John A.Wilcox's Published Stuff

John A.Wilcox's Published Stuff
Who Is John A.Wilcox?	What Is This Stuff?
I'm a writer / artist / cartoonist / musician / photographer. I'm 39 & I currently reside in Connecticut.	It's a few selected pieces I've written for Progression Magazine over the last few years. Some of these were never published & seen here for the first time.
The Stuff In Question
A View From The Hill by John A.Wilcox Hiya! How's your uncle Stan? Glad to hear it! The other night I saw another jaw-dropping show from the Musical Box. They came down from up north to do that Genesis thing, and I got to thinking about Canada. Sometimes we overlook the creative contributions that Canada continues to shower us with, and I'd like to help rectify that. That's right, folks, this is my special SALUTE TO CANADA column!! When thinking about progressive and imaginative Canadian music, one immediately thinks of Rush, FM (the other prog trio), Jane Siberry, Sarah McLachlan, and Bruce Cockburn. Not a bad little bunch. In fact, in terms of sustained ticket revenues and album sales, Rush are up there with the best of the big boys. You never hear about a loser of a Rush tour. They don't even have a flying pig! Give 'em some credit, folks. Rush have yet to sell out to the almighty dollar, and still continue to grow as artists. Not to mention influence. I can't begin to tell you how many new bands I've heard that base their entire sound on these Canadian superstars. Then there's the aforementioned Musical Box. I'm still knocked out by the slavish effort they put into accurately performing the by-no-means easy material; not to mention reproducing costumes, stage, slides, etc. All to entertain you and me. I don't know that I've ever had that much devotion to anything! I'm told that they're working on presenting a "Lamb Lies Down On Broadway" show - I can't wait! But Canada is about more than just bands, it's about the opportunity to see and hear them. They make the effort there as well. In terms of "doing it right": how many of you get Canada's Muchmusic channel on your cable? Muchmusic is a video channel done right. In addition to MTV-type programming, I've seen live performances from Fairport Convention, Phish, Sarah McLachlan, and Great Big Sea (who I first discovered on Muchmusic). Videos of Gowan, Saga, Ashley MacIsaac, and Loreena McKennit. Specials from all points of the globe - I'm currently trying to find CDs from a cool band called Sezen Aksu that hail from Turkey. I saw them when Muchmusic went to Turkey and showed a good chunk of the Turkish music scene - interviewing bands, fans, club owners, and producers. Sounds great, doesn't it? Their VJs are less about image and more music savvy than their US counterparts. Foremost among them is the fabulous Sook Yin Lee. Sook Yin is a recording artist herself (her 2 Alternative discs "Lavinia's Tongue" and "Wigs'n'Guns" are on the Canadian Zulu Records label). She's a great interviewer and does some mind expanding pieces (one on Allen Ginsberg comes to mind). It all makes MTV & VH1 look hollow by comparison. What still evades me is why does Canada have such a cool attitude towards prog, folk, & experimental and we by-and-large don't? Perhaps the US has become jaded in our quick-fix pre-programmed society. Perhaps it's more subtly complex than that. Whatever the reason, Canada can give us a creative kick up the butt! For that, we thank you, Canada. Consider yourself saluted! Until next time, smoke me some back bacon, put on your toque, and contact me at: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 NEXT ISSUE: Peter Gabriel joins Spice Girls as "Paunchy Spice!" PLUS: Guest columnist Florian Schneider discusses chords you've never even heard of! Jethro Tull: Live at The Oakdale Musical Theater, Wallingford, CT 8/8/97 A significant night, in that it was the first time I met ye editor face-to-face. It turns out that we had been left seats next to each other! After exchanging hellos and a story or three, we settled in for a corker of a show. Tull played 2 sets, opening the 1st with "A Song For Jeffrey." After getting "Aqualung" and an excerpt of "Thick As A Brick" out of the way for the casual fans (but by no means casual versions!) Tull launched into "Dangerous Veils" from "Roots To Branches." Ian was in better voice than I've heard in a few tours, and the band were smokin'! The big surprise in the first set was a full vocal version of "The Whistler." Many songs later, the band closed the first set with a medley of "Songs From The Wood/Too Old To Rock 'n'Roll.../Heavy Horses." Set 2 opened with another medley - this one a bit more juicy than the last: "Bungle In The Jungle/ Minstrel in the Gallery/ Teacher." Just when you thought it couldn't get any better, it did! After a short introduction by Ian, the band hit us with a full-blown "Acres Wild." Unbelievable! Another delight was the pairing of the piano intro of "Flying Dutchman" with"My God." The set eventually closed with "Locomotive Breath" and the band encored with a medley of "En Afrique" (from Ian's "Divinities"), "Living In The Past," a snippet of "Dogs In The Midwinter," and finally "Cheerio." As always, great to see the guys in top form. A solid, "no fail" show! John A.Wilcox Marillion: Live at Irving Plaza, NYC 9/11/97 It was a humid, drizzly night in the city. I was beyond tired. Not the best of scenarios for concert enjoyment, but that's the breaks, as they say. As I entered the Irving Plaza, I discovered that there were 2 opening acts. The first was a solo vocalist/guitarist by the name of John Wesley. To say that he was boring is to be far too kind. Things picked up with the second act: RPM. RPM are keyboardist Jordan Rudess and drummer Rod Morgenstein. They played a propulsive, blinding set that was well received by the crowd. Marillion hit the stage at 10:30, opening with a beautiful version of "Season's End." This lead into 2 numbers from "Brave": "Alone Again In The Lap Of Luxury," and "Hard As Love." Vocalist Steve Hogarth was a dynamo flailing and wailing across the stage. The lovely "80 Days" was next on the bill followed by the 1-2 punch of "Warm Wet Circles" and "That Time Of The Night" during which the crowd sang loud and in key, much to the delight of the band! Hogarth was a man possessed during "Man Of A Thousand Faces" - throwing glitter in the air and spinning like a maniac. Bassist Pete Trewavas and Keyboardist Mark Kelly added great backing vocals on a lush version of "Easter," then punched it up for "This Town." The last chords of "This Town" quickly segued into the opening chords of a scorching "Slainte Mhath," and the main set closed with "King." Marillion delivered quite a long series of encores consisting of "This Strange Engine," "Brave/The Great Escape/Made Again," and "Garden Party." Talking afterwards, the band were in very high spirits, with old pal Trewavas in a great mood despite getting mugged in Toronto a few days earlier. I wasn't sure as to what to expect from Marillion this time around. What I got was as compelling and magical a show as I've ever seen. Thanks, lads! John A.Wilcox Great Big Sea: Play (CD ; 48:12); Warner Canada 02 50645 Another brisk, satisfying disc from the boys from Newfoundland. "Play" is not a big jump from their previous effort, "Up," but that's just fine. Spirited vocals, fab acoustic guitars, bass & percussion with a bit of fine fiddlin'. Most importantly, great songs. Traditional songs like "The Night Pat Murphy Died" and "General Taylor (covered some years back by Fairport Convention)" sit quite comfortably beside band compositions like "Ordinary Day" and "My Apology." 