poly-rhythmic/stop and go structures.
I actually would not get into the band till "No Exit" and knew nothing about the "John Arch" (vocalist) era till about 2 years after I purchased the album. John Arch not only having the unique voice, but skills as a wordsmith were a gift. In poetic prose; esoteric and prolific, spun stories of Fantasy and Myth, even taking on the subject of the rise of Glamm Metal in "The Valley of the Dolls", possibly in reference to the
"Hollywood Valley" where the genre was born, as well as those who championed the music giving
contracts to anyone with make-up and sexually charged lyrics;
The 1st Wave of Prog Metal may have taken shape with QR, but Fates was right behind with its own take and
inspiration, if people were just catching onto them, or years down the road as direct influences . . .
Co-Founder/Guitarist "Jim Matheos" and newcomer "Frank Aresti" (replacing Victor Arduini) seemed to have found a new synergy in the band's new sound. Complicated riffs in a Thrash-like structure, but could
also go from fluid chords to complex chord progressions to suit each mood that flowed through each song. And their lead and counterpoint guitar duels were amazing to hear and watch. And Jim occasionally adding Acoustic Guitars to emote a certain sound for a theme with classical/baroque tropes, making the Metal pieces have a breath of fresh air, that also showed their abilities as well educated/creative musicians.
"Joe DiBiasi" was a subtle bassist at times, but again, from the school of Steve Harris (Iron Maiden
Bassist) as a finger picker. But Joe was also able to play any complex structure very precisely with any
rhythm that Frank and Jim could compose adding his own interesting fills. Joe may have been subtle but without him there would be a hole in the music.
The drumming was now a bit more tighter and "Steve Zimmerman" kept-up with the complexity and many of the poly-rhythmic/stop and go structures.
I actually would not get into the band till "No Exit" and knew nothing about the "John Arch" (vocalist) era till about 2 years after I purchased the album. John Arch not only having the unique voice, but skills as a wordsmith were a gift. In poetic prose; esoteric and prolific, spun stories of Fantasy and Myth, even taking on the subject of the rise of Glamm Metal in "The Valley of the Dolls", possibly in reference to the
"Hollywood Valley" where the genre was born, as well as those who championed the music giving
contracts to anyone with make-up and sexually charged lyrics;
"Blasphemous black bible bias you betray bigotry
Slay the hydra pretty fair maidens spread leprosy
Hungry children feed from hype of perpetual ego's
I slay the hydra, burn the talisman, holocaust!
Camouflage the battle scars with oxy ten and
maybelline
Cloning the hero's in hype magazine
Pirates of the underground, lightening twice the
speed of sound, YOU will prevail!".
See lyrics: http://www.darklyrics.com/lyrics/fateswarning/awakentheguardian.html#2
Slay the hydra pretty fair maidens spread leprosy
Hungry children feed from hype of perpetual ego's
I slay the hydra, burn the talisman, holocaust!
Camouflage the battle scars with oxy ten and
maybelline
Cloning the hero's in hype magazine
Pirates of the underground, lightening twice the
speed of sound, YOU will prevail!".
See lyrics: http://www.darklyrics.com/lyrics/fateswarning/awakentheguardian.html#2
Not only was it about the tones of his voice but his technique. His vocal structure was like a Jazz singer in which he'd pitch and shift in odd-meter, it would point/counterpoint the musicians while keeping the melody. Interplaying with the riffs of the guitar which was VERY different for this era in Metal.
A prime example of this is on the opener for the album "The Spectre Within" - Traveler in Time.
Arch was full of unique twists and turns, melodic structures and timbres, he was just as intricate as any odd-metered/poly-rhythmic drummer or guitarist . . .
I had never in my life heard a "Metal" vocalist sing "La-la's" in a song, and no one could pull it off with such beauty along with multi-layered melodic and counterpoint harmonies! I can remember being totally
amazed by his technique, and along with Geoff Tate, would be my fave Metal vocalist.
A few years later "Martin Walkyier" of Sabbat (UK) would also lend his English prose - much like a Shakespearean/Dickens Bard. Not as "melodic" vocally, but in a rougher Thrashier and screaming voice.
But truly, Fates Warning's Awaken the Guardian was an album very much ahead of its time in 1986.
Reflecting back, the 1st time I may have heard Fates Warning, was from a scene in the disturbing film "River's Edge", where a tape player is playing a Metal song in a car that caught my ear. It sounded very
cool but couldn't recognize it till years later. And apparently the label for the Soundtrack created a Video
for it.
Here is some great "History" of the band with Jim Matheos and John Archambault (aka John Arch) with great insights and funny stories (the original Art for "Night on Bröcken" :D) while promoting the
excellent "Arch/Matheos" album: https://www.youtube.com/watch?v=e5HJh2b3D2U
A prime example of this is on the opener for the album "The Spectre Within" - Traveler in Time.
Arch was full of unique twists and turns, melodic structures and timbres, he was just as intricate as any odd-metered/poly-rhythmic drummer or guitarist . . .
I had never in my life heard a "Metal" vocalist sing "La-la's" in a song, and no one could pull it off with such beauty along with multi-layered melodic and counterpoint harmonies! I can remember being totally
amazed by his technique, and along with Geoff Tate, would be my fave Metal vocalist.
A few years later "Martin Walkyier" of Sabbat (UK) would also lend his English prose - much like a Shakespearean/Dickens Bard. Not as "melodic" vocally, but in a rougher Thrashier and screaming voice.
But truly, Fates Warning's Awaken the Guardian was an album very much ahead of its time in 1986.
Reflecting back, the 1st time I may have heard Fates Warning, was from a scene in the disturbing film "River's Edge", where a tape player is playing a Metal song in a car that caught my ear. It sounded very
cool but couldn't recognize it till years later. And apparently the label for the Soundtrack created a Video
for it.
Here is some great "History" of the band with Jim Matheos and John Archambault (aka John Arch) with great insights and funny stories (the original Art for "Night on Bröcken" :D) while promoting the
excellent "Arch/Matheos" album: https://www.youtube.com/watch?v=e5HJh2b3D2U
End of an era ~ The beginning of a new . . .
Sadly, "Awaken the Guardian" would be the last album for John Arch, having a family, the normal life of a steady job would set his leaving (or firing) music behind.
The end of the Awaken album, after the closing track "Exodus", where the character on both covers of "The Spectre Within" and "Awaken" - He steps into the "Portal" at the songs end, like Arch, never to return and to live his new life. Sealing his fate as it were, and the band taking a different direction for its new era, with the equally skillful vocalist Ray Alder.
Ray Alder, with his multi-range vocal style, would not only inspire and influence others, he brought forth a new era for Fates, opening up the doors for more exploration. As his voice was multi-faceted, so too would be the music that would come for 10 albums and 2 Live DVD's, touring the world. As Ray has been the voice for every album since his debut for "No Exit". His voice would also mature, along with the music, but still in the parameters of exploration and experimentation. To darker ethereal and gothic tones, to a
combination, with the technical and harder edge. Again, each album sounding different than the one that
came before.
The end of the Awaken album, after the closing track "Exodus", where the character on both covers of "The Spectre Within" and "Awaken" - He steps into the "Portal" at the songs end, like Arch, never to return and to live his new life. Sealing his fate as it were, and the band taking a different direction for its new era, with the equally skillful vocalist Ray Alder.
Ray Alder, with his multi-range vocal style, would not only inspire and influence others, he brought forth a new era for Fates, opening up the doors for more exploration. As his voice was multi-faceted, so too would be the music that would come for 10 albums and 2 Live DVD's, touring the world. As Ray has been the voice for every album since his debut for "No Exit". His voice would also mature, along with the music, but still in the parameters of exploration and experimentation. To darker ethereal and gothic tones, to a
combination, with the technical and harder edge. Again, each album sounding different than the one that
came before.
But as if to come out from the otherside . . .
It would be through growing fandom and help from his former mates in Fates Warning that would bring him back 17 years later for a Solo effort aptly titled John Arch - "Twist of Fate" (2003) with Matheos and Drummer of Dream Theater (being a huge fan), Mike Portnoy along with newer FW member Joey Vera on Bass. The voice, a bit slightly matured was still there! It was so wonderful to hear that voice again with his awesome prose.
Then, yet again in a miracle upon miracle, he returned in 2011 with the widely acclaimed album under the name Arch/Matheos - "Sympathetic Resonance" which was basically a modern telling of what could have
come from Fates Warning after "Awaken...", along with his genius as a wordsmith. Both albums were fantastic and brought together old and new fans that had waited to hear what Arch had up his sleeve. And for us older fans it was a huge treat. Almost 2 years after, Fates would come back with Ray Alder in the lead for the equally awesome "Darkness in a Different Light" (2013). And Frank Aresti coming back as 2nd Lead Guitarist (as well with Arch/Matheos) giving the music more gravitas again.
At this time in 2017, we have the excellent "Theories of Flight" (2016) with Alder to enjoy as well (including touring member, Guitarist Michael Abdow, in place of Aresti. Note: you can see Jim, Frank and
Michael perform all 3 solos on "White Flag"). Fates still going strong with much diversity and creativity into the unknown. We may even get another album with Arch, but we can only hope the fates will have
their way.
"In the four corners of life are the golden mirrors, reflecting what you are and what you are to be...
In the first is a young boy, white dove in his hand
In the second is a warrior in armor, In the third is the old man, gold watch In his hand, fourth and last
No reflection at all, No reflection at all, No reflection at all!"
- Fates Warning/ "The Apparition"
It would be through growing fandom and help from his former mates in Fates Warning that would bring him back 17 years later for a Solo effort aptly titled John Arch - "Twist of Fate" (2003) with Matheos and Drummer of Dream Theater (being a huge fan), Mike Portnoy along with newer FW member Joey Vera on Bass. The voice, a bit slightly matured was still there! It was so wonderful to hear that voice again with his awesome prose.
Then, yet again in a miracle upon miracle, he returned in 2011 with the widely acclaimed album under the name Arch/Matheos - "Sympathetic Resonance" which was basically a modern telling of what could have
come from Fates Warning after "Awaken...", along with his genius as a wordsmith. Both albums were fantastic and brought together old and new fans that had waited to hear what Arch had up his sleeve. And for us older fans it was a huge treat. Almost 2 years after, Fates would come back with Ray Alder in the lead for the equally awesome "Darkness in a Different Light" (2013). And Frank Aresti coming back as 2nd Lead Guitarist (as well with Arch/Matheos) giving the music more gravitas again.
At this time in 2017, we have the excellent "Theories of Flight" (2016) with Alder to enjoy as well (including touring member, Guitarist Michael Abdow, in place of Aresti. Note: you can see Jim, Frank and
Michael perform all 3 solos on "White Flag"). Fates still going strong with much diversity and creativity into the unknown. We may even get another album with Arch, but we can only hope the fates will have
their way.
"In the four corners of life are the golden mirrors, reflecting what you are and what you are to be...
In the first is a young boy, white dove in his hand
In the second is a warrior in armor, In the third is the old man, gold watch In his hand, fourth and last
No reflection at all, No reflection at all, No reflection at all!"
- Fates Warning/ "The Apparition"
| And just released, on May 10, 2019 |
Arch/Matheos - "Winter Ethereal" (2019):
https://youtu.be/RW1I6klf-kA
With guest musicians;
Joe DiBiase Bass (track 3), Mark Zonder Drums (tracks 2,5), Joey Vera Bass (tracks 2,8), Bobby Jarzombek Drums (tracks 4,6), Frank Aresti Guitar solo (track 8 at 4:29 and 4:56, track 9 at 6:18 and 6:44), Baard Kolstad Drums (track 8), Steve DiGiorgio Bass (tracks 1,4,6), Sean Malone Bass (tracks 7,9), Matt Lynch Drums (track 9), Thomas Lang Drums (tracks 1,3,7).
https://youtu.be/RW1I6klf-kA
With guest musicians;
Joe DiBiase Bass (track 3), Mark Zonder Drums (tracks 2,5), Joey Vera Bass (tracks 2,8), Bobby Jarzombek Drums (tracks 4,6), Frank Aresti Guitar solo (track 8 at 4:29 and 4:56, track 9 at 6:18 and 6:44), Baard Kolstad Drums (track 8), Steve DiGiorgio Bass (tracks 1,4,6), Sean Malone Bass (tracks 7,9), Matt Lynch Drums (track 9), Thomas Lang Drums (tracks 1,3,7).
A side project . . .
Glimpse of the future.
Jim Matheos would also create 3 solo albums of instrumentals, but
also a side project reminiscent of Fates Warning's "Disconnected"
(2000), along with ex-Dream Theater Keyboardist Kevin Moore,
and Mike Portnoy (at the time still drumming for the band) would
create "OSI", a band I heard Portnoy say in an interview "It's like
Radiohead meets Dream Theater" which I think describes the music
perfectly.
Great blend of sampling, and an alternative contemporary feel,
infused with metal to make a very unique hybrid. Along with this
sound, it was highly influenced by Moore's solo direction called "Chroma Key" which was a keyboard
based band (himself) with its creative edits, sampling (sound effects/random dialogue), techno,
minimalism/ambient, and electronica fusion - meeting "Metal", making it very progressive.
They would go on to create 3 more albums, with guests, Steve Wilson, Mikael Akerfeldt, Sean Malone,
Joey Vera, and later would employ Gavin Harrison on drums.
But their debut; Office of Strategic Influence was a more "metallish" album, with all its experimental
aspects, but the follow-ups would be even more eclectic. I highly recommend checking out their albums.
OSI - "Office of Strategic Influence" (2003):
https://www.youtube.com/watch?v=Wn5-sCMzNRQ
OSI Lyrics: http://www.darklyrics.com/o/osi.html
Jim Matheos would also create 3 solo albums of instrumentals, but
also a side project reminiscent of Fates Warning's "Disconnected"
(2000), along with ex-Dream Theater Keyboardist Kevin Moore,
and Mike Portnoy (at the time still drumming for the band) would
create "OSI", a band I heard Portnoy say in an interview "It's like
Radiohead meets Dream Theater" which I think describes the music
perfectly.
Great blend of sampling, and an alternative contemporary feel,
infused with metal to make a very unique hybrid. Along with this
sound, it was highly influenced by Moore's solo direction called "Chroma Key" which was a keyboard
based band (himself) with its creative edits, sampling (sound effects/random dialogue), techno,
minimalism/ambient, and electronica fusion - meeting "Metal", making it very progressive.
They would go on to create 3 more albums, with guests, Steve Wilson, Mikael Akerfeldt, Sean Malone,
Joey Vera, and later would employ Gavin Harrison on drums.
But their debut; Office of Strategic Influence was a more "metallish" album, with all its experimental
aspects, but the follow-ups would be even more eclectic. I highly recommend checking out their albums.
OSI - "Office of Strategic Influence" (2003):
https://www.youtube.com/watch?v=Wn5-sCMzNRQ
OSI Lyrics: http://www.darklyrics.com/o/osi.html
3 Essential albums for the genre. . .
I submit the 3 Fates Warning albums that took Prog Metal and branched 3 different directions. If they
were direct influences, inspired Metal to create a new sound path, or become a genre. Each Fates album
would sound different than the last, and are still planning to release more for us to enjoy . . .
I submit the 3 Fates Warning albums that took Prog Metal and branched 3 different directions. If they
were direct influences, inspired Metal to create a new sound path, or become a genre. Each Fates album
would sound different than the last, and are still planning to release more for us to enjoy . . .
Awaken the Guardian - With the unusual, yet melodic vocals of
John Arch, along with his poetic lyrics and esoteric prose would
tackle subjects of the fantastical and mythologic. The darker,
aggressive, almost Thrash tones and adventurous tempo changes
that were ahead of its time for 1986, would influence other Metal
bands changing the parameters in which most others were only
following, and would further influence the development of
American Powermetal. Yet Fates were always "different" and had their unique voice among the crowd.
Fates Warning - "Awaken the Guardian" (1986)
https://www.youtube.com/watch?v=gLFupEldl7w
Inspired -------- Crimson Glory, Sanctuary, Vicious Rumors, Fifth Angel, Royal Hunt, Warrior,
Savatage, and as far reaching as Spiral Architect in 2000 and Son.IC in 2013 (care of vocalist Øyvind
Hægeland). Along with Queensryche's "Ep" (1983) and "The Warning" (1984), both bands came when
no one else was doing what they were creating (for reference; QR's "Rage for Order" was released in
1986 as well).
Lyrics: https://www.musixmatch.com/album/Fates-Warning/Awaken-the-Guardian
John Arch, along with his poetic lyrics and esoteric prose would
tackle subjects of the fantastical and mythologic. The darker,
aggressive, almost Thrash tones and adventurous tempo changes
that were ahead of its time for 1986, would influence other Metal
bands changing the parameters in which most others were only
following, and would further influence the development of
American Powermetal. Yet Fates were always "different" and had their unique voice among the crowd.
Fates Warning - "Awaken the Guardian" (1986)
https://www.youtube.com/watch?v=gLFupEldl7w
Inspired -------- Crimson Glory, Sanctuary, Vicious Rumors, Fifth Angel, Royal Hunt, Warrior,
Savatage, and as far reaching as Spiral Architect in 2000 and Son.IC in 2013 (care of vocalist Øyvind
Hægeland). Along with Queensryche's "Ep" (1983) and "The Warning" (1984), both bands came when
no one else was doing what they were creating (for reference; QR's "Rage for Order" was released in
1986 as well).
Lyrics: https://www.musixmatch.com/album/Fates-Warning/Awaken-the-Guardian
No Exit - (1988) Now extending its exploration with odd-meter,
left turn tempo changes, and a more aggressive bite to the music
akin to Thrash. The subject matter now more philosophical and
featuring a more melodic tenor/counter tenor and falsetto
vocalist Ray Alder. Along with the epic track, the 21:58 "Ivory
Gate of Dreams" and its sub-part/movements filled with
gorgeous passages, complexity, melodic interludes with Alder's
various moods and ranges to his vocalization, would influence or
inspire a different direction and blueprint for a new way of
approaching Metal. Be it Thrash, Death Metal and Prog Metal
bands to come that were more technical and conceiving epic concepts. This album broke the parameters
of Metal for the 80's and set-up what was to come in the 90's and 2000's.
Fates Warning - "No Exit" (1988)
https://www.youtube.com/watch?v=RTBIy9r4otE
Inspired/Influenced -------- Mekong Delta, Edge of Sanity ("Crimson"), Atheist, Watchtower, Dream Theater, Manitou, Depressive Age, Believer and VoiVod ("The Outer Limits"). If it was direct or inspiring
the genre, this album laid its first blueprint on Metal taking a more progressive and grander vision.
I was exposed to this album by a local video show that had shown "Silent Cries" and "Anarchy Divine",
reminding me of hearing about FW back on KMET and "The Rivers Edge", and buying the album on LP at the Music Market when I lived in Orange County, which I still have.
Lyrics: https://www.musixmatch.com/album/Fates-Warning/No-Exit
left turn tempo changes, and a more aggressive bite to the music
akin to Thrash. The subject matter now more philosophical and
featuring a more melodic tenor/counter tenor and falsetto
vocalist Ray Alder. Along with the epic track, the 21:58 "Ivory
Gate of Dreams" and its sub-part/movements filled with
gorgeous passages, complexity, melodic interludes with Alder's
various moods and ranges to his vocalization, would influence or
inspire a different direction and blueprint for a new way of
approaching Metal. Be it Thrash, Death Metal and Prog Metal
bands to come that were more technical and conceiving epic concepts. This album broke the parameters
of Metal for the 80's and set-up what was to come in the 90's and 2000's.
Fates Warning - "No Exit" (1988)
https://www.youtube.com/watch?v=RTBIy9r4otE
Inspired/Influenced -------- Mekong Delta, Edge of Sanity ("Crimson"), Atheist, Watchtower, Dream Theater, Manitou, Depressive Age, Believer and VoiVod ("The Outer Limits"). If it was direct or inspiring
the genre, this album laid its first blueprint on Metal taking a more progressive and grander vision.
I was exposed to this album by a local video show that had shown "Silent Cries" and "Anarchy Divine",
reminding me of hearing about FW back on KMET and "The Rivers Edge", and buying the album on LP at the Music Market when I lived in Orange County, which I still have.
Lyrics: https://www.musixmatch.com/album/Fates-Warning/No-Exit
Perfect Symmetry - In April of 1989, Fates would find another
new direction with a more adventurous drummer Mark Zonder
challenging the music further, yet would solidify the "sound" of
Prog Metal (albeit without a permanent Keyboardist, only for
colour, from Dream Theater's former member Kevin Moore who
also guests on No Exit and albums after) being more focused on
songs, and melody, but still providing a fusion of odd-meter and
angular tempos, but a more cohesive, digestible writing style.
Enough that it didn't have the listener try so hard to get into the
groove of any song. And Alder not only hitting higher notes, but
lower keys to fit the topics of any given track, which were now down to earth and topical. So too did it
inspire a slew of Prog Metal bands to follow the (dare I say) formula, but each band having their own
take. Though this album pushed boundaries even further by adding a guest violinist on 2 tracks (2 of my
all time favorite songs; "Chasing Time" and "At Fates Hands").
Fates Warning - "Perfect Symmetry" (1989)
https://www.youtube.com/playlist?list=PLj8T9CQ_MZp_p8UtPM8dkc_TqNYIToJyB
It was the video for "Through Different Eyes" that reminded me that a new album would be released,
though I must admit, I was surprised at the sound and it had to grow on me, very odd-tempo and a bit
angular, now I consider it one of my fave FW tracks. It was about this time I was visiting a friend and
owner of "Stoutboy", which was a custom framing/records and posters shop in Claremont (around the block from Rhino Records). A friend of John Stout, got into our conversation of Metal and he found out I was a big FW fan. He soon mentioned the "Arch" era and that I MUST get the albums. It was because of him I went back in their catalogue. Wherever you are stranger, thank you :).
Along with Dream Theater's debut album "When Dream and Day Unite" (March 1989), would inspire and
influence the 2nd wave of Prog Metal (and bands with more technicality), including Prog Rock with a
heavier tone.
Such as -------- Ice Age, Magellan, Divine Regale, Psychotic Waltz, Shadow Gallery, Mercury Rising,
Vanden Plas, Sieges Even, Conception, Threshold, Anubis Gate, Everon, Redemption, Enchant, Spock's
Beard and many more.
Lyrics: https://www.musixmatch.com/album/Fates-Warning/Perfect-Symmetry
Arch/Matheos lyrics are from the official site page:
http://www.metalblade.com/archmatheos/Arch-Matheos-Lyrics.pdf
new direction with a more adventurous drummer Mark Zonder
challenging the music further, yet would solidify the "sound" of
Prog Metal (albeit without a permanent Keyboardist, only for
colour, from Dream Theater's former member Kevin Moore who
also guests on No Exit and albums after) being more focused on
songs, and melody, but still providing a fusion of odd-meter and
angular tempos, but a more cohesive, digestible writing style.
Enough that it didn't have the listener try so hard to get into the
groove of any song. And Alder not only hitting higher notes, but
lower keys to fit the topics of any given track, which were now down to earth and topical. So too did it
inspire a slew of Prog Metal bands to follow the (dare I say) formula, but each band having their own
take. Though this album pushed boundaries even further by adding a guest violinist on 2 tracks (2 of my
all time favorite songs; "Chasing Time" and "At Fates Hands").
Fates Warning - "Perfect Symmetry" (1989)
https://www.youtube.com/playlist?list=PLj8T9CQ_MZp_p8UtPM8dkc_TqNYIToJyB
It was the video for "Through Different Eyes" that reminded me that a new album would be released,
though I must admit, I was surprised at the sound and it had to grow on me, very odd-tempo and a bit
angular, now I consider it one of my fave FW tracks. It was about this time I was visiting a friend and
owner of "Stoutboy", which was a custom framing/records and posters shop in Claremont (around the block from Rhino Records). A friend of John Stout, got into our conversation of Metal and he found out I was a big FW fan. He soon mentioned the "Arch" era and that I MUST get the albums. It was because of him I went back in their catalogue. Wherever you are stranger, thank you :).
Along with Dream Theater's debut album "When Dream and Day Unite" (March 1989), would inspire and
influence the 2nd wave of Prog Metal (and bands with more technicality), including Prog Rock with a
heavier tone.
Such as -------- Ice Age, Magellan, Divine Regale, Psychotic Waltz, Shadow Gallery, Mercury Rising,
Vanden Plas, Sieges Even, Conception, Threshold, Anubis Gate, Everon, Redemption, Enchant, Spock's
Beard and many more.
Lyrics: https://www.musixmatch.com/album/Fates-Warning/Perfect-Symmetry
Arch/Matheos lyrics are from the official site page:
http://www.metalblade.com/archmatheos/Arch-Matheos-Lyrics.pdf
"Fit the latest rage, whatever stains the page. Then fears allayed, of lonely shade . . ."
- Fates Warning/"Static Acts"
- Fates Warning/"Static Acts"
These 3 albums I personally noticed when bands started to have the same "sound" as each of these
albums. Not necessarily "carbon copies", but along with Queensryche, they both started to mold what
the "genre" Prog Metal became for each era of FW and QR (also look at the years between both bands
history). But people forget or do not know the legacy of Fates Warning, if it was that they were too
unconventional, didn't fit the formula, wrong place wrong time, or all the above. But I and others were
there to see it all happen, the bands that made their mark and others following their path, took bits and
pieces to influence, or they just loved what they heard and it stuck in their minds as they created new
bands to come.
Fates were not afraid to be "different" and experimented with their brand of Metal with albums like;
"A Pleasant Shade of Gray", "Disconnected" and "FWX", yet again, each sounding different than the other, but various shades of a darker, moodier tone (Tool meets Gothic/Esoteric territory?). It was a sound that I had to get used to for each album, but I admired their want to explore, because little did many know, they had "been there and done that" throughout their history, way ahead of those that would re-tap into those tones that Fates had already made their mark.
This is a band that deserves MUCH more recognition, playing bigger venues, and even a Documentary in how they've created something unique in a sea of Metal, but doing it all their own way. And truly a band that thrives because of their international fans. They are true survivors and work hard to create passionate music for those seeking a band that is driven by creativity, not hit singles or trends.
albums. Not necessarily "carbon copies", but along with Queensryche, they both started to mold what
the "genre" Prog Metal became for each era of FW and QR (also look at the years between both bands
history). But people forget or do not know the legacy of Fates Warning, if it was that they were too
unconventional, didn't fit the formula, wrong place wrong time, or all the above. But I and others were
there to see it all happen, the bands that made their mark and others following their path, took bits and
pieces to influence, or they just loved what they heard and it stuck in their minds as they created new
bands to come.
Fates were not afraid to be "different" and experimented with their brand of Metal with albums like;
"A Pleasant Shade of Gray", "Disconnected" and "FWX", yet again, each sounding different than the other, but various shades of a darker, moodier tone (Tool meets Gothic/Esoteric territory?). It was a sound that I had to get used to for each album, but I admired their want to explore, because little did many know, they had "been there and done that" throughout their history, way ahead of those that would re-tap into those tones that Fates had already made their mark.
This is a band that deserves MUCH more recognition, playing bigger venues, and even a Documentary in how they've created something unique in a sea of Metal, but doing it all their own way. And truly a band that thrives because of their international fans. They are true survivors and work hard to create passionate music for those seeking a band that is driven by creativity, not hit singles or trends.
A Fates Warning Sampler for the uninitiated or to share . . .
| https://www.youtube.com/playlist?list=PL2DU3TBNutEdLLxfBF-5k3GgR0HKe6jmG |
Includes Arch/Matheos, OSI, Jim Matheos and Ray Alder tracks.
| https://www.youtube.com/playlist?list=PL2DU3TBNutEdLLxfBF-5k3GgR0HKe6jmG |
Includes Arch/Matheos, OSI, Jim Matheos and Ray Alder tracks.
One of the reasons I reflect on my discoveries in this genre is that, like history in general, people forget
what has happened in the past. And the generations after, do not know or have forgotten key elements
on how history develops and shapes the future. I hope to shed some light on those that have forgotten
the "missing links" to the music (hopefully as accurate as I can) and its important legacy. The roots and
branches of the tree.
. . . Examples:
Episode I - "Lock Horns": Prog Metal Family Tree
Episode II - "Lock Horns": Essential Prog Metal Albums
what has happened in the past. And the generations after, do not know or have forgotten key elements
on how history develops and shapes the future. I hope to shed some light on those that have forgotten
the "missing links" to the music (hopefully as accurate as I can) and its important legacy. The roots and
branches of the tree.
. . . Examples:
Episode I - "Lock Horns": Prog Metal Family Tree
Episode II - "Lock Horns": Essential Prog Metal Albums
1991/1992 ~ Gazing into the future: The 3rd Wave . . .
The 3rd wave would come to form in releases by Fates Warning (Parallels 1991) and Dream Theater
(Images and Words 1992). FW changing their approach to a more mainstream (maybe I should say, more
"streamlined" sound) but unique sound of their own, as Dream Theater were all over the place, part
Progressive Rock, melodic, complex, to epic and showing off their chops. Fates had been there and done
that and were trying something new, but it seemed that Dream Theater came at the right place, right time
(though as Dream Theater tells it, from WDADU to Images and Words, for a time it looked pretty dire).
Watchtower would extend another branch to technical band's ("Energetic Disassembly" 1985, which had a limited 1st run, and "Control and Resistance" 1989) along with Mekong Delta (debut 1986) and "The Music
of Erich Zann" (1988). Seemed, again as fate would have it, Watchtower (much like Queensryche over Fates Warning) received more publicity, for whatever reason.
Prog Metal would explode soon after Internationally, as Thrash and Death Metal would also influence for 2000 and the 4th wave.
(Images and Words 1992). FW changing their approach to a more mainstream (maybe I should say, more
"streamlined" sound) but unique sound of their own, as Dream Theater were all over the place, part
Progressive Rock, melodic, complex, to epic and showing off their chops. Fates had been there and done
that and were trying something new, but it seemed that Dream Theater came at the right place, right time
(though as Dream Theater tells it, from WDADU to Images and Words, for a time it looked pretty dire).
Watchtower would extend another branch to technical band's ("Energetic Disassembly" 1985, which had a limited 1st run, and "Control and Resistance" 1989) along with Mekong Delta (debut 1986) and "The Music
of Erich Zann" (1988). Seemed, again as fate would have it, Watchtower (much like Queensryche over Fates Warning) received more publicity, for whatever reason.
Prog Metal would explode soon after Internationally, as Thrash and Death Metal would also influence for 2000 and the 4th wave.
"Is it fiction, is it confession, is it passion, or just a profession, is it performance,
is it expression, is it passion, or just an obsession?"
- Fates Warning/"Monument"
is it expression, is it passion, or just an obsession?"
- Fates Warning/"Monument"
Look to Europe? . . .
There are those that the mere notion of having this band uttered here will make them implode :p.
The band Europe from Stockholm Sweden was a bit intriguing. But "The Final Countdown" was a bit too cheesy for me with yes, that annoying repeated keyboard riff that has made them famous or reviled. But year after year I'd hear more people say "They are soo much more than that" but I never have looked into them and their later albums. I may have to change that and submit they may fit into the above list very nicely as Prog Metal developed (again, "Precursors" to the genre), or that the music did not have enough punch for my tastes. In 2015 they are releasing a new album as I write this, so I will have to give it a few spins! (and another for 2017).
Its interesting that the album with the notorious song is NOT from a "debut" album. Their debut sounds pretty "Heavy" but polished, for its time:
Debut (1983): https://www.youtube.com/watch?v=wV9xEJrxO3U
Wings of Tomorrow (1984):
https://www.youtube.com/playlist?list=PLIEGzUExjCw8k6LmtK048yzvc-pzHeZ4A
The Final Countdown (1986):
https://www.youtube.com/playlist?list=PLLdGeK2J4b12_BWVDqzKJwi9pBmyl22Sp
Some people have let it be known that they refuse to see/hear this band as a stepping stone to Prog
"Metal" but again, I leave it to the listener to decide (or seek me out and have me walk the plank! :p).
