I'll Be The Roundabout. . .

Piett: So how was the Yesshow--especially "Awaken"? Do tell!

 

Wellllllllll, klingklang . . . I wish I had better news to report. I really didn't enjoy it. Or rather, I couldn't enjoy it; Yes was fine for the most part, but the Concert Experience en total I found full of irritants and distractions. It was the crowd -- yeah, crowd; they weren't really an audience -- not much audition going on! There was really a kind of wild tension, a selfish coldness among them. Now, you'd think, oh, it's Yes; the audience is full of peacenik old hippies and their latter-day kin, but no, something was terribly amiss if that was true.

Maybe I'm Getting Old (hah!), but I'm really sick of "event-goers" who don't seem to recognize a Performance is going on. I mean, people just wouldn't sit the hell down. I'm not talking getting up and cheering or boogeying but just, oy, constantly, they were back-and-forth, up and down the aisle! This was probably irritating to me mainly because I had an aisle seat, but -- Hello?! YES is onstage! Right now! Did you notice??! And people just wouldn't shut the hell up!! Even during the quiet sections, boneheads are yelling out "STARSHIP TROOPER!!!" or something. These guys around me (I went alone) wouldn't stop talking to their girlfriends. This galoot in the (duct-taped, uncomfortable) seat next to me was stoned or tripping or something. Even Jon Anderson had to halt his words between songs and motion for people to quieten down just to get a word in edgewise.

I guess I didn't expect a Yes audience to be so selfish, boorish, and rude. I don't remember them being so at the Union tour show I saw in D.C. in '91. Maybe 'cause there was room enough for them in the big Capitol Center.

I hadn't been to the Tower Theater in Philly before this show (and now I am loathe to go back); it is a typical refurbished-old-theater-turned-rock-venue: falling apart, full of overpriced refreshments and minimal facilities, and tended by frowning cops and staff who have no further interest than herding you in, herding you along, and herding you out as quickly as possible -- thus the herd mentality is nurtured and maintained. Push, shove, push, shove, shove, spill, curse.

And oh yeah, the acoustics were godawful. Can't blame the sound guy too quickly, but the highs were all piercing and clashing, and the entire low end was occupied by the kick drum. Even -- this seems blasphemous -- Chris Squire's bass was often inaudible! Only its top end managed to make it out of the sonic sludge. For the life of me, I will never understand why some sound crews mix the friggin kick drum so loud, and so broadly. There is more to a band's low end then the kick drum. Get over it. Note the thing that looks like a guitar but is bigger and has only four strings. It serves a purpose; let it be heard.

Maybe I've been out of circulation too long! Maybe until now I've just never been fazed by this sort of, ah, sociological phenomenon known as the Rock Concert. But most likely I've been spoiled by more intimate, esoteric shows such as the recent Peter Hammill or Fish shows where you can find friendliness in a small group of strangers, gladdened in that you are not alone in your appreciation of the artist at hand!

Kinda like this thread, eh?

Trying to perceive beyond these distractions, I did manage to appreciate Yes. Though I haven't been "into" them much lately -- you know how these things go; they go in cycles, and for me, right now, Yes's star is below my personal horizon -- it was good to hear such hidden treasures get aired, such as "Perpetual Change", "Hearts", "Cinema", Jon's short passes of "Time and a Word" and "Nous Sommes du Soleil", it was even good to hear "Owner of a Lonely Heart" . . . I haven't got The Ladder yet, deliberately; I wanted to hear new stuff then, in the context of the concert. I liked what I heard! No Big Generator, Union, or Talk stuff; they did do "State of Grace" though.

And oh yes (ha ha), "Awaken" did finally manage to get through to people. It was the deepest performance of the night; even Howe seemed to really invest his heart into it.
If only the rest of the show wa

 

Can you guys tell me some more about early Genesis or specifically a good 'average sounding' album of thiers I could look for? Is it true that there were no guitars on the early albums ala ELP- cause I don't think I'd be into that.

fett -- to add to klingklang and Neo-era's good advice --

For Genesis, if you're looking for a passage into the Gabriel-era stuff, I'd actually recommend their 1977 live album Seconds Out. This of course had Collins out front (with Chester Thompson on drums, except for a few tracks with Bill Bruford), but they cover a lot of Gabriel-era repertoire, somewhat "brought up to date". This was Hackett's last album with them, and Collins does a fine job out front, still respectful of his then recent past. The version of their quintessential magnum-opus "Supper's Ready" (originally from Foxtrot) really shines, especially the re-arranged closing section. From there, to make the jump to Gabrielspace, I'd then recommend Selling England.... The Lamb I'd recommend to be the LAST Gabriel-era album you'd check out; fitting historically, and it's really in an orbit all its own.

