Posts Tagged ‘rush’


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Forgotten Suns – Innergy

Forgotten Suns Innergy Forgotten Suns   Innergy
Portugal’s Forgotten Suns, after a game of musical chairs to determine their current line-up, have returned to fans of inventive prog-metal with their third release, Innergy.  The record’s loose concept deals with questions of the definition of “life” – whether that relates to the actual physical state of living versus dying, or as it relates to the quality of life.  The lyrics are written by band leader/guitarist Ricardo Falcao and sung by new vocalist Nio. Falcao’s main musical foil, keyboardist Miguel Valadares, returns to the fold and they’re joined by the spectacular rhythm section of drummer J.C. Samora and bassist Nuno Correla.  Despite the chaotic journey the band experienced prior to its release, Innergy is easily one of the best recordings the prog-metal scene has heard in recent years.

Opening with the sounds of an emergency room and an attendant yelling “Clear!” as he tries to revive a patient, “Flashback” centers on the thoughts of this patient as he fights to return the world of the living.  Nio’s voice at times conjures both Mike Patton and Incubus’ Brandon Boyd with clear strains of power and soul.  Falcao’s lead line is crushing and precise as he moves to convey the struggle within the mind of the song’s protagonist.  The EKG sound effect at the close of “Flashback” moves from flatline to the persistent beep indicating our hero’s victory.  The complexities of the rhythm throughout the piece likewise signal to the listener that this band has indeed overcome its own demons and are about to deliver a collection indicative of their own resurrection.

While they’re on a roll, the band charges straight into “Racing the Hours,” an examination of the passage of time as the song’s subject questions the listener about the merits of action over complacency.  Valadares steps to the fore during a solo atop lightning bursts from Samora and Correla.  His keyboarding is incredible as is the sound of his synthesizer – like an aggressive Don Airey, both classic and dazzling at once.  The 10-minute opus “News,” follows with more amazing performances from the group including funk-slapping breaks from Correla and atmospheric sections from Valadares.  Falcao’s lyrics this time follow the hero as he first attempts to escape from hearing the depressing daily news and then is overcome with the realization that rampant natural destruction is consuming Europe and America’s Pacific coast.  Falcao and Valadares play off of one another until at times we’re unable to distinguish guitar from synthesizer.

The idea that there might be one consistent concept running through Innergy is called into question with the tune “Doppelganger.”  At just more than 4 minutes in length, it’s the shortest song on the CD and seems to be designed for release as a single.  The lyrics refer to a menacing double of the hero that lurks just out of view, feasting on human despair.  The song is consistent with the rest of the music on Innergy save for the catchy repeated word “doppelganger” and the four dark tones accompanying it.  Valadares’ solo and textures are once again brilliant.

The 7-minute “An Outer Body Experience” is pure, creepy sci-fi about a man who’s figured out how to escape from a near-death state and enter into a reality where the parameters can only be speculated on by others.  While investigators try to understand what’s happened to the subject, he is driven somewhat mad by the power of his visions and eventually moves to a place beyond heaven and hell, peace and war.  Every member of the group is given room to stretch out and Falcao capitalizes on that by delivering one of his best, demented solos.

With their professed love of Rush, Dream Theater and Marillion, Forgotten Suns are in the mindset to create music that stands alongside that of their favorite groups.  Unlike most other combos with similar inclinations, this band is most capable of delivering music with its own identity that doesn’t merely borrow from what has gone before.  Falcao and company will hopefully soldier on in this incarnation and we can expect more sci-fi short stories from a band with talents well beyond their years spent in the music business.

- Mark Polzin

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25 Great Moments in Rock Drumming: Neil Peart, “Working Man” live

Rush All The Worlds A Stage 25 Great Moments in Rock Drumming: Neil Peart, Working Man live

25 Great Moments in Rock Drumming – Day 14: Neil Peart, “Working Man,” from All The World’s A Stage by Rush

When Neil Peart joined Rush, they were a meat-and-potatoes rock and roll trio. Peart soon took over almost all lyric writing duties and pushed the band into new territory. His high points could fill a book, but I’ll defer to his first recorded drum solo during “Working Man” from All The World’s A Stage. When he flies down the toms and Geddy Lee announces, “Ladies and gentlemen, the professor on the drum kit,” it’s the beginning of a new era in rock drumming.