375 pounds of mandolins, tin whistles, and concertinas only add to the joy on "Play." Fairport Convention and Crowded House fans will find Great Big Sea the bridge they've been looking for. So tour the US, already! John A.Wilcox Sam Brown: Box (CD : 49:12); Demon Records UK FIENDCD 789 Honestly speaking, this is the best CD I've heard in 1997. For those who may not know, Sam Brown is a fantastic female vocalist who sang back-up with bands like Barclay James Harvest and Pink Floyd (on their Division Bell tour). She also dueted with Fish on his remake of "Just Good Friends" a few years ago. "Box" is a strongly individualistic work not unlike the first few Kate Bush albums in terms of feeling. Very personal. The songs run the gamut, stylistically - rock, a little bit of soul, and loads of that intimate Bush/Amos-type sound while being in no way derivative. "Ebb and Flow", "Embrace the Darkness", "T.O.E.S. ( The Obligatory Earth Song)", and "Intuition" are especially captivating. Brown has an utterly amazing voice seemingly limitless in range and power. She's also a hell of a pianist. Recorded at Dave Pegg's Woodworm studios, "Box" is a solid work full of beauty and imagery. Get it! John A.Wilcox Robert Fripp: Live at the Bottom Line;NYC 12/13/97 An evening of soundscapes! I couldn't wait. However,due to traffic & bad timing, I got to the Bottom Line about 5 minutes before Fripp took the stage. The only seat I was able to secure was one to the far side of the stage, where I was unable to see Robert once he sat down (I could only glimpse the headstock of his guitar). Accepting my lot, I made the best of it and took out a small pad - drawing my impressions of the music as it effected me. The first "piece" was a bit melancholy, but quite beautiful - like cascades of blue tones shifting and bubbling and melting into each other. By about 20 minutes in, it took on a somewhat bleaker aspect, yet full of power. I suppose I could consider that to be a separate piece. The next piece was very brittle, and reminded me of a room full of light being invaded by chunks of the absence of light (as opposed to darkness). As the piece grew, some overzealous fan broke Fripp's concentration by setting off a flash. After a few moments, the set continued. In the interim a few people took flight, allowing me to see the rest of the set from a better vantage point. There were perhaps 3 pieces, or more properly "movements" in the final 30 minutes of the set, the most emotional being the second of these, which was a contrast of beautiful tones against a dark backdrop of textures. The 3rd piece was less than a minute performed, when Robert left it to resonate on its own, and left the stage. The performance was powerful and beautiful - full of imagination and not just a study in technique. Sadly, it seemed than many folks were mystified - perhaps expecting blazing solos rather than the subtle textures Fripp offers with soundscapes. Too bad - closed ears will never lead to growth. John A.Wilcox Gentle Giant: King Biscuit Flower Hour Presents (CD, 45:38); King Biscuit Flower Hour Records 70710-88035-2 Another Gentle Giant gem unearthed, this time a live show from the Power And The Glory tour in early '75. Giant were in wicked musical form with bassist Ray Shulman and guitarist Gary Green fairly flying across this all-too-short disc. There are 7 songs on the disc: "Proclamation," "Funny Ways," "The Runaway," "Experience," "So Sincere," "Knots," &"The Advent Of Panurge." "Knots" includes bits of "The Boys In The Band'" "Raconteur Troubadour," & "The Edge Of Twilight." "The Advent Of Panurge" has the "Yankee Doodle Dandy" version of the recorder ensemble. The performances easily outshine most of 1977's live "Playing The Fool" disc. Sound quality is close to perfect. Essential. John A.Wilcox King Crimson: The Nightwatch (CD, disc1 - 40:47 disc2 - 43:57); Discipline Global Mobile DGM9707 Ladies and gentlemen: the one you've been waiting for. King Crimson live in Amsterdam 1973. Great sound quality. Fripp, Cross, Wetton & Bruford on fire! "Fracture," "Exiles," "21st Century Schizoid Man" and 9 others. Power, beauty, glory. The Nightwatch is a small slice of time that is wonderful to visit. My pen cannot do this package justice. As Crimson continue to move forward in the '90s, this field trip to the past will remind you why you should still care. I can only hope for the day when King Crimson will once more trust an audience enough to perform 3 complete improv pieces in one set! Needless to say, this set is essential. John A.Wilcox Bruford, Levin: Bruford Levin Upper Extremities (CD, 56:02); Papa Bear Records PBCD3 The rhythm section that needs no introduction to Progression readers. B.L.U.E. finds our dynamic duo joined by guitarist David Torn and trumpeter Chris Botti. The 4 appear together in different combinations over the 12 instrumentals. B.L.U.E. is King Crimsony in a few places, Earthworks-like in a few others. Largely, it is a unique animal full of fire, rage, and cool beauty. Bill Bruford is insane in spots, cutting loose with an almost frightening fury of percussives. Tony Levin is a technicolor flurry of burps, grooves, and melodic patterns. David Torn plays the best licks of his career, and Chris Botti is class personified. This is pure inspiration and perspiration. Don't live without it. Get it from: Papa Bear Records, P.O.Box 498, Woodstock, NY 12498 John A.Wilcox Dixie Dregs: King Biscuit Flower Hour Presents (CD, 56:45); King Biscuit Flower Hour Records 70710-88031-2 This is a "live in the studio" recording of the Dregs from 1979, supporting the "Night Of The Living Dregs" album. It's a totally smokin' affair for all involved. Violinist Allen Sloan and the great T Lavitz on keys have plenty of room to roam on "Freefall." Bassist Andy West and drummer Rod Morgenstein are positively terrifying. Steve Morse rounds it all out with total guitar freakage. I'm just a Dreg slave to tunes like "Ice Cakes" and "Night Meets Light." This disc is a lightning rod of pure unfettered energy. Poetry in motion - extremely fast motion! Listen to "Country House Shuffle" and suffer permanent hair loss!! Not for those with weak hearts. John A.Wilcox Big Big Train: English Boy Wonders (CD, 71:49); Giant Electric Pea GEPCD1020 In the future, the world may very well be ruled by emotionless robots. They have no souls, no sense of touch, smell, taste. This concept depresses me, at times sapping the very life force out of me. Oh, I'm sorry - I meant to say Big Big Train. They sap the life force out of me. English Boy Wonders is a long collection of lackluster rock tunes with minor chords played by really fine musicians. Lots of dirges about some undefined women. The disc closes with the prophetically titled "Fell Asleep." Like Professor Moriarty draining blood from Sherlock Holmes, I'm left weak. Buy some good tunes next time, guys. I want to like you, but you're making it tough! John A.Wilcox A View From The Hill by John A.Wilcox The air is as crisp as an apple today, and I'm watching the dogwoods in the area bloom with confidence. In every issue of Progression, John Collinge makes a concerted effort to bring to the readers the true diversity of the progressive, experimental, new age, world, & folk markets. It is this diversity that I?d like to discuss; at least an aspect of it. That aspect is the marketplace for progressive music (it applies to the other genres mentioned as well). Let's break it down into 2 categories: Major labels & Independent. Both have their advantages and disadvantages. Major labels offer wide reaching distribution and extensive radio contacts. Downside?: conformity, less "hands on" promotion. Independent & individual labels offer greater creative freedom and total control in most cases as well as a greater share of the profits. Period. Downsides? Many. Total artistic freedom often leads to unlistenable self-indulgence. A good ear can strengthen an artist in many cases. Radio? Regional at best, although a few lucky souls get wider play. Distribution varies widely from artist to artist. So what am I saying? I guess I'm saying that the big guys aren't total demons, just businessmen trying to make a profit. I'm also saying that going independent is not a total Eden. It has its share of flaws. But there are ways to reach a happy medium. Someone taking great strides in this direction is Gary Davis of the Artist Shop. The Artist Shop is an online store specifically for those seeking independent label music. It has links on sites all over the web and is set up in a very user friendly fashion. The only problem being that you need to have a computer. It brings up the possibility of small labels putting individual goals aside for the greater good that unity could bring to all. What I am suggesting is that individual artists should consider pooling their vanity labels together. That mid-size labels (DGM, ESD, PONK, etc.) start talking to each other as well as opening dialogue with the individual artists. Why should they bother? Because much of this music needs to be heard by more than 500 people! If you have a better idea, I would truly love to hear it. We need to make every effort to keep this music alive and available. John A.Wilcox now steps down from his soapbox... NEXT ISSUE: Richard Simmons' "Sweatin' to Progfest!" ALSO: Mike Ratledge reforms Soft Machine with former members of Menudo! Get in touch! I remain: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 Bruford Levin Upper Extremities: Live at Toad's Place, New Haven, CT 4/13/98 4 guys making all manner of odd noises that sounded good. That's what it boils down to. The 4 guys are Tony Levin (bass), Bill Bruford (drums), David Torn (guitar), & Chris Botti (trumpet). B.L.U.E. turned in 2 dynamite sets of imaginative jazz/world/rock/prog that left all well satisfied. Nice versions of "Cerulean Sea," "Cracking the Midnight Glass," and Torn's "3 Minutes Of Pure Entertainment" were the standouts. Bruford was a clock as ever, playing with scary precision. Botti stalked the stage, looking angry and playing forcefully. Torn was all smiles and endless loops and effects. Levin was the core: human and propulsive, he tied the other flyers together while flying frequently as well. A warm show producing nothing but grins & good times, I dearly hope this quartet decide to do it again. John A.Wilcox PROJEkCT TWO: Live at Toad's Place, New Haven, CT 5/4/98 Another King Crimson offshoot featuring Robert Fripp on guitar, Trey Gunn on Warr guitar, and Adrian Belew on drums. Of course, none of those instruments produced many familiar sounds, but that is to be expected given the personnel. At times Fripp was a piano, a metallic voice, or (surprisingly) a guitar. Belew's drums produced sounds like broken glass and power drills, as well as playing bass triggered by footpedal. Gunn squeaked and squawked all over the place to boot. As you might imagine, it was a jolly affair. Fripp was in especially high spirited; smiling, chuckling & winking to the others all through the night. The music was largely improvised space-funk with industrial tinges - highly exciting. After 2 sets, the trio encored with a fun reworking of "VROOOM." The crowd were ill-mannered loud mouth louts full of beer and loud conversation throughout. It is hoped that in the future, such inspiring performances may take place in front of audiences that can behave in a mature fashion. John A.Wilcox Steve Hackett: The Tokyo Tapes (2CD 110:25); Camino CAMCD15 Steve Hackett: The Tokyo Tapes (Video 100 min. approx); Camino CAMVT15 In '96, Steve Hackett played a handful of shows in Japan with John Wetton, Ian McDonald, Chester Thompson, and Julian Colbeck. Culled from those shows, The Tokyo Tapes (in both CD & video formats) is about as good as live prog gets. The set list touches on Hackett & Wetton's solo works, as well as choice selections of Genesis, King Crimson, and Asia. Highlights? Too many, so I'll almost randomly pick "Watcher of the Skies," "In the Court of the Crimson King," "The Steppes," and a lovely acoustic band arrangement of "Heat of the Moment." All the players are monsters! Soooooo good to hear Wetton playing the bass with abandon again! The CD set is augmented by 2 new Hackett studio tracks: "Firewall" and "The Dealer." Essential to your life! John A.Wilcox Adrian Belew: Belewprints (CD 48:05); Adrian Belew Presents ABP-04198 Rob Fetters: Left Loose-Righty Tight (CD 42:04); Baby Ranch BR2222 Two guys who used to be in the Bears, left to do others projects, and are Bears again. Belew has put together an all-acoustic album of pieces reinterpreting solo and King Crimson numbers, with a few new tunes thrown in for good measure. There are great new versions of "Cage," "1967," "Bad Days," and "Everything." One of the rare live performances of "Free as a Bird" is there as well. Flawless production, heartfelt performances, and nifty notes make Belewprints a winner. Much the same can be said for Rob Fetters' solo album. Belew shows up here too, but it?s really Fetters' show. "Your Favorite Guitar Player," "Salamander," and "Try" are exotic pop pieces dripping with wit and self-effacing humor. Fetters is, as always, a blazing guitarist. His playing is a careful balance of fire and melody. "Lefty Loose-Righty Tight" is a superb release deserving much wider exposure than its small label status affords. Needless to say, both CDs are worth tracking down. John A.Wilcox Jethro Tull: A Passion Play (CD 44:57); Mobile Fidelity UDCD 720 Short review: buy this CD! Full story: 1973's "A Passion Play" by Jethro Tull was and is a masterwork. A continuous work about life, death, Heaven and Hell, "A Passion Play" has always had decent pressings, even in the vinyl days. What Mobile Fidelity has done is nothing short of breathtaking. The transfer can only be described as deep. The acoustic guitars are warm and full of vibrant undertones; the piano has its range greatly expanded. Everything about this album has been lovingly tweaked to near perfection. The booklet is a recreation of the original false "program" that came with the initial pressing of the album some 25 years ago. The end result is truly the definitive pressing of A Passion Play in glorious full color. I still tremble at the line "occasional corn from my oversight grew!" A cornerstone of any serious collection. John A.Wilcox Solas: Live at the Quick Center, Fairfield, CT 3/14/98 Pretty close to perfect. This is the type of show you wish every show could be. Great seats in a beautiful venue. Staggering sound system well met by a polite, quiet audience. Flawless performances by an amazing band. All present were totally spoiled! Solas ran through quite a bit of material over 2 long sets. "Roger the Miller," "The Unquiet Grave," "The Wind That Shakes The Barley," as well as many instrumental pieces were impeccably performed. The band alternated vocal & instrumental pieces on a fairly 1 to 1 basis. Karan Casey was in pure voice, Seamus Egan an octopus on flutes, banjo, & anything he could put his hands on. But the star of the quintet had to be violinist Winifred Horan. Horan perfectly balanced passion and beauty on every number. Outstanding! Solas play the Northeast with great frequency. If you live in this area, what the heck are you waiting for?! John A.Wilcox Rabih Abou-Khalil: Odd Times (CD 