Note that I am not saying this had any direct influence that was "obvious", though someone out there was listening (and who knows how many bands from Sweden to come, looked to them as a door wide open to
possibilities), and if anything it may have put a seed of thought in the birth of "Powermetal", along with;
Rainbow, Dio era Sabbath, Judas Priest, early Scorpions, Iron Maiden and Queensryche who also inspired - the very melodic with speed, neo-classical tropes and a metallic bite (If it was Heavy Metal or Heavy Rock). But I'll have to listen to their 1st 2 albums again to hear their roots, and re-think their place in a growing new genre.
. . . I guess I expect death threats, explosives in the mail, random pokes in the eye and my head in soup.
There are those that the mere notion of having this band uttered here will make them implode :p.
The band Europe from Stockholm Sweden was a bit intriguing. But "The Final Countdown" was a bit too cheesy for me with yes, that annoying repeated keyboard riff that has made them famous or reviled. But year after year I'd hear more people say "They are soo much more than that" but I never have looked into them and their later albums. I may have to change that and submit they may fit into the above list very nicely as Prog Metal developed (again, "Precursors" to the genre), or that the music did not have enough punch for my tastes. In 2015 they are releasing a new album as I write this, so I will have to give it a few spins! (and another for 2017).
Its interesting that the album with the notorious song is NOT from a "debut" album. Their debut sounds pretty "Heavy" but polished, for its time:
Debut (1983): https://www.youtube.com/watch?v=wV9xEJrxO3U
Wings of Tomorrow (1984):
https://www.youtube.com/playlist?list=PLIEGzUExjCw8k6LmtK048yzvc-pzHeZ4A
The Final Countdown (1986):
https://www.youtube.com/playlist?list=PLLdGeK2J4b12_BWVDqzKJwi9pBmyl22Sp
Some people have let it be known that they refuse to see/hear this band as a stepping stone to Prog
"Metal" but again, I leave it to the listener to decide (or seek me out and have me walk the plank! :p).
Note that I am not saying this had any direct influence that was "obvious", though someone out there was listening (and who knows how many bands from Sweden to come, looked to them as a door wide open to
possibilities), and if anything it may have put a seed of thought in the birth of "Powermetal", along with;
Rainbow, Dio era Sabbath, Judas Priest, early Scorpions, Iron Maiden and Queensryche who also inspired - the very melodic with speed, neo-classical tropes and a metallic bite (If it was Heavy Metal or Heavy Rock). But I'll have to listen to their 1st 2 albums again to hear their roots, and re-think their place in a growing new genre.
. . . I guess I expect death threats, explosives in the mail, random pokes in the eye and my head in soup.
. . . Off to explore the new lands!
It was clear these bands were exploring new territory . . . the movement had begun. Lyrical topics began to grow past the love songs (it was also more about "relationships" and unrequited love, in-depth and
philosophical) and focusing on more serious issues. Motifs that played with word structures, from the prolific, esoteric and poetic. The words were becoming as important as the challenging music. Not to say past bands did not do this, but this became more of a focus as the music of the genre progressed. These bands had something to say and they had a new voice to scream it.
The following Bands and Albums were leading the charge in this new era . . .
"Climb aboard this man of war, She'll take you far away, To a land of fantasy in your imagination!"
- Fates Warning/"Pirates of the Underground"
It was clear these bands were exploring new territory . . . the movement had begun. Lyrical topics began to grow past the love songs (it was also more about "relationships" and unrequited love, in-depth and
philosophical) and focusing on more serious issues. Motifs that played with word structures, from the prolific, esoteric and poetic. The words were becoming as important as the challenging music. Not to say past bands did not do this, but this became more of a focus as the music of the genre progressed. These bands had something to say and they had a new voice to scream it.
The following Bands and Albums were leading the charge in this new era . . .
"Climb aboard this man of war, She'll take you far away, To a land of fantasy in your imagination!"
- Fates Warning/"Pirates of the Underground"
Chapter III
1985 and beyond: A ripple of influences echo . . .
"What is this that gives me hope In the middle of the night, and makes me turn to You? . . ."
- Kings X/"What is this"
- Kings X/"What is this"
A heaviness has now entered the fold and these bands would echo these ripples within Metal to create a new defined genre. Exploring influences and complexity never tackled before would challenge even those who were more adventurous in their music tastes. These are the bands that I personally found in my exploration in uncharted waters. Thrash Metal was my new found choice for aggression, but more-so, those who forwarded and experimented with the genre kept it more interesting and seemed to be helping along with the progression of Metal music. Though not only Thrash and Speed Metal, but other influences that were not necessarily "metal". The bands mentioned here are a taste of those who spearheaded Metal in a new direction with new ideas and challenging compositions.
Watchtower - "Energetic Disassembly" 1985 origin: Texas
https://www.youtube.com/watch?v=Da8y2qbDByM
Crudely recorded but it was obvious this wasn't just a Thrash Metal band out of Austin. Complex
compositions, varied tempo-changes and more extreme heaviness from the nutty mind of Guitarist "Ron Jarzombek". This was setting a president for Prog Metal. Including a Drummer utilizing Simmons Electronic Drums integrated into his acoustic kit. This was clearly an exercise in complexity and breaking
down any rules set within Metal parameters.
The vocalist "Jason McMaster" would gain some notoriety with the Hard Rock/Metal band "Dangerous Toys" in 1989.
Queensrÿche - "Rage for Order" 1986 origin: Seattle Washington
https://www.youtube.com/watch?v=q35a3JhxW14
The quintessential Progressive Metal album? . . .
Keyboards were now more prevalent (by vocalist Tate), but only as an enhancement to the music. Also
adding various sound effects and dialogue in-between songs and within to create a more dramatic
atmosphere. Much like many Prog Rock bands were utilizing, but now enhancing Metal to a new
experience. The music now more adventurous and creative having more progressive foundations yet still
Metal.
It is about this time I personally heard the genre become "Progressive Metal". If it was on Radio programs
or the Trade Magazines of the time. It was distinctly because of this album. I would also be lucky enough to
see this tour and find out how amazing they were live on stage at the Santa Monica Civic Auditorium
(which at the time I thought was soo far away from Chino, Calif. - then to live and work in Santa Monica
many years later, where I saw the building almost everyday).
Tate also began experimenting with his voice in different timbres to emote each topic tackled.
Fifth Angel - debut (1986) origin: Bellevue Washington
https://www.youtube.com/watch?v=bjtJyschGZc
A bit more progressive than most Heavy Metal bands but you can clearly hear "American" Powermetal
beginning to solidify along with Crimson Glory, Virgin Steele and others. Melodic, anthemic, and a harder
edge metal with Speed Metal tinges, though an emphasis in songs instead of longer epics. I have no idea
why I didn't get more into them (it may be I wanted them to be a bit more aggressive), and I missed out on
their second offering "Time will Tell" (1989) in which both albums were produced by Terry Brown (the 4th
member of "Rush" up to the album "Signals"). I'll have to re-live these albums again.
Cacophony - "Speed Metal Symphony" (1987) origin: San Francisco
https://www.youtube.com/watch?v=BXeTA8TqsS0
The 1st exposure of 2 Guitar Virtuoso's; Marty Friedman (although in a few obscure bands previously,
including his own "Hawaii") and Jason Becker (at 17) who played some astounding parts in unison as if
they were one mind. With its aggressive complexity, it also featured Neo-Classical themes much like
Yngwie Malmsteen/Tony MacAlpine and other "Shred Guitarists" that were burgeoning, but with a
Thrashier Metal structure. Again time-signatures, tempo-changes, staccato, arpeggios, chromatic
scales, odd-meter and disharmonic chords were in the tool box. And along with Watchtower could be
considered the 1st "Math Metal" band, which was an obscure phrase/genre that would not appear for
many years later that gave a title to this complex music.
This album would find itself on my turntable often, sitting there stunned at what all members were doing.
One of my fave albums!
Apocrypha - "The Forgotten Scroll" (1987) origin: Nevada
https://www.youtube.com/playlist?list=PL2DU3TBNutEft9yZQXPwMdOU-Seogjm0g
I hardly knew anything about this band when I purchased it. I had bought the Lp, recognizing the cover in a Guitar magazine ad for the Shrapnel label. The Neo-classical influence was apparent through the guitarist "Tony Fredianelli", but also early shades of Powermetal. I must have played it, at the most, 3 times and for
some reason did not stick. I listen to it now and wonder what I was thinking. I would have continued on to their next 2 efforts if I gave them a chance.
Kings X - "Out of the Silent Planet" (1988) origin: Missouri
http://www.youtube.com/playlist?list=PL2DU3TBNutEdXEWw-FionlSI6o_eDW16e
A Power Trio that blended a "Beatlesque" sound including 3-part vocal harmonies, and a mixture of Blues,
Rock, Soul, Metal and a touch of Progressive influences into one. Various styles were found within the
album adding to an "AOR" sound with an excellent "Gospel", Soul/Funk-like singer (Vox/Bass Doug
Pinnick), a Lennon-like voice (Guitarist/Vocalist Ty Tabor) and George Harrison (Drummer/Vocalist
Jerry Gaskill playing vigorously on a 5 piece Kit). It created a unique blend not heard before. And Ty's
incredible guitar playing and tone held it all together and pushed it forward. Soon became a favorite band
that I still follow with each release. But yet to have seen live.
Fates Warning - "No Exit" (1988) origin: Hartford Connecticut
https://www.youtube.com/watch?v=RTBIy9r4otE
The Progression was well on its way but with a stronger Thrash-rooted structure. The music was even
heavier than before, but experiments in disjointed harmonies, poly-rhythmic structures, sudden tempo changes and syncopated rhythms are all over the place. But the difference between them and Watchtower
was the importance of more digestible melodies and songs.
By the time we get to Side B (on LP) "The Ivory Gate of Dreams", a 21:58 conceptual piece that spanned the whole side complete with "Titled Sub-Parts" (much like what Yes and Rush have utilized), it is clear that Fates Warning are offering something never done before, and would progress the genre even further with their next albums. With its aggressiveness, came quiet acoustic guitar laden interludes, flurries of piano and synths (by guest keyboardist Kevin Moore), to full out ripping riffs and gorgeous solos.
I have to say, when I 1st listened to The Ivory gate of Dreams, it was one thing to enjoy the individual songs on Side A but the entire Side B of this song was an amazing experience. To put the needle in the groove, sit
back on headphones and decipher, take apart and realize the full scope of what was going on within its sub-parts was a study in where Progressive Metal was heading. This was a concept of epic proportions and it was Fates Warning who would lead the way for the future of the genre (as-well as Death Metal's own epic concept album with Edge of Sanity - "Crimson").
A major change was made on the album as well, Vocalist John Arch stepped down and "Ray Alder" stepped-up to plate. Now adding more emphasis on higher notes and a fluid melodic sound as a
Tenor/Countertenor and Baritone. His voice would also be influential in the burgeoning bands in
Progressive Metal, and would now be the permanent vocalist for Fates. It would mature in sound with each
album to come, but always distinctful in his tone.
Note: It seems in the year 2016, song rights have changed in Japan, Victor, Sony and other affiliates have been taking down/deleting album/studio tracks on YOUtube and other outlets. Please find the albums and I
hope you will enjoy :). In 2019 they have returned, hopefully to stay . . .
Dead End - "Shambara" (1988) origin: Tokyo Japan
https://www.youtube.com/watch?v=cr8DvZ2bvek
A total blind purchase at the time. A slight "future" sound of Fates Warning but more so a Queensryche influence for Japan (but according to vocalist "Morrie", he was influenced by Ronnie James Dio and the
vocalist "Maki" of the Japanese Metal band "Gastunk").
Dead End would also influence the "Visual Kei" scene (outrageous costumes and hair influenced by
"Kabuki" theatre) that included the melodic "vocal" style that would be pervasive with most melodic
Japanese Metal (Other than "Loudness" that was closer to Speed Metal/Thrash and a more rougher yet still melodic vocal style).
I point out focus on the opening track "Embryo Burning" as the song that struck me, and realized that this genre was easily going to become International.
Full Album: https://youtu.be/nInNBvuMuyE
Queensrÿche - "Operation Mindcrime" (1988) origin: Bellevue Seattle
https://www.youtube.com/watch?v=FTqv59JXMUk
The album that garnered a new following - A high concept album that many compared to Pink Floyd's
"The Wall". Each song stood on its own but linked together the concept of a Society gone mad on the brink
of Revolution/Civil War. This was QR's announcement that they were progressing even further musically
and were a full-fledged "Prog Metal Band". But, my 1st reaction to the album was actually a bit
"disappointing". I had thought the previous album was heavier (Rage for Order), and at the time more
experimental. But after many listens I thoroughly enjoyed the album with each track and its easily a
Classic in the Metal and Prog Metal genres. I was also able to see the original Tour and then the
performance of the entire album for the "Building Empires Tour".
Crimson Glory - "Transcendence" (1988) origin: Florida
https://www.youtube.com/playlist?list=PL04AADDB90B89A140
From Sarasota Florida, I was a bit late discovering them, but this particular album was introduced to me by the video for the song "Lonely", with its gorgeous melodies and drama. The rest of the album took time to
work on me. The "mask" gimmick took me a-back at first, but it was part of the theatrics. Like many other bands, they had a sound that had to grow on me for sometime. I guess I just needed "something" more out of them, and many times I'd embellish extra notes in my head or hum/whistle ideas to make it better (to my ears anyway). I subsequently came to appreciate this album more and more.
Vicious Rumors - "Digital Dictator" (1988): origin: San Francisco
https://www.youtube.com/watch?v=XpbjTaqY_WY
Hailing from San Francisco's Bay Area, here's another album that I had as a blind purchase, but I didn't give it a fair chance. It has some really strong moments, has its Queensryche inspirations but much more to offer with their own sound of aggression, progressive elements and early Powermetal (very anthemic for audience participation). Some fine musicianship can be found here. I have to listen to their following albums (and their debut album, as this is their follow-up). Their last recording was in 2013, so they seem to still be active and proudly creating music.
I am a sucker for "Robots and Computers out of control" and they seem to tackle the topic often.
Sieges Even - "Life Cycle" (1988):
https://www.youtube.com/watch?v=eWM2MZ9ar7I
This was a find "decades" later. I include this - though VERY obscure, because it proved that bands were being influenced by previous sources Internationally. The German band would have drastic changes to their music in the coming albums. But would not become somewhat more known till "The Art by
Navigating the Stars" in 2005 who were now a Progressive Rock band with Metal elements. It is very
obvious that their 1st album was influenced heavily by Texas Thrashers "Watchtower" (Energetic
Disassembly, but ironically sounding more like Control and Resistance released in the same year).
Complexity was apparent and prolific lyrics to match.
This has also shown that bands were ready to explore more challenging compositions, even if their critics
fed on their so-called (and tired) "pretentiousness". But this wasn't pretending, musicians wanted to challenge themselves as well as their audience to think outside the Metal "Box", and yet again, it took
highly skilled musicians to reproduce.
1989: The next progression . . .
"Past tense to future tense, let history unfold. So ends a decade now what will the nineties hold?
You know we're verging on the edge of an age, then another century will turn the page!"
- Sanctuary/"Future Tense"
You know we're verging on the edge of an age, then another century will turn the page!"
- Sanctuary/"Future Tense"
A sophistication to the music was now growing, fine-tuned and well thought out with a few bands leading the charge to what would give the music a real push. What was to come after this era would steer the
course of what we have in the 1990's. Many bands to take the baton and embellish those who inspired, and again, with a wide pallet to use to influence the music, no matter what genre it was . . .
Sanctuary - "Into the Mirror Black"
https://www.youtube.com/playlist?list=PLKY_DJNdl9s-Yulq92zRCdwnzyqtfgWaZ
The former Thrash Metal band, who are thought to have helped start the "Powermetal" genre along with
Iron Maiden, Blind Guardian and Helloween, were now taking a more progressive leaning (possibly from
Queensryche because of the Seattle Area connection of both bands) to the music.
There were not many outrageous twists and turns, but the time changes were more subtle and music
darker in sound.
Later vocalist Warrel Dane (another vocalist with a high octave and low range) and Bassist Jim Sheppard
would create "Nevermore", a band that would combine the same dark tone with Thrash, (later, a bit heavier with the "music" and aggression of Death Metal) and more challenging compositions, complexity and a more progressive influence.
Though in 2010, Nevermore disbanded and was announced Sanctuary would be working on a new album. On October 2014 "The Year the Sun Died" was released for a new era.
Primus - "Suck on This"
https://www.youtube.com/watch?v=jDM2o1SGd3s
"Primus Sucks!" . . .
Primus has been under a lot of controversy and scrutiny if "Prog or Not Prog" which is understandable. It could be argued that their wide influences of Rush, Parliament Funkedelic, later-day King Crimson, Frank Zappa and "Monty Python" (throw in the weirdness of "The Residents" for good measure) with its fusion of Prog, Funk, Metal, Grunge, Alternative, Avant-Garde, Fusion, humor and whatever else and the kitchen sink, made them "Progressive" and taking it in a totally new direction. It was also quite odd to have your debut be a "Live" album.
"Alternative Prog Metal" and "Funk Metal" may have started with this power trio (and Faith No More) as another branch was conceived and slowly growing at the time. The band members were born out of "The Bay Area Thrash Scene" but by this time in their careers they created something wildly new.
Guitarist Larry LaLonde from, arguably (one of) the 1st Death Metal band "Possessed", played dissonant patterns to the rest of the band that comparably were more rhythmic. He hardly played anything that
resembled "Rock" or even Blues. It was VERY different to hear what he played, with flurries of
"normality".
Les Claypool was astounding on the Bass doing things most have never seen or heard before (maybe
flashes of Stanley Clarke, Bootsy Collins, Jaco Pastorius or Flea), as wacky techniques enhanced the
slapping of strings, tapping/hammer-on's and pull off's, and quasi-Funk/Fusion bass lines. But as a
finger-picker he was quite agile and complex, but could play just about any genre of music.
Me and my Brother bestowed on Drummer Tim "Herb" Alexander - "The Son of Peart" as their techniques
were VERY similar and that Les and Herb were huge Rush fans seems befitting. A fantastic drummer who would later form his own band (Laundry, featured below) and appears on various Fusion projects (later, Les Claypool would also have many side-projects as well).
From a personal stand-point I heard it all, including the door open for the Seattle Sound that was
emerging, as well as former Thrashers playing "Funk/Thrash Metal" which was a genre that only lasted a few years in the early 90's (to be clear, not "NUmetal").
About this time I'd be introduced to "Faith No More" ("Introduce Yourself" - in 1989) but would not fully get into them till years later. Another pioneer in the "Funk Metal" genre with progressive tendencies.
Here is a hilarious vid that YOU too may have the same 1st reaction :D.
Fates Warning - "Perfect Symmetry"
https://www.youtube.com/playlist?list=PLj8T9CQ_MZp_p8UtPM8dkc_TqNYIToJyB
They would drop the Thrash roots entirely and become a full fledged "Prog Metal" outfit. Keeping the hard
edges while keeping the Prog "Rock" influence. More concentration on songs and melody, yet still
throwing in odd-meter and tempo changes very subtly for good measure, and a guest violinist (or the
totally odd-meter/angular moments for the song "Through Different Eyes", and checkout Joe DiBiasi's
parts on Bass). Ray Alder still offering his various vocal keys along with his unique falsetto, but the next albums would show a maturity and change of timbre.
This also brought in a more progressive Drummer "Mark Zonder (Warlord)", who now laid the patterns for the members to find more challenging melodies and song structures while still maintaining "songs" that were digestible for the average Metalhead/Progger. In-turn . . .
course of what we have in the 1990's. Many bands to take the baton and embellish those who inspired, and again, with a wide pallet to use to influence the music, no matter what genre it was . . .
Sanctuary - "Into the Mirror Black"
https://www.youtube.com/playlist?list=PLKY_DJNdl9s-Yulq92zRCdwnzyqtfgWaZ
The former Thrash Metal band, who are thought to have helped start the "Powermetal" genre along with
Iron Maiden, Blind Guardian and Helloween, were now taking a more progressive leaning (possibly from
Queensryche because of the Seattle Area connection of both bands) to the music.
There were not many outrageous twists and turns, but the time changes were more subtle and music
darker in sound.
Later vocalist Warrel Dane (another vocalist with a high octave and low range) and Bassist Jim Sheppard
would create "Nevermore", a band that would combine the same dark tone with Thrash, (later, a bit heavier with the "music" and aggression of Death Metal) and more challenging compositions, complexity and a more progressive influence.
Though in 2010, Nevermore disbanded and was announced Sanctuary would be working on a new album. On October 2014 "The Year the Sun Died" was released for a new era.
Primus - "Suck on This"
https://www.youtube.com/watch?v=jDM2o1SGd3s
"Primus Sucks!" . . .
Primus has been under a lot of controversy and scrutiny if "Prog or Not Prog" which is understandable. It could be argued that their wide influences of Rush, Parliament Funkedelic, later-day King Crimson, Frank Zappa and "Monty Python" (throw in the weirdness of "The Residents" for good measure) with its fusion of Prog, Funk, Metal, Grunge, Alternative, Avant-Garde, Fusion, humor and whatever else and the kitchen sink, made them "Progressive" and taking it in a totally new direction. It was also quite odd to have your debut be a "Live" album.
"Alternative Prog Metal" and "Funk Metal" may have started with this power trio (and Faith No More) as another branch was conceived and slowly growing at the time. The band members were born out of "The Bay Area Thrash Scene" but by this time in their careers they created something wildly new.
Guitarist Larry LaLonde from, arguably (one of) the 1st Death Metal band "Possessed", played dissonant patterns to the rest of the band that comparably were more rhythmic. He hardly played anything that
resembled "Rock" or even Blues. It was VERY different to hear what he played, with flurries of
"normality".
Les Claypool was astounding on the Bass doing things most have never seen or heard before (maybe
flashes of Stanley Clarke, Bootsy Collins, Jaco Pastorius or Flea), as wacky techniques enhanced the
slapping of strings, tapping/hammer-on's and pull off's, and quasi-Funk/Fusion bass lines. But as a
finger-picker he was quite agile and complex, but could play just about any genre of music.
Me and my Brother bestowed on Drummer Tim "Herb" Alexander - "The Son of Peart" as their techniques
were VERY similar and that Les and Herb were huge Rush fans seems befitting. A fantastic drummer who would later form his own band (Laundry, featured below) and appears on various Fusion projects (later, Les Claypool would also have many side-projects as well).
From a personal stand-point I heard it all, including the door open for the Seattle Sound that was
emerging, as well as former Thrashers playing "Funk/Thrash Metal" which was a genre that only lasted a few years in the early 90's (to be clear, not "NUmetal").
About this time I'd be introduced to "Faith No More" ("Introduce Yourself" - in 1989) but would not fully get into them till years later. Another pioneer in the "Funk Metal" genre with progressive tendencies.
Here is a hilarious vid that YOU too may have the same 1st reaction :D.
Fates Warning - "Perfect Symmetry"
https://www.youtube.com/playlist?list=PLj8T9CQ_MZp_p8UtPM8dkc_TqNYIToJyB
They would drop the Thrash roots entirely and become a full fledged "Prog Metal" outfit. Keeping the hard
edges while keeping the Prog "Rock" influence. More concentration on songs and melody, yet still
throwing in odd-meter and tempo changes very subtly for good measure, and a guest violinist (or the
totally odd-meter/angular moments for the song "Through Different Eyes", and checkout Joe DiBiasi's
parts on Bass). Ray Alder still offering his various vocal keys along with his unique falsetto, but the next albums would show a maturity and change of timbre.
This also brought in a more progressive Drummer "Mark Zonder (Warlord)", who now laid the patterns for the members to find more challenging melodies and song structures while still maintaining "songs" that were digestible for the average Metalhead/Progger. In-turn . . .
Influences:
Inspiring the 2nd and 3rd wave . . .
"It's just a matter of time, You can have the world at your feet by tomorrow just sign on this line. Hold tight... limelight! Approaching the paramount with the sun in our eyes fearing family ties, legalies, compromise"
- Dream Theater/"Only a matter of Time"
- Dream Theater/"Only a matter of Time"
Dream Theater - "When Dream and Day Unite" (March, 1989)
https://www.youtube.com/watch?v=RMUXupPwroo
Born of Berklee College of Music students in Massachusetts (various
members from New York and Chicago). I had heard about Dream
Theater a few months prior to this release on an Ad from the back of a "Kerrang Magazine" that said; "If you like Rush and Queensryche, you'll
LOVE 'Dream Theater" - which added the Cover art and the Band photo
that would appear on the back of the LP (my 1st debut copy was
purchased on Vinyl on the "Mechanic" label, and years later had
found 3 different versions on CD, including the rare "Limited Edition" issue with a foreword by Charlie Dominici). I had scoured every record store looking for the album and finally finding it at the now long
gone super store in Costa Mesa California called "Music Market".
The quote from the reviewer also revealed that most "Metal Journalists" were a bit behind on the new
genre emerging. The "sound" was only comparable to "Rush" and the growing fan-base of
"Queensrÿche". So what "type" of Metal was this? The few journalists and its growing fan-base had
already given it its sub-genre title years prior for those searching out these pioneers.
But DT was the Metal answer to "Yes" that was to Progressive Rock, each member playing at the top of their abilities, "showing off" and not holding back their prowess for the complex, but still focusing on the song. Basically almost every type of Progressive Rock, Metal, Neo-classical style could be found in this band (including Jazz-Fusion) infused, influenced or inspired. And were not afraid to feature long interludes of musical gymnastics and virtuosity. This was something I waited all my life for, its what I loved about Fates Warning and Rush with a blend of Yes thrown in.
To point out each individual member is futile, each member was an astounding musician and better left to reading the link above. Though I will point out the original vocalist of the band (technically their 2nd) "Charlie Dominici" who I enjoyed very much, who was more in the vein of Steve Perry of Journey who hit some impressive high notes. I loved his style, and was sad to hear that they parted company for the next album. For me it was hard to hear anybody else sing his songs.
But vocalist "James LaBrie" would bring his own style to the group on their follow-up Images and Words,
and become the voice of the band for the next millennium. And an album that would inspire and influence the 3rd Wave of Prog Metal . . .
Dream Theater's - 1992's sophomore album "Images and Words", with the accumulation of Progressive Rock meeting Metal - as to
Metal embracing the likes of Kansas, Yes, Rush and Emerson, Lake &
Palmer, were not afraid to show off each members prowess to its full glory. The path leading up to this type of Prog Metal took decades, but
as it caught up to Queensryche and Fates Warning along with the
classics of Prog Rock, this was the band to take it to the next level of
progression with their debut album "When Dream and Day Unite"
(1989). But it was Images and Words that solidified even further the
power of the musicians pyrotechnics, with melodic songs to astounding epics that go from the complex, to gorgeous atmospheres and beautiful interludes along with the importance of singular "songs", with just
about every technique known to man, if it was with the subtlety of Progressive Rock or in your face
aggression of Prog Metal. There were no limits in time frame either, as Yes, if it took more than 1o minutes
to tell the story lyrically or musically, they had the chops to present it as 1 song, or conceptual piece.
Dream Theater - Images and Words (1992)
https://www.youtube.com/playlist?list=PLN-OKmjqfXTJJyutBwEYCAMnQ3QnC1Sk5
This album, including; Queensryche's "Operation Mindcrime" (the previous "Rage for Order") and Fates Warning's "Parallels" would inspire TONS of bands in the 3rd Wave of Prog Metal that would follow this style (for good or bad depending on your tastes) for years to come, and inspire others to find different branches to explore their own voices throughout the next few years.
Most lyrics for Dream Theater may be found here:
https://www.musixmatch.com/artist/Dream-Theater/albums
Metal embracing the likes of Kansas, Yes, Rush and Emerson, Lake &
Palmer, were not afraid to show off each members prowess to its full glory. The path leading up to this type of Prog Metal took decades, but
as it caught up to Queensryche and Fates Warning along with the
classics of Prog Rock, this was the band to take it to the next level of
progression with their debut album "When Dream and Day Unite"
(1989). But it was Images and Words that solidified even further the
power of the musicians pyrotechnics, with melodic songs to astounding epics that go from the complex, to gorgeous atmospheres and beautiful interludes along with the importance of singular "songs", with just
about every technique known to man, if it was with the subtlety of Progressive Rock or in your face
aggression of Prog Metal. There were no limits in time frame either, as Yes, if it took more than 1o minutes
to tell the story lyrically or musically, they had the chops to present it as 1 song, or conceptual piece.
Dream Theater - Images and Words (1992)
https://www.youtube.com/playlist?list=PLN-OKmjqfXTJJyutBwEYCAMnQ3QnC1Sk5
This album, including; Queensryche's "Operation Mindcrime" (the previous "Rage for Order") and Fates Warning's "Parallels" would inspire TONS of bands in the 3rd Wave of Prog Metal that would follow this style (for good or bad depending on your tastes) for years to come, and inspire others to find different branches to explore their own voices throughout the next few years.
Most lyrics for Dream Theater may be found here:
https://www.musixmatch.com/artist/Dream-Theater/albums
2 Personal faves . . .
When Queensryche and Fates Warning introduced this burgeoning genre to my attention, and I searched out for more, and sounds that were new and appealing, or a complete surprise - for Dream Theater, it was
"When Dream and Day Unite" that harkened to what I wanted from Metal with the skill set of Yes, with the same chops and showmanship. WDADU would be my 3rd fave album eventually, and I know most would put it farther along, but since I was into them when it debuted, it holds a very special place in my collection and Prog Metal history. But the 2 here were a sound that I eventually gravitated to.
These 2 recordings were personally, where they shined with new ideas, a heaviness interspersed with very melodic tracks where they held back and focused on the emotion and soul, but could still show their
musicality. Even though their critics could go on and on about their bombastic playing and so-called
"wankery", I knew all too well how they could concentrate on songwriting, lyrical content, subdue the virtuosity when needed, and tell a story with musicianship along with a voice (or an instrumental).
It was also a perfect blend of Metal meeting the Progressive, with its Prog "Rock" interludes of songs or beautiful atmospheres within any given track . . .
When Queensryche and Fates Warning introduced this burgeoning genre to my attention, and I searched out for more, and sounds that were new and appealing, or a complete surprise - for Dream Theater, it was
"When Dream and Day Unite" that harkened to what I wanted from Metal with the skill set of Yes, with the same chops and showmanship. WDADU would be my 3rd fave album eventually, and I know most would put it farther along, but since I was into them when it debuted, it holds a very special place in my collection and Prog Metal history. But the 2 here were a sound that I eventually gravitated to.
These 2 recordings were personally, where they shined with new ideas, a heaviness interspersed with very melodic tracks where they held back and focused on the emotion and soul, but could still show their
musicality. Even though their critics could go on and on about their bombastic playing and so-called
"wankery", I knew all too well how they could concentrate on songwriting, lyrical content, subdue the virtuosity when needed, and tell a story with musicianship along with a voice (or an instrumental).
It was also a perfect blend of Metal meeting the Progressive, with its Prog "Rock" interludes of songs or beautiful atmospheres within any given track . . .
"Awake" (1994)
https://www.youtube.com/watch?v=w2lw3goK_NQ
Their 3rd album and 2nd with vocalist James LaBrie, who
would now test the steel with a more metallic effort.
It was a Yes meets Metallica/Pantera, with plenty of chugging
guitar riffs (I can recall an interview with Petrucci and
Portnoy, saying how Pantera and Dimebag Darrell's guitar
"tone" inspired the sound of the album) that would be the
catalyst for the extremes to meet, with all they had
accumulated in their repertoire.
Kevin Moore's keyboard tones would set the parameters for many Prog Metal bands to come, but he could also write gorgeous lyrics, but each member showed off their wonderful prose on this album. It was amazingly well thought out, many times esoteric and prolific - which many other bands tried to emulate, some better than others (again, setting a standard for many to reach).
Portnoy would expand his kit, and where I personally heard and appreciated his use of various cymbals and fills that were amazing between all those drum strikes. Also keeping time or going to left field along with Petrucci, and Myung on Bass, who was just outstanding on this album, with his various colors and fills. But would also fire it up with the more aggressive tracks perfectly and precisely.
