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General => Archive => General Music Archives => Topic started by: SoundscapeMN on January 20, 2014, 04:31:19 PM
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I believe it's my turn to go now, right?
Anyway, I've thought about this for awhile now, how exactly I would want to do this, and have come up with an approach that may not be exactly like so many others lists, but still be similar.
Although I could mention, I already have begun this in my blog, but what ends up in there, and what ends up in this topic will not be exactly identical. Why? for one, I don't find it easy or even my thing to actually fully rank just 50 albums 1 through 50 or 50 through 1, partially because why I suppose many have done thise more than once. There's so many more albums that could be worth including that don't make the cut.
So, what I have started doing in my blog is compile a list which is approximately 175 records at this point, and choose them totally by random per a Random Number Generator. I just alphabetized the 175 current albums, by artist. But in there, 175 may not be even close to final number as I can easily consider another 100 or more that would be worth regarding as "Significant Albums" to me that aren't among that 175 or so I am randomly choosing from currently.
But for THIS list, I will be choosing just 50, like others have included. 50 that I suppose are more definitively THE 50, lol at this point. It's a necessary evil really, but for the sake of this forum's list and rules for compiling statistics, it'll only be 50. And I thought I might continue on and include more within the process, but for the sake of not taking forever, and going through only 50 instead a few hundred titles deep, I hopefully will finish this in a reasonable amount of time (2 months? would seem okay, give it take a little bit).
As far as the ranking and countdown and what not, I'm not going to rank them until all 50 have been listed/posted/written-about. Why? because I suspect some people ignore some of the lower ranked albums, and put more weight into the higher. Plus, to be honest, I have not even made an EXACT RANKING 1 THROUGH 50 anyway. I know more or less the 50 albums, but I definitely am not clear on how they all will rank exactly (the top few I do though pretty much).
That all being said, I may as well post the 1st one and get going. This is the only certain record (among the 50), that I have included in my blog at this point.
Significant Albums:
Fates Warning - A Pleasant Shade of Gray (1997)
(https://upload.wikimedia.org/wikipedia/en/thumb/4/41/A_pleasant_shade_of_gray.jpg/220px-A_pleasant_shade_of_gray.jpg)
So where do we begin?
And what else can we say?
When the lines are all drawn
What should we do today?
Yeah, of course that is the opening line, and probably the line most associated with this record. And appropriate for this series or actually more or less anything involving thinking, nostalgia, etc.
This is my favorite Fates Warning record. It has been more or less since I heard it. And I am a dedicated and long-time, going on 18 or 19 years, fan/fanboy of one of the definitive progressive metal artists. So, I naturally hold more or less everything this band has done in high regard.
But this record is their most unique. Why? well, for one, it may be regarded as their only obvious concept album. Being that it is really is just 1 nearly 54 minute song, divided up into 12 "parts" per say. I consider it 1 song anyway.
I guess it was perfected in a lot ways. Mood-wise, it was and still is relate-able in sort of a reflective and therapeutic way. The emotion heard in the dynamics, from the vocals to the guitar. And use of sampling rain, for example, along with the piano, which especially at the time, knowing it was Kevin Moore playing on it meant a lot to me, given I was still rather down about his departure from Dream Theater. Although, of course Kevin Moore I don't believe wrote any of it, as Jim Matheos is credited for that. I wonder though, especially with any of the samples, if Kevin was involved, as that has been, and namely around that time in the 90's, something he was rather adept at finding and using.
Another part of this record that maybe gets overlooked is how Terry Brown was involved with the production/producing. Terry Brown worked with Rush and many other groups I enjoy, and I recall had worked previously with FW on Parallels, and then later on Disconnected as well. I recall reading some stuff about his writing or working well with Ray Alder on the vocal melodies. And this album has many of Ray's best vocal lines.
"Stayed up late last night...."
"But circumstance conspired, and here we are, here we are"
"But I often wonder, what could have been.."
"Let nothing bleed into nothing, and did nothing at all"
Just trying to remember some others..trying to jog my memory.