Genesis' original guitarist indeed was Anthony Phillips. He played From Genesis to Revelation (1969) and Trespass (1970) before quitting due to reputed ill health/stage fright/musical differences/touring pressures. FGTR, available now in various re-issues, is a bit quaint, flimsy in places, though "In the Wilderness" definitely holds up. Trespass sounds like a big step forward and is worth it just for Gabriel's soul-searing, bluesy belted opening of "Looking for Someone" (the first track) -- impressive, if you consider he was but a 19-year-old English private-schoolboy at the time! But Anthony Phillips gets his moments too on that album -- some nice lead work on "Looking..." and "The Knife" -- he would have been a noted rock guitarist had he stuck with it. But then again, we would never would have gotten to enjoy Hackett's music! (Note: both these albums were also before Collins joined).

Interesting note: Genesis actually played as a quartet for a bit before they found Hackett. Tony Banks would cover the electric guitar parts on distorted electric piano!

Personal fave Genesis track: "Blood on the Rooftops" from Wind and Wuthering. Moody and autumnal, with gorgeous classical-gtr work from Hackett.

As for ELP -- Greg Lake played either guitar or bass guitar; bass gtr was his better instrument methinks (listen to King Crimson's In the Court...) but he had a few moments on lead guitar (as in "Karn Evil 9 Part II"). Mostly, the top end in the band was a matter of Keith Emerson torturing his Hammond organ (literally -- he reportedly would stab it/set it on fire/tip it over live -- must have been quite a show!)
Personally, I always preferred the more "song"-styled pieces from ELP, like "From the Beginning" or "Still...You Turn Me On" over their sink-under-their-own-weight classicallish extravaganzas.

*Whew* Okay, that's enough babbling on for now . . . happy progging!

**Piett**

 

Piett: Thank you very much for your review of the Yesshow. I had read the comments of the 12th Tower Theatre show on the Yes newsgroup and they mirrored your sentiments: great show; horrible audience. Supposedly, last night's audience was more subdued.

For the most part, the screaming fans have been rather sporadic on this current tour and tended to only get annoying during the acoustic Howe moments (e.g. intro to "And You And I," "Nine Voices"). But for some reason, your show had the rudest *fans* of the entire tour. I am sorry that this colored your opinion of the show, but I agree with you about the concert-going experience being destroyed by obnoxious, drunken louts. On the Open Your Eyes tour, I discovered that Yes was beginning to attract a ZZTop-like audience (no offense to you Toppers out there) where the concert serves as background entertainment while the patrons beat each other up (this seriously happened at the 2 San Francisco shows I saw in 1997). I think what has caused this is a change in fanbase. Since you attended the Union show, you know what I mean. I've noticed that now casual listeners (i.e. people with nothing better to do that evening so they drag their companions along for a night out hoping to hear "Roundabout") are going to the shows in droves. These are people who usually have no idea who is in the band or that even a new album has been released (kind of like those people who shouted for "Starship Trooper"). It's harder to avoid these types in a seated venue where it's impossible to relocate to a different chair.

As for the acoustics of the Tower Theater, it might have had something to do with where you were sitting. This has been an ongoing problem with the tour because people who sit on Howe's side can't hear Igor, Chris or Billy; people who sit on Billy's side can't hear Steve or Igor. Apparently the best place to sit/stand on this tour is near the mixing board or in the balcony. When I attended the House of Blues shows out here in Los Angeles, I had a perfect balance when I stood to the left side of the mixing board. But on the next two nights I stood in front of Steve and couldn't hear anything except Steve, Jon and Alan. So I think it all comes down to the acoustics of the venue itself, which is most unfortunate to the listeners and the band.

But most likely I've been spoiled by more intimate, esoteric shows such as the recent Peter Hammill or Fish shows...
That sounds like the case. I used to always attend the shed/cave shows similar to the Spectrum. But within the past 10 years, I have come to appreciate and prefer the club shows. While I despise general admission shows for the required waiting period of standing outside, I respect the audiences a great deal more than those of a 20,000 seat arena.