John Petrucci just killing it on every damn song, no matter the mood or aggression, each solo fit the emotion and story, emoting the lyrics as much as LaBrie.
James LaBrie stretching his chops for heavier fare, but subtle, emotive, and balls-out, belting out the higher keys and screams to emphasise the pain or contemplative words.
The lyrics hit home on many tracks, and I can reflect on them just as any Kansas or Rush song that
interprets the same emotions I have felt since its release. I could breakdown each track, but don't presume
that all they do is play it heavy or busy - there are tracks on this album that are full of heart and spaces to breathe that contemplate what they are playing to convey their soulful emotions and intimate reflections (also listen to the gorgeous "live" versions, including the EP tracks).
For every reason each individual has their fave album, those reasons are reflected in THIS album in my
most humble opinion. It's my number 1.
The heaviness of this album would influence and inspire tons of bands, then and now and would be a
standard on which to gauge (or its detractors to pigeon hole, or what they hated about the genre). But like
metal music, its angry and will piss-off many. But for those that listen closer, the musicianship, writing
skills and subtleties are all there if you sit back and take it all in.
Sadly for many, it would be the last album with Kevin Moore. He made DT very unique and special.
But 2 fabulous keyboardist would take his stead. Taking them into uncharted waters and success. While
Kevin would embark on a unique solo career, and then his creation of OSI with Fates Warning guitarist Jim
Matheos and Dream Theater drummer at the time, Mike Portnoy.
Lyrics (includes dialogue): http://www.darklyrics.com/lyrics/dreamtheater/awake.html
https://www.youtube.com/watch?v=w2lw3goK_NQ
Their 3rd album and 2nd with vocalist James LaBrie, who
would now test the steel with a more metallic effort.
It was a Yes meets Metallica/Pantera, with plenty of chugging
guitar riffs (I can recall an interview with Petrucci and
Portnoy, saying how Pantera and Dimebag Darrell's guitar
"tone" inspired the sound of the album) that would be the
catalyst for the extremes to meet, with all they had
accumulated in their repertoire.
Kevin Moore's keyboard tones would set the parameters for many Prog Metal bands to come, but he could also write gorgeous lyrics, but each member showed off their wonderful prose on this album. It was amazingly well thought out, many times esoteric and prolific - which many other bands tried to emulate, some better than others (again, setting a standard for many to reach).
Portnoy would expand his kit, and where I personally heard and appreciated his use of various cymbals and fills that were amazing between all those drum strikes. Also keeping time or going to left field along with Petrucci, and Myung on Bass, who was just outstanding on this album, with his various colors and fills. But would also fire it up with the more aggressive tracks perfectly and precisely.
John Petrucci just killing it on every damn song, no matter the mood or aggression, each solo fit the emotion and story, emoting the lyrics as much as LaBrie.
James LaBrie stretching his chops for heavier fare, but subtle, emotive, and balls-out, belting out the higher keys and screams to emphasise the pain or contemplative words.
The lyrics hit home on many tracks, and I can reflect on them just as any Kansas or Rush song that
interprets the same emotions I have felt since its release. I could breakdown each track, but don't presume
that all they do is play it heavy or busy - there are tracks on this album that are full of heart and spaces to breathe that contemplate what they are playing to convey their soulful emotions and intimate reflections (also listen to the gorgeous "live" versions, including the EP tracks).
For every reason each individual has their fave album, those reasons are reflected in THIS album in my
most humble opinion. It's my number 1.
The heaviness of this album would influence and inspire tons of bands, then and now and would be a
standard on which to gauge (or its detractors to pigeon hole, or what they hated about the genre). But like
metal music, its angry and will piss-off many. But for those that listen closer, the musicianship, writing
skills and subtleties are all there if you sit back and take it all in.
Sadly for many, it would be the last album with Kevin Moore. He made DT very unique and special.
But 2 fabulous keyboardist would take his stead. Taking them into uncharted waters and success. While
Kevin would embark on a unique solo career, and then his creation of OSI with Fates Warning guitarist Jim
Matheos and Dream Theater drummer at the time, Mike Portnoy.
Lyrics (includes dialogue): http://www.darklyrics.com/lyrics/dreamtheater/awake.html
"Six Degrees of Inner Turbulence" (2002)
Disc One:
https://www.youtube.com/watch?v=Sd2fXQavoHA
Their 5th effort comes in at number 2 . . .
An album that features every color of emotion, mood and
contrast. Multi-layered, has the over the top musicianship, but it fits each story perfectly. But can also hold back and lets its
various moods take over.
This time around we have an ambitious 2 CD set to boot! And to
have a high success record already in their career, the label had left them to their own devices to create an album of epic proportions.
The 1st disc held the individual tracks, which went from Prog Metal, Progressive Rock, to much darker,
often melancholic territory than anything they had previously tackled. I would imagine Tool was also an inspiration (including Porcupine Tree who would inspire this new sound, that would in-turn influence "Riverside") and DT made it a unique and eclectic journey. The lyrics could be esoteric to straight to the
point, to the very touching. From loss, breaking barriers, dealing with stress, sobriety and other social moray's. Again, many aspects of Disc One I could totally relate to, directly or as a metaphor of what I was experiencing in my own life. And LaBrie setting each stage with an emotion not heard before.
Disc Two (read the concept):
https://www.youtube.com/watch?v=bIsQyhfS-YI&t=17s
I will relate to the musicianship as a whole here for the entire album. Dream Theater MK III again have
stretched their abilities and they really shine on both discs. Musically emotive with each topic as if actors
in a roll, playing each part (comparably in "Metropolis Part 2: Scenes from a memory").
But it was even more-so for the conceptual piece entitled "Six Degrees of Inner Turbulence".
If the previous album was a stage play, this was the "musical". Even in the way Portnoy plays parts in the
overture, it was much like a drummer in the orchestra pit. Jordan Rudess on the keys introducing the "parts" and Petrucci, Myung and LaBrie equally sharing voices for the characters and their plight.
Influences from Styx (one track in particular to my ears) and directly, heavier to eclectic bands filtered
through all that DT had become in their career.
LaBrie now playing the parts even more-so, with all the subtleties and yet again, the actor playing each role under the spotlight. I can easily conjure visions in my head, part film, part stage play/musical
presented in every musical form at each members fingertips and voice.
I think its a fantastic ride, and a wonderful follow-up to Metropolis and what was to come. If it's not in
your top 5, I hope that you enjoy it again, experience it on headphones, and let the curtain rise in your head
and watch the musical unfold, and see it through the eyes of each character who, at times, makes me weep
for the difficulties and pain they endure till they find their place in the world, as do all of us.
. . . again, a place that I can relate to in many ways. Which also shows that the band can create a very
compelling story, through a musical narrative within 2 separate parts of epic grandeur.
Lyrics: http://www.darklyrics.com/lyrics/dreamtheater/sixdegreesofinnerturbulence.html
You can also see it come alive here with orchestra:
https://www.youtube.com/playlist?list=PLIYS0oxmEp9GTBXSsvF88s9Vf4TzCy8Xw
Disc One:
https://www.youtube.com/watch?v=Sd2fXQavoHA
Their 5th effort comes in at number 2 . . .
An album that features every color of emotion, mood and
contrast. Multi-layered, has the over the top musicianship, but it fits each story perfectly. But can also hold back and lets its
various moods take over.
This time around we have an ambitious 2 CD set to boot! And to
have a high success record already in their career, the label had left them to their own devices to create an album of epic proportions.
The 1st disc held the individual tracks, which went from Prog Metal, Progressive Rock, to much darker,
often melancholic territory than anything they had previously tackled. I would imagine Tool was also an inspiration (including Porcupine Tree who would inspire this new sound, that would in-turn influence "Riverside") and DT made it a unique and eclectic journey. The lyrics could be esoteric to straight to the
point, to the very touching. From loss, breaking barriers, dealing with stress, sobriety and other social moray's. Again, many aspects of Disc One I could totally relate to, directly or as a metaphor of what I was experiencing in my own life. And LaBrie setting each stage with an emotion not heard before.
Disc Two (read the concept):
https://www.youtube.com/watch?v=bIsQyhfS-YI&t=17s
I will relate to the musicianship as a whole here for the entire album. Dream Theater MK III again have
stretched their abilities and they really shine on both discs. Musically emotive with each topic as if actors
in a roll, playing each part (comparably in "Metropolis Part 2: Scenes from a memory").
But it was even more-so for the conceptual piece entitled "Six Degrees of Inner Turbulence".
If the previous album was a stage play, this was the "musical". Even in the way Portnoy plays parts in the
overture, it was much like a drummer in the orchestra pit. Jordan Rudess on the keys introducing the "parts" and Petrucci, Myung and LaBrie equally sharing voices for the characters and their plight.
Influences from Styx (one track in particular to my ears) and directly, heavier to eclectic bands filtered
through all that DT had become in their career.
LaBrie now playing the parts even more-so, with all the subtleties and yet again, the actor playing each role under the spotlight. I can easily conjure visions in my head, part film, part stage play/musical
presented in every musical form at each members fingertips and voice.
I think its a fantastic ride, and a wonderful follow-up to Metropolis and what was to come. If it's not in
your top 5, I hope that you enjoy it again, experience it on headphones, and let the curtain rise in your head
and watch the musical unfold, and see it through the eyes of each character who, at times, makes me weep
for the difficulties and pain they endure till they find their place in the world, as do all of us.
. . . again, a place that I can relate to in many ways. Which also shows that the band can create a very
compelling story, through a musical narrative within 2 separate parts of epic grandeur.
Lyrics: http://www.darklyrics.com/lyrics/dreamtheater/sixdegreesofinnerturbulence.html
You can also see it come alive here with orchestra:
https://www.youtube.com/playlist?list=PLIYS0oxmEp9GTBXSsvF88s9Vf4TzCy8Xw
"But don't cut your losses too soon
Cause you'll only be cutting your throat
And answer a call while you still hear at all
'Cause nobody will if you won't!"
- Dream Theater/"6:00"
Cause you'll only be cutting your throat
And answer a call while you still hear at all
'Cause nobody will if you won't!"
- Dream Theater/"6:00"
The band would change its members throughout the years, but each member has been amazing in their abilities as musicians, composers and lyrical writers. For their whole story, this is a perfect documentary
to learn about their history: https://www.youtube.com/watch?v=LduXtT3edlI
&
A tale of 2 Drummers: https://www.youtube.com/playlist?list=PL2DU3TBNutEfMeG1MuXyZk4MHVIlfrDx6
to learn about their history: https://www.youtube.com/watch?v=LduXtT3edlI
&
A tale of 2 Drummers: https://www.youtube.com/playlist?list=PL2DU3TBNutEfMeG1MuXyZk4MHVIlfrDx6
Jordan Rudess: Keyboards John Myung: Bass James LaBrie: Vocals Mike Mangini: Drums & Percussion John Petrucci: Guitars
Also see the various Metal, Progressive Rock and Prog Metal bands/side projects Mike Portnoy has co-founded. The man keeps himself quite busy and has many sides to his abilities for all of us to enjoy.
Words from the current Keyboardist Jordan Rudess, on Prog, and the meeting of virtuosity and Metal:
https://www.youtube.com/watch?v=D-i6GaNa5Kc
Words from the current Keyboardist Jordan Rudess, on Prog, and the meeting of virtuosity and Metal:
https://www.youtube.com/watch?v=D-i6GaNa5Kc
You can see where the past meets the present when Day and Dream Re-Unite!
https://www.youtube.com/watch?v=qovLcnaRD1s
https://www.youtube.com/watch?v=qovLcnaRD1s
~ Math 101 ~
"Technical Difficulties"
The other band that helped create the genre Prog Metal.
Controlled chaOtic complicated compOsitions . . .
Controlled chaOtic complicated compOsitions . . .
"Human influence shapes human thought, few question, few answer, praising innovation
Society seeking conformity, society thriving on regulation -
Observe and repeat, observe and repeat , maintain the standard!"
- Watchtower/"Control and Resistance"
Society seeking conformity, society thriving on regulation -
Observe and repeat, observe and repeat , maintain the standard!"
- Watchtower/"Control and Resistance"
Watchtower - "Control and Resistance" (November 1989)
https://www.youtube.com/watch?v=y4h5L2Ooy5w
The no-holds barred band Watchtower and album that took from the more
complex Prog Rock and infused it with Metal/Thrash to create something
that broke-out of every rule book Metal held onto.
https://www.youtube.com/watch?v=y4h5L2Ooy5w
The no-holds barred band Watchtower and album that took from the more
complex Prog Rock and infused it with Metal/Thrash to create something
that broke-out of every rule book Metal held onto.
For this particular album, they had gained a more melodic vocalist from the Thrash band "Hades" by the name of "Alan Tecchio" who not only had a falsetto/higher register, but could impossibly sing over the
complex melodies. The complexity of the music seemed like noise or chaos to most at the time (and many
to this day), but many fans and journalists that "got it" championed them as thinking outside the box to
challenge what Metal and Music could be in the late 80's. All from the machinations of mathematical
compositional guitar madness of Ron Jarzombek (founder of bands Spastic Ink and Blotted Science years
later). This would form obscure genre titles such as "Tech-Thrash", "Technical Prog Metal" and the more
obscure title; "Math Metal" (please, I do not mean Mathcore) in the years to come. It would be this album
that I would 1st hear the term (sorry, can't take the credit for "making it up" :P), but in every sense was the
perfect description for this type of metal that was as complex as any mathematical equation ;).
Ron even has his own "formulas" for his unique technique:
http://www.ronjarzombek.com/rj12tone.html
See more here: http://www.ronjarzombek.com/
Videos: https://www.youtube.com/user/ronjarz
They would inspire bands such as --------- Death/Control Denied, Cynic, Atheist, Sieges Even, Spiral
Architect, Twisted into Form, Linear Sphere, Alarum and Dream Theater. And possibly, Mekong Delta and
Cacophony and/or visa-versa in-turn influencing each other.
complex melodies. The complexity of the music seemed like noise or chaos to most at the time (and many
to this day), but many fans and journalists that "got it" championed them as thinking outside the box to
challenge what Metal and Music could be in the late 80's. All from the machinations of mathematical
compositional guitar madness of Ron Jarzombek (founder of bands Spastic Ink and Blotted Science years
later). This would form obscure genre titles such as "Tech-Thrash", "Technical Prog Metal" and the more
obscure title; "Math Metal" (please, I do not mean Mathcore) in the years to come. It would be this album
that I would 1st hear the term (sorry, can't take the credit for "making it up" :P), but in every sense was the
perfect description for this type of metal that was as complex as any mathematical equation ;).
Ron even has his own "formulas" for his unique technique:
http://www.ronjarzombek.com/rj12tone.html
See more here: http://www.ronjarzombek.com/
Videos: https://www.youtube.com/user/ronjarz
They would inspire bands such as --------- Death/Control Denied, Cynic, Atheist, Sieges Even, Spiral
Architect, Twisted into Form, Linear Sphere, Alarum and Dream Theater. And possibly, Mekong Delta and
Cacophony and/or visa-versa in-turn influencing each other.
Watchtower had just released an Ep "Concepts of Math: Book One" on October 7, 2016. Their 1st release since their seminal album in 1989 with the original Control and Resistance lineup.
Also listen to their debut in "1985" . . .
The band's only album to feature vocalist Jason McMaster and guitarist Billy White, who were replaced by Alan Tecchio and Ron Jarzombek respectively for their next album Control and Resistance.
Energetic Disassembly:
https://youtu.be/6DdpPXRcjqs?si=BQJW_zUtH1CULUw-
There was nothing like this in 85 as complex, and it was just the beginning.
See info on "Demonstrations in Chaos": https://en.wikipedia.org/wiki/Demonstrations_in_Chaos
And the Album (2002):
https://www.youtube.com/playlist?list=PLU_MbmB5YDeo-AwbrNGvoVvD9XGwE22M6
The band's only album to feature vocalist Jason McMaster and guitarist Billy White, who were replaced by Alan Tecchio and Ron Jarzombek respectively for their next album Control and Resistance.
Energetic Disassembly:
https://youtu.be/6DdpPXRcjqs?si=BQJW_zUtH1CULUw-
There was nothing like this in 85 as complex, and it was just the beginning.
See info on "Demonstrations in Chaos": https://en.wikipedia.org/wiki/Demonstrations_in_Chaos
And the Album (2002):
https://www.youtube.com/playlist?list=PLU_MbmB5YDeo-AwbrNGvoVvD9XGwE22M6
Watchtower lyrics can be found here: https://www.musixmatch.com/artist/Watchtower/albums
Savatage - "Gutter Ballet" (1989):
https://www.youtube.com/playlist?list=PLAvPZotjk1X_gm8bljQ2uVpmpTYAZickx
I had followed Florida's Savatage since their debut "Sirens (1983)", along with many other Metal bands that I had discovered, again, on the local LA FM Radio program called the "KMETal Shop".
Though I had lost interest after their 3rd Full length album as I thought they were becoming too overly produced and the guitars losing their heaviness which was what appealed to me. By the time of "Hall of the Mountain King (1987)", they had returned to their heavier sound. But the music began its more progressive leanings, playing to more adventurous compositions.
This continued onto "Gutter Ballet", keyboards were now more prevalent as vocalist Jon Oliva took on the roll and brought it more forward. Now included were epic interludes and passages that seemed more orchestrated. Ballads were now accompanying the heavier pieces but to tell the overall story. This may have inspired a few Prog Metal and Powermetal bands to come. But Savatage has always held onto its underground roots even after the passing of Jon's brother (in 1993), the great Chris Oliva on Guitar, as the band continued on till "Poets and Madmen" in 2001, progressing with each album.
Heir Apparent - "One Small Voice" (1989):
https://www.youtube.com/playlist?list=PLOqKiRbqYgvRFeDzWxAHrjJeuLH0_aDP_
Another from Seattle Washington with the obvious Queensryche influence. For me at the time of its debut, was a bit too much influence, and the music needed a bit more punch. The guitars needed to be more powerful to balance the vocals, and the drums needed to be heavier as well. All the abilities of the musician were there, but it wasn't strong enough for me.
But along with many other bands, "Powermetal" (American or the Euro version) would be the new sub-genre growing into its own. This album showed a more progressive turn and would be another to add to the growing list of bands.
Fifth Angel - "Time will Tell" (1989):
https://www.youtube.com/watch?v=w5NqGvyVhjo&t=1239s
Following in-suit of the Seattle Powermetal/Prog Metal sound burgeoning, from Bellevue Washington I had just about the same reaction as the band Heir Apparent, all the musicianship was there, but if they only pushed the envelope a bit more. It seemed these bands were holding back. I wanted them to push boundaries. For me Queensryche was doing that, and as I discovered more in the genre, Fates Warning would push the boundaries further. It probably stems from my love of Thrash, I wanted more aggression, but with an emphasis of retaining a melody, but I needed to be wowed with a twist. More tempo-changes, more surprises. Though FA has some great riffs on this album and takes me back when I accumulated many LP's in search for those bands to knock me to the floor.
. . . Many years later I would find many bands like this (Fifth Angel, Vicious Rumors, Shock Paris, Q5, Pretty Maids, Artch etc.) Internationally, though it sort-of became a sub-genre of its own, and may be another precursor to Euro and American Powermetal. Though Helloween and Blind Guardian would be the purveyors of that particular genre and all the bands to come after.
"I can hear the chimes, Ringing for you for me, I can see your eyes, Your hands joining with me, I can feel it's time, It's time for the world to hear, Neue Regel is here"
- Queensrÿche/"Neue Regel"
https://www.youtube.com/playlist?list=PLAvPZotjk1X_gm8bljQ2uVpmpTYAZickx
I had followed Florida's Savatage since their debut "Sirens (1983)", along with many other Metal bands that I had discovered, again, on the local LA FM Radio program called the "KMETal Shop".
Though I had lost interest after their 3rd Full length album as I thought they were becoming too overly produced and the guitars losing their heaviness which was what appealed to me. By the time of "Hall of the Mountain King (1987)", they had returned to their heavier sound. But the music began its more progressive leanings, playing to more adventurous compositions.
This continued onto "Gutter Ballet", keyboards were now more prevalent as vocalist Jon Oliva took on the roll and brought it more forward. Now included were epic interludes and passages that seemed more orchestrated. Ballads were now accompanying the heavier pieces but to tell the overall story. This may have inspired a few Prog Metal and Powermetal bands to come. But Savatage has always held onto its underground roots even after the passing of Jon's brother (in 1993), the great Chris Oliva on Guitar, as the band continued on till "Poets and Madmen" in 2001, progressing with each album.
Heir Apparent - "One Small Voice" (1989):
https://www.youtube.com/playlist?list=PLOqKiRbqYgvRFeDzWxAHrjJeuLH0_aDP_
Another from Seattle Washington with the obvious Queensryche influence. For me at the time of its debut, was a bit too much influence, and the music needed a bit more punch. The guitars needed to be more powerful to balance the vocals, and the drums needed to be heavier as well. All the abilities of the musician were there, but it wasn't strong enough for me.
But along with many other bands, "Powermetal" (American or the Euro version) would be the new sub-genre growing into its own. This album showed a more progressive turn and would be another to add to the growing list of bands.
Fifth Angel - "Time will Tell" (1989):
https://www.youtube.com/watch?v=w5NqGvyVhjo&t=1239s
Following in-suit of the Seattle Powermetal/Prog Metal sound burgeoning, from Bellevue Washington I had just about the same reaction as the band Heir Apparent, all the musicianship was there, but if they only pushed the envelope a bit more. It seemed these bands were holding back. I wanted them to push boundaries. For me Queensryche was doing that, and as I discovered more in the genre, Fates Warning would push the boundaries further. It probably stems from my love of Thrash, I wanted more aggression, but with an emphasis of retaining a melody, but I needed to be wowed with a twist. More tempo-changes, more surprises. Though FA has some great riffs on this album and takes me back when I accumulated many LP's in search for those bands to knock me to the floor.
. . . Many years later I would find many bands like this (Fifth Angel, Vicious Rumors, Shock Paris, Q5, Pretty Maids, Artch etc.) Internationally, though it sort-of became a sub-genre of its own, and may be another precursor to Euro and American Powermetal. Though Helloween and Blind Guardian would be the purveyors of that particular genre and all the bands to come after.
"I can hear the chimes, Ringing for you for me, I can see your eyes, Your hands joining with me, I can feel it's time, It's time for the world to hear, Neue Regel is here"
- Queensrÿche/"Neue Regel"
Chapter IV
The Golden Age 1989 thru . . .
"I've got this feeling, the tide is turning now baby, funny feeling, everything's gonna be alright now"
- Dream Theater/"New Millennium"
- Dream Theater/"New Millennium"
By this time all the bands in 1989 would have influenced a "New Wave of Prog Metal". Many coming from the smaller Indie labels (See Band lists):
Magna Carta
http://en.wikipedia.org/wiki/Magna_Carta_Records
InsideOUT Music
http://en.wikipedia.org/wiki/Inside_Out_Music
Sensory Music
http://www.lasersedgegroup.com/labels/sensory-records
Shrapnel Records
http://shrapnelrecords.com/artists
Combat Records
http://en.wikipedia.org/wiki/Combat_Records
. . . And other very small Indie labels that started to generate more exposure to underground bands. Also
Internationally, but more-so in the following years. Established Metal Labels would also sign-up these
growing sub-genres (Labels such as; Metal Blade, Noise, Relapse, SPV/Steamhammer, Massacre, Century
Media, Road Racer/Road Runner, Nuclear Blast, Season of Mist and more). Though I discovered many
bands on my own, it would be many years later that talking with many from Europe, I had missed out on a
TON of bands, that I am still catching up on. Many produced just 1 or 5 albums, that fell through the cracks
with limited word of mouth.
I can recall going into 2 different stores and feeling like a kid in a candy store at seeing many bands on CD
that I had never heard before; Enchant, Lemur Voice, Divine Regale, Eniac Requiem, Artension, Magellan, Ivanhoe, Ice Age, Tiles, Cairo, Spock's Beard, Flower Kings and many many more! Many, I would not
purchase till years later. Things were blowing up for Progressive music.
Standards and practices.
Metal, Thrash, Death and Doom Metal would also experiment with Progressive styles as other new sub-genres would emerge.
If Queensrÿche and Fates Warning were the seeds of the 1st and 2nd wave, it would be Dream Theater
"Images and Words" (1992) to give a voice to the new wave of Prog Metal and a standard for all those to follow (again, if that's good or bad to your specific tastes). But many would have their own voices prior (for those that may not agree, put yourself back to 1992. At-least those of us that were around at that time to see it all happen) creating music never heard before.
Though now, or the past 10+ years, Dream Theater has become the whipping post for the genre, the
punching bag or poster child for what is great or awful about Prog Metal. The scapegoat for anyone who
doesn't understand the blacksheep child, those born in a time of the recent contemporaries, or those that look at anything to do with metal - anything it touches become inferior. If they didn't "get" metal music to begin with, they sure didn't want it to be even more weird, louder or over the top (this goes for the
metalheads that didn't want it "weird" either).
We now have many people who say they can't stand DT, or "they're not progressive", "They're just Yes on
steroids", "they're overrated". But along with their detractors or overly critical fans, they sell-out venues all over the world. And some of those detractors show up at their concerts anyway, even if they were disappointed with a particular album or 2. I've even seen people say that Queensryche and Fates Warning haven't released anything memorable or significant to make them the forefathers. Everyone has their opinion that we scratch our heads at.
The shape of things to come . . .
From here the sky was the limit. Bands would emerge to further the genre globally. Adding different styles, influences that included the Avant-Garde (or "RIO"; Rock in Opposition), heavier musics and even
indigenous musics from their own countries. Some being way ahead of their time, some still unique till
this day, others creating a formula of Prog Metal to follow, or adding influential bits and pieces for others
to expand on.
To list ALL the Progressive Metal bands that fell into my collection from 1983 to 2016 would take me years to document, but the lists above (and below) tell of what was, and what was to come and what I found and added to my collection. Even though I missed out on many others, as my Greek friends would attest to.
. . . I wanted to give an example of those bands that had a special place on my Turntable and CD Player whose music would be the branches for all to come after, and that still get regular listens to this day, so these musics are not "nostalgia", but still current to my ears and stood the test of time:
Kings X - "Gretchen goes to Nebraska" (1989)
https://www.youtube.com/playlist?list=PLSJ9xqQIteslzq-RPASwP40YSbMImHYd0
Queensryche - "Empire" (1990)
https://www.youtube.com/watch?v=cDEMT0Lt2Ts
Psychotic Waltz - "A Social Grace" (1990)
https://www.youtube.com/watch?v=Dprzmypptbs
Kings X - "Faith Hope Love" (1990)
https://www.youtube.com/playlist?list=PLb_ZDL98Hczm_Lzid_cSMEuVNJUhmTCAm
Fates Warning - "Parallels" (1991)
https://www.youtube.com/playlist?list=PLj8T9CQ_MZp_1IrWOtQmrkBBi9Tfwb716
Primus - "Sailing the Seas of Cheese" (1991)
https://www.youtube.com/watch?v=Pp5I7i5vu2Q
Mr. Bungle - Debut (1991)
https://www.youtube.com/watch?v=pZ_3F93hgZw
Galactic Cowboys - Debut (1991)
https://www.youtube.com/playlist?list=PL30A2979C9632B561
Magellan - "Hours of Restoration" (1991)
https://www.youtube.com/watch?v=eA--c8E1lg4
Kings X - Self-titled (1992)
https://www.youtube.com/playlist?list=PLrPeCH8uYLLlkPiuYoP6d3aCotwYkX_HV
Dream Theater - Images and Words (1992)
https://www.youtube.com/playlist?list=PLN-OKmjqfXTJJyutBwEYCAMnQ3QnC1Sk5
Psychotic Waltz - "Into the Everflow" (1992)
https://www.youtube.com/watch?v=obnFfH53JYY
Damn the Machine - Self-Titled (1993)
https://www.youtube.com/playlist?list=PLwvx_YW9s_cQQgciIB2vKtXFQ6nmr4D8_
Primus - "Pork Soda" (1993)
https://www.youtube.com/watch?v=Zx330pzjAOo
Magellan - Impending Ascension (1993)
https://www.youtube.com/playlist?list=PL961CD28CAB10232B
Kings X - "Dogman" (1994)
https://www.youtube.com/playlist?list=PLwf1huXJqZ0XyIiAdo_Ti5CG0GmwWhHQj
Leviathan - "The Darkest Secrets Beneath" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdeREHOwx_2hjjVMayrWLmR
Tiles - Debut album (1994)
https://www.youtube.com/playlist?list=PLGi3vq6xkG5hjNdi4euuqQqwVle0Pvbsj
Psychotic Waltz - "Mosquito" (1994)
https://www.youtube.com/watch?v=Gv17jc0InIA
Fates Warning - "Inside Out" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEcrMp8HZ4N07gGFSD-kO_Lu
Ivanhoe - "Visions and Reality" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfJtk9TepHlJtb-4R36_pKa
Dream Theater - "Awake" (1994)
https://www.youtube.com/playlist?list=PL_O182rKbxlWkwKeRKqQYxBs-nj3EElFR
Queensrÿche - "Promised Land" (1994)
https://www.youtube.com/watch?v=FTUL5QSnav8
Laundry - "Black Tongue" (1994)
https://www.youtube.com/playlist?list=PLAFCB3034550C5A60
Mercury Rising - "Upon Deaf Ears" (1994)
https://www.youtube.com/watch?v=jwr5WnVNkpQ
Depressive Age - "Lying in Wait" (1994)
https://www.youtube.com/playlist?list=PLpbrrVFjCviC5fchfcR3ow6CEodWZseyp
Shadow Gallery - "Carved in Stone" (1995)
https://www.youtube.com/playlist?list=PLRkcpIF5KaDMJmirb5QAdFiecvltyqmk9
Mr. Bungle - "Disco Volante" (1995)
https://www.youtube.com/watch?v=uZ3WuOag218
Altura - "Mercy" (1996)
https://youtu.be/hG5IW4tPzng
Artension - "In the Eye of the Storm" (1996)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfBfBU_OpdraE_bZxHUIV9J
Kings X - "Ear Candy" (1996)
https://www.youtube.com/playlist?list=PLw-izs8RMDdf5DA9g0xAeDF9Aijf2RGtV
Lemur Voice - "Intuition" (1996)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfWksAB33PRfG8s6ymKtc-M
Psychotic Waltz - "Bleeding" (1996)
https://www.youtube.com/watch?v=wmARfBAAI8g
Mayadome - "Paranormal Activity" (1996)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdJWTeykr9ZDEQFAC43FCZH
Divine Regale - "Ocean Mind" (1997)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfi1hEbv9urzDVecT-87ytQ
The Quiet Room - "Introspect" (1997)
https://www.youtube.com/watch?v=kYYUnwqygr0
Pain of Salvation - "Entropia" (1997)
https://www.youtube.com/playlist?list=PL3D4AFA52EDEDFC7C
Spastic Ink - "Ink Complete" (1997)
https://www.youtube.com/watch?v=X5SWc_k_Hmk
Dream Theater - "Falling into Infinity" (1997)
https://www.youtube.com/playlist?list=PLN-OKmjqfXTLKV-zr5OJJvHNrkn-zEdSb
Queensryche - "Hear in the Now Frontier" (1997)
https://www.youtube.com/playlist?list=PLdQ4FMh14EtCBevDd023Db8FeOqFGdaLv
Fates Warning - "A Pleasant Shade of Gray" (1997)
https://www.youtube.com/playlist?list=PLkp5nvSOFqG5Ji5wTOsKvWJ0K5UU40p9h
Tiles - "Fence the Clear" (1997)
https://www.youtube.com/playlist?list=PLnWwFG7si_WJQusYIL8WRqkHiDE0eTQ0n
Vanderhoof - Debut (1997)
https://www.youtube.com/playlist?list=PL2DU3TBNutEd0BvO0m3GRaQ52X9UNJmnR
Tad Morose - "Paradigma" Ep (1997)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeu4xil8P_h_ck7JGHw67ai
Threshold - "Clone" (1998)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdIH348BWRzApQCJKk_e7Hd
Liquid Tension Experiment - Debut (1998)
https://www.youtube.com/watch?v=8iMMoGuUxks
Superior - "Younique" (1998)
https://www.youtube.com/watch?v=tiZpbnlKN6E
Mercury Rising - "Building Rome" (1998)
https://www.youtube.com/watch?v=qYKKpBm6Pus
Eniac Requiem - "Space Eternal Void" (1998)
https://www.youtube.com/playlist?list=PL2DU3TBNutEd0yekdJXSj0Lf75RBQTo1v
Kings X - "Tapehead" (1998)
https://www.youtube.com/playlist?list=PLPguPXcQGuiqnKm7irBk7Q7y9q32kjipE
Pain of Salvation - "One hour by the Concrete Lake" (1998)
https://www.youtube.com/playlist?list=PL386CC6B6F948B376
Entwined - "Dancing Under Glass" (1998)
https://www.youtube.com/playlist?list=PLYR-rZ-FYDHk86qbN5q4e35NKSOvtV1Dl
Prototype - "Cloned" Ep (1998)
(Note: many of the songs that appeared on Cloned were re-recorded for the 2002 Album "Trinity" and
"Continuum" in 2006):
https://www.youtube.com/playlist?list=PL2DU3TBNutEctXoCtFS2trdblKLgBevXu
Ion Vein - "Beyond Tomorrow" (1999)
https://www.youtube.com/playlist?list=PLj1bgkPjm_IeQC8_q3woCy2-c5u9mrghx
Tiles - "Presence of Mind" (1999)
https://www.youtube.com/playlist?list=PLcPGJbrGb23lwRy2AeTROH-J5AGG-5qIb
Ark - Debut (1999)
https://www.youtube.com/watch?v=G-WnGy1TkfY
Liquid Tension Experiment - "2" (1999)
https://www.youtube.com/watch?v=qzZulX2GuVc
Dali's Dilemma - "Manifesto for Futurism" (1999)
https://www.youtube.com/playlist?list=PLph56_y8hkOf6XgHdqa6aJNl7YhhITG0g
Gordian Knot - Debut (1999)
https://www.youtube.com/playlist?list=PLLWr8pHrGu_AGb_mPlDjMQDusVWWbzZIk
Dream Theater - "Metropolis 2: Scenes from a Memory" (1999)
https://www.youtube.com/watch?v=ZUplgIbGaWY
Vandan Plas - "Far Off Grace" (1999)
https://www.youtube.com/playlist?list=PL-mf_7cvUnQSJXlXLG5BKWBSQw82Plhv8
Kamelot - "The Fourth Legacy" (1999)
https://www.youtube.com/playlist?list=PLbAuFvxDuDhEkXwSGkgKGPCLawAgJQgJK
DC Cooper - Debut (1999)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeTgvgfhbswJTqMF-eTneCD
Balance of Power - "Ten more Tales of Grand Illusion" (1999)
https://www.youtube.com/playlist?list=PLahxrhChXnQakM_46DUR5ypi_CR4KHNNA
Planet X - Debut (1999)
https://www.youtube.com/watch?v=hUQQFRROusg
Clockwork - "Surface Tension" (1999)
https://www.youtube.com/playlist?list=PLsX_e3PB8Ce9WQ80RycGPB8QNwPzfe7Hq
Magna Carta
http://en.wikipedia.org/wiki/Magna_Carta_Records
InsideOUT Music
http://en.wikipedia.org/wiki/Inside_Out_Music
Sensory Music
http://www.lasersedgegroup.com/labels/sensory-records
Shrapnel Records
http://shrapnelrecords.com/artists
Combat Records
http://en.wikipedia.org/wiki/Combat_Records
. . . And other very small Indie labels that started to generate more exposure to underground bands. Also
Internationally, but more-so in the following years. Established Metal Labels would also sign-up these
growing sub-genres (Labels such as; Metal Blade, Noise, Relapse, SPV/Steamhammer, Massacre, Century
Media, Road Racer/Road Runner, Nuclear Blast, Season of Mist and more). Though I discovered many
bands on my own, it would be many years later that talking with many from Europe, I had missed out on a
TON of bands, that I am still catching up on. Many produced just 1 or 5 albums, that fell through the cracks
with limited word of mouth.