64:12); ENJA ENJ-9330 2 One of the more intriguing CDs I've heard in recent months. Abou-Khalil is an oud player. He is backed on this live disc by 2 drummers, a harmonica player, and a tuba player. The music is Middle-Eastern in flavor and full of vigor. This is a pretty wild disc. One of the drummers, Mark Nauseef, used to play with Deep Purple's Ian Gillan in the '70s. He is a dynamo of off-rhythms well augmented by percussionist Nabil Khaiat. Michel Godard is the Steve Morse of the tuba. I've never heard lightning fast tuba before - it's a mind-blower! Howard Levy balances it all out with superb harmonica playing. This is an odd duck of a disc, but one that I can?t stop playing. Take the risk & check it out! John A.Wilcox Joy Lynn Freeman, Fulton Tashombe & Friends: Let it Shine (CD 68:04); SoundStar 2255 The readers of Progression complain about my reviews at times, saying that I can be quite harsh. This is a disc I would normally be merciless about, but I will try a different tack. Here are the positive aspects of this CD. Fulton Tashombe and a few of the "friends" on "Let It Shine" sing well. Instruments are played well. Some of the melodies are nice. The concept is interesting: new age lite R&B. Everything else about this disc cannot be commented about in a positive way. Just some positive advise to Joy Lynn Freeman: never attempt to write songs or sing again. I beg you. John A.Wilcox Ronan Hardiman: Solas (CD 52:18); Philips 314 539 438-2 For those of you who adore Michael Flatley's Lord Of The Dance, this is the guy who wrote the music for it. For those of you who despise it, he's still the guy who wrote the music for it. Solas reminds me of Enya-meets-hip hop with a touch of Will to Power. It's very thematic sounding with beautiful keys, heavenly female voices, and lots of tinkly bells. It is also incredibly commercially constructed - a backdrop for Celine Dion fans warming up before they listen to the Titanic soundtrack again. The hip hop beat that is in virtually every track at the same tempo drove me bonkers in a surprisingly short amount of time. I don't hate Hardiman, but you just might! John A.Wilcox A View From The Hill by John A.Wilcox I decided that I'd take it easy for this column. So I coaxed a stellar cast of artists to write it for me! I asked them all the same question: "What question are you most frequently asked, and what is your reply to it?" Here are their replies!: Neal Morse (composer/vocalist/keyboardist from Spock's Beard): The question I'm most frequently asked is "how do you sleep with such large buttons on your pajamas?" Just kidding. Actually, I guess it's how we got our name. Boring but true. I either make something up - Nick had a dog named Spock with very bizarre facial hair (for example) or I tell the truth which is: Al and I were having a very strange time in Mammoth California one night, lots of weirdos saying odd things, and Al turns to me and says "hey man, it's like we're in a parallel universe, like, Spock has a beard, man. That'd be a funny name for a band - Spock's Beard." Then we died laughing (I believe we may have been intoxicated at the time) and thought nothing of it....'til several years later when we were voting on band names. Guess which one won?! There you have it. History in the making. Trey Gunn (Stick/Warr guitar/low end specialist in King Crimson & various ProjeKcts): q: when is King Crimson getting back together? a: when it does, it does. and, you'll be the second to know. Tony Levin ( bassist/stick player for Peter Gabriel, King Crimson, B.L.U.E. & too many to mention): The question I'm most often asked is "How many strings does that thing have?" The short answer is "Ten." Mark Kelly (keyboardist from Marillion): Q: "Would you like fries with that, sir?" A: "No thanks, I'm trying to watch my weight" ....but seriously Q: What's your new album going to be called? A: " Don't try this at home" (Up until today I would have said "I don't know" because we didn't have a title, but now we do!) Tony Visconti (producer of such diverse artists as David Bowie, Gentle Giant, & Annie Haslam. swell musician/composer too boot!): Two. "What's it like to work with Bowie?" I reply, "Fun. Effortless. The most creative artist I've ever worked with." Or.. "What made you become a record producer?" I reply, "I was a song writer. My publisher took me aside one day and said, 'I don't like your songs, but I love your tapes'." Jeff Berlin (bassist from Bruford, ABWH & many others): "What do you have to do to learn how to solo?" The answer is practice, practice, practice. No shortcuts, no gimmicks. Just practice for the love of it!? Ian Anderson (vocalist/instrumentalist/snipe bog proprietor from Jethro Tull): "Are you living in the past and are you too old to rock and roll!?" Steve Hackett (guitarist from Genesis, GTR, and many solo projects): Question: "Would you like a cup of tea?" (the most frequently asked question in England - usually answered by "Why not"). Tony Geballe (former crafty guitarist currently in Trey Gunn's band & solo artist): The question I am asked most frequently these days is generally some variation on "Who are your influences?" or "How did you learn to play 12-string like that?" My response is something like this: everything I have heard has influenced me, and although to my own ears the biggest influence on my 12-string music is Ralph Towner, it is really the instrument itself that guides me. It is such a surprising and rich instrument, always giving me unexpected gifts. Doane Perry (drummer from Jethro Tull & other projects): The most frequently asked ? is basically: How did you get the gig/ end up in Jethro Tull? My answer at this point is to say politely, never rudely, that it is a LONG,LONG, possibly tedious, possibly fascinating story depending on your point of view and that it has been well documented in various magazines and certainly well known to many Tull fans. If they are still interested after finding out a bit about the history I am happy to oblige. I just think that Tull fans may get sick of reading about the same story over and over again and try to encourage the interviewer to ask some other less frequently asked ?'s. Ye scribe gives his profound thanks to all! See you next issue! I remain, as ever: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 NEXT ISSUE: Steve Howe's shocking photos of Brian Lane! Fish reveals that he's really Canadian. And chapter 4 of our serial: "Prog like me!" The California Guitar Trio/Tony Geballe - Live 7/3/98 at Border's Bookstore, Manchester, CT This was my first concert experience in a bookstore. I trekked up with some friends to far off Manchester to catch this afternoon gig. Cozily set up in the record department of a quaint Borders bookstore, the show was presenting in interesting fashion. Rather than have Tony Geballe play a full opening set, he would play 2 songs, the trio would do 3, then repeat the formula. It was very interesting in terms of pacing, and worked very well. Geballe stuck to 12 string guitar, and his playing was lovely and atmospheric. The California Guitar Trio were alternately very serious and lightly humorous, playing very much in sync. The Trio featured many selections from their "Pathways" CD, most notably "Moonlight Sonata" and Beethoven's "Fifth Symphony:Allegro Con Brio." They were joined by Geballe at the end for 2 numbers, including a fun version of "Misirlou." The crowd ate it all up & all 4 players stayed around for quite a while to chat with the attendees. A memorable live event in a very relaxed atmosphere. Best time out in many a moon. John A.Wilcox Genesis: Archive 1967-75 (4 CD 250:51); Atlantic 82858-2 