And speaking of Fish, Piett, are you going to his show at the Theatre of the Living Arts on January 16th? You lucky east-coasters...you get all the cool shows!

But thanks again for your review!

[This message has been edited by klingklang (edited 12-14-1999).]

 

Oh, good; I'm not nuts then.

[n.b.: Playing as I type: "Squonk" -- this thread has made me go back and cycle through some classic stuff alright...]

The real kicker here, klingklang, is that my seat was floor level, right beneath the balcony, to the left of the mixing board. redface.gif I shudder to think what the show would have sounded like in another seat!!

Hmmmm. . . when did this sea-change come over a Yesshow audience? I would thought their lesser relative stature now would keep the "event-goers" -- "casual listeners" as you call them -- out and the focused Yes fans in. Huh.

People beating each other up?? At A Yes show? This is ironically grotesque . . .

. . . actually my clearest memory of the '91 show was Jon waving to a crowd of us out of the window of his limo as it barrelled out [oh man -- "Man Mad Moon" just started. God I love this tune...] from under the complex, nearly running us over . . .

Yeah, I just might go and see Fish again! I saw him there in '97 -- he puts on a great show. He may look like something from out of "Where the Wild Things Are" but he has a commanding performance. Still, I've run alternately, or mixed, warm and cold with him, as I have Marillion, since -- well, you know when.

Do you have anything to do with Philly at all? You sound like you are familiar with these venues...

**Piett**

"Hey man, I'm the Sandman, and boy have I news for you . . ."

 

Well, if you were sitting on the floor to the left of the mixing board, then I guess the Tower Theater is worse than I thought...

I think the Yes audience changed with the 1997 tour for Open Your Eyes, which was basically a *greatest hits* tour. The constant touring has probably put a lot of people off--especially those who are tired of hearing "Roundabout," "Owner..." and "And You And I" year after year. Yes fans are a weird bunch: they are extremely critical of the band and go so far as to divide themselves into factions. I'm from the Trevor Rabin-era (like the rest of you) so I tend to avoid that mentality, but there are a lot of people who refuse to acknowledge Yes music made after Going For The One. Also, a lot of people gave up on the band after the Union tour (probably due to the imperfections of that album, along with the loss of Howe, Bruford and Wakeman) and the Talk tour was a financial disaster. I don't think the band has recovered since then.

That's interesting that you mention you were almost run over by a waving Jon in 1991. The same thing happened to me except it was Chris Squire who almost ran me over in a limo. He rolled down his window, said "Hello" and sped on out from the Oakland Coliseum. That was during the days I used to wait for bands outside venues (silly me ).

You should definitely see Fish again, Piett. I too saw him in '97 out here in Los Angeles and it was phenomenal. The show started late and I had to leave at midnight, but from what I saw I was completely blown away. What impressed me was that he performed like he was in front of a crowd of 20,000 rather than 500. And since this is Fish's only American tour for Raingods With Zippos, you should definitely go. But I know what you mean about the uneven material that has been released from Fish and Marillion in the past decade or so. I still haven't picked up Marillion.com, but I know it's inevitable for me to do so...

As for my knowledge of Philly, no I have never been there. I just know the names of various venues throughout the world.

On an unrelated note: Genesis is going to be on an episode of Behind the Music this Sunday on VH1. There will be interviews with PG, Anthony Phillips and PC that I know of.

 

I want to thank you all for recommending Nursery Crime, Selling England By the Pound, and Trick of the Tail! I can?t stop listening to them; their musicianship and creativity has me in awe. It's makes you hatch theories that Banks, Collins & Rutherford were, sometime in the early '80s, captured and replaced by alien beings from planet Sugarpop.Lieutenant Piett, I think you may be on to something?. It?s inconceivable that they are the same band. I?m still trying to figure out what rock I?ve been hiding under all these years to not have been listening to their earlier works. fett, if you haven?t already, get all three. I can?t decide which I like better....

As for the Yes fan factions, it somewhat resembles the various factions from the band itself, where they can?t seem to keep a consistent lineup. For example in the book Yes Stories, Bill Bruford doesn?t seem to think very highly of the musicianship of some of the later members. As klingklang pointed out, I?m too am glad that I don?t have that mentality. I can enjoy and appreciate the works of all the various lineups and albums.