I can recall going into 2 different stores and feeling like a kid in a candy store at seeing many bands on CD
that I had never heard before; Enchant, Lemur Voice, Divine Regale, Eniac Requiem, Artension, Magellan, Ivanhoe, Ice Age, Tiles, Cairo, Spock's Beard, Flower Kings and many many more! Many, I would not
purchase till years later. Things were blowing up for Progressive music.
Standards and practices.
Metal, Thrash, Death and Doom Metal would also experiment with Progressive styles as other new sub-genres would emerge.
If Queensrÿche and Fates Warning were the seeds of the 1st and 2nd wave, it would be Dream Theater
"Images and Words" (1992) to give a voice to the new wave of Prog Metal and a standard for all those to follow (again, if that's good or bad to your specific tastes). But many would have their own voices prior (for those that may not agree, put yourself back to 1992. At-least those of us that were around at that time to see it all happen) creating music never heard before.
Though now, or the past 10+ years, Dream Theater has become the whipping post for the genre, the
punching bag or poster child for what is great or awful about Prog Metal. The scapegoat for anyone who
doesn't understand the blacksheep child, those born in a time of the recent contemporaries, or those that look at anything to do with metal - anything it touches become inferior. If they didn't "get" metal music to begin with, they sure didn't want it to be even more weird, louder or over the top (this goes for the
metalheads that didn't want it "weird" either).
We now have many people who say they can't stand DT, or "they're not progressive", "They're just Yes on
steroids", "they're overrated". But along with their detractors or overly critical fans, they sell-out venues all over the world. And some of those detractors show up at their concerts anyway, even if they were disappointed with a particular album or 2. I've even seen people say that Queensryche and Fates Warning haven't released anything memorable or significant to make them the forefathers. Everyone has their opinion that we scratch our heads at.
The shape of things to come . . .
From here the sky was the limit. Bands would emerge to further the genre globally. Adding different styles, influences that included the Avant-Garde (or "RIO"; Rock in Opposition), heavier musics and even
indigenous musics from their own countries. Some being way ahead of their time, some still unique till
this day, others creating a formula of Prog Metal to follow, or adding influential bits and pieces for others
to expand on.
To list ALL the Progressive Metal bands that fell into my collection from 1983 to 2016 would take me years to document, but the lists above (and below) tell of what was, and what was to come and what I found and added to my collection. Even though I missed out on many others, as my Greek friends would attest to.
. . . I wanted to give an example of those bands that had a special place on my Turntable and CD Player whose music would be the branches for all to come after, and that still get regular listens to this day, so these musics are not "nostalgia", but still current to my ears and stood the test of time:
Kings X - "Gretchen goes to Nebraska" (1989)
https://www.youtube.com/playlist?list=PLSJ9xqQIteslzq-RPASwP40YSbMImHYd0
Queensryche - "Empire" (1990)
https://www.youtube.com/watch?v=cDEMT0Lt2Ts
Psychotic Waltz - "A Social Grace" (1990)
https://www.youtube.com/watch?v=Dprzmypptbs
Kings X - "Faith Hope Love" (1990)
https://www.youtube.com/playlist?list=PLb_ZDL98Hczm_Lzid_cSMEuVNJUhmTCAm
Fates Warning - "Parallels" (1991)
https://www.youtube.com/playlist?list=PLj8T9CQ_MZp_1IrWOtQmrkBBi9Tfwb716
Primus - "Sailing the Seas of Cheese" (1991)
https://www.youtube.com/watch?v=Pp5I7i5vu2Q
Mr. Bungle - Debut (1991)
https://www.youtube.com/watch?v=pZ_3F93hgZw
Galactic Cowboys - Debut (1991)
https://www.youtube.com/playlist?list=PL30A2979C9632B561
Magellan - "Hours of Restoration" (1991)
https://www.youtube.com/watch?v=eA--c8E1lg4
Kings X - Self-titled (1992)
https://www.youtube.com/playlist?list=PLrPeCH8uYLLlkPiuYoP6d3aCotwYkX_HV
Dream Theater - Images and Words (1992)
https://www.youtube.com/playlist?list=PLN-OKmjqfXTJJyutBwEYCAMnQ3QnC1Sk5
Psychotic Waltz - "Into the Everflow" (1992)
https://www.youtube.com/watch?v=obnFfH53JYY
Damn the Machine - Self-Titled (1993)
https://www.youtube.com/playlist?list=PLwvx_YW9s_cQQgciIB2vKtXFQ6nmr4D8_
Primus - "Pork Soda" (1993)
https://www.youtube.com/watch?v=Zx330pzjAOo
Magellan - Impending Ascension (1993)
https://www.youtube.com/playlist?list=PL961CD28CAB10232B
Kings X - "Dogman" (1994)
https://www.youtube.com/playlist?list=PLwf1huXJqZ0XyIiAdo_Ti5CG0GmwWhHQj
Leviathan - "The Darkest Secrets Beneath" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdeREHOwx_2hjjVMayrWLmR
Tiles - Debut album (1994)
https://www.youtube.com/playlist?list=PLGi3vq6xkG5hjNdi4euuqQqwVle0Pvbsj
Psychotic Waltz - "Mosquito" (1994)
https://www.youtube.com/watch?v=Gv17jc0InIA
Fates Warning - "Inside Out" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEcrMp8HZ4N07gGFSD-kO_Lu
Ivanhoe - "Visions and Reality" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfJtk9TepHlJtb-4R36_pKa
Dream Theater - "Awake" (1994)
https://www.youtube.com/playlist?list=PL_O182rKbxlWkwKeRKqQYxBs-nj3EElFR
Queensrÿche - "Promised Land" (1994)
https://www.youtube.com/watch?v=FTUL5QSnav8
Laundry - "Black Tongue" (1994)
https://www.youtube.com/playlist?list=PLAFCB3034550C5A60
Mercury Rising - "Upon Deaf Ears" (1994)
https://www.youtube.com/watch?v=jwr5WnVNkpQ
Depressive Age - "Lying in Wait" (1994)
https://www.youtube.com/playlist?list=PLpbrrVFjCviC5fchfcR3ow6CEodWZseyp
Shadow Gallery - "Carved in Stone" (1995)
https://www.youtube.com/playlist?list=PLRkcpIF5KaDMJmirb5QAdFiecvltyqmk9
Mr. Bungle - "Disco Volante" (1995)
https://www.youtube.com/watch?v=uZ3WuOag218
Altura - "Mercy" (1996)
https://youtu.be/hG5IW4tPzng
Artension - "In the Eye of the Storm" (1996)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfBfBU_OpdraE_bZxHUIV9J
Kings X - "Ear Candy" (1996)
https://www.youtube.com/playlist?list=PLw-izs8RMDdf5DA9g0xAeDF9Aijf2RGtV
Lemur Voice - "Intuition" (1996)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfWksAB33PRfG8s6ymKtc-M
Psychotic Waltz - "Bleeding" (1996)
https://www.youtube.com/watch?v=wmARfBAAI8g
Mayadome - "Paranormal Activity" (1996)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdJWTeykr9ZDEQFAC43FCZH
Divine Regale - "Ocean Mind" (1997)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfi1hEbv9urzDVecT-87ytQ
The Quiet Room - "Introspect" (1997)
https://www.youtube.com/watch?v=kYYUnwqygr0
Pain of Salvation - "Entropia" (1997)
https://www.youtube.com/playlist?list=PL3D4AFA52EDEDFC7C
Spastic Ink - "Ink Complete" (1997)
https://www.youtube.com/watch?v=X5SWc_k_Hmk
Dream Theater - "Falling into Infinity" (1997)
https://www.youtube.com/playlist?list=PLN-OKmjqfXTLKV-zr5OJJvHNrkn-zEdSb
Queensryche - "Hear in the Now Frontier" (1997)
https://www.youtube.com/playlist?list=PLdQ4FMh14EtCBevDd023Db8FeOqFGdaLv
Fates Warning - "A Pleasant Shade of Gray" (1997)
https://www.youtube.com/playlist?list=PLkp5nvSOFqG5Ji5wTOsKvWJ0K5UU40p9h
Tiles - "Fence the Clear" (1997)
https://www.youtube.com/playlist?list=PLnWwFG7si_WJQusYIL8WRqkHiDE0eTQ0n
Vanderhoof - Debut (1997)
https://www.youtube.com/playlist?list=PL2DU3TBNutEd0BvO0m3GRaQ52X9UNJmnR
Tad Morose - "Paradigma" Ep (1997)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeu4xil8P_h_ck7JGHw67ai
Threshold - "Clone" (1998)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdIH348BWRzApQCJKk_e7Hd
Liquid Tension Experiment - Debut (1998)
https://www.youtube.com/watch?v=8iMMoGuUxks
Superior - "Younique" (1998)
https://www.youtube.com/watch?v=tiZpbnlKN6E
Mercury Rising - "Building Rome" (1998)
https://www.youtube.com/watch?v=qYKKpBm6Pus
Eniac Requiem - "Space Eternal Void" (1998)
https://www.youtube.com/playlist?list=PL2DU3TBNutEd0yekdJXSj0Lf75RBQTo1v
Kings X - "Tapehead" (1998)
https://www.youtube.com/playlist?list=PLPguPXcQGuiqnKm7irBk7Q7y9q32kjipE
Pain of Salvation - "One hour by the Concrete Lake" (1998)
https://www.youtube.com/playlist?list=PL386CC6B6F948B376
Entwined - "Dancing Under Glass" (1998)
https://www.youtube.com/playlist?list=PLYR-rZ-FYDHk86qbN5q4e35NKSOvtV1Dl
Prototype - "Cloned" Ep (1998)
(Note: many of the songs that appeared on Cloned were re-recorded for the 2002 Album "Trinity" and
"Continuum" in 2006):
https://www.youtube.com/playlist?list=PL2DU3TBNutEctXoCtFS2trdblKLgBevXu
Ion Vein - "Beyond Tomorrow" (1999)
https://www.youtube.com/playlist?list=PLj1bgkPjm_IeQC8_q3woCy2-c5u9mrghx
Tiles - "Presence of Mind" (1999)
https://www.youtube.com/playlist?list=PLcPGJbrGb23lwRy2AeTROH-J5AGG-5qIb
Ark - Debut (1999)
https://www.youtube.com/watch?v=G-WnGy1TkfY
Liquid Tension Experiment - "2" (1999)
https://www.youtube.com/watch?v=qzZulX2GuVc
Dali's Dilemma - "Manifesto for Futurism" (1999)
https://www.youtube.com/playlist?list=PLph56_y8hkOf6XgHdqa6aJNl7YhhITG0g
Gordian Knot - Debut (1999)
https://www.youtube.com/playlist?list=PLLWr8pHrGu_AGb_mPlDjMQDusVWWbzZIk
Dream Theater - "Metropolis 2: Scenes from a Memory" (1999)
https://www.youtube.com/watch?v=ZUplgIbGaWY
Vandan Plas - "Far Off Grace" (1999)
https://www.youtube.com/playlist?list=PL-mf_7cvUnQSJXlXLG5BKWBSQw82Plhv8
Kamelot - "The Fourth Legacy" (1999)
https://www.youtube.com/playlist?list=PLbAuFvxDuDhEkXwSGkgKGPCLawAgJQgJK
DC Cooper - Debut (1999)
https://www.youtube.com/playlist?list=PL2DU3TBNutEeTgvgfhbswJTqMF-eTneCD
Balance of Power - "Ten more Tales of Grand Illusion" (1999)
https://www.youtube.com/playlist?list=PLahxrhChXnQakM_46DUR5ypi_CR4KHNNA
Planet X - Debut (1999)
https://www.youtube.com/watch?v=hUQQFRROusg
Clockwork - "Surface Tension" (1999)
https://www.youtube.com/playlist?list=PLsX_e3PB8Ce9WQ80RycGPB8QNwPzfe7Hq
Obscurity to cult status . . .
"I'm a tripper man in a spaced out jam, flying in the circus of a freak show band, my ears are wings
They take me to my dreams, I close my eyes and i'm alone here singing!"
- Psychotic Waltz/"Freakshow"
They take me to my dreams, I close my eyes and i'm alone here singing!"
- Psychotic Waltz/"Freakshow"
Why doesn't everybody do the . . .
Psychotic Waltz from San Diego, was another blind purchase that I made at a Claremont "Wherehouse" Music Store now many years long gone. It was the last few years of the store where most of their
merchandise was used and I would find choice CD's from time to time (one being "Echolyn", I didn't get it and it sat buried between other bands on my shelf, it was about that time I was finally getting into Gentle Giant, many years later I'd pull out my copy of "As the World" that I got for 99 cents, which I finally got it).
The cover for "Into the Everflow" was very intriguing, especially the song titles. When I got it home and put it into my player, I was floored. They did not sound like Queensryche, Fates Warning or Dream Theater. They had their own unique sound yet they were Progressive and Metal, melodic and complex at times with interesting topics to boot. It was odd to see their pics as well, (and live pics within the booklet) one Guitarist had "half a mustache and beard" with an odd looking sculpted guitar (Brian McAlpin), the other guitarist was in a wheelchair (Dan Rock, who I'd learn later - was due to a near-fatal rappelling accident), and the vocalist in "Hippyish" garb playing a "Flute" (whose style was reminiscent of Ian Anderson). These guys were definitely different and it became one of my all time fave finds. I noticed they were on a very small indie label which may have been their own (it was the 1st print of the album on Dream Circle Records). So I pretty much thought this was a diamond in the rough, and I felt like I was one of the few who knew about them in 1992.
I later found their albums at various locations. A friend of mine had taken me to a Music Shop in San Diego county called "Blue Meanie Records". I had noticed on the overhead wall of the countertop a Picture disc of their debut "A Social Grace" and asked if they might have a CD of it (1st huge mistake not buying it! But I did buy a rare 45 from Thought Industry!). Well I did not realize till a few days ago that the shop was owned by the drummer Norman Leggio, he introduced himself to us and he said he'd be right back with a copy! I think he actually ran to his home nearby! It's crazy that I did NOT ask him to sign it.
They were not a huge band by any means, they were becoming more popular in the underground scene locally, but today they are legendary (especially among Greek fans).
After their last album "Bleeding" in 1996, various members have gone off and worked on solo projects. Most notably "Devon Graves" (a.k.a. Buddy Lackey during the Psychotic Waltz years) with "Dead Soul
Tribe" from 2002 to 2007 with its darker Prog Metal sound, and "The Shadow Theory" in 2010 with their sole release "Behind the Black Veil", with its tales of old fashioned Ghost Stories within a haunted house. Previously Norm Leggio and Bassist Ward Evans created the band "Teabag" (A hybrid of Tech-Aggro /
Groove Metal) and Dan Rock, an instrumental solo project called "Darkstar" in 1995.
We are very blessed that after 19 years they are finishing-up recording a new Psychotic Waltz album due sometime in 2015 (update as of May 2018: there has been no definite word on when it will be released
sadly). A happy surprise, see below . . . .
Psychotic Waltz from San Diego, was another blind purchase that I made at a Claremont "Wherehouse" Music Store now many years long gone. It was the last few years of the store where most of their
merchandise was used and I would find choice CD's from time to time (one being "Echolyn", I didn't get it and it sat buried between other bands on my shelf, it was about that time I was finally getting into Gentle Giant, many years later I'd pull out my copy of "As the World" that I got for 99 cents, which I finally got it).
The cover for "Into the Everflow" was very intriguing, especially the song titles. When I got it home and put it into my player, I was floored. They did not sound like Queensryche, Fates Warning or Dream Theater. They had their own unique sound yet they were Progressive and Metal, melodic and complex at times with interesting topics to boot. It was odd to see their pics as well, (and live pics within the booklet) one Guitarist had "half a mustache and beard" with an odd looking sculpted guitar (Brian McAlpin), the other guitarist was in a wheelchair (Dan Rock, who I'd learn later - was due to a near-fatal rappelling accident), and the vocalist in "Hippyish" garb playing a "Flute" (whose style was reminiscent of Ian Anderson). These guys were definitely different and it became one of my all time fave finds. I noticed they were on a very small indie label which may have been their own (it was the 1st print of the album on Dream Circle Records). So I pretty much thought this was a diamond in the rough, and I felt like I was one of the few who knew about them in 1992.
I later found their albums at various locations. A friend of mine had taken me to a Music Shop in San Diego county called "Blue Meanie Records". I had noticed on the overhead wall of the countertop a Picture disc of their debut "A Social Grace" and asked if they might have a CD of it (1st huge mistake not buying it! But I did buy a rare 45 from Thought Industry!). Well I did not realize till a few days ago that the shop was owned by the drummer Norman Leggio, he introduced himself to us and he said he'd be right back with a copy! I think he actually ran to his home nearby! It's crazy that I did NOT ask him to sign it.
They were not a huge band by any means, they were becoming more popular in the underground scene locally, but today they are legendary (especially among Greek fans).
After their last album "Bleeding" in 1996, various members have gone off and worked on solo projects. Most notably "Devon Graves" (a.k.a. Buddy Lackey during the Psychotic Waltz years) with "Dead Soul
Tribe" from 2002 to 2007 with its darker Prog Metal sound, and "The Shadow Theory" in 2010 with their sole release "Behind the Black Veil", with its tales of old fashioned Ghost Stories within a haunted house. Previously Norm Leggio and Bassist Ward Evans created the band "Teabag" (A hybrid of Tech-Aggro /
Groove Metal) and Dan Rock, an instrumental solo project called "Darkstar" in 1995.
We are very blessed that after 19 years they are finishing-up recording a new Psychotic Waltz album due sometime in 2015 (update as of May 2018: there has been no definite word on when it will be released
sadly). A happy surprise, see below . . . .
The Albums:
Psychotic Waltz - "A Social Grace" (1990)
https://www.youtube.com/playlist?list=PL_j-RjZRn2GQTGf3OTf9DFlg6zyCQDHkz
Psychotic Waltz - "Into the Everflow" (1992)
https://www.youtube.com/watch?v=obnFfH53JYY
Psychotic Waltz - "Mosquito" (1995)
https://www.youtube.com/watch?v=Gv17jc0InIA
Psychotic Waltz - "Bleeding" (1996)
https://www.youtube.com/watch?v=wmARfBAAI8g
And FINALLY! After a LONG wait on their progress . . .
Released on 2/14/20
Psychotic Waltz - "The God-shaped Void" (2020)
https://www.youtube.com/playlist?list=OLAK5uy_mIH2XnR2te9Q6CY-RNJ6C7AnBDKkpE6dg
Psychotic Waltz - "A Social Grace" (1990)
https://www.youtube.com/playlist?list=PL_j-RjZRn2GQTGf3OTf9DFlg6zyCQDHkz
Psychotic Waltz - "Into the Everflow" (1992)
https://www.youtube.com/watch?v=obnFfH53JYY
Psychotic Waltz - "Mosquito" (1995)
https://www.youtube.com/watch?v=Gv17jc0InIA
Psychotic Waltz - "Bleeding" (1996)
https://www.youtube.com/watch?v=wmARfBAAI8g
And FINALLY! After a LONG wait on their progress . . .
Released on 2/14/20
Psychotic Waltz - "The God-shaped Void" (2020)
https://www.youtube.com/playlist?list=OLAK5uy_mIH2XnR2te9Q6CY-RNJ6C7AnBDKkpE6dg
Psychotic Waltz lyrics can be found here: https://www.musixmatch.com/artist/Psychotic-Waltz/albums
"Descending from the mortal coil, the spiral track from which i fell
Can it be you i hear, whisper on the wind
The anguish will uplit with the voice.
The voice . . . of time"
- Sabbat/"Voice of Time"
Can it be you i hear, whisper on the wind
The anguish will uplit with the voice.
The voice . . . of time"
- Sabbat/"Voice of Time"
A Reflection on a History of Tomorrows.
I wanted to take a moment to reflect on a band and a particular album that got terrible reviews from critics
to fans of their glory days that only lasted 2 albums, and an album that is not even considered canon.
Sabbat are a band from Nottingham England, that started as a Technical Thrash band with "Pagan" topics, as-well as fantasy themes, which was an unusual turn for Thrash in 1987.
With (as mentioned earlier) the Shakespearean/Dickens Bard of the English language "Martin Walkyier"
whose prose was beautiful, well constructed and prolific. With Lead Guitarist "Andy Sneap" providing the wild guitar solos, monstrous riffage and compositions (later to become a highly sought after Engineer and
Producer).
The 1st 2 albums are easily in my Top 20 Thrash albums of all time, and one of my favorite Metal bands:
"A History of a Time to Come" (1988)
Lyrics: https://www.musixmatch.com/album/Sabbat/History-of-a-Time-to-Come
"Dreamweaver: Reflections of our Yesterdays" (1989) A Thrash Metal Concept album based on Brian
Bates "Way of the Wyrd".
Lyrics: https://www.musixmatch.com/album/Sabbat/Dreamweaver
And a VHS tape I once owned that is quite rare from the 1st Metal Fest at the Wall in Berlin: "Sabbat:
The End of the Beginning" (1990). It's a MUST watch!
I wanted to take a moment to reflect on a band and a particular album that got terrible reviews from critics
to fans of their glory days that only lasted 2 albums, and an album that is not even considered canon.
Sabbat are a band from Nottingham England, that started as a Technical Thrash band with "Pagan" topics, as-well as fantasy themes, which was an unusual turn for Thrash in 1987.
With (as mentioned earlier) the Shakespearean/Dickens Bard of the English language "Martin Walkyier"
whose prose was beautiful, well constructed and prolific. With Lead Guitarist "Andy Sneap" providing the wild guitar solos, monstrous riffage and compositions (later to become a highly sought after Engineer and
Producer).
The 1st 2 albums are easily in my Top 20 Thrash albums of all time, and one of my favorite Metal bands:
"A History of a Time to Come" (1988)
Lyrics: https://www.musixmatch.com/album/Sabbat/History-of-a-Time-to-Come
"Dreamweaver: Reflections of our Yesterdays" (1989) A Thrash Metal Concept album based on Brian
Bates "Way of the Wyrd".
Lyrics: https://www.musixmatch.com/album/Sabbat/Dreamweaver
And a VHS tape I once owned that is quite rare from the 1st Metal Fest at the Wall in Berlin: "Sabbat:
The End of the Beginning" (1990). It's a MUST watch!
"A god of many faces, yet none of them are known, existing in all places at all times - His glory shown In the majesty of nature, let the hymn to pan be sung, for the myth is but a history of a time to come!"
- Sabbat/"Horned is the Hunter"
- Sabbat/"Horned is the Hunter"
"O come ye young of Hamlyn-you who know my tune so well, where it beckons you must follow
Be it Heaven (be it Hell). Forget your mothers grieving as I pipe you down the street,
With a shilling in my pocket-and the sky beneath my feet!"
- Skyclad/"Sky beneath my feet"
Be it Heaven (be it Hell). Forget your mothers grieving as I pipe you down the street,
With a shilling in my pocket-and the sky beneath my feet!"
- Skyclad/"Sky beneath my feet"
But various disagreements between the band and Walkyier, including musical ideas, sealed the fate of Sabbat. Walkyier went on to form the "Folk Metal" band "Skyclad" which is thought to be the 1st band
of that genre which would become another fave band. Including Martin's prolific prose and double-
entendres (their debut: "Wayward Sons of Mother Earth" 1991). This time the band would also employ a
violinist ("fiddle player") on their sophomore album "A Burnt offering for the Bone Idol" (1992) and
have a "Jethro Tull meets Metal" sound. With 12 albums to their credit.
Most of Skyclad lyrics can be found here: https://www.musixmatch.com/artist/Skyclad/albums
of that genre which would become another fave band. Including Martin's prolific prose and double-
entendres (their debut: "Wayward Sons of Mother Earth" 1991). This time the band would also employ a
violinist ("fiddle player") on their sophomore album "A Burnt offering for the Bone Idol" (1992) and
have a "Jethro Tull meets Metal" sound. With 12 albums to their credit.
Most of Skyclad lyrics can be found here: https://www.musixmatch.com/artist/Skyclad/albums
A totally new direction . . .
Sneap went ahead and composed a new album with a very
different vocalist who could actually sing melodically.
The assertive operatic voice of "Ritchie Desmond" was to match
the new music that would forever polarize its fans and many did
not give it the time of day. I had been a fan since their debut album,
but I felt that "Mourning has Broken" was a very misunderstood
but ASTOUNDING album for Sabbat and its time.
In my opinion, the entire album has almost no "Rock"/Blues
influence at all. It is a complete melding of Fusion and Thrash with some incredible over the top Bass and Guitars. Definitely
progressive but basically Sneap and 2nd Lead Neil Watson exploring riffs and guitarscapes much like Cynic (or maybe even Alex Lifeson) complete with adventurously wild guitar solos, accents and fills.
Sneap truly inspired my own guitar playing as an improvisational guitarist. But meeting Sneap decades later (when Sabbat reformed and Toured the States for the 1st time in 2007) and talking at length about the album, it was clear he had no influences but his own mind. Sadly, as he also told me, which he also
reflected in an interview (Terrorizer magazine issue #152 2006) where he has stated;
"I don't listen to this (Mourning Has Broken). There is some mad guitar playing on there, some of the shredding is ridiculous, but it sounds thrown together, which it was; it shouldn't have had the Sabbat name on it."
It's too bad, I think its a brilliant album, one of my Top 20 Progressive Metal and Thrash Albums of all
time. The lyrics that were handled by Sneap and Desmond matched the starkness of the album art (which I think is gorgeous) with their Red Logo emblazoned against the violent clouds. I was lucky to purchase the CD soon after its debut, it is now the most rare of the 3 as the previous 2 were remastered and released (finally!) in 2007, but Mourning did not get the same treatment it deserved.
But here I present it, in the year of our Lord, nineteen hundred and ninety one . . .
Sabbat - "Mourning has Broken" (1991)
http://www.youtube.com/playlist?list=PLB3B6F2DCA95061AB
Sabbat "Mourning has Broken" lyrics:
https://www.musixmatch.com/album/Sabbat/Mourning-Has-Broken
different vocalist who could actually sing melodically.
The assertive operatic voice of "Ritchie Desmond" was to match
the new music that would forever polarize its fans and many did
not give it the time of day. I had been a fan since their debut album,
but I felt that "Mourning has Broken" was a very misunderstood
but ASTOUNDING album for Sabbat and its time.
In my opinion, the entire album has almost no "Rock"/Blues
influence at all. It is a complete melding of Fusion and Thrash with some incredible over the top Bass and Guitars. Definitely
progressive but basically Sneap and 2nd Lead Neil Watson exploring riffs and guitarscapes much like Cynic (or maybe even Alex Lifeson) complete with adventurously wild guitar solos, accents and fills.
Sneap truly inspired my own guitar playing as an improvisational guitarist. But meeting Sneap decades later (when Sabbat reformed and Toured the States for the 1st time in 2007) and talking at length about the album, it was clear he had no influences but his own mind. Sadly, as he also told me, which he also
reflected in an interview (Terrorizer magazine issue #152 2006) where he has stated;
"I don't listen to this (Mourning Has Broken). There is some mad guitar playing on there, some of the shredding is ridiculous, but it sounds thrown together, which it was; it shouldn't have had the Sabbat name on it."
It's too bad, I think its a brilliant album, one of my Top 20 Progressive Metal and Thrash Albums of all
time. The lyrics that were handled by Sneap and Desmond matched the starkness of the album art (which I think is gorgeous) with their Red Logo emblazoned against the violent clouds. I was lucky to purchase the CD soon after its debut, it is now the most rare of the 3 as the previous 2 were remastered and released (finally!) in 2007, but Mourning did not get the same treatment it deserved.
But here I present it, in the year of our Lord, nineteen hundred and ninety one . . .
Sabbat - "Mourning has Broken" (1991)
http://www.youtube.com/playlist?list=PLB3B6F2DCA95061AB
Sabbat "Mourning has Broken" lyrics:
https://www.musixmatch.com/album/Sabbat/Mourning-Has-Broken
Enter the realm . . .
"Trapped in vortex I grasped infinity, anything I dreamed became reality, distant words were mine, time and space converged I was a prisoner lost in eternity . . ."