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10 Great Bands and Musicians You’ve Never Heard Of

The greatest musical discoveries are always unplanned, and when I come across a great band or artist I have never heard before, I want to share my find. Here are 10 great bands and musicians you’ve probably never heard of, but you should! And there’s another band I’d like to include, but need more info. Maybe you can help?

Jimmie Spheeris Isle Of View

  1. Jimmie Spheeris – The singer/songwriter who should be mentioned with the giants. Spheeris’ career – and life – were cut short when he was killed by a drunk driver in 1984. This Youtube tribute showcases a handful of Spheeris’ top tunes and gives a sense of his range. I’m still waiting for Spheeris to receive the same reappraisal and rediscovery that Nick Drake so rightfully received a few years back. Get Isle Of View and The Dragon Is Dancing ASAP.Todd Hobin Band
  2. Todd Hobin Band – Upstate New York was home turf for the Todd Hobin Band, which built a steady following in the 1970s playing upbeat rock with a tinge of country. I first discovered Hobin through the 1978 Todd Hobin Band album. Long before  power ballads were twisted into parody by “metal” bands looking for a single, Hobin wrote one of the great ones, “Everybody’s Got A Song To Sell.”cherokee 300x300 10 Great Bands and Musicians Youve Never Heard Of
  3. Cherokee – Cherokee’s self-titled album from 1971 is for me the great, lost country-rock record. Fronted by the three Donaldson brothers – David, George and Robert – who first made a name in the 1960s, playing as The Robbs. Cherokee enlisted the formidable talents of Chris Hillman and Sneaky Pete Kleinow for help on their one and only LP. Great grooves and playing across the platter.Ben Atkins Patchouli
  4. Ben Atkins – Atkins’ 1971 album Patchouli is notable not just for its heavily scented cover, but also a curious gatefold featuring the singer planted butt-down in an outhouse, cigarette in hand and deep in concentration(?). Backed by a cast including Barry Beckett, Donald “Duck” Dunn, Bobby Manuel, Marvell Thomas and Al Jackson Jr., Patchouli is a swampy mix of Southern R&B and soul bolstered by Atkins’ golden pipes. The spare arrangement of Jerry Puckett’s “That Brings Me Down” is superb.Michael Dinner The Great Pretender
  5. Michael Dinner – Spending a Saturday afternoon digging through musty LPs in used record shops is my idea of a good time. On such digs I’ve discovered dozens of cool records and bands that never got mainstream attention. Give me $20 and two or three hours in the bins and I’ll come back with something cool to listen to. One of my favorite ways to find new artists is to look for “associations” on the cover or sleeve. When I first came across Michael Dinner’s The Great Pretender, I saw many familiar names backing him: Linda Ronstadt, Doug Haywood, Herb Pedersen, Sneaky Pete Kleinow, Larry Knechtel, Mike Utley and Russ Kunkel. With friends like that, the album can’t help but have something to offer. Just listen to the catchy title track from Dinner’s The Great Pretender and wonder why he never made it big.Hawk African Day
  6. Hawk – “It’s dark and still in the chief’s village, protected by the mountains of the great southern regions of Africa. Drums echo through the valley, as the first fingers of light paint the sky with the fresh colours of morning. And to the day begins… And so begins the amazing title track from Hawk’s 1971 release, African Day. Hawk was a South African act from the early 1970s with a penchant for flute- and percussion-driven rock, with a sound that could only come from Africa. Imagine Thick As A Brick-era Jethro Tull meeting Islands-era King Crimson on safari. Check out African Day - available through Fresh Music, a South African music label with a terrific selection of reissues from a music-rich country.Roger Rodier Upon Velveatur
  7. Roger Rodier – Montreal’s Roger Rodier released Upon Velveatur in 1972, a nimble LP of French-Canadian folk rock that bears comparison to Vashti Bunyan and Nick Drake. Long out of print until resurrected in 2006 and capped with bonus tracks. Upon Velveatur is perfect listening for a foggy day, when there’s no chance of sunlight.FM Black Noise
  8. FM – Toronto’s FM are often lumped in with Rush and Saga as part of Canada’s progressive rock scene from the 1970s and ’80s. FM were a different animal, though, with more of a space-y approach that included electric violins, mandolin and synthesizers. Black Noise is my fave of the band’s recordings.Federal Weights And Measures Waiting In Your Backyard
  9. Federal Weights And Measures – Minneapolis’ Federal Weights And Measures released Waiting In Your Backyard on the short-lived GrooveTone label in 2000. As well, the band soon ceased to exist but Waiting should have received a better shake. It’s an atmospheric collection of alt-country and roots rock that fans of the Jayhawks, early Wilco or Drive-By Truckers will surely dig.
  10. Dave Evans – Think of the torchbearers of British-Isles fingerstyle guitar and names such as John Renbourn, Martin Carthy, Bert Jansch and Davey Graham spring to mind. Dave Evans is another who should be on that list. An astonishingly skilled acoustic guitarist who now seems shrouded in mystery. I don’t know where Evans is, if he still plays live – is alive – or has recorded anything recently, but this Youtube video of “Stagefright,” with Evans playing a guitar he made himself, sheds light on one of Britain’s true originals.