 

I?m still trying to figure out what rock I?ve been hiding under all these years to not have been listening to their earlier works.
I know someone who recently turned 39 who just went out and bought a few of the Japanese Genesis remasters. This friend of mine shares these same sentiments, so you're not alone, Captain Needa.

But that is an insightful comment you made about how the Yes fan factions are based upon the various changes in members. And if you liked Yes Stories, I'd highly recommend picking up a copy of Close To The Edge: The Story Of Yes. It's a UK hardcover, but it can be found for under $30. It's quite revealing about how Yes is driven by egos rather than the desire to make great music.

 

Captain Needa -- Congrats on your newfound "discovery"! Indeed, it's a bit like finding Atlantis . . .

Yes: "driven by egos rather than the desire to make great music." Ah-hah! This is sadly evident from time to time . . .

To bring back some names mentioned earlier . . . I've learned from the http://www.marillion.comMarillion site that their bassist Pete Trewavas has founded a "prog supergroup" called SMPTe with members of Dream Theater, Spock's Beard, and Flower Kings. The album is to be called TransAtlantic . . .

I can just hear the critics now, at the mention of the phrase "prog supergroup" . . .

. . . but as every Progger knows . . . s---w the critics . . .

**Piett**

 

Thanks for the heads up on that TransAtlantic project. That sounds like an interesting collaboration.

So did anyone watch the VH1 Behind the Music special on Genesis this evening? Considering the time restrictions, I thought it did a good job of detailing the band's history. In fact, I learned that Ant Phillips left the band due to stage fright--something I never knew before.

 

It's interesting that this thread is popular with two ill fated Imps. Needa and Piett....

Sorry you had a bad experience at the show my friend. I've noticed this at King's X shows lately as well. Everyone still wants to hear 'Over My Head' from '90. It's like "Hello!!! They've recorded other music since then!!! If you'd bothered to buy it, we'd be seeing this show in an arena and not this crappy little club!!!!" But I digress...


Thanks for the Genesis tips guys- I plan on picking up a few of their cd's after Christmas when I've got a little more $$ to spend. I tend to be a little bit of a head banger (an 'intellectual metal-head' as my friend from the Galactic Cowboys puts it), so my main concern with Genesis (and ELP) is the lack of good heavy guitar work- I have nothing to base this on, but I've always percieved them to be keyboard based bands. Is this true?

I'm also wondering if any of you guys are into Sting at all. I would call him progressive, but definitly pop (I'm ignoring the Police stuff....bleackkkkk...). I really like his last few albums. Odd time signatures and very experimental (and he actually sings in a key that's comfortable for him-nice change). Any fans here?

Rumor has it that Chris Squire's ego is exactly what has caused so many problems in the band's history. If you watch the Yestory documentaries, this comes thru quite clearly. ABWH originally tried to do that album under the name of YES- but Chris Squire owns the name and wouldn't let them use it. I don't know how or why it is this way, but it's got to cause some tension within the group. Supposedly PBS did a live broadcast of a show from 'The Ladder' tour a few weeks ago. Anybody catch it (or tape it possibly? Hint hint...).

 

fett: Personally, I'm more of a Police fan than a Sting fan. However, I do hear the textures that you are describing and I admire Sting for his willingness to branch out and try different musical styles.

If you're looking for big power guitar, then I guess Genesis will not be to your liking. But I would highly recommend you making the decision for yourself because they're such a superb band. Steve Hackett is an excellent guitarist (Ant Phillips is only on the first album, but he has some excellect solo albums). So you might want to check out any of the Genesis releases prior to And Then There Were Three that feature Hackett.

As for Chris Squire's ego, I think all the members are guilty of massive egos. On a related note, Jon Anderson was nicknamed Napoleon in the 70s because he would always dictate what music was to be made (this is why he got into it with Trevor Rabin--an equally dominant personality when it comes to music).

The name issue you're referring to was certainly an interesting moment in Yes history. ABWH was using the name Yes in its advertising and Squire got upset so he filed a lawsuit (which was settled out of court). Even though Yes was dormant at the time (1989), Squire still retained the name in a technical sense (being the only person in the band to have never left, it made sense). In a recent interview, Steve Howe stated that the ownership of the name Yes belongs to those who are in the band at the time. Whatever...