- Realm/"Gateway"
- Realm/"Gateway"
Another band that had a smaller audience, but acknowledged them on what they contributed in pushing Thrash and progressive
music further, with a Hammer!
"Realm" from Milwaukee Wisconsin turned Thrash up a few
notches with their debut album "Endless War".
I had been introduced to them, yet again by the radio program on
KSPC "Infernal Rage" in 1988. They were super aggressive, yet
very different than all the other bands, especially with the various vocal ranges of "Marc Antoni", but his falsetto and high-pitched screams were pretty amazing. It fit the songs where a rougher
voice would have detracted from the music. There were plenty of tempo-changes at breakneck speeds and point-counterpoint exchanges between the drums, bass and 2 lead guitarists battling out solos that always made it interesting, including that this may have been the 1st Thrash band to use Guitar Synthesizers.
The lyrics were intriguing as well, that ranged from war, history, myth, the conflicts of man and sci-fi themes. But they were also infamous for a cover of the Beatles classic "Eleanor Rigby" - now let me gush, this is probably my fave all time cover. Let me rephrase, this is a fantastic Realm "interpretation".
With the risk of over selling this piece . . .
music further, with a Hammer!
"Realm" from Milwaukee Wisconsin turned Thrash up a few
notches with their debut album "Endless War".
I had been introduced to them, yet again by the radio program on
KSPC "Infernal Rage" in 1988. They were super aggressive, yet
very different than all the other bands, especially with the various vocal ranges of "Marc Antoni", but his falsetto and high-pitched screams were pretty amazing. It fit the songs where a rougher
voice would have detracted from the music. There were plenty of tempo-changes at breakneck speeds and point-counterpoint exchanges between the drums, bass and 2 lead guitarists battling out solos that always made it interesting, including that this may have been the 1st Thrash band to use Guitar Synthesizers.
The lyrics were intriguing as well, that ranged from war, history, myth, the conflicts of man and sci-fi themes. But they were also infamous for a cover of the Beatles classic "Eleanor Rigby" - now let me gush, this is probably my fave all time cover. Let me rephrase, this is a fantastic Realm "interpretation".
With the risk of over selling this piece . . .
- If you were to make a Thrash version of this song; if the idea was to make a mellow song "harder" yet not make it cheesy or laughable, what do you do? Marc Antoni had the voice for it, the opening vocals hit you in the face as it should, as the Beatles track starts with Paul's vocals (though we have a sort-of prelude with a creative way to introduce the songs well-known melody).
- So from here it has to make that impact as a Metal song with gusto. But then they take it a few steps further, they split the vocals and harmonize it at JUST the right moments to make the impact hit harder!
- The guitars take advantage of the staccato "Violin/Cello Riff" that gives the Beatles song its next
beautiful impact - so if you were to do it as a Thrash song, you'd make the same riff more dynamic and
play the same melody in the higher notes on guitars - POW, done!
They also handle the music beautifully at the chorus where Antoni/Paul McCartney sing "Where do they all come from!" where the violin and cello play-off each other in the famous melody. The guitarist (Takis Kinis respectively) uses the tremolo bar and legato emulating the violin/cello
melody - brilliant!
Its even shorter than the original (because of the speed) but personally just as impactful. The manic duel solo (Paul Laganowski and Takis) is wonderful making the statement that this is a Thrash version, but it keeps it "faithful" to the seriousness and beauty of the original that I LOVED soo much as a child (imo). But throughout the album is a wonderful display where Thrash was exploring beyond - for those who wanted out of convention and just playing for speed.
Though, let me emphasise . . .
They were sooo much more than "covers", their brand of Thrash was highly unique, and musicianship was
outstanding. Great composition and lyric skills, but this was only the beginning . . .
Realm - "Endless War" (1988)
https://www.youtube.com/playlist?list=PL66690A7CC3BEB3F0
melody - brilliant!
Its even shorter than the original (because of the speed) but personally just as impactful. The manic duel solo (Paul Laganowski and Takis) is wonderful making the statement that this is a Thrash version, but it keeps it "faithful" to the seriousness and beauty of the original that I LOVED soo much as a child (imo). But throughout the album is a wonderful display where Thrash was exploring beyond - for those who wanted out of convention and just playing for speed.
Though, let me emphasise . . .
They were sooo much more than "covers", their brand of Thrash was highly unique, and musicianship was
outstanding. Great composition and lyric skills, but this was only the beginning . . .
Realm - "Endless War" (1988)
https://www.youtube.com/playlist?list=PL66690A7CC3BEB3F0
I had hoped for a 2nd album, and I got more than I ever wanted. Always searching in trade magazines, a few years had past until 1990 we were graced with "Suiciety". This time going all out Prog Metal yet retaining their Thrash elements. The music was more
adventurous and experimental, and atmospheric parts that would set-up the more aggressive moments. Marc Antoni now more
emotionally in-tune with what the music needed to tell in their
individual stories. It is a special treat to listen to on headphones and the outro of the album makes you wish it would never end, truly "inspired" and well thought out.
It was a HUGE treat to have these 2 albums Re-Mastered and re-released, I had searched over 15 years for Endless War on CD, even though I had it on Lp, and Suiciety on CD. But had once seen it on Lp in a now long gone gift shop on Hollywood Blvd. that had been sitting brand new for YEARS until the day I decided to buy it, it was gone never to be seen again. Isn't that the way it goes.
But the re-releases included bonus songs, for Suiciety it was the King Crimson track "One more Red Nightmare" which was an excellent interpretation as well (King Crimson making its influence known again).
Realm - "Suiciety" (1990)
https://www.youtube.com/watch?v=qqY0MBZe8cc
Lyrics for Realm can be found here: https://www.musixmatch.com/artist/Realm/albums
adventurous and experimental, and atmospheric parts that would set-up the more aggressive moments. Marc Antoni now more
emotionally in-tune with what the music needed to tell in their
individual stories. It is a special treat to listen to on headphones and the outro of the album makes you wish it would never end, truly "inspired" and well thought out.
It was a HUGE treat to have these 2 albums Re-Mastered and re-released, I had searched over 15 years for Endless War on CD, even though I had it on Lp, and Suiciety on CD. But had once seen it on Lp in a now long gone gift shop on Hollywood Blvd. that had been sitting brand new for YEARS until the day I decided to buy it, it was gone never to be seen again. Isn't that the way it goes.
But the re-releases included bonus songs, for Suiciety it was the King Crimson track "One more Red Nightmare" which was an excellent interpretation as well (King Crimson making its influence known again).
Realm - "Suiciety" (1990)
https://www.youtube.com/watch?v=qqY0MBZe8cc
Lyrics for Realm can be found here: https://www.musixmatch.com/artist/Realm/albums
From here I saw what was over the horizon, another chapter where extreme metal would challenge even more the perceptions of what it was and where it could go with inspiration, some lost and some found with its unusual notes to influence directly or in the subconscious of future musicians.
And now . . .
And now . . .
Chapter V
And now for something completely different - Part I . . .
"Flashing light will envelope my body. Give me the strength I have lost but will need.
Transcendental my noema develops. Pumping nectar from the darkest sun . . ."
- Thought Industry/"The Chalice Vermillion"
Transcendental my noema develops. Pumping nectar from the darkest sun . . ."
- Thought Industry/"The Chalice Vermillion"
I want to introduce a band many have missed out on that were very unusual, ahead of their time, and may have been the 1st of their kind with the appropriate title "Thought Industry". It was a blind purchase in 1992, bought the debut CD used, so I'm sure it was way over the top for its listener.
It starts off as a Technical Thrash band but then takes a left turn for the strange and I had never heard anything like it. Though bands like King Crimson, Gentle Giant, Egg, Neu! and Magma had me prepared for
adventurous bands such as this just a few years earlier (or maybe even the other way around!).
The name of the band and titles of songs grabbed my curiosity. Then looking at the album cover for "Songs for Insects", had the befitting Salvador Dali art, but even more-so for their sophomore release "Mods
Carve the Pig: Assassins, Toads and God's Flesh" which went total Avant-Garde Metal, and one of its 1st purveyors of this burgeoning sub-genre, which many times is forgotten.
The lyrics were poems-turned songs, esoteric and often hard to decipher, with music to match. It was all abstract, new and experimental. The musicianship was quite impressive, but many a time presented very raw, almost seemed when it was polished - it was done to enhance the impact of the song. Often times very dramatic and prolific, with its neo-classical fills and progressive movements. But then off to left field with melodic vocals to sudden screams and even dialogue. Every instrument was used to its full potential, some songs were almost interludes, as they were a break from the madness, being very melodic and
ethereal.
They would have 5 albums under their belt, but it was the 1st 2 that were unique and maintaining its Metal grounding, but pushing the limits of the genre in places never traveled. "111mzd" indeed!
It starts off as a Technical Thrash band but then takes a left turn for the strange and I had never heard anything like it. Though bands like King Crimson, Gentle Giant, Egg, Neu! and Magma had me prepared for
adventurous bands such as this just a few years earlier (or maybe even the other way around!).
The name of the band and titles of songs grabbed my curiosity. Then looking at the album cover for "Songs for Insects", had the befitting Salvador Dali art, but even more-so for their sophomore release "Mods
Carve the Pig: Assassins, Toads and God's Flesh" which went total Avant-Garde Metal, and one of its 1st purveyors of this burgeoning sub-genre, which many times is forgotten.
The lyrics were poems-turned songs, esoteric and often hard to decipher, with music to match. It was all abstract, new and experimental. The musicianship was quite impressive, but many a time presented very raw, almost seemed when it was polished - it was done to enhance the impact of the song. Often times very dramatic and prolific, with its neo-classical fills and progressive movements. But then off to left field with melodic vocals to sudden screams and even dialogue. Every instrument was used to its full potential, some songs were almost interludes, as they were a break from the madness, being very melodic and
ethereal.
They would have 5 albums under their belt, but it was the 1st 2 that were unique and maintaining its Metal grounding, but pushing the limits of the genre in places never traveled. "111mzd" indeed!
Thought Industry - "Songs for Insects" (1992)
http://www.youtube.com/playlist?list=PL7CE8A4D96BDEF68D
The opener is probably the only song that is relatively "normal" as a too technical for its time which makes for an awesome opener. I loved that kind
of stuff, and always on the lookout for more.
Little did I know, as the album goes on, it is clear that this isn't just a
Tech-Thrash band, but an experimental one that envelopes the poetry of lyrics, but that it will take avant-garde shapes and classical undercurrents to tell its story. And some odd stories at that. Really, very much ahead of its time and virtually unknown.
Lyrical Poetry: https://www.musixmatch.com/album/Thought-Industry/Songs-for-Insects
http://www.youtube.com/playlist?list=PL7CE8A4D96BDEF68D
The opener is probably the only song that is relatively "normal" as a too technical for its time which makes for an awesome opener. I loved that kind
of stuff, and always on the lookout for more.
Little did I know, as the album goes on, it is clear that this isn't just a
Tech-Thrash band, but an experimental one that envelopes the poetry of lyrics, but that it will take avant-garde shapes and classical undercurrents to tell its story. And some odd stories at that. Really, very much ahead of its time and virtually unknown.
Lyrical Poetry: https://www.musixmatch.com/album/Thought-Industry/Songs-for-Insects
Thought Industry - "Mods Carve the Pig: Toads and God's Flesh" (1993)
https://www.youtube.com/playlist?list=PL4EE016CA7D32A170
Again, the cover is the perfect representation of the Daliesque music that has now fully embraced the Avant-garde along with it, Jazz/Fusion and
Classical tropes. The poetry now violent from screams, and yelling at the
listener with its esoteric prose, angular music, razor sharp chop of its
intricate guitars and drumming. This album is not for the weak hearted or
those afraid of something completely different.
I would imagine this band, along with maybe 2 or 3 others, may have been the 1st "Avant-Garde Metal" band in existence in 1992-93 (one being Dan Swanö's "Pan.thy.monium" among the few).
Lyrics/Poetry:
https://www.musixmatch.com/album/Thought-Industry/Mods-Carve-the-Pig-Assassins-Toads-And-God-s-Flesh-3
https://www.youtube.com/playlist?list=PL4EE016CA7D32A170
Again, the cover is the perfect representation of the Daliesque music that has now fully embraced the Avant-garde along with it, Jazz/Fusion and
Classical tropes. The poetry now violent from screams, and yelling at the
listener with its esoteric prose, angular music, razor sharp chop of its
intricate guitars and drumming. This album is not for the weak hearted or
those afraid of something completely different.
I would imagine this band, along with maybe 2 or 3 others, may have been the 1st "Avant-Garde Metal" band in existence in 1992-93 (one being Dan Swanö's "Pan.thy.monium" among the few).
Lyrics/Poetry:
https://www.musixmatch.com/album/Thought-Industry/Mods-Carve-the-Pig-Assassins-Toads-And-God-s-Flesh-3
The fragile Art of Chuck Schuldiner . . .
"Prepare for what you cannot see, expect the unexpected, and you will save yourself a state of shock
A waiting game, waiting to see"
- Control Denied/"Expect the Unexpected"
A waiting game, waiting to see"
- Control Denied/"Expect the Unexpected"
I must mention this man for what he has inspired through the various genres of Metal music . . .
Guitarist/Composer/Lyricist and Vocalist Chuck Schuldiner was born out of the Florida Death Metal scene, at the time I was not into the music at all. I wasn't in that frame of mind as of yet, too fast, TOO HEAVY and the vocals I used to refer to as "Chainsaw in a Blender Vocals". It was my younger Brother that introduced me to Brazil's "Sepultura" and that made a huge impact. It made me understand where it was coming from. And the music was so impressive that I had to get used to the "vocals", and then came to understand that it was indicative of the genre. It wasn't for everyone, not even all Metalheads, but I came to appreciate the anger and demand to understand what they were trying to say (good thing for lyric sheets). If the style of "Cookie Monster Vocals" was venting its guttural barks, or "singing" it, it was part and parcel with the sheer brutality of its music.
But I was still very picky. I heard the 1st 2 "Death" albums from Chuck and I wasn't impressed. The Gore subject was not my thing to this day, I wasn't into gory horror movies either. So I passed them along with all the other bands of this ilk. But when I heard Death again, it was on the local College Radio program (see under the 2nd Chapter "The Metal/Thrash Progression") on KSPC FM called "Infernal Rage" . . .
Guitarist/Composer/Lyricist and Vocalist Chuck Schuldiner was born out of the Florida Death Metal scene, at the time I was not into the music at all. I wasn't in that frame of mind as of yet, too fast, TOO HEAVY and the vocals I used to refer to as "Chainsaw in a Blender Vocals". It was my younger Brother that introduced me to Brazil's "Sepultura" and that made a huge impact. It made me understand where it was coming from. And the music was so impressive that I had to get used to the "vocals", and then came to understand that it was indicative of the genre. It wasn't for everyone, not even all Metalheads, but I came to appreciate the anger and demand to understand what they were trying to say (good thing for lyric sheets). If the style of "Cookie Monster Vocals" was venting its guttural barks, or "singing" it, it was part and parcel with the sheer brutality of its music.
But I was still very picky. I heard the 1st 2 "Death" albums from Chuck and I wasn't impressed. The Gore subject was not my thing to this day, I wasn't into gory horror movies either. So I passed them along with all the other bands of this ilk. But when I heard Death again, it was on the local College Radio program (see under the 2nd Chapter "The Metal/Thrash Progression") on KSPC FM called "Infernal Rage" . . .
It was the album's "Human" (1991) and "Individual Thought Patterns" (1993 - which would become my fave) that astounded me with the compositions and technique, and that it was "progressive". The lyrical content were topical issues now, and the music was going beyond brutality, but a musicianship beyond most in the genre. Like Carcass, many started to copy the earlier time of Gore and Grind but they decided to break the mold and create something different (sometimes referred to as "Melodic or Melo-Death Metal"). But this brand of Death Metal was much more technical and progressive influenced. Though Death was its own beast, I could never call it melodeath, it was still heavy/aggressive and melodic, but it was again, much more progressive and adventurous, yet with a more brutal attack and punctuation.
Again, there were tremendous talented musicians that graced every Death album, but 2 that were also in their own right, HUGE influences for their respective instruments in Metal music; Drummer Gene "The Atomic Clock" Hoglan, and Bassist Steve Di Giorgio, both having their own style and tones, that I dare say, I could pick out from any band, or bands they have played on. Please do yourself a favor and click on their names, and find each and every band they have performed. They have had an amazing career, and are in no way going to stop in the foreseeable future.
Gene talks about Chuck:
https://www.youtube.com/watch?v=K2_tPo_IHnw
Human lyrics:
https://www.musixmatch.com/album/Death/Human
Individual Thought Patterns lyrics:
https://www.musixmatch.com/album/Death/Individual-Thought-Patterns
Again, there were tremendous talented musicians that graced every Death album, but 2 that were also in their own right, HUGE influences for their respective instruments in Metal music; Drummer Gene "The Atomic Clock" Hoglan, and Bassist Steve Di Giorgio, both having their own style and tones, that I dare say, I could pick out from any band, or bands they have played on. Please do yourself a favor and click on their names, and find each and every band they have performed. They have had an amazing career, and are in no way going to stop in the foreseeable future.
Gene talks about Chuck:
https://www.youtube.com/watch?v=K2_tPo_IHnw
Human lyrics:
https://www.musixmatch.com/album/Death/Human
Individual Thought Patterns lyrics:
https://www.musixmatch.com/album/Death/Individual-Thought-Patterns
"Infinity within thy consciousness, an ever expanding sphere, immortal spark ignites, spreads by the air of bliss
Embracing warmth that heals"
- Cynic/"I'm but a wave to..."
Embracing warmth that heals"
- Cynic/"I'm but a wave to..."
Human also featured 2 members of the Florida Death Scene that would also change Death Metal preconceptions; Cynic, who at the time had popular Demo's circulating. By the time I heard Human, Cynic's album "Focus" had already been released and was another huge favorite that I listened to time after time after time. Death Metal pushing the envelope into "Fusion" territory (Mahavishnu Orchestra meets Death
Metal).
This album was so different than anything that had come from the extreme metal scene (albeit Watchtower and Atheist delved into the Jazz/Fusion meets Metal/Thrash/Death Metal early on as well) it only stood out for those searching for something new, it was a bit strange for many . . .
Cynic - "Focus" (1993):
https://www.youtube.com/playlist?list=PLK9szCiKKp_KRMpjKZZYTPzkKpPeK5hqi
Metal).
This album was so different than anything that had come from the extreme metal scene (albeit Watchtower and Atheist delved into the Jazz/Fusion meets Metal/Thrash/Death Metal early on as well) it only stood out for those searching for something new, it was a bit strange for many . . .
Cynic - "Focus" (1993):
https://www.youtube.com/playlist?list=PLK9szCiKKp_KRMpjKZZYTPzkKpPeK5hqi
An unfortunate "1" off album due to the fact that musical differences and that they were not well-received on the road;
The negative reaction from within the metal scene was part of the reason Cynic broke up in 1994: "...We were just really
sensitive, creative people that wanted to make music and we were
devoured by the industry and we didn’t get a lot of support and
people didn’t understand Focus at the time."
The album grew into a life of its own, as each year went by, it
was hailed as a landmark in Metal and Death Metal. And
inspired and influenced many bands to take on the fusion
meets progression.
In 2006, seeming that the time was right, they reformed to everyone's shock and awe. 3 more albums would be graced upon us, with hopes they will create more.
Cynic lyrics may be found here: https://genius.com/artists/Cynic
. . . Rest in Peace Sean Reinert & Sean Malone.
The negative reaction from within the metal scene was part of the reason Cynic broke up in 1994: "...We were just really
sensitive, creative people that wanted to make music and we were
devoured by the industry and we didn’t get a lot of support and
people didn’t understand Focus at the time."
The album grew into a life of its own, as each year went by, it
was hailed as a landmark in Metal and Death Metal. And
inspired and influenced many bands to take on the fusion
meets progression.
In 2006, seeming that the time was right, they reformed to everyone's shock and awe. 3 more albums would be graced upon us, with hopes they will create more.
Cynic lyrics may be found here: https://genius.com/artists/Cynic
. . . Rest in Peace Sean Reinert & Sean Malone.
| The Evolution of Cynic and its incarnations |
https://www.youtube.com/playlist?list=PL2DU3TBNutEew7yCSN434yZfr_Tv51qBi
https://www.youtube.com/playlist?list=PL2DU3TBNutEew7yCSN434yZfr_Tv51qBi
When I 1st heard "Cynic", they were not just a "Death Metal" band, they were a Death Metal version of
"Mahavishnu Orchestra". And Drummer "Sean Reinert" was a joy to watch live, he had such POWER and
precision, and his approach to extreme metal was unmatched during those early days, he was ahead of his
time (with his band "Cynic" and the Death album "Human"). This is an awful loss. Neil, and now Sean.
This is just too much to take, as 2020 takes yet another drummer that pushed the envelope of Rock music.
My heartfelt condolences and prayers go out to his family, friends/peers, and his international fans. :'(
https://www.blabbermouth.net/news/former-death-and-cynic-drummer-sean-reinert-dead-at-48/ That is some Orchestra in the sky you are joining Sean :(. Rest in Peace, but the thunder I hear is from you
and Neil . . . . .
"Mahavishnu Orchestra". And Drummer "Sean Reinert" was a joy to watch live, he had such POWER and
precision, and his approach to extreme metal was unmatched during those early days, he was ahead of his
time (with his band "Cynic" and the Death album "Human"). This is an awful loss. Neil, and now Sean.
This is just too much to take, as 2020 takes yet another drummer that pushed the envelope of Rock music.
My heartfelt condolences and prayers go out to his family, friends/peers, and his international fans. :'(
https://www.blabbermouth.net/news/former-death-and-cynic-drummer-sean-reinert-dead-at-48/ That is some Orchestra in the sky you are joining Sean :(. Rest in Peace, but the thunder I hear is from you
and Neil . . . . .
Words from his peers:
https://youtu.be/iKJdCM-ngGE?si=_4xjIrQ_L_TAmE7n
https://youtu.be/iKJdCM-ngGE?si=_4xjIrQ_L_TAmE7n
| Sean Reinert |
May 27, 1971 ~ January 24, 2020
May 27, 1971 ~ January 24, 2020
Each Death album had a different line-up, I think Chuck always knew what he wanted and needed those
dedicated to producing what he had in his head. Lyrically he seemed to be like me, real concerns about
humanity and those who abuse power and peoples questionable proclivities. Also, admitting that he was
weaning away from violent gory lyrics that he seemed to think was going too far (it wasn't my cup of
coffee either). The music projected his anger toward these more earthly topics, but in various interviews
he seemed like a very down to earth person.
I learned late, even though I owned the album/Lp; "Spiritual Healing" in 1990 - yet as it sat in my
collection for years, it showed that not only were the lyrics changing, but the sound as well . . .
https://www.youtube.com/watch?v=NQIAgLszgXo
Lyrics: https://www.musixmatch.com/album/Death/Spiritual-Healing
dedicated to producing what he had in his head. Lyrically he seemed to be like me, real concerns about
humanity and those who abuse power and peoples questionable proclivities. Also, admitting that he was
weaning away from violent gory lyrics that he seemed to think was going too far (it wasn't my cup of
coffee either). The music projected his anger toward these more earthly topics, but in various interviews
he seemed like a very down to earth person.
I learned late, even though I owned the album/Lp; "Spiritual Healing" in 1990 - yet as it sat in my
collection for years, it showed that not only were the lyrics changing, but the sound as well . . .
https://www.youtube.com/watch?v=NQIAgLszgXo
Lyrics: https://www.musixmatch.com/album/Death/Spiritual-Healing
Ahead to 1995 . . .
It was clear that Death could progress even further.
In 1995 (amazing for the time) they would release
"Symbolic", and it was Human, Individual..., and Symbolic that
would be the trinity that would often play on my CD player or
Walk-man or individual songs that would end up on themed
cassette tapes. Death Metal would forever change, and even
become something else, where many even call these albums
"Progressive Metal" these days. But for 1995 it was another side of Death Metal that could be adventurous yet still brvtal.
Symbolic:
https://www.youtube.com/playlist?list=PL-V_tVdPdG1XUO9AyOVlf16bDHzuBTJZS
Lyrics: https://www.musixmatch.com/album/Death/Symbolic
It was clear that Death could progress even further.
In 1995 (amazing for the time) they would release
"Symbolic", and it was Human, Individual..., and Symbolic that
would be the trinity that would often play on my CD player or
Walk-man or individual songs that would end up on themed
cassette tapes. Death Metal would forever change, and even
become something else, where many even call these albums
"Progressive Metal" these days. But for 1995 it was another side of Death Metal that could be adventurous yet still brvtal.
Symbolic:
https://www.youtube.com/playlist?list=PL-V_tVdPdG1XUO9AyOVlf16bDHzuBTJZS
Lyrics: https://www.musixmatch.com/album/Death/Symbolic
A few years later out of the blue, came their last album as Death, the
even more progressive 1998 release . . .
"The Sound of Perseverance" which would garner more fans to the
fold for a new generation. Though I have to admit, its not an album I
listen to often. I can not give you a clear reason as to why - maybe
because there was this "sound" of the past 3 albums I gravitated to
more. I do listen to a few tracks often as they are added to a few
playlists, but there is no denying that this is an album that inspired
many and was a great way to end that part of Chucks legacy with that
type of music. And Chuck's version of Judas Priest's "Painkiller" is astounding, just when you thought the
original was heavy: https://www.youtube.com/watch?v=ji-xL-8UNfk
6 minutes and 2 seconds of unrelenting brvtality (and hard to believe of all those years of singing guttural
vocals, that Chuck could pull off the higher range vocals and buzzsaw screams!). Little did I know till just recently in January 2019, that Chuck could actually "sing" melodically, but you will have to watch the
documentary that is found below, and learn much more about his real "personality" as well.
The Sound of Perseverance:
https://www.youtube.com/watch?v=XjB101k2Bog
In the early 1990's and 1996, Chuck was into all types of music personally, on the Official page of Death, his former Manager (Eric Greif) had shared with us all, his personal CD's (and posted a few samples in the 2012 timeline) - along with Thrash, Death Metal and classic Metal bands, he was very much into early Prog Metal (you can see bands such as Watchtower and Shadow Gallery) and its obvious in his music that he wanted to break barriers. But even in 96, he wanted to expand further . . .
even more progressive 1998 release . . .
"The Sound of Perseverance" which would garner more fans to the
fold for a new generation. Though I have to admit, its not an album I
listen to often. I can not give you a clear reason as to why - maybe
because there was this "sound" of the past 3 albums I gravitated to
more. I do listen to a few tracks often as they are added to a few
playlists, but there is no denying that this is an album that inspired
many and was a great way to end that part of Chucks legacy with that
type of music. And Chuck's version of Judas Priest's "Painkiller" is astounding, just when you thought the
original was heavy: https://www.youtube.com/watch?v=ji-xL-8UNfk
6 minutes and 2 seconds of unrelenting brvtality (and hard to believe of all those years of singing guttural
vocals, that Chuck could pull off the higher range vocals and buzzsaw screams!). Little did I know till just recently in January 2019, that Chuck could actually "sing" melodically, but you will have to watch the
documentary that is found below, and learn much more about his real "personality" as well.
The Sound of Perseverance:
https://www.youtube.com/watch?v=XjB101k2Bog
In the early 1990's and 1996, Chuck was into all types of music personally, on the Official page of Death, his former Manager (Eric Greif) had shared with us all, his personal CD's (and posted a few samples in the 2012 timeline) - along with Thrash, Death Metal and classic Metal bands, he was very much into early Prog Metal (you can see bands such as Watchtower and Shadow Gallery) and its obvious in his music that he wanted to break barriers. But even in 96, he wanted to expand further . . .
So he created the Technical-Prog Metal band "Control Denied" after the release of Death's "The Sound of Perseverance".
It was finally released in 1999 and brought in a new audience that may have been put off by the vocals. Chuck donned the role as composer and lead guitarist while "Tim Aymar" handled the vocal duties with his melodic and thrashier vocal styles.
Control Denied - The Fragile Art of Existence (1999)
https://www.youtube.com/playlist?list=PL1559F0558798530B
The release was just as impressive as Death, and garnered great reviews. It seemed Chuck would have 2 bands to nurture into the future and satisfy both sides of the metal spectrum and community.
Lyrics to Control Denied:
https://www.musixmatch.com/album/Control-Denied/The-Fragile-Art-of-Existence
Also checkout the Demo's for their 2nd effort; "When Man and Machine Collide":
https://www.youtube.com/playlist?list=PLJVrGd2ad5u7ahqRbXlyd9eaVVFzRTgUk
It was finally released in 1999 and brought in a new audience that may have been put off by the vocals. Chuck donned the role as composer and lead guitarist while "Tim Aymar" handled the vocal duties with his melodic and thrashier vocal styles.
Control Denied - The Fragile Art of Existence (1999)
https://www.youtube.com/playlist?list=PL1559F0558798530B
The release was just as impressive as Death, and garnered great reviews. It seemed Chuck would have 2 bands to nurture into the future and satisfy both sides of the metal spectrum and community.
Lyrics to Control Denied:
https://www.musixmatch.com/album/Control-Denied/The-Fragile-Art-of-Existence
Also checkout the Demo's for their 2nd effort; "When Man and Machine Collide":
https://www.youtube.com/playlist?list=PLJVrGd2ad5u7ahqRbXlyd9eaVVFzRTgUk
Tragedy would strike when Chuck was diagnosed in May of 1999 with "pontine glioma", a cancer that
attacks the Brain-stem. He went into immediate radiation treatment and had a clear bill of health until it
came back in January of 2001 - where the family tried to raise funds for surgery he so desperately needed.
A Benefit Concert and other artists also contributed to the mounting bills.
Chuck Schuldiner lost the battle succumbing to pneumonia and died in December of 2001.
His legacy continues on through many bands that have been influenced and/or inspired by his works.
Especially in the world of the more extreme and complex, passing the baton onto the next level, from the
musicianship that Chuck embraced, to take the genre where it hadn't been before:
https://www.youtube.com/watch?v=JkRLexEjKOQ
(yes, of course many of us could add soo many bands that best represent the subgenre).
There are also many bands that have gone on the road contributing to "Death to All/Death DTA" as a
tribute, recreating the songs Chuck brought to the world and bringing it to those who admired and who
never got to see him perform, for a really great cause (also pay attention what manager "Eric Greif" is
dealing with himself, not only keeping up on legalities, but "physically").
Chuck lives on, in the hearts and minds of many metalheads and prog metallers that will relive the magic he contributed to underground, extreme music and other subgenres that wanted to push the envelope and break rules. I was privileged to see his last Death show in the U.S. at the Whiskey A Go-Go on Sunset Blvd. (and my friends in "Prototype" who opened for them), but we have many sources to enjoy what he created in his lifetime of brilliance. With much love and gratitude Chuck, Rest in Peace.
For more on the history of Death Metal and Extremes (keep in mind, there are plenty of other bands that could have easily made it into the Documentary): https://www.youtube.com/watch?v=MoHOgfEoTlc
Debates on various stages of Death Metal . . .
Death Metal:
https://www.youtube.com/watch?v=ORM6cBbkPuQ
Early Death Metal:
https://www.youtube.com/watch?v=1LC3G4xYtKw
Brutal Death Metal:
https://www.youtube.com/watch?v=qqd6NLVv0ks
Technical Death Metal:
https://youtu.be/JkRLexEjKOQ
Grindcore:
https://www.youtube.com/watch?v=ciT8Ccn-FDE
attacks the Brain-stem. He went into immediate radiation treatment and had a clear bill of health until it
came back in January of 2001 - where the family tried to raise funds for surgery he so desperately needed.
A Benefit Concert and other artists also contributed to the mounting bills.
Chuck Schuldiner lost the battle succumbing to pneumonia and died in December of 2001.
His legacy continues on through many bands that have been influenced and/or inspired by his works.
Especially in the world of the more extreme and complex, passing the baton onto the next level, from the
musicianship that Chuck embraced, to take the genre where it hadn't been before:
https://www.youtube.com/watch?v=JkRLexEjKOQ
(yes, of course many of us could add soo many bands that best represent the subgenre).