Delayed for years, this is the one hardcore fans have been waiting for. 4 discs of unreleased Genesis material from the Gabriel era. Can it possibly live up to expectations? Yes! This boxed set is a fragmented but beautiful peek into a wildly creative time in Genesis' history. Discs 1 & 2 are an almost complete live performance of "The Lamb Lies Down On Broadway." I say almost because it is missing a live "It!," so the disc blends to an alternate, remixed studio take to close out disc 2. Peter Gabriel & Steve Hackett added a few new vocal & guitar bits here and there to repair a few deteriorated spots on The Lamb, but the end result is very smooth. Disc 3 comprises primarily of live stuff from the "Selling England By The Pound" tour, supplemented by the single tracks of "Twilight Alehouse," "Happy the Man," and "Watcher of the Skies" as well as a live on the BBC version of "Stagnation." The highlight has to be a staggering version of "Supper's Ready" that will leave jaws dropping! Disc 4 covers the formative years. All tracks here are pre-Hackett & Phil Collins. Guitarist Anthony Phillips & keyboardist Tony Banks are at the musical fore here. A gorgeous version of "Dusk" and the Phillips gem "Let us Now Make Love" stand out, but there is a wealth of lovely material here. Interesting to see the band learning & growing song by song. Personally, I was hoping for a snatch of the legendary epic "The Movement" or the embryonic take of "Anyway," but it is a mild gripe. This is a fantastic boxed set with great sound quality & a nice, photo-packed booklet. Absolutely necessary for all consumers. John A.Wilcox Spectrum: The Music of Genesis (CD 43:53); First Choice FC4598 There are several ways to look at this disc. One way is to recoil in abject terror. The other is to appreciate the consummate musicianship & view the arrangements with a sense of humor. Spectrum play EZ listening music - like the lite versions of top 40 tunes you hear on your cable guide channel. Most selections are drawn from the albums "Invisible Touch" and "We Can't Dance" with "That's All," "Follow You Follow Me," and "Many Too Many" thrown in for good measure. On the positive side, these stripped down Muzak versions show the compositional & melodic strengths of many of these songs. If you want to do some progressive ironing, this may well be your soundtrack! John A.Wilcox King Crimson: Absent Lovers (2CD 104:38); Discipline Global Mobile DGM 9804 This is the very last live performance of the '80s King Crimson. Taped live in Montreal, it's pretty explosive. Robert Fripp, Adrian Belew, Tony Levin, & Bill Bruford are at the top of their games, playing with much joy and fury. "Sartori in Tangier," "Dig Me," and "Sleepless" never sounded better. There is so much one can say about this Crimson line-up, but let's keep it simple: they knew how to have fun. And fun abounds on Absent Lovers. These guys are enjoying the music they are playing, enjoying the audience, and enjoying each others' company. Pieces like "Industry" and "Waiting Man" show the almost telepathic nature of this quartet. Sound quality is fabulous, packaging is cool. I don't need to sell this to you - you already know you need it. John A.Wilcox 10cc: The Original Soundtrack (CD 42:02); Mobile Fidelity UDCD 729 (CD 49:00); Mercury Records 532 964-2 Let me briefly explain why this album is being reviewed in Progression. While considered a pop band, 10cc were innovators in sound and composition - moving pop songs into territories that no others tried. In that sense, 10cc were truly progressive. The Original Soundtrack is an immensely creative work - juxtaposing instruments and aural textures brilliantly. Songs like "Flying Junk" and "Brand New Day" burst with melody and sonic surprises. Recently reissued, retweaked, and remastered by 2 companies on 2 continents, this disc is well served by both. Both versions are significantly warmer and more vibrant than the standard release, with the Mobile Fidelity version being slightly more "honest" than the new Mercury import. But it's a matter of inches, and each one has much to offer. The Mobile Fidelity CD has the original lyrics and gorgeous packaging. The Mercury import offers notes from Graham Gouldman & 2 bonus tracks. To be completely honest, I listen to them both! Whichever you choose - you can't miss! Did I mention that this one has "I'm Not In Love" on it? John A.Wilcox A VIEW FROM THE HILL by John A.Wilcox I recently set my mind thinking: what prog albums did I consider to be essential - the core of any collection. I started to cobble together a list of artists and titles. I decided to divide it up as follows: 2 titles each for the biggies - the giants of prog - the pioneers. Other acts, though no less important in their own right, get 1 title each. What you see in this instalment of my column are the biggies! I?ve decided to title the whole shebang: PROGRESSIVE ESSENTIALS Part 1 Here we go! Yes: "Yes Album" & "Close to the Edge." Very easy choices as far as I was concerned! "Yes Album" was the first to truly exemplify the Yes sound, while "Close to the Edge" displays the Yes sound to its greatest effect. Jethro Tull: "Thick as a Brick" & "Songs From the Wood." 2 much more difficult choices. Tull have many significant albums, but these 2 seem to be perfect examples of the band during creative peaks. "Broadsword & the Beast" would have been a close 3rd. King Crimson: "Red" & "Discipline." "Red" is the culmination of all that Fripp was trying to do up to that point in time, and "Discipline" was so clearly the next step forward. Many will argue over these choices! ELP: "Tarkus" & "Brain Salad Surgery." 2 similar yet different albums. Both have epics, both also feature shorter pieces as well. "Brain Salad Surgery" showed how much ELP had matured over such a brief period of time. Some would argue that their growth ended there. Pink Floyd: "Dark Side of the Moon" & "The Wall." The most commercial choices are also the best. Both albums are good balances of prog & popular music. 2 very happy accidents. Genesis: "Foxtrot" & "Wind and Wuthering." "Foxtrot" is quite possibly on of the high points not just in the history of Genesis, but in all prog music. Powerful, poetic, passionate, innovative. "Wind and Wuthering" is their moodiest gem, and the end of a sustained creative pulse. Gentle Giant: "Octopus" & "Free Hand." Giant's 2 most defined releases, staggeringly inventive, melodically superb. That's it for this issue! Part 2 next time! Live, love & be well! I am, as ever, contactable at: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 or email me at: [email protected] NEXT ISSUE: Tony Levin joins Hanson! Progression converts to an "all Rap" format! A VIEW FROM THE HILL by John A.Wilcox In the last instalment of my column I listed a series of albums I considered Progressive essentials. Albums that every Prog listener should at least strongly consider owning. I'll wrap that list up in this column - so here it is: PROGRESSIVE ESSENTIALS Part 2 Strap yourself in! Kate Bush: "The Dreaming" - A richly imaginative album showcasing Bush's songwriting prowess, unusual sound combinations, and impressive vocal range. Camel: "Rain Dances" - Strong melodies, challenging time signatures, ultra-tight playing. Amazing Prog with a tinge of jazz influence. First album with Richard Sinclair on bass & vocals. Caravan: "In the Land of Grey and Pink" - A Canterbury scene milestone. Crafty blend of Prog, pop and folk chock full of humor. Epic "Nine Feet Underground" is long without an ounce of bombast. The Enid: "Aerie Faerie Nonsense" - Symphonic/Classical Prog with lots of bombast! But in the best possible