And the recent concert that was broadcast on TV was on Direct TV (DSS). I had to beg like 8 different people before I could find one that was willing to make a copy for me. So, just email me fett and I'll hook you up with a copy. It's really cool, but it cuts out 3 songs. Supposedly a DVD will be made available next year, but that's still a rumor.

 

I've heard that Rabin and Anderson clashed alot during Big Generator and then the Talk tour was about all Rabin could take. What I don't get is how these guys can all disagree about the rights to the name, even to the point of a lawsuit, leave the band and come back b/c of personality conflicts, and then end up back playing together again. It seems like some major reconciliation happened around the time of Union, but all the politics that surround Yes is one of the things that makes them so interesting to me. It's cool that the music continues to take presedence over the other problems they've faced.

I'm definitly planning on checking out Genesis. If you haven't picked up any Sting albums let me recommend 'Ten Summoner's Tales'- I was very very suprised by the depth and 'risks' on this album. Very tasteful- ignore the Sting of the radio.

 

I've heard that Rabin and Anderson clashed alot during Big Generator and then the Talk tour was about all Rabin could take. What I don't get is how these guys can all disagree about the rights to the name, even to the point of a lawsuit, leave the band and come back b/c of personality conflicts, and then end up back playing together again. It seems like some major reconciliation happened around the time of Union, but all the politics that surround Yes is one of the things that makes them so interesting to me. It's cool that the music continues to take presedence over the other problems they've faced.

I'm definitly planning on checking out Genesis. If you haven't picked up any Sting albums let me recommend 'Ten Summoner's Tales'- I was very very suprised by the depth and 'risks' on this album. Very tasteful- ignore the Sting of the radio.

 

I know someone who recently turned 39 who just went out and bought a few of the Japanese Genesis remasters. Indeed, it's a bit like finding Atlantis . . .I?m 34, and really wish I had made these discoveries 10-15 years ago?. So after thoroughly enjoying those Genesis albums, I also picked up Foxtrot and Wind and the Wuthering, also incredible works. I think I prefer the post-Gabriel albums better, but they are all worthwhile.

I finally found a copy of Dream Theater?s Images and Words and ? wow! It?s like prog-metal heaven! I especially like the intro to Learning to Live; the 6/8-9/8 repeating riff countered with the straight quarter-note beat ? great stuff! I then bought some of their other works:When Dreams and Day Unite, A Change of Seasons, Awake, and Scenes From a Memory. Not nearly as good as Images and Words, but they all have some fantastic playing. They seem to overly concentrate on showing off their chops, but I guess they need something to compensate for their somewhat sappy lyrics. It would make my day if they stuck to instrumentals (YTSE Jam simply rocks!).

I also checked out Spock?s Beard?s Beware of Darkness. Unbelievable! You can definitely hear the Yes influences (Nick D?Virgilio?s Brufordesque drumming for one). Neal Morse does some fine work with the piano and acoustic guitar as well as singing. I also like how they structure the lyrics into the songwriting; very creative. I?ll definitely be listening to more of them!

Given the favorable comments about Gentle Giant, I bought Playing the Fool: Live album. Hmmm? I guess they are an acquired taste. I?ll have to try again, but unlike Genesis, Dream Theater and Spock?s Beard, I didn?t hear anything I could appreciate after the first listen.

I guess I must be a closet prog fan, given that I?ve enjoyed Yes, Rush, Pink Floyd, ELP, and Kansas all these years, as well as my recent ?discoveries? of Genesis, Dream Theater, and Spock?s Beard.

A big thanks goes to fett for starting this thread, although it does seem to be costing me a fortune?.

 

Up, up I say . . . fellow ill-fated Imperials and all!

fett -- yeah, I always had a non-fanatic admiration for sir Sting, but moreso with the Police than solo . . . with the Police, things were a bit brasher, a bit more energized, prob'ly 'cause they were a younger band and still hungry to "make it", whatever that means . . . Sting's bass playing is a lot more aggressive in his Police era; though still effective and characteristic nowadays, he's really pushed the bass back in the mix. This is understandable, as he has matured; he is now more interested with composition and production, methinks. I had tons of respect for him, though, when he went "back" to bass after Dream of the Blue Turtles.
Bass is a very powerful yet very discreet instrument . . . it isn't A minor 'til I say it's A minor . . . (--Sting)
Police bass lines are par for the course for aspiring bass players! When I was ~16 (2 years into playing bass), my low-end diet consisted of huge servings of Police, Rush, and Led Zeppelin . . . (and of course, Yes).