There are also many bands that have gone on the road contributing to "Death to All/Death DTA" as a
tribute, recreating the songs Chuck brought to the world and bringing it to those who admired and who
never got to see him perform, for a really great cause (also pay attention what manager "Eric Greif" is
dealing with himself, not only keeping up on legalities, but "physically").
Chuck lives on, in the hearts and minds of many metalheads and prog metallers that will relive the magic he contributed to underground, extreme music and other subgenres that wanted to push the envelope and break rules. I was privileged to see his last Death show in the U.S. at the Whiskey A Go-Go on Sunset Blvd. (and my friends in "Prototype" who opened for them), but we have many sources to enjoy what he created in his lifetime of brilliance. With much love and gratitude Chuck, Rest in Peace.
For more on the history of Death Metal and Extremes (keep in mind, there are plenty of other bands that could have easily made it into the Documentary): https://www.youtube.com/watch?v=MoHOgfEoTlc
Debates on various stages of Death Metal . . .
Death Metal:
https://www.youtube.com/watch?v=ORM6cBbkPuQ
Early Death Metal:
https://www.youtube.com/watch?v=1LC3G4xYtKw
Brutal Death Metal:
https://www.youtube.com/watch?v=qqd6NLVv0ks
Technical Death Metal:
https://youtu.be/JkRLexEjKOQ
Grindcore:
https://www.youtube.com/watch?v=ciT8Ccn-FDE
I don't know how long this will stay up but . . .
DEATH by Metal: The Documentary
| https://youtu.be/eph10xv8djA |
DEATH by Metal: The Documentary
| https://youtu.be/eph10xv8djA |
"Like a drug it feeds the imagination of minds that go unanalyzed. Followers to the leaders of mass hypnotic
corruption that live their lives only to criticize. Where is the invisible line that we must draw to create individual
thought patterns"
- Death/"Individual Thought Patterns"
corruption that live their lives only to criticize. Where is the invisible line that we must draw to create individual
thought patterns"
- Death/"Individual Thought Patterns"
Another wave of Progressions . . .
"Emotions starts to flow, your heart takes control, and steers you down the road, your destination is no concern
The impulsive never learn, just another to burn. It's the wanting, It's the hoping, It's the longing..."
- Enchant/"the Thirst"
The impulsive never learn, just another to burn. It's the wanting, It's the hoping, It's the longing..."
- Enchant/"the Thirst"
I want to note that I missed out on MANY MANY bands that fell through the cracks that the hardcore seeker of Prog Metal (and other sub-genres) sought out and discovered throughout its history. So I present my personal discoveries that I was able to find. Though I have always been very picky, these bands spoke to me - and I understand that many may think some of my faves are "weak" or not up to par to YOUR faves, but I present the bands that I still listen to on a regular basis. I will eventually get to know those albums in your personal collections . . . you can bet :).
Later essentials.
Somehow I missed the earlier days of such bands as Symphony X, Enchant, Ice Age, Sieges Even,
Manitou, and many others till years later, but thought they should be featured here as important
contributions to Prog Metal and my discoveries from yesteryears (with a few that I had blindly
discovered when released or found years later in used record/CD bins and record stores I worked at):
Sieges Even - "Steps" (1990)
https://www.youtube.com/watch?v=Se8Qo-0N8uQ
Note: I would know nothing about this band till their 2005 release "The Art by Navigating the Stars".
Enchant - "A Blueprint of the World" (1993)
https://www.youtube.com/playlist?list=PLAosyEtto0VFlLIimJgPpTQrnZzfYiZO1
Conception - Parallel Minds (1993)
https://www.youtube.com/watch?v=RiZESaMYic4
Symphony X - Debut (1994)
https://www.youtube.com/watch?v=CBNdIcDdAIg
Atomic Opera - "For Madmen Only" (1994)
https://www.youtube.com/playlist?list=PL994F5CF3FBCA54C5
Threshold - "Psychedelicatessen" (1994)
https://www.youtube.com/playlist?list=PLTvKk9wlAE_pJ0z440INe8kg6-iJWTIwi
Haji's Kitchen - Debut (1995)
https://www.youtube.com/playlist?list=PLZWMTAXxNx0eH5EjUpVaalQ1iHfXqfYZg
Manitou - Entrance (1995)
https://www.youtube.com/playlist?list=PL94pMGLU6ohFA7TClWYOn-_ROu3UKnWm5
Symphony X - "Damnation Game" (1995)
https://www.youtube.com/watch?v=RCi6dtz-muQ
Conception - "In your Multitude" (1995)
http://www.youtube.com/playlist?list=PL2894177BA829CDB2
Enchant - "Wounded" (1996)
https://www.youtube.com/playlist?list=PLJeDfkXyX0ZuGsaMMp6GkfH7z1QuLvmy4
Nightingale - "The Closing Chronicles" (1996)
https://www.youtube.com/playlist?list=PLx3dT12tW5-t6djlOWj56XYqcGBMTBoRZ
Tool - "Ænima" (1996)
https://www.youtube.com/watch?v=ad92CuQD0vA
Enchant - "Time Lost" (1997)
https://www.youtube.com/watch?v=pqujrbV-kIc
Threshold - "Extinct Instinct" (1997)
https://www.youtube.com/playlist?list=PL-zl-lFl2ESZ9scS1WI8yf9S5EsgHcnzm
Age of Rebellion - "Ikarus Dream" (1997)
https://www.youtube.com/watch?v=NxF7xufcrOE
Arcturus - "La Masquerade Infernale" (1997)
https://www.youtube.com/playlist?list=PLPC0amu_Pru8q4s4xGHmA8GCa08r9NhZV
Sculptured - "The Spear of the Lilly is Aureoled" (1998)
https://www.youtube.com/playlist?list=PLtWx1fdg-7TFJ4Nx8_JPTpYS3hqBrhvjA
Enchant - "Break" (1998)
https://www.youtube.com/watch?v=Dq120W7F9LA
Power of Omens - "Eyes of the Oracle" (1998)
https://www.youtube.com/watch?v=WnDpfiB0h50&t=11s
Mind Odyssey - "Nailed to the Shade" (1998)
https://www.youtube.com/playlist?list=PLLIY9Wzkh3236u0_QJ3-oHeLUp0N2A-Rf
Ice Age - "The Great Divide" (1999)
https://www.youtube.com/playlist?list=PL8By1uKWbFyV9gDV1UqHpO3ErhEz4oQPr
Charisma - "Karma" (1999)
https://www.youtube.com/watch?v=RUZvbAg_Z6w
Zero Hour - Debut (1999)
https://www.youtube.com/watch?v=2oKuvNsEt_I
"Metamorphosis" (2003) is a re-recorded version of their 1st album:
https://www.youtube.com/playlist?list=PLPgmwtDAzWGuMDWEILiZmNy5CdYl16WRL
Other bands that I had liked before, I had begun to catch up on previous, or latest albums years later (pre and post 2000). As well as bands I missed out on completely (also discovering on Progulus.com)*, found at record stores I worked at or blindly purchased - for example:
Galactic Cowboys - "Space in your Face" (1993) The next albums to this day I have only heard bits and pieces of, I need to work on that.
*Everon - "Flood" (1995), "Venus" (1997) My introduction to the band was in 2002 for the album
"Bridge" and lost track of them for their next 2 albums. By the time I had caught up, they disbanded in
2008. A Fantastic band from Germany.
Primus - "Tales from the Punchbowl" (1995), "The Brown Album" (1997)
*Psyco Drama - "The Illusion" (1995)
2 albums that I found randomly as I worked for a wholesale CD Warehouse called, Leftcoast Marketing:
In the Name - Debut (1995)
Zoic - "Total Level of Destruction" (1996)
Somehow I missed the earlier days of such bands as Symphony X, Enchant, Ice Age, Sieges Even,
Manitou, and many others till years later, but thought they should be featured here as important
contributions to Prog Metal and my discoveries from yesteryears (with a few that I had blindly
discovered when released or found years later in used record/CD bins and record stores I worked at):
Sieges Even - "Steps" (1990)
https://www.youtube.com/watch?v=Se8Qo-0N8uQ
Note: I would know nothing about this band till their 2005 release "The Art by Navigating the Stars".
Enchant - "A Blueprint of the World" (1993)
https://www.youtube.com/playlist?list=PLAosyEtto0VFlLIimJgPpTQrnZzfYiZO1
Conception - Parallel Minds (1993)
https://www.youtube.com/watch?v=RiZESaMYic4
Symphony X - Debut (1994)
https://www.youtube.com/watch?v=CBNdIcDdAIg
Atomic Opera - "For Madmen Only" (1994)
https://www.youtube.com/playlist?list=PL994F5CF3FBCA54C5
Threshold - "Psychedelicatessen" (1994)
https://www.youtube.com/playlist?list=PLTvKk9wlAE_pJ0z440INe8kg6-iJWTIwi
Haji's Kitchen - Debut (1995)
https://www.youtube.com/playlist?list=PLZWMTAXxNx0eH5EjUpVaalQ1iHfXqfYZg
Manitou - Entrance (1995)
https://www.youtube.com/playlist?list=PL94pMGLU6ohFA7TClWYOn-_ROu3UKnWm5
Symphony X - "Damnation Game" (1995)
https://www.youtube.com/watch?v=RCi6dtz-muQ
Conception - "In your Multitude" (1995)
http://www.youtube.com/playlist?list=PL2894177BA829CDB2
Enchant - "Wounded" (1996)
https://www.youtube.com/playlist?list=PLJeDfkXyX0ZuGsaMMp6GkfH7z1QuLvmy4
Nightingale - "The Closing Chronicles" (1996)
https://www.youtube.com/playlist?list=PLx3dT12tW5-t6djlOWj56XYqcGBMTBoRZ
Tool - "Ænima" (1996)
https://www.youtube.com/watch?v=ad92CuQD0vA
Enchant - "Time Lost" (1997)
https://www.youtube.com/watch?v=pqujrbV-kIc
Threshold - "Extinct Instinct" (1997)
https://www.youtube.com/playlist?list=PL-zl-lFl2ESZ9scS1WI8yf9S5EsgHcnzm
Age of Rebellion - "Ikarus Dream" (1997)
https://www.youtube.com/watch?v=NxF7xufcrOE
Arcturus - "La Masquerade Infernale" (1997)
https://www.youtube.com/playlist?list=PLPC0amu_Pru8q4s4xGHmA8GCa08r9NhZV
Sculptured - "The Spear of the Lilly is Aureoled" (1998)
https://www.youtube.com/playlist?list=PLtWx1fdg-7TFJ4Nx8_JPTpYS3hqBrhvjA
Enchant - "Break" (1998)
https://www.youtube.com/watch?v=Dq120W7F9LA
Power of Omens - "Eyes of the Oracle" (1998)
https://www.youtube.com/watch?v=WnDpfiB0h50&t=11s
Mind Odyssey - "Nailed to the Shade" (1998)
https://www.youtube.com/playlist?list=PLLIY9Wzkh3236u0_QJ3-oHeLUp0N2A-Rf
Ice Age - "The Great Divide" (1999)
https://www.youtube.com/playlist?list=PL8By1uKWbFyV9gDV1UqHpO3ErhEz4oQPr
Charisma - "Karma" (1999)
https://www.youtube.com/watch?v=RUZvbAg_Z6w
Zero Hour - Debut (1999)
https://www.youtube.com/watch?v=2oKuvNsEt_I
"Metamorphosis" (2003) is a re-recorded version of their 1st album:
https://www.youtube.com/playlist?list=PLPgmwtDAzWGuMDWEILiZmNy5CdYl16WRL
Other bands that I had liked before, I had begun to catch up on previous, or latest albums years later (pre and post 2000). As well as bands I missed out on completely (also discovering on Progulus.com)*, found at record stores I worked at or blindly purchased - for example:
Galactic Cowboys - "Space in your Face" (1993) The next albums to this day I have only heard bits and pieces of, I need to work on that.
*Everon - "Flood" (1995), "Venus" (1997) My introduction to the band was in 2002 for the album
"Bridge" and lost track of them for their next 2 albums. By the time I had caught up, they disbanded in
2008. A Fantastic band from Germany.
Primus - "Tales from the Punchbowl" (1995), "The Brown Album" (1997)
*Psyco Drama - "The Illusion" (1995)
2 albums that I found randomly as I worked for a wholesale CD Warehouse called, Leftcoast Marketing:
In the Name - Debut (1995)
Zoic - "Total Level of Destruction" (1996)
The universal migrator of sound . . .
Ayreon had come to my attention way back in 1996 or 1998, recollection escapes me exactly when, but I
had found a magazine called "Progression" which was amazing because it was all Progressive Music
(decades before Prog magazine). And one of its articles was about Ayreon and Arjen Lucassen (also in the same issue I was learning about keyboard extraordinaire Erik Norlander and his wife Lana Lane), it was about either the album's "Actual Fantasy" or "Into the Electric Castle". Again, it was all so very
intriguing to read about it, but I had not heard one note from them (keep in mind, no YOUtube, and I didn't own a computer until 2000). But the man's name and face was very familiar, so I went to my Lp collection and pulled out Bodine - "Three Times Running" (1983) and there he was! 1 of 2 Lead Guitars.
He was also part of the heavy metal band Vengeance but I may have only heard a couple of tracks.
had found a magazine called "Progression" which was amazing because it was all Progressive Music
(decades before Prog magazine). And one of its articles was about Ayreon and Arjen Lucassen (also in the same issue I was learning about keyboard extraordinaire Erik Norlander and his wife Lana Lane), it was about either the album's "Actual Fantasy" or "Into the Electric Castle". Again, it was all so very
intriguing to read about it, but I had not heard one note from them (keep in mind, no YOUtube, and I didn't own a computer until 2000). But the man's name and face was very familiar, so I went to my Lp collection and pulled out Bodine - "Three Times Running" (1983) and there he was! 1 of 2 Lead Guitars.
He was also part of the heavy metal band Vengeance but I may have only heard a couple of tracks.
By the way, who's this ayreon guy?
https://www.youtube.com/watch?v=G9U2RXOq6KI
And more!
https://www.youtube.com/watch?v=0UiTPEsePdk
https://www.youtube.com/watch?v=G9U2RXOq6KI
And more!
https://www.youtube.com/watch?v=0UiTPEsePdk
It wouldn't be till 2000 when I discovered the 2 releases of; "Universal Migrator Part 1: The Dream Sequencer" and Universal Migrator Part 2: Flight of the Migrator", the 1st being more Prog Rock and the
next, a Prog Metal epic. 1st, you don't see many bands releasing 2 different, or coinciding albums
simultaneously, let-alone "concept albums". And then on top of that I thought, how the heck did he get soo many musicians and vocalists to help create these albums? Including one of my fave vocalists from a fave Metal band Iron Maiden! Bruce "Air Raid Siren" Dickenson! And he's singing more "proggie" faire!
The music was rich with layers of sound, sound effects (which I love, I believe you can never over do it :) and atmospheres, if it was heavy or full on progressive. But I loved that it was much like a stage play, every vocalist had their part to play in the story. And what a lot to think about and compose!
I bought the albums and absorbed it all in, many times listening on headphones to get its full effect as if
I were the "migrator".
I moved forward 1st with each album, eventually going backwards and found "Into the Electric Castle (1996)" somewhere, and again, an amazing cast (which also made me search out for the bands they all belonged to), and was great to hear "Fish" and his voice lending a helping hand in character.
But the album that would get them a slew of new fans, and is my personal fave would be . . .
"The Human Equation (2004)". This was the pinnacle, where Arjen's skills came to fruition from his past years, all culminating into this concept of a man who lives through a car accident, and relives his past, present and the people around him with their secrets, as he comes to terms of his own mistakes in life.
Which includes the cast of singers playing various emotions as well as people in his life. It was all very clever, well produced and thought out. And like a film, you wanted to see what happens in the end.
Very lucky to have bought the 1st print of the Special Edition at Rhino Records and would watch the
Making Of Documentary again and again, enjoying how each member, including Arjen, having such a
great time with lots of good humor and funny moments among fave vocalists during the recordings . . .
next, a Prog Metal epic. 1st, you don't see many bands releasing 2 different, or coinciding albums
simultaneously, let-alone "concept albums". And then on top of that I thought, how the heck did he get soo many musicians and vocalists to help create these albums? Including one of my fave vocalists from a fave Metal band Iron Maiden! Bruce "Air Raid Siren" Dickenson! And he's singing more "proggie" faire!
The music was rich with layers of sound, sound effects (which I love, I believe you can never over do it :) and atmospheres, if it was heavy or full on progressive. But I loved that it was much like a stage play, every vocalist had their part to play in the story. And what a lot to think about and compose!
I bought the albums and absorbed it all in, many times listening on headphones to get its full effect as if
I were the "migrator".
I moved forward 1st with each album, eventually going backwards and found "Into the Electric Castle (1996)" somewhere, and again, an amazing cast (which also made me search out for the bands they all belonged to), and was great to hear "Fish" and his voice lending a helping hand in character.
But the album that would get them a slew of new fans, and is my personal fave would be . . .
"The Human Equation (2004)". This was the pinnacle, where Arjen's skills came to fruition from his past years, all culminating into this concept of a man who lives through a car accident, and relives his past, present and the people around him with their secrets, as he comes to terms of his own mistakes in life.
Which includes the cast of singers playing various emotions as well as people in his life. It was all very clever, well produced and thought out. And like a film, you wanted to see what happens in the end.
Very lucky to have bought the 1st print of the Special Edition at Rhino Records and would watch the
Making Of Documentary again and again, enjoying how each member, including Arjen, having such a
great time with lots of good humor and funny moments among fave vocalists during the recordings . . .
1. https://www.youtube.com/watch?v=2bo86wNgONY
2. https://www.youtube.com/watch?v=D_UzA2HsSZI
3. https://www.youtube.com/watch?v=K9NeIZdIuMQ
4. https://www.youtube.com/watch?v=J5DnoKjd3B8
5. https://www.youtube.com/watch?v=azO8L1VRUkw
2. https://www.youtube.com/watch?v=D_UzA2HsSZI
3. https://www.youtube.com/watch?v=K9NeIZdIuMQ
4. https://www.youtube.com/watch?v=J5DnoKjd3B8
5. https://www.youtube.com/watch?v=azO8L1VRUkw
From here there would be 2 more epics, and to our surprise yet another for 2017. Each have their own
documentaries to see how it all went down. Be sure to check each album out and go purchase them to take
in the whole experience with all the wonderful packaging, which harkens back to sitting in front of the
turntable and looking at the album cover layout and lyrics ~ its a whole package deal to enjoy :).
For anyone who is a Sci-Fi/Fantasy fan, these albums will be just as exciting as any film in the genre.
Especially hear on headphones 1st to absorb the whole experience, then blast it out in your home or car!
documentaries to see how it all went down. Be sure to check each album out and go purchase them to take
in the whole experience with all the wonderful packaging, which harkens back to sitting in front of the
turntable and looking at the album cover layout and lyrics ~ its a whole package deal to enjoy :).
For anyone who is a Sci-Fi/Fantasy fan, these albums will be just as exciting as any film in the genre.
Especially hear on headphones 1st to absorb the whole experience, then blast it out in your home or car!
- The Final Experiment (1995)
https://www.youtube.com/playlist?list=PLWFrweBX-INCqWTMhDiHzvN1zOeqPW5kZ
- Actual Fantasy (1996)
https://www.youtube.com/playlist?list=PLRdg8vzu7unvS4E89RuLecRlr0FsSIxp-
- Into the Electric Castle (1998)
https://www.youtube.com/playlist?list=PLLeWku07NIZE1uA9Iysw_PbAoBJnUwzyr
- Universal Migrator Part 1: The Dream Sequencer (2000)
https://www.youtube.com/playlist?list=PL0D712A5503D61C12
- Universal Migrator Part 2: Flight of the Migrator (2000)
https://www.youtube.com/playlist?list=PL56C4213697B3B5EC
- The Human Equation (2004)
https://www.youtube.com/playlist?list=PLSa0ANQjsyduEDOkp0XBwpazfNJZ1dpex
- 01011001 (2008)
- Y
https://www.youtube.com/playlist?list=PLwecJGTDedDQJoOC_vIW_xoHhpkTqMKkK
- Earth
https://www.youtube.com/watch?v=uU5groYVT6M&index=9&list=PLwecJGTDedDQJoOC_vIW_xoHhpkTqMKkK
- The Theory of Everything (2013)
- Phase I: Singularity
https://www.youtube.com/watch?v=iECqlImy7MA
- Phase II: Symmetry
https://www.youtube.com/watch?v=pMNy4QrzTM8
- Phase III: Entanglement
https://www.youtube.com/watch?v=KsxLEm1JVJ0
- Phase IV: Unification
https://www.youtube.com/watch?v=mz0x0SBeO_M&t=425s
https://www.youtube.com/playlist?list=PLWFrweBX-INCqWTMhDiHzvN1zOeqPW5kZ
- Actual Fantasy (1996)
https://www.youtube.com/playlist?list=PLRdg8vzu7unvS4E89RuLecRlr0FsSIxp-
- Into the Electric Castle (1998)
https://www.youtube.com/playlist?list=PLLeWku07NIZE1uA9Iysw_PbAoBJnUwzyr
- Universal Migrator Part 1: The Dream Sequencer (2000)
https://www.youtube.com/playlist?list=PL0D712A5503D61C12
- Universal Migrator Part 2: Flight of the Migrator (2000)
https://www.youtube.com/playlist?list=PL56C4213697B3B5EC
- The Human Equation (2004)
https://www.youtube.com/playlist?list=PLSa0ANQjsyduEDOkp0XBwpazfNJZ1dpex
- 01011001 (2008)
- Y
https://www.youtube.com/playlist?list=PLwecJGTDedDQJoOC_vIW_xoHhpkTqMKkK
- Earth
https://www.youtube.com/watch?v=uU5groYVT6M&index=9&list=PLwecJGTDedDQJoOC_vIW_xoHhpkTqMKkK
- The Theory of Everything (2013)
- Phase I: Singularity
https://www.youtube.com/watch?v=iECqlImy7MA
- Phase II: Symmetry
https://www.youtube.com/watch?v=pMNy4QrzTM8
- Phase III: Entanglement
https://www.youtube.com/watch?v=KsxLEm1JVJ0
- Phase IV: Unification
https://www.youtube.com/watch?v=mz0x0SBeO_M&t=425s
The Stage Play . . .
Marks the first time an Ayreon album was played live entirely, with
most of the original cast.
- The Theatre Equation (2016):
https://www.youtube.com/playlist?list=PLXy8gb_Oh8EtIbVKxCqenuwE55eWH1zl7
Marks the first time an Ayreon album was played live entirely, with
most of the original cast.
- The Theatre Equation (2016):
https://www.youtube.com/playlist?list=PLXy8gb_Oh8EtIbVKxCqenuwE55eWH1zl7
Arjen has a few other side projects under his belt . . .
For Science Fiction fans, there are 2 albums that are based on Film and TV programs under the name
Star One. Various vocalists and musicians lend their hands on each song (mostly separately) to any given movie/TV show. Harder edged for the most part, and great to see him tackle some fave movies.
And anything with the Floor and Irene Jansen, Damien Wilson, Dan Swanö and "Sir" Russell Allen is a treat!
- Space Metal (2002)
https://www.youtube.com/watch?v=fAfTq4ZtC5s
- Live on Earth (2003): https://www.youtube.com/watch?v=Yb0WQvR4-k8
- Victims of the Modern Age (2010)
https://www.youtube.com/watch?v=3iw5up7xtbo
Hopefully we will have more stories from certain movies, as well as new interpretations of other Classic
Sci-fi to enjoy after the next Ayreon album for 2017.
For Science Fiction fans, there are 2 albums that are based on Film and TV programs under the name
Star One. Various vocalists and musicians lend their hands on each song (mostly separately) to any given movie/TV show. Harder edged for the most part, and great to see him tackle some fave movies.
And anything with the Floor and Irene Jansen, Damien Wilson, Dan Swanö and "Sir" Russell Allen is a treat!
- Space Metal (2002)
https://www.youtube.com/watch?v=fAfTq4ZtC5s
- Live on Earth (2003): https://www.youtube.com/watch?v=Yb0WQvR4-k8
- Victims of the Modern Age (2010)
https://www.youtube.com/watch?v=3iw5up7xtbo
Hopefully we will have more stories from certain movies, as well as new interpretations of other Classic
Sci-fi to enjoy after the next Ayreon album for 2017.
2 one off projects that take Arjen into a darker and more melancholic realm of Metal . . .
Ambeon with a young discovery named "Astrid van der Veen" who came out of nowhere, and then
disappeared into the ether. It was in the sound of many Gothic/Darkwave Metal, but with that unique
touch from Arjen.
- Ambeon - "Fate of the Dreamer" (2001)
https://www.youtube.com/watch?v=x7cGBldHjvI&list=PL19A6652E76097FEA
The other was dark as well, with another find; "Jasper Steverlinck", a vocalist that VERY much reminds me of Freddie Mercury. Why no one has told Queen to snatch this guy up is dumbfounding. Really brings a lot of emotion on this album, its very different for Arjen, yet you hear his guitar tone and an added addition of
Lori Linstruth on lead guitar who is very soulful. I would love to hear more from this band.
Love the cover art as well :).
- Guilt Machine - "On this Perfect Day" (2009)
https://www.youtube.com/playlist?list=PLuHTWDjE0n_eWnyg34cwcP0mYA4ojs-i9
Ambeon with a young discovery named "Astrid van der Veen" who came out of nowhere, and then
disappeared into the ether. It was in the sound of many Gothic/Darkwave Metal, but with that unique
touch from Arjen.
- Ambeon - "Fate of the Dreamer" (2001)
https://www.youtube.com/watch?v=x7cGBldHjvI&list=PL19A6652E76097FEA
The other was dark as well, with another find; "Jasper Steverlinck", a vocalist that VERY much reminds me of Freddie Mercury. Why no one has told Queen to snatch this guy up is dumbfounding. Really brings a lot of emotion on this album, its very different for Arjen, yet you hear his guitar tone and an added addition of
Lori Linstruth on lead guitar who is very soulful. I would love to hear more from this band.
Love the cover art as well :).
- Guilt Machine - "On this Perfect Day" (2009)
https://www.youtube.com/playlist?list=PLuHTWDjE0n_eWnyg34cwcP0mYA4ojs-i9
There was also the discovery from Mexico, Marcela Bovio for The Human Equation, who became the
vocalist/violinist for "Stream of Passion", another go at the Darkwave Metal style, but a bit more of the Prog Metal elements. Marcela really drives the band with her voice and very fitting with the music. Arjen let go of the band for the rest to take it to the next level for 3 more albums, until they disbanded in 2016 to take on other musical pursuits.
- Stream of Passion - "Embrace the Storm" (2005); The one album with co-founder Arjen.
https://www.youtube.com/playlist?list=PLu7mlMIY-fc-PXtVrAU8BXUnHDlT2Bc4d
Be sure to listen to the other 3 albums as well, they really come into their own :).
vocalist/violinist for "Stream of Passion", another go at the Darkwave Metal style, but a bit more of the Prog Metal elements. Marcela really drives the band with her voice and very fitting with the music. Arjen let go of the band for the rest to take it to the next level for 3 more albums, until they disbanded in 2016 to take on other musical pursuits.
- Stream of Passion - "Embrace the Storm" (2005); The one album with co-founder Arjen.
https://www.youtube.com/playlist?list=PLu7mlMIY-fc-PXtVrAU8BXUnHDlT2Bc4d
Be sure to listen to the other 3 albums as well, they really come into their own :).
And yet another one off project with the voice of "Rutger Hauer" as a
psychologist, by the interesting name of "Voight Kampff" (for you Blade Runner fans), on another grand conceptual piece called "Lost in the New Real". But this time Arjen "sings" and plays most of the instruments on this tale of a modern-day man revived in a distant future where he finds
that everything has changed, which is loosely connected with Ayreon.
It's an interesting movie-like ride, and indelible of Arjen's touches. And shows another side to his abilities as a musician and songwriter . . .
- Arjen Anthony Lucassen's Lost in the New Real (2012)
https://www.youtube.com/playlist?list=PL8psnNw6IDjWD08zWr9DdBcqk-6nunPxg
psychologist, by the interesting name of "Voight Kampff" (for you Blade Runner fans), on another grand conceptual piece called "Lost in the New Real". But this time Arjen "sings" and plays most of the instruments on this tale of a modern-day man revived in a distant future where he finds
that everything has changed, which is loosely connected with Ayreon.
It's an interesting movie-like ride, and indelible of Arjen's touches. And shows another side to his abilities as a musician and songwriter . . .
- Arjen Anthony Lucassen's Lost in the New Real (2012)
https://www.youtube.com/playlist?list=PL8psnNw6IDjWD08zWr9DdBcqk-6nunPxg
So Arjen sure can pick'em, gorgeous women with equal voices, and for this time around, the sole voice of the wonderful Anneke van Giersbergen who has been with Ayreon and The Gathering (now infamous as a
solo artist and incredible contributions with "Hevy Devy" and the Devin Townsend Project, as well as her new band VUUR).
An interesting project that I did not keep on top of, as it was a complete surprise release. With its nautical themes, a concept album during the 17th century. The "Gentle" side being a melodic version of the album, while the "Storm" side being more Metal. An ambitious effort that comes out beautiful and cinematic, yet another "Movie" to listen and conjure moving pictures in your head . . .
- The Gentle Storm - "The Diary" (2015)
- "Gentle"
https://www.youtube.com/watch?v=zmLcMcj2gxc
- "Storm"
https://www.youtube.com/watch?v=rn38gVR12-M
Videos:
Shores of India
Heart of Amsterdam
Endless Sea
Most lyrics for all these bands can be found here:
http://www.darklyrics.com/index.html
So Arjen is a very busy man, he not only has much going on, he takes time for his fans on YOUtube and Facebook to answer questions and just say hi, even to little 'ol me :). But he is a very kind gentleman who you can see in the documentaries, and we could all probably talk to him forever about music, films and everything Science Fiction. But please, enjoy all the many facets to his music and the wonderful artists that embellish all that wacky stuff in that mind of his. Please take a listen and purchase all his EPIC creations and I know you won't be disappointed :D.
solo artist and incredible contributions with "Hevy Devy" and the Devin Townsend Project, as well as her new band VUUR).
An interesting project that I did not keep on top of, as it was a complete surprise release. With its nautical themes, a concept album during the 17th century. The "Gentle" side being a melodic version of the album, while the "Storm" side being more Metal. An ambitious effort that comes out beautiful and cinematic, yet another "Movie" to listen and conjure moving pictures in your head . . .
- The Gentle Storm - "The Diary" (2015)
- "Gentle"
https://www.youtube.com/watch?v=zmLcMcj2gxc
- "Storm"
https://www.youtube.com/watch?v=rn38gVR12-M
Videos:
Shores of India
Heart of Amsterdam
Endless Sea
Most lyrics for all these bands can be found here:
http://www.darklyrics.com/index.html
So Arjen is a very busy man, he not only has much going on, he takes time for his fans on YOUtube and Facebook to answer questions and just say hi, even to little 'ol me :). But he is a very kind gentleman who you can see in the documentaries, and we could all probably talk to him forever about music, films and everything Science Fiction. But please, enjoy all the many facets to his music and the wonderful artists that embellish all that wacky stuff in that mind of his. Please take a listen and purchase all his EPIC creations and I know you won't be disappointed :D.
"Rise up and show the world your battle is won!
Rise up and show the world the old you is gone!
Rise up and show the world your new life has begun!
Rise up and show the world!"
- Ayreon/"Day 20: Confrontation"
Rise up and show the world the old you is gone!
Rise up and show the world your new life has begun!
Rise up and show the world!"
- Ayreon/"Day 20: Confrontation"
4 in the spotlight: Circa 1996 . . .