way. Bandleader Robert John Godfrey paints expansive sound murals full of Classical glory. Lovely, elegant music. Gong: "You" - The 3rd album of Gong's "Radio Gnome Invisible" trilogy, "You" is one of the most focused space rock albums ever recorded. Brilliant guitar work from Steve Hillage is the icing on the cake. Happy the Man: "Happy the Man" - I?m gonna say it!: Happy the Man were the finest American Progressive band. Hands down! Impossibly complex yet highly melodic songs - mostly instrumental. Kit Watkins flies across the keys at mach 1. The 20-plus years since its release show this album to still sound totally contemporary. Nektar: "Remember the Future" - The years have dated this concept album a tad, but it stills glows with ideas. Slightly spacey in a Pink Floyd way, but reminiscent of Jimi Hendrix as well, Nektar are at once aggressive and sensual. Great guitar and wonderful, plaintive organ. Mike Oldfield: "Hergest Ridge" - "Tubular Bells" gets all the credit, but this is a much more focused effort from Oldfield. He once again plays a zillion instruments, but the composition has much more depth. Lush & thematic. Renaissance: "Scheherazade and Other Stories" - Tough to isolate any single Renaissance album. This one has "A Trip to the Fair," "Ocean Gypsy," and the side-long "Song of Scheherazade." Amazing vocals from Annie Haslam. Classical Prog at its absolute finest. Tangerine Dream: "Logos" - A live recording, Logos is a dark gem. Ominous layers of synths build and diminish - taking the listener on a dark journey with scattered moments of absolute beauty. Stunning. I expect that some will disagree with some of the choices made here & in my last column. Good! These are entirely subjective selections - if you think I passed an important album by, drop me a line! We grow through the eyes and ears of others. Get in touch!: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 or email me at: [email protected] NEXT ISSUE: Emerson, Lake & Palmer all leave ELP! Band continues with Melissa Etheridge, Tony Levin & Simon Phillips. PLUS: Shocker! John Collinge: 5th Spice Girl?!?!?!? Liquid Tension Experiment: Live at The Bowery Ballroom, NYC 1/22/99 This was a last minute gig for me. I almost wasn't going to go! Thankfully, better judgement prevailed and I trudged into the Big Apple to the near-impossible to locate Bowery Ballroom - I clean but small venue. In case you weren't aware - LTE are John Petrucci on guitar, Mike Portnoy on drums (both from Dream Theatre), Jordan Rudess on keys (former Dreg & newest member of Dream Theatre), and Tony Levin on stick (from King Crimson & too many other things to mention). They all play incredibly fast. They hit the stage one at a time: Rudess, Levin, Petrucci, & Portnoy - in that order. Building into "Osmosis" before jumping into a blazing take of "Paradigm Shift" from their Magna Carta debut CD. The 90 min set included several pieces from the disc, as well as many from their upcoming second release. While the playing was quite fast, it wasn't just about chops. The songs were well structured and highly melodic. It was very nice, by the way, to see all 4 guys laughing heartily all through this, their first-ever live gig. The spirit of fun carried over to the end of the set, where, in the midst of playing ferocious riffs, they burst into a cheesy version of "Heart and Soul" going into "Entrance of the Gladiators." Coming back for a well-earned encore, LTE treated the crowd to a blazing new piece called "Acid Rain." A fine ending to the first of what are hopefully many live gigs by this outstanding ensemble! John A.Wilcox Adrian Belew: Salad Days (CD, 50:33); Thirsty Ear THI 57061.2 psychodots: Official Bootleg (2CD, 133:08); Strugglebaby SBD 6198 The Graveblankets: ?Western Medicine? (CD, 45:39); Moronstrosity Records mo002 3 very worthwhile discs. All 4 members of the Bears are spread across these musically diverse efforts. Adrian Belew's "Salad Days" compiles tracks from his 2 solo acoustic efforts & adds 2 unreleased tracks. Straightforward, honest versions of "Everything," "Dinosaur," and "The Lone Rhinoceros" showcase Belew the songwriter. The bonus tracks are live solo renditions of "Fly" and "Three of a Perfect Pair." This Thirsty Ear release should bring these great songs to a wider audience. Belew's Bear-mates Rob Fetters, Bob Nyswonger & Chris Arduser were & sometimes still are the psychodots. They were one hot band, as this 2CD set shows. From the King Crimsonesque "My Red Truck" to the downright boneheaded "Feed That Chicken" and all points in between, the psychodots keep it tight without sounding stiff. The sound quality, as the title implies, is like an excellent bootleg - what it lacks in polish, it makes up for in energy. The set also includes a CDROM of the video of "Mattress." Great package. Arduser and Nyswonger carry over to the Graveblankets. Mandolins and acoustic guitars abound on catchy, folky tunes like "Rosewood Casket," "The Half I Saw," and the outstanding "Bury Me." Drummer/multi-instrumentalist Chris Arduser wrote and produced the whole shebang. All 3 discs are worthy of wide exposure. By the way, all 4 guys have reunited as the Bears and are in the midst of recording a new album. John A.Wilcox A VIEW FROM THE HILL by John A.Wilcox I remember as a child riding in the family car. There is a hill with a dip near the center of Westport. When you go over that dip at any speed over 25 MPH, you get that quick floating sensation for a second - that "ooooooooh" feeling. I still get that feeling going over that same dip, every time without fail. By now you're wondering how this ties in with the music found in this magazine. It's that feeling - that thrilling rush that makes your cheeks tingle and the hairs on the back of your neck rise. For me, it's the mellotron rush I get from the opening chords of Genesis' "Watcher of the Skies." The manic surge of the band at the end of the "I get up I get down" section of Yes' "Close to the Edge." It's all about moments. I'm sure that a portion of these moments are happy accidents. But I have no doubt that many are carefully crafted decisions by the composers. Jethro Tull's "A Passion Play" is a very heavy, serious concept album. Sticking the "Hare who lost his Spectacles" section smack dab in the middle was an aural bit of frosting lightening up the proceedings, yet clearing the palate for the heaviness to come. Sonically different than the rest of the album, with Jeffrey Hammond-Hammond telling the tale to lush orchestral backing, the "Hare" section is a long, sustained "ooooooh" and a laugh to boot! It is one thing to construct a song well, and admittedly an art unto itself. Just coming up with a memorable verse, chorus, or melody, for example is no easy feat. But to go the extra mile and take that song the extra mile is both wonderful and rare. Far too many artists today put out discs that serve the purpose of getting material out there and nothing more. Sometimes, that's all well and fine, and works well within the context of the material. But there are many many discs that I listen to - and even review - that establish a basic sound, then just stick to it. In progressive music, this is especially disappointing, since it is a highly imaginative and visual artform. There are exceptions, thankfully. Spock's Beard put in some wonderful moments on their discs, as do Porcupine Tree. Both are lead by composers dedicated to stimulating and entertaining the listener. Of the old & mid guard bands, Marillion and King Crimson are good examples of groups that play with sound and texture quite a bit. One of the things progressive music does best is touch