Readers, Help!

Lastly, I discovered an Australian band online several years ago called Stereomatic. I heard two songs: “Glider” and “Pelican,” both of which I would describe as lush, downer power-pop. Really gorgeous stuff, but that’s all I’ve been able to find. Stereomatic released an album titled Sandmans And Suntans in 1999 on Interstate 40 Music. The CD is out of print and there is little info about the band anywhere. If you know where I can get a copy of this disc, please let me know.

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10 Underrated Rock Drummers

Drums and drummers are the backbone of rock music, heavy metal, jazz, blues, big band and many other music genres. A rock show wouldn’t be a rock show without a drum solo, although it may be 10 minutes shorter! Rock singers and guitarists will always get the lion’s share of the fame, but take away the drummer and drum set and the song falls apart. Imagine Led Zeppelin’s “When The Levee Breaks” minus the thunderous pounding of John Bonham, or Rush’s “Tom Sawyer” without the dazzling stick work of Neil Peart. Along with those titans of the kit are dozens of other great rock drummers who deserve credit for their creativity and musical vision. Here are 10 underrated rock drummers.

Thin Lizzy Johnny The Fox

1. Brian Downey – The Thin Lizzy sound is usually attributed to the twin-guitar attack of Scott Gorham and Brian Robertson, but other “Brian” – drummer Brian Downey – almost always gets overlooked. Downey cemented the many brilliant songs written by Phil Lynott with a great drum sound and superb timing.

2. Rod D’Eath – Rory Gallagher’s live shows from the early 1970s are legendary. When he was on – which was almost always – no one could touch the Irishman for energy and charisma. Gallagher needed a band that could keep up with him, and drummer Rod D’Eath was the man swinging the sticks with a power that belied his spindly frame.

3. Bruce Crump – Molly Hatchet’s timekeeper is one of rock drumming’s most overlooked. Go back and revisit “Flirtin’ With Disaster” for a lesson on how to create drama and interest within a guitar riff and the song itself.

The Band

4. Levon Helm – The Band were so bloody loaded with talent that it’s easy to overlook how intricate and complex the arrangements were. Helm’s drumming combined an almost military-like precision with a backwoods ethos that made songs such as “King Harvest (Has Surely Come”) and “The Night They Drove Old Dixie Down” even more stirring.

5. Steve Gorman – Take the power of John Bonham and the finesse of Phil Ehart and you might get a drummer that sounds something like the Black Crowes’ Steve Gorman. Listen to his shimmering hi-hat and cowbell work on “Wiser Time.”

6. Danny Seraphine – Remember when Chicago was a cutting-edge rock band, not afraid to delve into experimental jams that lasted an album side? Seraphine’s formidable jazz chops made even the band’s most meandering cuts groove.

7. Phil Collins – Drummers already know, but once upon a time in a Genesis long, long ago, Collins was a rhythmic monster. His bandmates also discovered he could sing. Give me “Harlequin” over “Easy Lover” any day.

8. Barriemore Barlow – John Bonham called Barlow “the greatest rock drummer England ever produced.” Endlessly inventive, Barlow was the perfect percussive foil to Jethro Tull leader Ian Anderson’s songwriting.