"There's a thirst you have to learn, a hunger inside burns, time for the page to turn
It's the wanting, It's the hoping, It's the longing
There's a flame within your soul, to strive to reach your goal
But dreaming takes its toll"
- Enchant/"The Thirst"
It's the wanting, It's the hoping, It's the longing
There's a flame within your soul, to strive to reach your goal
But dreaming takes its toll"
- Enchant/"The Thirst"
I wanted to feature 4 bands that were very essential among the "above" discoveries that had a special
sound and place in my collection that I listened to often. Including one that I should have been into at
the beginning, but to my utter stupidity, finally got into late in their career . . .
sound and place in my collection that I listened to often. Including one that I should have been into at
the beginning, but to my utter stupidity, finally got into late in their career . . .
Enchant - "Blueprint of the World" (1992)
https://www.youtube.com/playlist?list=PLH_B2lSv1Outy9WH6FalwaLWk4BeD7uTZ
A highly ambitious out of the gate debut album. Probably their most complex as they had something to prove and wake-up the neighbors. A harder edged Prog Rock album, with hints of where Prog Metal was going, but ebbs and flows with some beautiful melodic pieces. Excellent musicianship and the shape of things to come for the genre and band.
Some faves here; The Thirst, Acquaintance, Mae Dae, At Death's Door. Heck, the whole album is great!
Enchant - "Wounded" (1996)
https://www.youtube.com/playlist?list=PLP80cN-dbXvZPmUB_oUFDk5Z-5chapTJT
The sophomore release starting to gel in its maturity but an
extension of their debut and more intense drumming from Paul
Craddick (who reminded me of Mark Zonder from Fates Warning
and Warlord). The production was stronger, and the lyrics were finding their cohesiveness, but continuing stories of the plight of
the everyday man in his losses and victories, trying to cope with all around him. Each musician interpreting the words through each instrument to enhance the meaning to an emotional level that hits you in the gut.
https://www.youtube.com/playlist?list=PLP80cN-dbXvZPmUB_oUFDk5Z-5chapTJT
The sophomore release starting to gel in its maturity but an
extension of their debut and more intense drumming from Paul
Craddick (who reminded me of Mark Zonder from Fates Warning
and Warlord). The production was stronger, and the lyrics were finding their cohesiveness, but continuing stories of the plight of
the everyday man in his losses and victories, trying to cope with all around him. Each musician interpreting the words through each instrument to enhance the meaning to an emotional level that hits you in the gut.
Enchant of San Francisco were in the eye of many neo-Prog Rockers in the 90's, but somehow I missed
the 1st few albums that I'd always run into, especially that they were on the "Magna Carta" label in-which I had a few bands on their roster. I would go backwards in their catalogue after finally purchasing "Tug of War" in 2003 at Tower Records where I worked. But until 2008, A friend of mine, asked if I would like to go to San Francisco and stay with his friend in Oakland, to go see a small Prog Festival called "BAR Fest (Bay Area Rock Fest)". It was great to see some excellent bands I probably would not see anywhere else in the States (Angra, Eyefear, Zero Hour, Spocks Beard, Timeline, Jon Oliva's Pain, Odin's Court, and Enchant). It was meeting Enchant, talking with them and experiencing their fantastic set (super tight and polished), that I set off to go through their history.
Each album was a great experience in so many facets, they wrote lyrics that I could identify with, they
were storybooks of life, much like Kansas or Rush, myself and my circle of friends. Full of heartache, life affirmation, trying our best to live the dream with all the adversity and triumph. And it had tremendous music to go with it all.
Each member of the band was at the top of their game - Doug Ott on Lead Guitar and backup vocals, Ed Platt on Bass, Sean Flanegan on Drums (and Paul Craddick on earlier albums respectfully), Bill Jenkins on Keyboards, and Ted Leonard on Vocals and Rhythm Guitar, equally were excellent musicians. But Doug Ott's guitar tone and abilities were really amazing, he crammed a lot in his solos that were nowhere near "noodling", it all had emotional purpose.
Ted Leonard's vocals are very unique, but the man could hold notes forever, very emotive and soulful,
giving a wonderful voice as a storyteller. Ted has been the vocalist for Spocks Beard as well for the past 2 albums, and bands "Thought Chamber" and "Affector".
So please be sure to checkout his side projects, Spocks Beard and Enchant's 8 glorious albums (which includes the 2014 comeback The Great Divide).
Great band live!: https://www.youtube.com/watch?v=U2jyZSBJeUQ
Lyrics for all Enchant albums: https://www.musixmatch.com/artist/Enchant/albums
the 1st few albums that I'd always run into, especially that they were on the "Magna Carta" label in-which I had a few bands on their roster. I would go backwards in their catalogue after finally purchasing "Tug of War" in 2003 at Tower Records where I worked. But until 2008, A friend of mine, asked if I would like to go to San Francisco and stay with his friend in Oakland, to go see a small Prog Festival called "BAR Fest (Bay Area Rock Fest)". It was great to see some excellent bands I probably would not see anywhere else in the States (Angra, Eyefear, Zero Hour, Spocks Beard, Timeline, Jon Oliva's Pain, Odin's Court, and Enchant). It was meeting Enchant, talking with them and experiencing their fantastic set (super tight and polished), that I set off to go through their history.
Each album was a great experience in so many facets, they wrote lyrics that I could identify with, they
were storybooks of life, much like Kansas or Rush, myself and my circle of friends. Full of heartache, life affirmation, trying our best to live the dream with all the adversity and triumph. And it had tremendous music to go with it all.
Each member of the band was at the top of their game - Doug Ott on Lead Guitar and backup vocals, Ed Platt on Bass, Sean Flanegan on Drums (and Paul Craddick on earlier albums respectfully), Bill Jenkins on Keyboards, and Ted Leonard on Vocals and Rhythm Guitar, equally were excellent musicians. But Doug Ott's guitar tone and abilities were really amazing, he crammed a lot in his solos that were nowhere near "noodling", it all had emotional purpose.
Ted Leonard's vocals are very unique, but the man could hold notes forever, very emotive and soulful,
giving a wonderful voice as a storyteller. Ted has been the vocalist for Spocks Beard as well for the past 2 albums, and bands "Thought Chamber" and "Affector".
So please be sure to checkout his side projects, Spocks Beard and Enchant's 8 glorious albums (which includes the 2014 comeback The Great Divide).
Great band live!: https://www.youtube.com/watch?v=U2jyZSBJeUQ
Lyrics for all Enchant albums: https://www.musixmatch.com/artist/Enchant/albums
Lemur Voice - "Insights" (1996)
https://www.youtube.com/watch?v=SKHvzxzv9HM&t=1s
From Sittard Limburg, Netherlands.
A blind purchase on my 1st visit to the bay area as an adult, as I
was visiting a friend who had lived in Redwood City at the time. We found ourselves at the nearest Rasputin Record store where
surprisingly they had tons of the latest Prog and Metal bands.
There was too much to choose from, but I ended up with 4 Cd's of bands I had never heard of, one of which was Lemur Voice. When I finally put it into the car deck, it was astounding! Yes, it was the era of Dream Theater's "Images and Words", but it was in that style of Prog Metal, but did not sound like a clone.
The vocalists, Gregor van der Loo's voice was as smooth as glass and I can't think of anyone he sounds
like. Another that could hit the high registers and sustain it. Each member yet again, playing their
instruments with intricate perfection. With Nathan van de Wouw on Drums, Barend Tromp on Bass,
Franck Faber on Keyboards. And Marcel Coenen on Guitar who like "John Petrucci" of Dream Theater, was a guitarist of immense proportions, yet coming out of nowhere, but had yet to be under the bright
spotlight with his incredible talents.
I HATE to compare bands, but as a reference - what was like DT in approach was the lyrics, they were beautifully strung together words with an esoteric style, though these took a little bit more of careful
deciphering. It reminded me of the lyrics style found on the 1st 3 albums of Dream Theater, but it wasn't the same. They had their own voice and stories to tell and they were a bit more "poetic" in nature.
I honestly can not pick favorites on this album because the whole album is outstanding (though the amazing instrumental, "Akasha Chronicles" is up there with classics "Ytse Jam" and "YYZ"), and a "Classic" among those who know this album well, even if obscure. This is an album I still listen to often, as it has lasted the test of time and still sounds fresh and contemporary.
I have not sat down to listen to their 2nd album "Divided" (1999)
https://www.youtube.com/playlist?list=PLEFD93AB5F7FD325F
From the songs I have heard (but it has been awhile), I didn't like it as much. I had only heard it on
Progulus.com occasionally when listening to tracks in the queue. So I'll have to remedy that as I write
(okay, the 1st song on this so far is freaking incredible, so fans, go ahead and kick me in the ass for not
getting into this album all these years!).
Marcel Coenen, would gain a bit more exposure with his new band in 2003 called "Sun Caged". I knew
nothing about them until one day shopping at Rhino Records, and in the Prog section, I noticed a sticker label made by the stores owner; "For fans of Lemur Voice, Progressive Metal". Bought it sight unseen:
Sun Caged - debut (2003)
https://www.youtube.com/playlist?list=PLt9A5w-AFebcCBZQn7rKPt5NOjlpFyTtC
Was very excited to see Marcel's name in the credits, it was brilliant! All that I wanted Lemur to be and more in the modern age, it was a bit more aggressive, but it too ebb and flowed with melody along with
heavier pieces. One of my fave albums, and another awesome vocalist by the name of André Vuurboom, who sounded at times like "Tommy Shaw" of Styx! Great musicians on it as well, including a very young Keyboardist by the name of Joost van der Broek, who would later gain notoriety with Arjen Lucassen and "Ayreon", and the later albums of "After Forever" (who also composed for the added orchestra) and one
album by "Sphere of Souls" with Andre on vocals.
Sun Caged made it states-side to BAR Fest II, which I unfortunately missed, hopefully they will come
again and grace us all with a new album.
Be sure to checkout the 3 Sun Caged albums & demos, and their last album (so far) "The Lotus Effect" with excellent Paul Adrian Villarreal on vocals, who amazingly sounds just like Andre (or could it be visa-versa :p). But get ready, this album is more complex and VERY aggressive, right from the opener!
"Artemisia" (2007)
https://www.youtube.com/playlist?list=PLJB_hHgTxnbGZU_3OT9X4yk1qZPnrzb4e
Japanese Bonus Track: https://www.youtube.com/watch?v=0LhHgFKsbZg
"The Lotus Effect" (2011)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdhpIQoFqP6-zWyDeXJZHV8
Lyrics for Lemur Voice: https://www.musixmatch.com/artist/Lemur-Voice/albums
Sun Caged: https://www.musixmatch.com/artist/Sun-Caged/albums
https://www.youtube.com/watch?v=SKHvzxzv9HM&t=1s
From Sittard Limburg, Netherlands.
A blind purchase on my 1st visit to the bay area as an adult, as I
was visiting a friend who had lived in Redwood City at the time. We found ourselves at the nearest Rasputin Record store where
surprisingly they had tons of the latest Prog and Metal bands.
There was too much to choose from, but I ended up with 4 Cd's of bands I had never heard of, one of which was Lemur Voice. When I finally put it into the car deck, it was astounding! Yes, it was the era of Dream Theater's "Images and Words", but it was in that style of Prog Metal, but did not sound like a clone.
The vocalists, Gregor van der Loo's voice was as smooth as glass and I can't think of anyone he sounds
like. Another that could hit the high registers and sustain it. Each member yet again, playing their
instruments with intricate perfection. With Nathan van de Wouw on Drums, Barend Tromp on Bass,
Franck Faber on Keyboards. And Marcel Coenen on Guitar who like "John Petrucci" of Dream Theater, was a guitarist of immense proportions, yet coming out of nowhere, but had yet to be under the bright
spotlight with his incredible talents.
I HATE to compare bands, but as a reference - what was like DT in approach was the lyrics, they were beautifully strung together words with an esoteric style, though these took a little bit more of careful
deciphering. It reminded me of the lyrics style found on the 1st 3 albums of Dream Theater, but it wasn't the same. They had their own voice and stories to tell and they were a bit more "poetic" in nature.
I honestly can not pick favorites on this album because the whole album is outstanding (though the amazing instrumental, "Akasha Chronicles" is up there with classics "Ytse Jam" and "YYZ"), and a "Classic" among those who know this album well, even if obscure. This is an album I still listen to often, as it has lasted the test of time and still sounds fresh and contemporary.
I have not sat down to listen to their 2nd album "Divided" (1999)
https://www.youtube.com/playlist?list=PLEFD93AB5F7FD325F
From the songs I have heard (but it has been awhile), I didn't like it as much. I had only heard it on
Progulus.com occasionally when listening to tracks in the queue. So I'll have to remedy that as I write
(okay, the 1st song on this so far is freaking incredible, so fans, go ahead and kick me in the ass for not
getting into this album all these years!).
Marcel Coenen, would gain a bit more exposure with his new band in 2003 called "Sun Caged". I knew
nothing about them until one day shopping at Rhino Records, and in the Prog section, I noticed a sticker label made by the stores owner; "For fans of Lemur Voice, Progressive Metal". Bought it sight unseen:
Sun Caged - debut (2003)
https://www.youtube.com/playlist?list=PLt9A5w-AFebcCBZQn7rKPt5NOjlpFyTtC
Was very excited to see Marcel's name in the credits, it was brilliant! All that I wanted Lemur to be and more in the modern age, it was a bit more aggressive, but it too ebb and flowed with melody along with
heavier pieces. One of my fave albums, and another awesome vocalist by the name of André Vuurboom, who sounded at times like "Tommy Shaw" of Styx! Great musicians on it as well, including a very young Keyboardist by the name of Joost van der Broek, who would later gain notoriety with Arjen Lucassen and "Ayreon", and the later albums of "After Forever" (who also composed for the added orchestra) and one
album by "Sphere of Souls" with Andre on vocals.
Sun Caged made it states-side to BAR Fest II, which I unfortunately missed, hopefully they will come
again and grace us all with a new album.
Be sure to checkout the 3 Sun Caged albums & demos, and their last album (so far) "The Lotus Effect" with excellent Paul Adrian Villarreal on vocals, who amazingly sounds just like Andre (or could it be visa-versa :p). But get ready, this album is more complex and VERY aggressive, right from the opener!
"Artemisia" (2007)
https://www.youtube.com/playlist?list=PLJB_hHgTxnbGZU_3OT9X4yk1qZPnrzb4e
Japanese Bonus Track: https://www.youtube.com/watch?v=0LhHgFKsbZg
"The Lotus Effect" (2011)
https://www.youtube.com/playlist?list=PL2DU3TBNutEdhpIQoFqP6-zWyDeXJZHV8
Lyrics for Lemur Voice: https://www.musixmatch.com/artist/Lemur-Voice/albums
Sun Caged: https://www.musixmatch.com/artist/Sun-Caged/albums
Divine Regale - "Ocean Mind" (1997)
https://www.youtube.com/watch?v=7wUq3oA6lbA
From Dover, New Hampshire.
One of the 4 blind purchases, along with Lemur Voice. The cover was intriguing enough to take a chance (even with closer
inspection that the cover was awful :p), but definitely not an
album to judge by its cover. These guys had a sound all their own among all the bands coming after Fates Warning and
Dream Theater.
It had some nice 3 part vocal harmonies that also converged into point-counterpoint interaction with each other and the musicians. The music was a blend of Progressive Rock and Metal meshing into melodic, complex and moody pieces that went from dark to melancholic, to brighter themes (like its opening track "Ocean Mind" which is one of my faves).
The musicians again, had a great handle on each piece perfectly; Dwight Hill on Lead Vocals, Daniel Elliot on Guitar, Gary Leighton on Guitar, Frank Couture on Bass and Backing Vocals, Chris Anderson on Drums, Electronic Percussion, Mandolin, Programming and Vocals, and Jason Keazer on Keyboards.
Each track seems to have its own mood and style, but within Divine Regale's unique approach. It's a great
album I highly recommend if you can find it.
I missed out on their debut Ep that was played often on Progged Radio, and then on Progulus.com, so I will
have to check it out soon.
"Horizon's" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfhK7itmXpjUph1g5r6KGBH
Divine Regale lyrics: https://www.musixmatch.com/artist/Divine-Regale/albums
https://www.youtube.com/watch?v=7wUq3oA6lbA
From Dover, New Hampshire.
One of the 4 blind purchases, along with Lemur Voice. The cover was intriguing enough to take a chance (even with closer
inspection that the cover was awful :p), but definitely not an
album to judge by its cover. These guys had a sound all their own among all the bands coming after Fates Warning and
Dream Theater.
It had some nice 3 part vocal harmonies that also converged into point-counterpoint interaction with each other and the musicians. The music was a blend of Progressive Rock and Metal meshing into melodic, complex and moody pieces that went from dark to melancholic, to brighter themes (like its opening track "Ocean Mind" which is one of my faves).
The musicians again, had a great handle on each piece perfectly; Dwight Hill on Lead Vocals, Daniel Elliot on Guitar, Gary Leighton on Guitar, Frank Couture on Bass and Backing Vocals, Chris Anderson on Drums, Electronic Percussion, Mandolin, Programming and Vocals, and Jason Keazer on Keyboards.
Each track seems to have its own mood and style, but within Divine Regale's unique approach. It's a great
album I highly recommend if you can find it.
I missed out on their debut Ep that was played often on Progged Radio, and then on Progulus.com, so I will
have to check it out soon.
"Horizon's" (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEfhK7itmXpjUph1g5r6KGBH
Divine Regale lyrics: https://www.musixmatch.com/artist/Divine-Regale/albums
The Quiet Room - "Introspect" (1997)
https://www.youtube.com/watch?v=kYYUnwqygr0
From Denver Colorado.
The harder hitting Prog Metal band out of the gate with some great riffage, but they could also be very melodic, but many of the tracks chugged their way through the prog metal with some outstanding 2 guitar attacks by Jason Boudreau and
George Glasco that could bludgeon through each song, or show
its finesse and subtleties for the more melodic.
Which was enhanced by the lower end by the excellent Bassist
and Drummer Josh Luebbers and the precise double-bass rumble of Mike Rice, both handling the pulse of each song with the right aggression or holding it back. Mike was adept with the many cymbals, giving the drums rich textures, as well as the rest of his kit which he beat intricately with power. The Keyboardist Jeff Janeczko added just the right colours for each song without overdoing it, which was a nice layer of sound between all the aggressive instruments. And the voice for all this was the clean melodic vocalist Chadd Castor with just enough rough edges for a tenor and his strong soaring vocals that is yet another who has a sound all his own, and has to be one of my fave, albeit very obscure singers in Rock or Metal. This guy should be famous and I hope he is still at it!
Even though the whole album is wonderful and one of my top faves in my collection, some songs that
standout; A Different Scene, Grudge, Second time Around, Laughing at your Expense, Drowning, and the
the instrumental "Extramental". I still listen to this album often.
For the second outing, 2 very unfortunate things would happen to the band . . .
The Quiet Room - "Reconceive" (2000)
https://www.youtube.com/playlist?list=PLBwFdgdZmn3GFuQPYko0qC0ffVJIUdoXE
Now taking the style of songs like "Laughing at your Expense"
and turning up the aggression and anger up to 11!
Unfortunately, the original vocalist Chadd Castor had left,
with drummer Josh and Jeff on keys, and were replaced by
Graeme Wood (keyboards), Rob Munshower (bass) and Pete Jewell on vocals, who was more of a Thrashier vocalist in the vein of Phil Anselmo of Pantera but a bit more melodic.
The music had interesting twists and turns and sounds, but heavier riffs and tone (guitars down-tuned this time). The lyrics were more tragic and angry which I imagine was influenced by the new vocalist. Apparently after a demo was made in 2002, Pete Jewell committed suicide. Apparently leaving a 5 year old son :(. Who knows what this man was going through to leave this world and his son, the lyrics would probably be a clue. I hope with all hope that boy is growing up to be a good man with a happy life (my thoughts and prayers go out to you and your family wherever you are).
The band dissolved after Pete's passing. But Pete leaves his voice for others to discover for the next
generations to come. And I hope you enjoy the 2 albums as well. Turn it up for Pete!
Introspect lyrics: http://www.metal-archives.com/albums/The_Quiet_Room/Introspect/9563
Reconceive lyrics: http://www.metal-archives.com/albums/The_Quiet_Room/Reconceive/9604
https://www.youtube.com/playlist?list=PLBwFdgdZmn3GFuQPYko0qC0ffVJIUdoXE
Now taking the style of songs like "Laughing at your Expense"
and turning up the aggression and anger up to 11!
Unfortunately, the original vocalist Chadd Castor had left,
with drummer Josh and Jeff on keys, and were replaced by
Graeme Wood (keyboards), Rob Munshower (bass) and Pete Jewell on vocals, who was more of a Thrashier vocalist in the vein of Phil Anselmo of Pantera but a bit more melodic.
The music had interesting twists and turns and sounds, but heavier riffs and tone (guitars down-tuned this time). The lyrics were more tragic and angry which I imagine was influenced by the new vocalist. Apparently after a demo was made in 2002, Pete Jewell committed suicide. Apparently leaving a 5 year old son :(. Who knows what this man was going through to leave this world and his son, the lyrics would probably be a clue. I hope with all hope that boy is growing up to be a good man with a happy life (my thoughts and prayers go out to you and your family wherever you are).
The band dissolved after Pete's passing. But Pete leaves his voice for others to discover for the next
generations to come. And I hope you enjoy the 2 albums as well. Turn it up for Pete!
Introspect lyrics: http://www.metal-archives.com/albums/The_Quiet_Room/Introspect/9563
Reconceive lyrics: http://www.metal-archives.com/albums/The_Quiet_Room/Reconceive/9604
These are few fave's that are obscure, known to certain circles, or very well known to its fans all over the world. Not million sellers or have ever gotten played on the radio (college radio?) or even very much attention from the Metal press, but they are some personal favorites of mine that I think you should checkout along with all the others on this Prog Metal journey.
I hope you enjoy :). But stick around, take a break, because there is more to come . . .
I hope you enjoy :). But stick around, take a break, because there is more to come . . .
"The way to go unclear, uncertain, no way to tell from here, disturbing
I seem to freeze in time, unbending, seem to be stuck in rhyme, unending . . ."
- Sun Caged/"Unchanging"
I seem to freeze in time, unbending, seem to be stuck in rhyme, unending . . ."
- Sun Caged/"Unchanging"
Chapter VI
And now for something completely different - Part II . . .
In 1995 I was given an unusual gift that keeps on hammering . . .
Lessons in mathematical brvtality . . .
"Mesmerized by the flames as I return into myself, a slow conversion a silent change
I wake into the brightened day"
- Meshuggah/"Sublevels"
I wake into the brightened day"
- Meshuggah/"Sublevels"
A co-worker, when 1st getting my feet wet professionally as a conceptual designer at "Angel Studio",
would give me a gift that keeps on giving like a jackhammer.
For lunch we would head to Karina's Taco Shop, then off to a local record store in Encinitas (in San Diego
county) called "Lou's Records" which, at the time, had a wide variety of new and used Lp's and CD's. It
was a bit of a task to look through all their bins almost every visit finding something new. My friend was
into Industrial music with Metal influences, he was planning to return some CD's that he purchased when he stopped by my desk and said; "I am gonna' return these but thought you'd like this one, its not my thing but if you don't like it I'll get something else".
It didn't take more than 2min. when I was hooked! I was an immediate fan! Meshuggah hailed from
Umeå Sweden, the closest I heard to this was Pantera, but it was soo MUCH more than that - It was as heavy as a Tank catapulted headlong, slamming into a 727 in mid-flight, but with the finesse of a A-10 Warthog
firing off its rotary cannon at its target!
When the solos came in (handled by Lead Guitarist "Fredrik Thordendal"), it was as if Allan Holdsworth
came in to say hello all the sudden and stepped-in to add solos. It was like a breath of fresh air within the
concussive brutality. Each band member took turns as either a lead instrument or the role of percussion
(that included the Vocalist/Screamer/Grunter "Jens Kidman") in violent point/counterpoint exchanges
of gunfire with automatic weapons. And to keep the groove and headbanging in full force, it was almost all
in 4/4 timing, but what was amazing is what they created within the 4/4 that was astounding, complex and
insane to think of such a thing on each song.
This was Metal on a higher level with its various syncopated, poly-metered/rhythmic, fast tempo/stop
and go changes and neo-Jazz chromatic scales incarnated into giant chopping blades cutting sheets of
molten steel. I went back into their catalogue to catch-up on what I had missed . . .
would give me a gift that keeps on giving like a jackhammer.
For lunch we would head to Karina's Taco Shop, then off to a local record store in Encinitas (in San Diego
county) called "Lou's Records" which, at the time, had a wide variety of new and used Lp's and CD's. It
was a bit of a task to look through all their bins almost every visit finding something new. My friend was
into Industrial music with Metal influences, he was planning to return some CD's that he purchased when he stopped by my desk and said; "I am gonna' return these but thought you'd like this one, its not my thing but if you don't like it I'll get something else".
It didn't take more than 2min. when I was hooked! I was an immediate fan! Meshuggah hailed from
Umeå Sweden, the closest I heard to this was Pantera, but it was soo MUCH more than that - It was as heavy as a Tank catapulted headlong, slamming into a 727 in mid-flight, but with the finesse of a A-10 Warthog
firing off its rotary cannon at its target!
When the solos came in (handled by Lead Guitarist "Fredrik Thordendal"), it was as if Allan Holdsworth
came in to say hello all the sudden and stepped-in to add solos. It was like a breath of fresh air within the
concussive brutality. Each band member took turns as either a lead instrument or the role of percussion
(that included the Vocalist/Screamer/Grunter "Jens Kidman") in violent point/counterpoint exchanges
of gunfire with automatic weapons. And to keep the groove and headbanging in full force, it was almost all
in 4/4 timing, but what was amazing is what they created within the 4/4 that was astounding, complex and
insane to think of such a thing on each song.
This was Metal on a higher level with its various syncopated, poly-metered/rhythmic, fast tempo/stop
and go changes and neo-Jazz chromatic scales incarnated into giant chopping blades cutting sheets of
molten steel. I went back into their catalogue to catch-up on what I had missed . . .
An explanation of the machine by Tomas Haake
| https://youtu.be/ba2X4r12lv4 |
| https://youtu.be/ba2X4r12lv4 |
"Contradictions Collapse" in 1991, their debut was more Thrash, but very technical along with other obscure bands that I followed, but I completely missed this album (I had never heard of them).
Erratic tempo changes, a bit more speed and a thrashier voice from
Jen's Kidman who also played rhythm guitar, as Mårten Hagström
had not joined as of yet (Lead guitarist Fredrik Thordendal also
handles lead vocals, and drummer Tomas Haake on vocals for "Choirs of Devastation").
"None" in 1994, their follow-up Ep, saw them turning more to the
Aggro side of Metal, or known today as "Groove Metal", but adding a dynamic that only Meshuggah had a grasp on, that made it much more progressive and new. But on a whole different level of thought.
Meshuggah - "Contradictions Collapse" (1991):
https://www.youtube.com/playlist?list=PLh5vYvPBv6duQkiJOiQMtfspz9fVlwxGq
Lyrics: https://www.musixmatch.com/album/Meshuggah/Contradictions-Collapse
Erratic tempo changes, a bit more speed and a thrashier voice from
Jen's Kidman who also played rhythm guitar, as Mårten Hagström
had not joined as of yet (Lead guitarist Fredrik Thordendal also
handles lead vocals, and drummer Tomas Haake on vocals for "Choirs of Devastation").
"None" in 1994, their follow-up Ep, saw them turning more to the
Aggro side of Metal, or known today as "Groove Metal", but adding a dynamic that only Meshuggah had a grasp on, that made it much more progressive and new. But on a whole different level of thought.
Meshuggah - "Contradictions Collapse" (1991):
https://www.youtube.com/playlist?list=PLh5vYvPBv6duQkiJOiQMtfspz9fVlwxGq
Lyrics: https://www.musixmatch.com/album/Meshuggah/Contradictions-Collapse
Destroyed Erased Improved . . .
Heavy Metal, yet again would be retooled and shaped into a jagged weapon with another progression
from their None ep, that would bludgeon anything in its path, which continued onto "Destroy Erase
Improve".
An intricate fusion of Death Metal, Thrash, "Math Metal" and Progressive Metal, all with a groove to
headbang violently to. The music was almost unidentifiable within the Metal sub-genres, but it would be an introduction totally off my radar until that day I had it in my hands.
It's very telling that the band liked various types of music (as well as Films and eclectic Authors), on the credits of "Destroy Erase Improve":
"Sources of Inspiration: Earth Wind And Fire, Steely Dan, Slayer (Reign in Blood), Chet Baker, Queensryche, Pink Floyd, Fläskkvartetten, Chick Corea El. Band, Cynic, Mike Oldfield, Björn J:Son Lindh and Staffan Scheja (Spirits of Europa), Rush, Sting, Allan Holdsworth, Björk, Vinnie Colaiuta, Gary Husband, Jimmy Johnson, It Bites, Thin Lizzy, Edie Brickell, Tori Amos, Holy Moses (Finished ...), Nirvana, Primus, Alice In Chains, Corneliis Vreeswijk, In Slaughter Natives, Memorandum, Peace Love And Pittbulls, Marillion, Anthrax (Spreading..., Among...), Metallica (Ride..., Master...), Megadeth (Peace...), Metal Church (1:st), Death (Human), The Aliens Trilogy, Jacobs¹ Ladder, T2, Begotten, Legion, Bad Taste, Meet The Feebles, Braindead, Tetsuo (Iron Man), Flaus and Fritz, The Evil Dead Trilogy, The Starwars Trilogy, Naked Lunch (William S. Burroughs), Forrest Gump, Intruders, Steven Spielberg, Clive Barker, Graham Watkins, H.P. Lovecraft, Magnus Dahlström, American Psycho, GG. Allin, J.R.R. Tolkien, H.R. Giger, Robert Gustafsson, Peter Wahlbeck, Nasses Dieselknappar."
Three I noticed right off the bat were Jazz Fusion luminaries; "Allan Holdsworth", and his often drummer "Gary Husband". And the great "Vinnie Colaiuta", a sure fave of Lead Guitarist Fredrik Thordendal and
Drummer Tomas Haake. , which were faves of mine as well.
The rhythm Guitarist Mårten Hagström has explained a bit of their sound being something they just
naturally do, but its simply the way they compose music and the way they think.
And drummer Tomas Haake and Dick Lövgren on bass would handle the unbelievable percussive pulses, and Haake practically a "marathon runner" with his feet, with the most difficult syncopated dexterity, one song after another in concert, while his hands were doing construction work with one hammer for each
hand instead of a nail gun!
Jens Kidman, intense and a sonic weapon to point at the audience, bobbing his head like an angry T-800 or
staring/scanning the crowd ("why is Jen's staring at me? Make him stop!") as if looking for prey! Barking and grunting each word while the rest of the band headbangs (as well as the audience) in 4/4 is a sight to
behold!
Heavy Metal, yet again would be retooled and shaped into a jagged weapon with another progression
from their None ep, that would bludgeon anything in its path, which continued onto "Destroy Erase
Improve".
An intricate fusion of Death Metal, Thrash, "Math Metal" and Progressive Metal, all with a groove to
headbang violently to. The music was almost unidentifiable within the Metal sub-genres, but it would be an introduction totally off my radar until that day I had it in my hands.
It's very telling that the band liked various types of music (as well as Films and eclectic Authors), on the credits of "Destroy Erase Improve":
"Sources of Inspiration: Earth Wind And Fire, Steely Dan, Slayer (Reign in Blood), Chet Baker, Queensryche, Pink Floyd, Fläskkvartetten, Chick Corea El. Band, Cynic, Mike Oldfield, Björn J:Son Lindh and Staffan Scheja (Spirits of Europa), Rush, Sting, Allan Holdsworth, Björk, Vinnie Colaiuta, Gary Husband, Jimmy Johnson, It Bites, Thin Lizzy, Edie Brickell, Tori Amos, Holy Moses (Finished ...), Nirvana, Primus, Alice In Chains, Corneliis Vreeswijk, In Slaughter Natives, Memorandum, Peace Love And Pittbulls, Marillion, Anthrax (Spreading..., Among...), Metallica (Ride..., Master...), Megadeth (Peace...), Metal Church (1:st), Death (Human), The Aliens Trilogy, Jacobs¹ Ladder, T2, Begotten, Legion, Bad Taste, Meet The Feebles, Braindead, Tetsuo (Iron Man), Flaus and Fritz, The Evil Dead Trilogy, The Starwars Trilogy, Naked Lunch (William S. Burroughs), Forrest Gump, Intruders, Steven Spielberg, Clive Barker, Graham Watkins, H.P. Lovecraft, Magnus Dahlström, American Psycho, GG. Allin, J.R.R. Tolkien, H.R. Giger, Robert Gustafsson, Peter Wahlbeck, Nasses Dieselknappar."