the imagination. At times through deep imagery, at others through challenging time signatures or surprising chord shifts. I?m sure we all have different moments that give us that feeling. Yours might just differ significantly from mind, but I?m sure the feeling is the same. As prog music continues to move forward, let?s all hope that new artists continue to be inspired to be inspiring! My ears eagerly await! In my last 2 columns, I wrote about essential prog albums. I got mail & email from lots of fine folks. Many of you wrote with very valid choices and stated your cases well & eloquently. I look forward to hearing from you all! Maintaining a dialogue with everyone out there is very important to me! Write me at: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 or email me at: [email protected] NEXT ISSUE: Anekdoten and Anglagard admit that they?re the same band!! Celine Dion does an album of Nektar songs!! Runrig: In Search of Angels (CD, 55:16); Ridge Records RR010 This is the first Runrig disc since the departure of vocalist Donnie Munro. The new singer, Bruce Guthro, had some mighty big shoes to fill. He does so effortlessly, as "In Search of Angels" is a contemporary Celtic gem and very much the effort of a cohesive band. I find this disc to be progressive in many ways - deftly combining Celtic, rock, and other musical genres in interesting & innovative ways. The Runrig tradition of singing some tunes in Gaelic continues with no less than 4 of the 12 tunes sung in the ancient tongue. Standout pieces include the powerful "Maymorning" and the anthemic "Travellers." But the corker surely must be the sadly poetic "Life is." "Hearts change and brightness fades" Guthro intones mournfully. "And it leaves you facing the days, when your hope is blown apart - life is hard." Who hasn't felt that way at some time in their lives? As always, musicianship is impeccable, songs are beyond solid, and production is artful & clear. So far, this disc is the finest release I've heard this year. It might take a bit of searching, but the rewards to the listener will more than justify any effort you must make to find "In Search of Angels." John A.Wilcox A VIEW FROM THE HILL by John A.Wilcox I was recently up in Massachusetts with my girlfriend. We were out driving with her younger brother, and he had a rap station on the radio. Now, rap is not my cup of tea, so I took the time to listen to it in a musical sense - breaking the structures down, looking at the construction, etc. Various songs sampled snippets of "It's a Hard Luck Life" from the musical "Annie;" "Big Yellow Taxi" from Joni Mitchell, and Otis Redding's "Dock of the Bay." Listening to these artists grab bits of melodies and regurgitate them, it struck me that rap music is a sort of bastard cousin of progressive music. Early prog borrowed heavily from classical and jazz idioms - at time lifting actual sections from classical pieces (and, like the early days of rap, not crediting their sources). Many current prog bands not only are influenced by older prog acts, they actually lift their sound and at times a musical snippet or three. I suppose I bring this up as a good example of the unity in all music. We prog fans tend to argue and nit-pick more than any type of listener (with the possible exception of some jazz aficionados) over what sounds may occupy our beloved genre. Tangerine Dream is too electronic. Focus too mainstream. Fairport Convention too folk. Is there a good reason it can't all be prog? Of course not. I pose a new question: What will prog be in the future? Will rap, hip-hop, & country be part of prog? Newsflash: they already are. Artists like Fish and Dave Stewart already incorporate contemporary rhythms and sounds into their compositions. After all - it's not the sound or rhythm that counts - it's what you do with it. Think about it! For many years, we?ve all heard the myths and legends of musicians on the road. Wildly out-of-control parties with semi-clad women, booze up the wazoo, and the requisite hotel trashing. I was thinking about this the other day and chuckling. I remember hanging out with Jethro Tull in Poughkeepsie, NY a few years back. The band was ecstatic as their road manager secured them a stash of - homemade chocolate chip cookies. They were delicious, by the way. Martin Barre is also a shameless lover of yogurt. The California Guitar trio ran wild over coffee and cake in upstate Connecticut. And Bill Bruford was positively out of control over fresh orange juice in NYC. If I see any semi-clad women, or hotel trashing in the future, I'll let y'all know. So far - just a bunch of normal folks who write & perform exceedingly well - but normal folks nonetheless. Do you have a "dream band" or "dream collaboration?" A group of musicians that have never had the chance to work together, but ought to? I sure do. Here are a few of my choices: Bill Bruford / Mick Karn / Steve Hackett / Kerry Minnear. Dave Pegg / Steve Howe / Ric Sanders / Maddy Prior. Steve Hillage / Steve Morse / Steve Hackett / Steve Howe. Andy Latimer / Rick Wakeman. Anthony Phillips / Annie Haslam. Send me your dream teams, and I'll print them up in an upcoming column. Perhaps one of us may inspire some of these artists to give it a try! Speaking of writing - I've been truly touched by all the letters & emails I've received from a good number of you out there. Your opinions have been well reasoned and inspiring. Please keep my mailboxes full! Dialogue enriches life. As always - you can hunt me down at: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 or email me at: [email protected] NEXT ISSUE: Ian Anderson's new CD of hit TV themes! Robert Fripp joins the cast of "Friends!" PLUS: The secret Bill Bruford / Kevin Bacon connection! Be there!! A VIEW FROM THE HILL by John A.Wilcox Think of virtually any band that has put out a string of albums. One or two of them generally rise to the top. When one thinks of ELP, "Brain Salad Surgery" comes to mind. For Yes it might be "Fragile" or "Close to the Edge." For Jethro Tull, "Aqualung" or "Thick as a Brick." But what about the albums that perhaps fell between the cracks, or at least seldom get first mention? I thought I'd take up some space here and recognize a few of them. I'll start with Yes. I had a few options here, but my attention rested on "Relayer." I think this album gets short shrift simply because purists are uncomfortable with the fact that Rick Wakeman is not on it. Well, I?m going to say the unthinkable: I feel that Patrick Moraz's keyboard work on "Relayer" is far more dynamic and colorful than anything Wakeman was turning in at that point in time. The previous album, "Tales From Topographic Oceans" had far too many lazy noodlings from all involved. Moraz's playing was aggressive - pushing each of the 3 pieces - "Gates of Delirium," "Sound Chaser," and "To Be Over" forward, onward & upward. On "Relayer" all of Yes was totally on their game. Steve Howe's guitar work was crisp and concise. Chris Squire delivered the ballsiest bass lines ever on "Sound Chaser" - which also showcased Alan White's truly monstrous drumming. All of the fierce playing on "Relayer" was capped by some of Jon Anderson's most powerful vocal work ever. It's almost as if each member of Yes was trying to top the other on "Relayer." Listening to this album some 25 years after its release, it sounds totally contemporary and absolutely engaging. Next up: Gentle Giant. Aficionados of the band argue the merits of 4 albums, released sequentially, each of which is their "best" or "most important." They are "Octopus," "In a Glass House," "The Power and the Glory," and "Free Hand." Very few