I'm glad to hear Sting still taking some musical challenges . . . then again, when you've sold your entired song catalogue to EMI Publishing for a cool $80 million, you can do whatever the hell you want . . .

. . . yes, I think it would be accurate to say Genesis and especially ELP were more of a "keyboard" band -- Hackett had his moments in the spotlight, but on the whole went for a more textural, broad approach, blending in with all the instrumental elements -- the main reason Gabriel wanted him to join! If Genesis had a "lead" player of anything, it was definitely Tony Banks on the keyboards.

I think that the name Yes = $$$. Or at least, it once did. That's why Squire has held onto it so jealously, it seems. And that's why begrudged ex-members keep coming back. Cynical? Well, maybe; the whole "Union" thing was a bit incredulous. And as a funny counterpoint, I have to say my favorite aspect of the Union album was Tony Levin!

...speaking of whom, if you've a hankering for some fantastical instrumental/world/jazz/prog/whatever sounds, check Tony's site: http://www.papabear.com http://www.papabear.com . . . check out Bruford Levin Upper Extremeties especially. (Anyone here also have that? I say them in Philly last Dec. . . . mind-blowing . . . )

klingklang -- Naw, of course I missed the Genesis Behind the Music episode. Maybe I'll catch it in rerun. But a coupla years ago a video came out called Genesis: A History, which I think was a BBC programme which did the same thing . . .

Capt. Needa -- Funny you mention that Gentle Giant is an acquired taste; one of their live albums is, in fact, called Acquiring the Taste! Ba-da-bing! But indeed, they are an acquired taste, one which I too haven't really acquired . . . they were part of what was apparently known as the "Canterbury scene," a different breed of Olde Englishe Progge than the London (Yes, Crimso, VdGG, etc.) scene . . . other bands included Hatfield and the North, the Enid, Barclay James Harvest, and Caravan, I think...

"Closet" prog fan? Is there any other kind, in this age of metal-punk-ska-white-boy-rap?

**Piett**

 

Needa I was really hoping after Falling Into Infinity- the next to last DT album, that they were going more in a songwriting direction, as that album had the most tasteful songwriting to date, without sacrificing the technicality- there was some stuff you could really grab onto. However, when Scenes from a Memory came out a few weeks ago I realized they'd gone completely the other direction. I don't think the music stops during the whole hour plus long cd!!! It's incredible, but reminds me of Yes's very self-indulgent and belabored Tales From... album. I guess all prog. bands eventually just have to get that out of thier system. Still a great band, though I feel like they try to imitate Yes somewhat in thier 'New Age' image.

I almost forgot!- If any of you guys are into Kansas (Livgren era) - he did three albums with a band called AD after he left. They're very hard to find now- I found mine in Christian bookstores a few years ago- but well worth the effort. I like these three cd's more than anything he ever did w/ Kansas beleive it or not.

Piett- I just got Sting's 'Brand New Day'- he's really going for more of a 'World Music' sound these days. Still- incredibly tasteful. Good mood music. Sting is the anthisis of everything I listen to, but the guy just really gets my attention for some reason.

 

Suh-weet!! I can't believe I passed up this thread!!

As Piett has already guessed from my nickname, I am a big Genesis fan. I own all of their albums (including Spot the Pidgeon), I have a couple of tribute albums (which in general suck), an import or two, the box set and 3 videos.

The PG era of Genesis cannot be beaten. Nursery Cryme, Foxtrot, Selling England by the Pound, (A good recommendation for those looking to get into early Genesis), and The Lamb are probably the best albums I have ever heard in my life.

I forget who mentioned it, but Steve hackett has been underrated by too many for too long. I own at least 8 of his albums, both rock and acoustic, and he is a musical genius and a maestro with his guitar. What is really cool about him is that he is doing an incredible job of keeping prog-rock alive. His albums entitled Watcher of the skies: Genesis Revisited, and Tokyo Tapes (recorded live) have such musicians as Ian McDonald, John Wetton, Bill Bruford, and on. It's like he gathered members from every great prog-rock band to re-record old Genesis tracks, trakcs from King Crimson and some new tracks. Far out stuff!

I'm also a fan of Yes, ELP, Jethro Tull and the like.