Three I noticed right off the bat were Jazz Fusion luminaries; "Allan Holdsworth", and his often drummer "Gary Husband". And the great "Vinnie Colaiuta", a sure fave of Lead Guitarist Fredrik Thordendal and
Drummer Tomas Haake. , which were faves of mine as well.
The rhythm Guitarist Mårten Hagström has explained a bit of their sound being something they just
naturally do, but its simply the way they compose music and the way they think.
And drummer Tomas Haake and Dick Lövgren on bass would handle the unbelievable percussive pulses, and Haake practically a "marathon runner" with his feet, with the most difficult syncopated dexterity, one song after another in concert, while his hands were doing construction work with one hammer for each
hand instead of a nail gun!
Jens Kidman, intense and a sonic weapon to point at the audience, bobbing his head like an angry T-800 or
staring/scanning the crowd ("why is Jen's staring at me? Make him stop!") as if looking for prey! Barking and grunting each word while the rest of the band headbangs (as well as the audience) in 4/4 is a sight to
behold!
Meshuggah - "None" Ep (1994)
https://www.youtube.com/playlist?list=PL2DU3TBNutEcf6yIfkCIH0p8aY2S8w7AO
The more Aggro/Groovy direction for the band, including a more
ethereal style of soloing and odd-metered tempos and a harsher
vocal style.
The last track on the actual Ep (not included on the split with
"Contradictions Collapse") called the Aztec 2 Step shows the ungodly
pipes of Jens Kidman and his eternal screaming that may scare your neighbors! If I would have come into this band at this time, I would have been blown away and anxious to hear what would come next. It would be amazing how much they would progress even more from here . . .
Lyrics: https://www.musixmatch.com/album/Meshuggah/None
https://www.youtube.com/playlist?list=PL2DU3TBNutEcf6yIfkCIH0p8aY2S8w7AO
The more Aggro/Groovy direction for the band, including a more
ethereal style of soloing and odd-metered tempos and a harsher
vocal style.
The last track on the actual Ep (not included on the split with
"Contradictions Collapse") called the Aztec 2 Step shows the ungodly
pipes of Jens Kidman and his eternal screaming that may scare your neighbors! If I would have come into this band at this time, I would have been blown away and anxious to hear what would come next. It would be amazing how much they would progress even more from here . . .
Lyrics: https://www.musixmatch.com/album/Meshuggah/None
Meshuggah - "Destroy Erase Improve" (1995)
https://www.youtube.com/playlist?list=PLvBdhzIYZ68i4B4m_QUG0Q6jtNEkf9D_R
In my opinion their most progressive/fusion-like album, later to be more experimental and a bit avant-garde, but DEI proves to be their most expressive, cohesive, and maybe their most accessible album
next to their debut record. Along the lines - if Allan Holdsworth were to make a Death Metal album. Again, much of it is in 4/4, but its
what they create WITHIN that 4/4 that makes them so unique, yet it
still grooves to violently headbang. Though your head may just snap off with the tempo changes.
Lyrics: https://www.musixmatch.com/album/Meshuggah/Destroy-Erase-Improve
https://www.youtube.com/playlist?list=PLvBdhzIYZ68i4B4m_QUG0Q6jtNEkf9D_R
In my opinion their most progressive/fusion-like album, later to be more experimental and a bit avant-garde, but DEI proves to be their most expressive, cohesive, and maybe their most accessible album
next to their debut record. Along the lines - if Allan Holdsworth were to make a Death Metal album. Again, much of it is in 4/4, but its
what they create WITHIN that 4/4 that makes them so unique, yet it
still grooves to violently headbang. Though your head may just snap off with the tempo changes.
Lyrics: https://www.musixmatch.com/album/Meshuggah/Destroy-Erase-Improve
So now being totally immersed into Meshuggah, when I had
heard about this particular album, I believe from the Metal
magazine "Ill Literature" (r.i.p.), it was a must find from the
intriguing description.
A side project from lead guitarist Fredrik Thordendal.
Fredrik Thordendal's Special Defects - "Sol Niger Within"
(1997): https://www.youtube.com/watch?v=KLhSFATOhW0
It was a trip through quantum physics and the inner universe of
the self . . .
This was like hearing Watchtower and Fates Warning for the 1st time. It hit me in the face, head-on like a
sledgehammer! An astounding piece of work! How do people write music like this? Its pretty much the type of music I wanted to hear all my life, taking the extremes of other musics, fused within progressive metal and challenging the minds of the composer and the listener. If, as individuals or as a group, these guys were on another playing field. I think Allan Holdsworth would approve of this album, if he could stand the vocals :D.
But what an achievement in music. We were thrilled that Fredrik has been finally working on a sequel, but I am afraid we'll have to wait till 2525, as there have been no new updates (as of Feb. 2017).
News as of June 4, 2017: https://www.facebook.com/meshuggah/posts/10155387524781170:0
Lyrics:
http://www.darklyrics.com/lyrics/fredrikthordendalsspecialdefects/solnigerwithinversion333.html
Into the Universe and inner sanctum of Sol Niger:
https://www.husariarecords.com/fredrik-thordendal/
Meshuggah's music has also earned an in-depth analysis by the auspicious academic journal Music
Theory Spectrum:
http://www.scribd.com/doc/6375990/Re-casting-Metal-Rhythm-and-Meter-in-the-Music-of-Meshuggah
Meshuggah would forever change the genre and help create new ones, full of complexity and thinking way
out of the box. But with a sense of just doing what they do, never posing or being pompous, they share
their knowledge freely and talk often about what the mind-set is as if you were hanging with them.
Their interviews are always insightful, but with some good (and often wacky) humor thrown in.
I had found what I was searching for but the reality was overwhelming, so I wanted more. I imagine it was
like wanting to jump out of a plane parachuting, and then actually experiencing it. Filled with new
sensations that I would have never conceived.
Many people seemed to leave their past behind, as far as music, but I kept most of my experiences up to
date. I still enjoy all the sub-genres of Progressive Rock and most Metal music, whatever my mood was I
could reach out for what I wanted, sit back and let it take me away (this included non-metal and
progressive musics as well).
Not for Everyone . . .
None and Destroy Erase Improve were built on riffs that were percussive, but always with a groove, though this particular album (Destroy Erase Improve) had a sound that appealed to the "Thrasher" side of me, but faster tempos and on the dime time changes with its progressive elements that were direct, complex and intricate. Whereas later would touch on the avant-garde and/or a more ethereal feel with its gigantic percussive, chopping blade-like riffage, if it were fast or slower pace.
Later albums would expand and touch on the experimental and avant-garde ("I", "Catch33"), and then a
lethal combination, but always amazing and unexpected. Live, they were a force to be reckoned with . . .
Theory Spectrum:
http://www.scribd.com/doc/6375990/Re-casting-Metal-Rhythm-and-Meter-in-the-Music-of-Meshuggah
Meshuggah would forever change the genre and help create new ones, full of complexity and thinking way
out of the box. But with a sense of just doing what they do, never posing or being pompous, they share
their knowledge freely and talk often about what the mind-set is as if you were hanging with them.
Their interviews are always insightful, but with some good (and often wacky) humor thrown in.
I had found what I was searching for but the reality was overwhelming, so I wanted more. I imagine it was
like wanting to jump out of a plane parachuting, and then actually experiencing it. Filled with new
sensations that I would have never conceived.
Many people seemed to leave their past behind, as far as music, but I kept most of my experiences up to
date. I still enjoy all the sub-genres of Progressive Rock and most Metal music, whatever my mood was I
could reach out for what I wanted, sit back and let it take me away (this included non-metal and
progressive musics as well).
Not for Everyone . . .
None and Destroy Erase Improve were built on riffs that were percussive, but always with a groove, though this particular album (Destroy Erase Improve) had a sound that appealed to the "Thrasher" side of me, but faster tempos and on the dime time changes with its progressive elements that were direct, complex and intricate. Whereas later would touch on the avant-garde and/or a more ethereal feel with its gigantic percussive, chopping blade-like riffage, if it were fast or slower pace.
Later albums would expand and touch on the experimental and avant-garde ("I", "Catch33"), and then a
lethal combination, but always amazing and unexpected. Live, they were a force to be reckoned with . . .
The "beauty" of brvtality . . .
"I'm counting nocturnal hours, drowned visions in haunted sleep, faint flickering of your powers
Leaks out to show what you keep"
- Opeth/"The Drapery Falls"
Leaks out to show what you keep"
- Opeth/"The Drapery Falls"
The Swedish invasion . . .
Another must mention, along with the years of earlier Swede discoveries (and many that I would miss out on not listed); From Yngwie J. Malmsteen, TNT, Mourning Sign, Edge of Sanity, In Flames, At the Gates to later; Nightingale, Gardenian, Pain of Salvation, Evergrey, Dark Tranquility, Darkane, Andromeda,
Soilwork and Meshuggah became extreme Metal and Prog Metal faves, but so did this group, with its very unusual approach to Death Metal.
Again, this is a band I had read about in Ill Literature magazine. Opeth from Stockholm. The description of their music for "Orchid", their debut album, was very intriguing. It talked about their very unusual
progressive rock/metal approach, including beautiful passages and interludes with acoustic guitars and piano accents throughout at any given time, but with a gothic tinge. Yet, they were talking about a "Death Metal" band, and this, even for me and my collection, was highly unusual. To this day, I still don't know
why I did not go out and buy their debut, I would have been one of Opeth's original fans for sure!
This progressed even further with each album to come, including one of the founding members and
Guitarist Mikael Åkerfeldt's vocals going from the guttural/death metal "Cookie Monster" vocals, to a
beautiful baritone singing voice which has been compared to a Nick Drake or Jeff Buckley style, along with
its esoteric and poetic lyrics. Conjuring evocative images of gothic environments, forests, bogs, decayed
derelict foreboding homes haunted with old ghosts, dark corridors and looming shadows, along with the
frailty of humanity and its frightening nightmares. While he added the soulful "Camel-like" guitar solos
(heavily influenced by guitarist Andrew Latimer) and gorgeous acoustic guitar preludes or interludes to
catch your breath, as if they were fading in from a misty forest. And the elongated rhythm sections for the
audience to headbang extendendedly.
Peter Lindgren - the Lead/Rhythm Guitarist (and Acoustic) along with Åkerfeldt, could go from the
complex, ethereal, beautiful, soulful and violent. All with his calm, cool demeanor.
Martín Méndez - A combination of complex pulses on Bass, to more soulful terrain with his unique
interesting fills. He is a joy to watch live as his head swings left and right to each beat.
Martin Lopez - An outstanding Drummer who with his many influences added a Latin flavour to his
playing style, and he was able to play anything, complex, hold back or completely dive into brutality.
Per Wieber - The soulful Keyboardist who came on as the 5th member for "Ghost Reveries" adding a
proto-metal feel and colour to the music with some fantastic soloing, beautiful fills. Along with Mikael he
seems to have a great sense of humor and dry wit :).
This would be my fave line-up, but even as it changed, they created more fantastic albums worthy of each
having stood on their own merits and gaining more and more fans. It's kind of hilarious now that some
consider them "mainstream" yet many in the Metal community and outside of it are still not familiar with
them (the same can be said for Meshuggah) - which many in the Metal world think both are too alien for
their ears, not the "metal" they considered harking back to the 80's and early 90's.
The Essential studio offerings.
The next 2 albums are an essential part of the progression of Prog Metal as well as Death Metal (for those
that "want" it to progress, or just looking for something that was different than anything of its time -
again, please put yourself back in 1998 and 2000). Yes, the next few albums had their own statements, and
are favorites among the Opeth fraternity, but it was these 2 albums that got them into the spotlight. It also showed their maturity in songwriting, production, musicianship, and Akerfeldt's "voice". It took 3 albums to get to this point, they paid their dues and worked on their craft resulting in 2 landmark recordings . . .
Another must mention, along with the years of earlier Swede discoveries (and many that I would miss out on not listed); From Yngwie J. Malmsteen, TNT, Mourning Sign, Edge of Sanity, In Flames, At the Gates to later; Nightingale, Gardenian, Pain of Salvation, Evergrey, Dark Tranquility, Darkane, Andromeda,
Soilwork and Meshuggah became extreme Metal and Prog Metal faves, but so did this group, with its very unusual approach to Death Metal.
Again, this is a band I had read about in Ill Literature magazine. Opeth from Stockholm. The description of their music for "Orchid", their debut album, was very intriguing. It talked about their very unusual
progressive rock/metal approach, including beautiful passages and interludes with acoustic guitars and piano accents throughout at any given time, but with a gothic tinge. Yet, they were talking about a "Death Metal" band, and this, even for me and my collection, was highly unusual. To this day, I still don't know
why I did not go out and buy their debut, I would have been one of Opeth's original fans for sure!
This progressed even further with each album to come, including one of the founding members and
Guitarist Mikael Åkerfeldt's vocals going from the guttural/death metal "Cookie Monster" vocals, to a
beautiful baritone singing voice which has been compared to a Nick Drake or Jeff Buckley style, along with
its esoteric and poetic lyrics. Conjuring evocative images of gothic environments, forests, bogs, decayed
derelict foreboding homes haunted with old ghosts, dark corridors and looming shadows, along with the
frailty of humanity and its frightening nightmares. While he added the soulful "Camel-like" guitar solos
(heavily influenced by guitarist Andrew Latimer) and gorgeous acoustic guitar preludes or interludes to
catch your breath, as if they were fading in from a misty forest. And the elongated rhythm sections for the
audience to headbang extendendedly.
Peter Lindgren - the Lead/Rhythm Guitarist (and Acoustic) along with Åkerfeldt, could go from the
complex, ethereal, beautiful, soulful and violent. All with his calm, cool demeanor.
Martín Méndez - A combination of complex pulses on Bass, to more soulful terrain with his unique
interesting fills. He is a joy to watch live as his head swings left and right to each beat.
Martin Lopez - An outstanding Drummer who with his many influences added a Latin flavour to his
playing style, and he was able to play anything, complex, hold back or completely dive into brutality.
Per Wieber - The soulful Keyboardist who came on as the 5th member for "Ghost Reveries" adding a
proto-metal feel and colour to the music with some fantastic soloing, beautiful fills. Along with Mikael he
seems to have a great sense of humor and dry wit :).
This would be my fave line-up, but even as it changed, they created more fantastic albums worthy of each
having stood on their own merits and gaining more and more fans. It's kind of hilarious now that some
consider them "mainstream" yet many in the Metal community and outside of it are still not familiar with
them (the same can be said for Meshuggah) - which many in the Metal world think both are too alien for
their ears, not the "metal" they considered harking back to the 80's and early 90's.
The Essential studio offerings.
The next 2 albums are an essential part of the progression of Prog Metal as well as Death Metal (for those
that "want" it to progress, or just looking for something that was different than anything of its time -
again, please put yourself back in 1998 and 2000). Yes, the next few albums had their own statements, and
are favorites among the Opeth fraternity, but it was these 2 albums that got them into the spotlight. It also showed their maturity in songwriting, production, musicianship, and Akerfeldt's "voice". It took 3 albums to get to this point, they paid their dues and worked on their craft resulting in 2 landmark recordings . . .
I would not pick up any of their albums till "Still Life"(1999) in late 2000 (featured below in the list "Extreme Progressions"). It was one thing to read about them, but to finally hear them, I can remember just nodding my head and jaw to the floor of the
multiple changes from brutality to serene, atmospheric and drop
on a dime acoustic guitar interludes, and vocals accentuating each mood with brutal vocals or melodic baritone timbres. Brutal
aggression to tender beauty - amazing.
Again, to point out each band member's talents would be futile on
this and the next offering. There have been wonderful musicians in each tenure of the bands line-ups. Though I have my fave era (Still Life to "Ghost Reveries"), every
album has its distinct sound made from incredible contributions by each member past and present.
Opeth - "Still Life" (1999):
https://www.youtube.com/watch?v=0azsKCi3DmM
Lyrics: https://www.musixmatch.com/album/Opeth/Still-Life
multiple changes from brutality to serene, atmospheric and drop
on a dime acoustic guitar interludes, and vocals accentuating each mood with brutal vocals or melodic baritone timbres. Brutal
aggression to tender beauty - amazing.
Again, to point out each band member's talents would be futile on
this and the next offering. There have been wonderful musicians in each tenure of the bands line-ups. Though I have my fave era (Still Life to "Ghost Reveries"), every
album has its distinct sound made from incredible contributions by each member past and present.
Opeth - "Still Life" (1999):
https://www.youtube.com/watch?v=0azsKCi3DmM
Lyrics: https://www.musixmatch.com/album/Opeth/Still-Life
Soon after "Blackwater Park" debuted in February 2000.
Taking Still Life a few steps further, yet still maintaining the
brutality of Death Metal, but the Progressive markings were a
perfect merging, with its gothic melancholia. Akerfeldt's
inspiration from the English Progressive Rock band "Camel" can
be heard throughout as well:
Opeth - "Blackwater Park" (2001)
https://www.youtube.com/playlist?list=PL86GnFDRKtsVTNUJiRfNnKtAlSX5Bp4Lz
Having production help from Porcupine Tree's vocalist/guitarist Steve Wilson helped solidify Akerfeldt's ideas and embellish them. Layered with much instrumental detail and atmosphere - I especially was amazed with the super subtle keyboards added to the few notes in the final movement of clean guitar on "Dirge for November" that give it-its ethereal feel through the mist, much like the bog trees on the cover. Most people I have talked to either never notice or debated I'm hearing things - but the fact that its so subtle makes it all the more beautiful. An album made for headphones to let it take you away. The gothic moods and melencolia progressed even further with brutal meets beauty in its ethereal atmospheres and vocal combinations.
If you were looking for endless waves of brvtality, this is not what you were looking for, this is the movie that has a plot, a respect to the writer that not only did it have dramatic action, it was not just put there for instant gratification, it was part of the story and for those that respected all that went into the craft of building this studio masterpiece. You had to sit through it till the end and let it sweep you away.
Lyrics: https://www.musixmatch.com/album/Opeth/Blackwater-Park
Taking Still Life a few steps further, yet still maintaining the
brutality of Death Metal, but the Progressive markings were a
perfect merging, with its gothic melancholia. Akerfeldt's
inspiration from the English Progressive Rock band "Camel" can
be heard throughout as well:
Opeth - "Blackwater Park" (2001)
https://www.youtube.com/playlist?list=PL86GnFDRKtsVTNUJiRfNnKtAlSX5Bp4Lz
Having production help from Porcupine Tree's vocalist/guitarist Steve Wilson helped solidify Akerfeldt's ideas and embellish them. Layered with much instrumental detail and atmosphere - I especially was amazed with the super subtle keyboards added to the few notes in the final movement of clean guitar on "Dirge for November" that give it-its ethereal feel through the mist, much like the bog trees on the cover. Most people I have talked to either never notice or debated I'm hearing things - but the fact that its so subtle makes it all the more beautiful. An album made for headphones to let it take you away. The gothic moods and melencolia progressed even further with brutal meets beauty in its ethereal atmospheres and vocal combinations.
If you were looking for endless waves of brvtality, this is not what you were looking for, this is the movie that has a plot, a respect to the writer that not only did it have dramatic action, it was not just put there for instant gratification, it was part of the story and for those that respected all that went into the craft of building this studio masterpiece. You had to sit through it till the end and let it sweep you away.
Lyrics: https://www.musixmatch.com/album/Opeth/Blackwater-Park
From there, I would go backwards into their catalogue for Orchid, Morningrise, My Arms, your Hearse,
which has a special place among their catalogue (VERY brutal and beautiful), hearing each step in the
development of Opeth's vocabulary.
Their next progression would touch upon Proto-Metal/Progressive Rock tropes meets Death Metal and even sans-Metal. I had been witnessed to folks that did not care for "Cookie Vocals" or Death Metal for that matter - but end up gravitating to Opeth because the variety in their music was so captivating, many times becoming fans of more extreme metal because of Opeth. It's amazing that the heaviest of Metal can also inspire and be "Beautiful" to listen to.
which has a special place among their catalogue (VERY brutal and beautiful), hearing each step in the
development of Opeth's vocabulary.
Their next progression would touch upon Proto-Metal/Progressive Rock tropes meets Death Metal and even sans-Metal. I had been witnessed to folks that did not care for "Cookie Vocals" or Death Metal for that matter - but end up gravitating to Opeth because the variety in their music was so captivating, many times becoming fans of more extreme metal because of Opeth. It's amazing that the heaviest of Metal can also inspire and be "Beautiful" to listen to.
The landmark album for the change of heart of those proggers that came into the fold, can be attributed to (at the time...) a one off-styled album called "Damnation" in 2003, which came out 5 months after
"Deliverance" in 2002, which was a more straightforward and heavier album since "My Arms, your
Hearse", but with the touches we all loved about Opeth. Damnation on the other-hand was a non-metal album more akin to the Progressive Rock of Camel with Akerfeldt in full melodic vocals. VERY melancholic and ethereal at times (which has been hinted at with past songs that were mellower or all acoustic with the cleaner vocal style). If anyone hated the "Cookie monster vocals", it was Opeth and especially Damnation that eased the naysayers into the fold. The music was so beautiful, they could overlook or completely enjoy all the moods conveyed by each album, including its extreme heaviness.
Again breaking the barriers of what a Death Metal band was and were able to create.
Opeth - "Deliverance" (Nov. 2002)
https://www.youtube.com/playlist?list=PLINesDgSwsOq15tcZs3uYA2hNyBeBbebO
Lyrics: https://www.musixmatch.com/album/Opeth/Deliverance
Opeth - "Damnation" (April 2003)
https://www.youtube.com/playlist?list=PLSK8PuylTKC5zirfbrQFxHcme-ZuTLcqe
Lyrics: https://www.musixmatch.com/album/Opeth/Damnation
The album's original idea was to be a 2 CD set, but the label thought it be better for promotional
purposes to release them separately, but in 2015 it was released as 1 package.
"Deliverance" in 2002, which was a more straightforward and heavier album since "My Arms, your
Hearse", but with the touches we all loved about Opeth. Damnation on the other-hand was a non-metal album more akin to the Progressive Rock of Camel with Akerfeldt in full melodic vocals. VERY melancholic and ethereal at times (which has been hinted at with past songs that were mellower or all acoustic with the cleaner vocal style). If anyone hated the "Cookie monster vocals", it was Opeth and especially Damnation that eased the naysayers into the fold. The music was so beautiful, they could overlook or completely enjoy all the moods conveyed by each album, including its extreme heaviness.
Again breaking the barriers of what a Death Metal band was and were able to create.
Opeth - "Deliverance" (Nov. 2002)
https://www.youtube.com/playlist?list=PLINesDgSwsOq15tcZs3uYA2hNyBeBbebO
Lyrics: https://www.musixmatch.com/album/Opeth/Deliverance
Opeth - "Damnation" (April 2003)
https://www.youtube.com/playlist?list=PLSK8PuylTKC5zirfbrQFxHcme-ZuTLcqe
Lyrics: https://www.musixmatch.com/album/Opeth/Damnation
The album's original idea was to be a 2 CD set, but the label thought it be better for promotional
purposes to release them separately, but in 2015 it was released as 1 package.
Another band that seemed like down to earth guys, Akerfeldt has become quite the comedian on-stage as well and interacts with the crowd often. Though when I first saw Opeth open for Nevermore ("Dead Heart in a Dead World Tour", and I believe Opeth's 1st time in the U.S. for "Blackwater Park") he was very shy and surprised at how well received they were as he timidly said with a shocked face; "Thank you, thank you very much". We also get to see what its like to be in-studio with the band on just about all the albums (Special Editions) or DVD's after Still Life in mini-documentaries and live videos that show how tight they are on stage.
No matter what line-up changes, from past to present, you can hear nothing but quality from Opeth.
I recommend HIGHLY the albums above, but continue the journey with all the albums after and you will STILL be surprised where they take the music.
No matter what line-up changes, from past to present, you can hear nothing but quality from Opeth.
I recommend HIGHLY the albums above, but continue the journey with all the albums after and you will STILL be surprised where they take the music.
The Opeth Sampler to share with the uninitiated . . .
https://www.youtube.com/playlist?list=PL2DU3TBNutEeqDvzLr5kVFKBm7DxaJvBZ
https://www.youtube.com/playlist?list=PL2DU3TBNutEeqDvzLr5kVFKBm7DxaJvBZ
A lesson in Mathematics . . .
In 2000 I came across something I hadn't heard since Watchtower, Cacophony and Atheist (and other
bands I would discover years later or the new emerging acts).
I was working at Tower Records and a very interesting CD came from the Sensory label with its beautiful
cover art, and cardboard slip, off the top of the case that said; "A Thinking man's Metal" (please don't
misconstrued the meaning, it didn't mean other Metal music were inferior or less of, it meant that this was
taking metal to another level and complexity).
Spiral Architect from Oslo Norway was amazing in the ability, like Watchtower, that they could be soo
complex, yet have a melodic vocalist, Øyvind Hægeland, singing on top of it all with seemingly ease. All the members were veterans of other extreme metal bands and it seemed they wanted to stretch-out their mathematical prowess and creativity.
The musicianship was extraordinary and inhuman to me, after all the years of music that I learned to
enjoy, it had me totally ready for music like this. If you go to any of their tracks on YOUtube, you will find
their detractors; "No soul, just noise, wankery at its fullest, chaotic, dissonant, and incoherent" and other
misconceptions. Many citing that it was all improvised and that it wasn't possible to compose such music. But it challenged everything, including its skeptics (ironic that all the members of the band are
skeptics/atheists). The lyrics as-well as the music challenged those thinking within a box and ridiculing the very people that scoffed at what they and others sought - a higher intellect and creativity.
From the intricate patterns, polyrhythms, syncopation, odd-metered beats of drummer extraordinaire
Asgeir Mickelson, the Jaco Pastorius-like/Fusion Bass of Lars K. Norberg, to the double insanity of point-
counterpoint Guitarists Kaj Gorniztka and Steinar Gundersen, this was another level of musicianship hard to come by at the time. The production quality was well separated to hear each musician clearly. Lars Bass was astounding to hear all the fills, harmonics and flurries as if he were playing a lead instrument while laying the bottom-end rhythms to any angular or odd shaped soundscape.
In an interview in 1996, they make clear who and where their influences and inspiration come from, many of the bands that I have mentioned - extending their branches to the next generation.
bands I would discover years later or the new emerging acts).
I was working at Tower Records and a very interesting CD came from the Sensory label with its beautiful
cover art, and cardboard slip, off the top of the case that said; "A Thinking man's Metal" (please don't
misconstrued the meaning, it didn't mean other Metal music were inferior or less of, it meant that this was
taking metal to another level and complexity).
Spiral Architect from Oslo Norway was amazing in the ability, like Watchtower, that they could be soo
complex, yet have a melodic vocalist, Øyvind Hægeland, singing on top of it all with seemingly ease. All the members were veterans of other extreme metal bands and it seemed they wanted to stretch-out their mathematical prowess and creativity.
The musicianship was extraordinary and inhuman to me, after all the years of music that I learned to
enjoy, it had me totally ready for music like this. If you go to any of their tracks on YOUtube, you will find
their detractors; "No soul, just noise, wankery at its fullest, chaotic, dissonant, and incoherent" and other
misconceptions. Many citing that it was all improvised and that it wasn't possible to compose such music. But it challenged everything, including its skeptics (ironic that all the members of the band are
skeptics/atheists). The lyrics as-well as the music challenged those thinking within a box and ridiculing the very people that scoffed at what they and others sought - a higher intellect and creativity.
From the intricate patterns, polyrhythms, syncopation, odd-metered beats of drummer extraordinaire
Asgeir Mickelson, the Jaco Pastorius-like/Fusion Bass of Lars K. Norberg, to the double insanity of point-
counterpoint Guitarists Kaj Gorniztka and Steinar Gundersen, this was another level of musicianship hard to come by at the time. The production quality was well separated to hear each musician clearly. Lars Bass was astounding to hear all the fills, harmonics and flurries as if he were playing a lead instrument while laying the bottom-end rhythms to any angular or odd shaped soundscape.
In an interview in 1996, they make clear who and where their influences and inspiration come from, many of the bands that I have mentioned - extending their branches to the next generation.
Spiral Architect - "A Skeptics Universe" (2000):
https://www.youtube.com/watch?v=M7ZipHFZTaY
Along with its predecessors, they would influence and inspire
the coming wave of Technical Progressive Metal, that some
called "Math Metal" (I did NOT make that up, I wish I could
take the credit). The compositions were so complex that they
seemed more like higher mathematical equations.
Sadly there is only 1 album to their credit (supposedly they
haven't officially disbanded, and members have said they
still write music for the group, but an album has not
materialized). But 2 members are in the band "Twisted into
Form" (and a member of Extol) who also only recorded 1 album so far in 2006 with a similar
complexity, but also includes songs that are a bit more ethereal and melodic.
Lyrics: https://www.musixmatch.com/album/Spiral-Architect/A-Sceptic-s-Universe-2
https://www.youtube.com/watch?v=M7ZipHFZTaY
Along with its predecessors, they would influence and inspire
the coming wave of Technical Progressive Metal, that some
called "Math Metal" (I did NOT make that up, I wish I could
take the credit). The compositions were so complex that they
seemed more like higher mathematical equations.
Sadly there is only 1 album to their credit (supposedly they
haven't officially disbanded, and members have said they
still write music for the group, but an album has not
materialized). But 2 members are in the band "Twisted into
Form" (and a member of Extol) who also only recorded 1 album so far in 2006 with a similar
complexity, but also includes songs that are a bit more ethereal and melodic.
Lyrics: https://www.musixmatch.com/album/Spiral-Architect/A-Sceptic-s-Universe-2
"I will deny, I still deny, I will deny all
These truths were all yours, I refused them as mine!"
- Spiral Architect/"Spinning"
These truths were all yours, I refused them as mine!"
- Spiral Architect/"Spinning"
More Technical Metal and where its influences came from can be sampled here:
Origins: Math Metal ~ eQuation I:
https://www.youtube.com/playlist?list=PL2DU3TBNutEdtiYql5HxhzIxzuFIPcXS9
Part II & III still in the works. After 1995 the subgenre boomed, so it's been a lot to research and edit!
Many extreme Metal from Sweden and Nordic shores would begin to change the scene and advance the pre-conceived notions of Metal, some would become more raw and darker. But the Progression was on the move at an International level. There seemed to be something new with each passing year, when people claimed to be bored, I was always finding something to carry-on my interests and be pleasantly surprised, ready to take it all in to explore.
Origins: Math Metal ~ eQuation I:
https://www.youtube.com/playlist?list=PL2DU3TBNutEdtiYql5HxhzIxzuFIPcXS9
Part II & III still in the works. After 1995 the subgenre boomed, so it's been a lot to research and edit!
Many extreme Metal from Sweden and Nordic shores would begin to change the scene and advance the pre-conceived notions of Metal, some would become more raw and darker. But the Progression was on the move at an International level. There seemed to be something new with each passing year, when people claimed to be bored, I was always finding something to carry-on my interests and be pleasantly surprised, ready to take it all in to explore.
The journey does not end here! It's just the beginning, and where various Metal genres and other musics
collide to create various hybrids, to take us into a unique terrain that is far beyond the borders.
collide to create various hybrids, to take us into a unique terrain that is far beyond the borders.
To be continued . . .
You can continue on to Chapter VII ~ Part 2 here:
http://mavearworx.weebly.com/blog/witnessing-the-birth-of-progressive-metal-part-2-of-2
The Thrash/Death Metal Progression . . .
http://mavearworx.weebly.com/blog/witnessing-the-birth-of-progressive-metal-part-2-of-2
The Thrash/Death Metal Progression . . .
RSS Feed