voices shout for "Interview." Such a shame, as it's a wonderful album - very angry & mocking in many places as well as chock full of great playing and arrangements. The album has a general theme: the trials and tribulations of being in a working band. Interspersed between cuts are snippets of deliberately banal Q&A between the band and a journalist. "Give it Back," "Another Show," and the wry title cut reflect sometimes coldly on the state of mind and day-to-day grind of band life. While perhaps not as overwhelmingly brilliant as, say "In a Glass House;" "Interview" nonetheless is an album any band would be proud to have in their catalog. For Genesis, I've chosen "Duke." It is most certainly not a definitive progressive statement the way "Foxtrot" is, but it is the last Genesis record that is almost entirely progressive, with the exception of the pop song "Misunderstanding." All subsequent releases from "Abacab" to "We Can't Dance" were pop-rock albums with progressive elements. As a final prog statement from Genesis, it's majestically beautiful. From the stately opening chords of "Behind the Lines" to the lazily eerie "Heathaze" to the final thematic re-statements of "Duke's Travels" and "Duke's End" the band reminds you why they hold a place as one of the cornerstones of progressive music. If I may digress - an opinion: Genesis dropped 2 songs from the "Duke" sessions that were far superior to "Misunderstanding" and more fitting with the feel of the album. "Evidence of Autumn" and "Open Door," which showed up on the original American pressings of "Three Sides Live" are wonderful, elegant pieces that dovetail beautifully with the rest of "Duke." Many Genesis fans pine for the days of "Foxtrot" or "The Lamb Lies Down on Broadway." A return to the strengths of "Duke" would more than satisfy this listener! I started this little excursion with Yes, and I'm finishing it with Jethro Tull. Many fine overlooked albums in this very impressive catalog, but I'm going with "Warchild." Initially panned as not being up to the level set by "Aqualung," "Thick as a Brick," or "A Passion Play"; "Warchild" was deemed by some as being lightweight in comparison. Time reveals that an album containing "Sealion," "Skating Away on the Thin Ice of the New Day," "The Third Hurrah," and the title cut is anything but lightweight. After 2 albums in a row containing 1 song each (although "A Passion Play" had the interlude "The Story of the Hare Who Lost His Spectacles") Ian Anderson made the most of the "individual song" format. The songs on "Warchild" vary greatly in theme and texture. "Queen and Country," "Back-Door Angels," and "Only Solitaire" (A leftover from the first abortive attempt at what would become "A Passion Play") run from pomp to hard-rocking to acoustic. It all comes together in a tune, originally written at the time of "Aqualung" but revamped and given new life - "Two Fingers." Acoustic guitar and vocal build to electric guitar, bass, drums, keys, sax, accordion & the kitchen sink. The end result is one of Ian Anderson's most unusual compositions and a stellar band performance. I could go on from band to band (ELP's "Trilogy," King Crimson's "Lizard," Nektar's "Down to Earth") but I hope my message is clear. Just because it may not be viewed as a diamond, it doesn't mean it's a zircon! Time to change subjects! I have a substantial gripe towards many of the major artists who often appear in the pages of Progression. Nowadays, many bands add extra tracks to their releases in Japan only. This sucks. Now, I am told that they HAVE to do this to get their stuff released in Japan. Guess what? It makes it suck no less! Bands ? you are sending a clear message: Your fans in America & the rest of the world aren?t worth the extra effort that you are willing to go to for your fans in Japan. If you can do something extra for Japan, how about throwing a bone to your fans in the rest of the world? Perhaps a US & Europe ONLY EP of exclusive stuff? Are we dogs because we don't live in Japan? Fans, you want my advice? Every time you see that the Japanese release of a CD carries extra cuts, write a letter of complaint to that artist & their label. Tell them that they are treating you as a lesser customer in comparison to your overseas counterparts. How about a special effort for us? Aren't we worth it? And a message to the artists in question: SHAME ON YOU!! Your fans put a roof over your head. Treat us with some sort of dignity. Is that asking too much? I invite artists to contact me with their reasons why ONLY Japan gets the extra effort. As always, I would love to hear from you. I can be contacted at: John A.Wilcox P.O.Box 337 Greens Farms, CT 06436 or email me at: [email protected] NEXT ISSUE: Progression's annual "All Cher" issue! Peter Hammill: Live at the Bottom Line, NYC 11/04/99 (Early show) It's been 9 � years since Peter Hammill played live in the USA. Thankfully, the intervening years have not mellowed him. Hammill played piano and guitar, and was accompanied by violinist Stuart Gordon. Looking trim, his iron grey hair contrasting with a cobalt blue shirt, Hammill opened with a strong rendition of "Easy to Slip Away." The 15 song set was career-spanning - going back to his Van Der Graaf Generator days with "Last Frame" to the present day. Highlights included intense versions of "Modern," "Comfortable?," "Stranger Still," and the sole encore "Patient." Stuart Gordon was a fierce player - one minute a one-man orchestra, the next a searing guitar emitted from his violin. For 2 men, they had quite an expansive sound. Hammill's voice was truly acrobatic: delicate, frightening, joyous, explosive - often in the same song. A truly remarkable performance all around. John A.Wilcox Marillion: Marillion.com (CD 62:30); Sanctuary/ Never 4505 I know what you?re about to ask: is this album progressive, or is it like "Radiation?" Yes to both. There are some of the alterna elements of "Radiation" here, but there are many prog ones as well. "Marillion.com" is a mixed bag of sounds and styles, but the end result is pretty darned good! For the prog minded, "A Legacy," "Enlightened," "Tumble Down the Years," and the epic-length "Interior Lulu" should fit the bill, as well as the lazily jazz-tinged "House." Other tunes are a bit more poppy and aggressive, but all are quality goods. Steve Hogarth's voice has never sounded this strong - he's at the top of his game. Ian Mosley is reborn on this CD, drumming with a force & character he hasn't shown in the last few years. While not perfect, "Marillion.com" is the strongest album from this band since "Season's End." The CD also includes a mail in card for a free bonus CD with extra songs, videos & stuff! John A.Wilcox Fish: Tales From the Big Bus (2CD 114:22); Dick Bros DDICK29CD Another one of Fish's double "official bootlegs," this one from the 1997 tour supporting "Sunsets on Empire." Live from Koln, Germany, this leg of the tour saw the return of Robin Boult on guitar. Boult adds a lively kick to this fine line-up with his confident playing. "The Perception of Johnny Punter," "MR1470," and "Brother 52" crackle and bristle. Fish is in strong voice & full of funny, ribald stories - he's very clearly having a good time. The big medley of "Assassing/Credo/Tongues/Fugazi/White Feather" is outstanding - the band is playing full tilt! While perhaps not up to the standards of the superb "Krakow" double set, "Tales From the Big Bus" is nonetheless a fine set in its own right. By the way ? I love the fact that artists have the savvy to put out their own boots. Both the artists & the fans benefit equally. John A.Wilcox		This page has been visited times.