9. Jon Hiseman – Progressive rock fans will know Hiseman as the founder of Colosseum and for his later work with guitarist Allan Holdsworth in Tempest. Hiseman’s feet and hands seem without bounds, as he flies across the kit. While Billy Cobham was making jaws drop in America, Hiseman was picking up loose teeth in Europe.

The Doors Morrison Hotel

10. John Densmore – The Doors’ drummer layed down beats almost tribal-like in their persistence and drive – cue “Touch Me,” while his angular sense of time and jazz leanings are all over Doors’ classics including “Hello I Love You” and “The Wasp (Texas Radio And The Big Beat).”

Who would you add to the list?

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Reinventing Rush?

Rush Fly By Night

(Music Radar) – Neil Peart has taken to his website to discuss the state of Rush. According to the acclaimed drummer, the band will convene in Los Angeles very soon to discuss their next recording, the follow-up to 2007′s Snakes & Arrows.

“The music world – or at least the business of it – is very different now, even since 2006, when we began work on Snakes & Arrows,” Peart continues. “The importance of ‘the album’ is not what it was, and there is currently a reversion to a musical climate rather like the 1950s, when only ‘the song’ matters.”

Read the rest of the story here.

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Votum – “Time Must Have A Stop”

Votum \

Time Must Have A Stop is the debut CD from Polish prog-rock band Votum released through Progrock/SPV Records. Although the band has received some notice from various American and European metal publications, it’s very difficult to think of Votum’s music as purely metal.  True, guitarists Alek Salamonik and Adam Kaczmarek have a tendency to veer into a crunchier sound when given the opportunity and vocalist/lyricist Maciej Kosinski can sound a bit like Queensryche’s Geoff Tate, but Votum is aiming for variance of their sound on this record.  Keyboardist Zbigniew Szatkowski adds another dimension to the band’s music that prevents them from completely crossing over into metallic terrain. One good example of this is found on the track “The Pun.” Without Szatkowski’s influence, this would be one of the best tunes you’d never heard by the Scorpions (and I love the Scorpions’ work from the early ’80s on back).  The guitarists and rhythm section of bassist Bartek Turkowski and drummer Adam Lukaszek are constantly pushing to turn the song into a balls-out head-banging workout, but Szatkowski denies them.  Kosinski’s voice is all over the map like a young Klaus Meine’s. But on the disc’s third track,“Passing Scars,” Kosinski is also now pulling the band back away from the metal. The keyboards are adding sounds reminiscent of a string section and Kosinski’s voice is heavily altered by a variety of effects. Is it heavy? Yes. Is it metal? No.

The art design for the CD booklet is rather beautiful and makes me long for the heyday of vinyl.  Similarly, the lyrics are far more poetic than most anything else I’ve heard these days. For instance, the symbolism of the train on the song “Train Back Home” is something that’s seldom used with most hard rock bands and never used in combination with such lovely vocals to the effect gained by Votum. In addition, the 6/8 time signature used on “The Hunt Is On” will occasionally be heard on metal songs to give a galloping, driving feel to the piece.  Kosinski does sound like he’s singing at the other end of a long tunnel (another good metal trick), but the guitar strum at the beginning of the song and the breakdown in the middle reminds us more of Rush (not metal!) than Pantera (absolutely metal!).

But…then…comes…”Look At Me Now.” Kosinski is using an occasional bark, but never for more than a syllable. The guitars and drums sure want us to think this is a metal song, but there’s a section in the center where the music sounds more like a trip to another dimension and Kosinski is singing some sort of Eastern-influenced melody complete with high register harmonies.  OK, guys. You stumped me. Are you a metal band, or what? Well, whatever you call your music, it’s smart, artistic and contains very solid performances.

Votum’s biggest challenge will be in cracking into the American market and that’s only because Warsaw is a long way from Los Angeles. But anyone that enjoys a heavy end to their prog rock will definitely become a fan once they’ve heard Time Must Have A Stop.

- Mark Polzin

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Rush – “Xanadu” video

This video of Rush performing “Xanadu” from A Farewell To Kings is a great look back at a time when Geddy Lee, Alex Lifeson and Neil Peart were tapping into some amazingly creative powers. The atmosphere of this song is incredible – the chimes, wind, bird noises and all. I love Alex and Geddy on the respective double-necks, and Peart’s drumming is phenomenal. Check out the hi-hat and snare work at 1:40 into it.

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