Oh, I've put most of my Hackett albums on mp3, and I just got done encoding "Supper's Ready" on mp3. If anyone feels like downloading a 20 meg mp3, give me your email

(I hope the admins don't frown upon the mp3 distribution thing.. I don't remember seeing anything about this in the rules)

[This message has been edited by Ikhnaton (edited 12-30-1999).]

 

Piett: I also have the Bruford Levin Upper Extremities album. I quite like the first song, "Cerulean Sea." Personally, I prefer Levin's World Diary album, but B.L.U.E. has some fantastic guitar work by David Torn. You are so lucky to have seen them live because they only played the American east coast and Japan. I have a boot of a show in Japan but it's hardly comparable to the real thing.

And a greeting to Ikhnaton.

Happy New Year fellow prog fans!

[This message has been edited by klingklang (edited 12-31-1999).]

 

Happy New Year fellow proggers!

fett- I haven?t got a hold of Falling Into Infinity yet. I?ll have to check it out. I agree with you about Scenes From a Memory. It seems that they were trying too hard to be creative.

Lieutenant Piett, I?m glad I?m not alone in my opinion of Gentle Giant?.

The Lamb? I'd recommend to be the LAST Gabriel-era album you'd check out; fitting historically, and it's really in an orbit all its own.Yes, I?d have to say it?s a bit? out there. I think you need to a huge Gabriel-era fan to really appreciate it, even though Banks and Rutherford wrote most of it. Like other concept albums (Dream Theater?s Scenes From A Memory and Yes?s Tales From Topographic Oceans), only a die-hard fan will find it worthwhile.

Anyway, I have just become a huge, huge fan of Spock?s Beard! I also bought The Light, The Kindness of Strangers, and Day For Night: they are all absolutely incredible! klingklang describes them as being too derivative, but I think that?s what I find so enjoyable about them. They?ve put the best of Yes, Genesis, King Crimson, ELP, Gentle Giant, and even the Beatles all into one amazing package.

They are all fabulous musicians, and Neal Morse has mastered the art of pop-influenced classic 70?s prog song writing. Melodically memorable and tastefully creative, they maintain a strong progressive element in their music. They bounce from one sound to another (often in the same song), but generally they have a heavier guitar than Genesis or ELP, aren?t as self-indulgent or pretentious as Yes, and are more accessible than Gentle Giant (Thoughts and Gibberish have the GG-ish counterpoint, but are far more enjoyable). They all look to be everyday normal family guys, and are California boys (except for Ryo Okumoto) to boot! The Doorway has become one of my all-time favorites. With out a doubt, they are the favorite of my recent discoveries (I still need to look into Fish-era Marillion and Flower Kings ? any suggestions?).

I need to get to Europe this spring? Spock?s Beard is the opening act for Dream Theater?s European tour!!!!

I?m eagerly looking forward to TransAtlantic. The latest news is that TransAtlantic will also be the group?s name (as opposed to SMPTe or the original Second Nature). The members are Roine Stolt (Flower Kings), Neal Morse (Spock?s Beard), Mike Portnoy (Dream Theater) and Pete Trewavas (Marillion). More info can be found at: http://www.dreamtheater.netDream Theater and http://www.spocksbeard.comSpock?s Beard .

 

Good to see a few new faces around here!

Does anybody have Liquid Tension Experiment featuring members from Dream Theater and the illustrious Tony Levin, or Platypus featuring Ty Tabor from King's X and Dream Theater's rhythm section? These sound interesting but I've been short of cash lately.

BTW if any of you are gamers, be sure to check out the Yes song 'Homeworld' on the new PC game also titled 'Homeworld'. Pretty cool.

 

Did someone already draw the parallel between "Supper's Ready" and that 23 minute, 7 part song by Dream Theater?

On that same album can be heard a clip (remake) of "Turn it on again" as well.

 

BTW, http://www.stevehackett.comSteveHackett.com is a good place to go for Genesis, Hackett, Gabriel, et al fans. They are selling these mini-vinyl editions of the Genesis albums. They are replicas of the original vinyl covers, but with CDs.

Hackett is the man! He is providing his fans with mp3s of certain songs, and was actually autographing albums you bought if you requested it for a while. I got one, myself.

 

JT we seem to have similiar taste. King's X is my all time favorite. Severely underated. Fav album?

I'll pick up those LTE cd's for sure.

 

Those LTE releases are awesome--especially the second release (the songs have better structure).

And fett: Have you played Homeworld? Is it any good?