I think one of the biggest parts of this record being such a big deal to me, was it came out in 1997, not long after the band had long time members Frank Aresti and founding member/bassist Joe DiBiase leave the band. I recall tape trading with a guy and including some letters per Metal Edge's "Metal Head Directory" and talking about Fates Warning. The guy mentioned reading the news of those 2 guys leaving the band and how the band, meaning Jim Matheos, may just hang it up. I have a really distinct memory of getting my bass guitar and playing it one afternoon and then stopping and feeling incredibly depressed about Fates Warning, a band I had only recently become a fan of, but was loving everything I heard. The possibility of them breaking up. After seeing Kevin Moore leave Dream Theater, and then learning of the possibility of Fates Warning being done.
And then this record comes out, and for my 20 year old, music-seeking self, it kind of gave me some hope for my love of music at the time. Especially in 1997, a year when a lot of music I was checking out was not up to par, like Queensryche's latest, or even the previous year's Rush album. And Dream Theater's new album seemed to be taking an eternity to come out. APSOG was an album that sort of saved my ability to listening to new-music at that time.
But on paper, it is just one of those classic concept albums, that everything was written and recorded (and perfected) for a reason. It is best heard all at once, as I mentioned, it is really just 1 54 minute song. And while it is sound-wise more modern sounding and less heavy or Metal sounding than FW's previous albums, save for maybe even the one that preceded it in Inside Out, a record I almost regard as having very little heavy moments. But I think it kind of found Fates Warning making a more darker, progressive rock, than anything else.
It was really in a lot of ways, Jim Matheos saying fuck you to the music industry and their demand for shorter, "radio friendly" songs/music, including having to pick them off an album. Even with the tracks labeled "Parts 1, 2, 3..12" etc, it was like the exact opposite of what they seemed to try to do with Inside Out and even with Parallels. A non-commercial approach to song and album.
Many fans regard this as a turning point in sound, which it is in a lot of ways. Ray doesn't sing a ton of falsettos nor their "Metal" or "80's" sound seems to be gone. It has some industrial moments, which I am not normally into much in general, but with Fates and this kind of music, I totally go for.
The concept? I've always wondered and thought it was about a man reflecting on his life's decisions and wondering if there was anything he could do to change them. But also just his memories, sort of day dreams or dreams he had, which recall past experiences of his (or maybe others?..SciFi?).
Jim I recall never really explained what the actual concept is, or if there is an actual, defined concept with it. Probably why a lot of the lyrics, like most of his lyrics, are pretty ambiguous. So, it's up to the listener to interpret them and the music how they want, which often I appreciate as much as any more blatant kinds of lyrics or wording with music (album titles, song titles, artwork, or even artist names).
Is it an album I listen to a lot? not anymore, but for nostalgia and uniqueness, I still think it holds up and is somewhat unmatched. I often wanted to call it "A Perfect Shade of Gray" in just how perfect I find it. And I'm not sure if they will ever make anything as good as it is again, which I'd love to be wrong about that, but for a band who was 14 years into their career and now 30 or so now, I would hardly expect it.
I also recall reading an interview with Jim around the time he was writing this, online per an mIRC chatroom text, where he mentioned listening to a lot of Marillion at this time, including the double live album Made Again which had recently been released around that time.. Which maybe that was also when I started to think of these guys with Marillion.
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Nice start, APSOG is awesome! :tup
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Nice! Following.
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(https://upload.wikimedia.org/wikipedia/en/b/b0/IAmTheFunBlameMonster.jpg)
Menomena - I Am the Fun Blame Monster! (2003)
I've been sitting on this blurb for a few days and I need to finally just do it.
I was introduced to Menomena in 2007 I recall when their new record Friend and Foe was buzzing a bit and suggested on the dredg fans forum. I remember liking some of what I heard but struggling with them them at the same time. They had a very quirky style of rock music, that didn't grab me right away. But I think part of that was because I hadn't heard this record.
Once I heard this debut album of theirs, I Am the Fun Blame Monster!, I became more won over. For one thing, I absolutely loved their use of piano. So much so, I came to be reminded of all bands, Genesis. Brent Knopf reminded me a lot of Tony Banks, in placing these subtle, intricate little piano phrases into these quirky songs, that somehow gave me goosebumps and at times just became the parts of those songs I looked forward to the most.
So, over time with both this record and Friend and Foe, I came to realize how great this record was. It flows amazingly. The dynamics, use of percussion, production, textures like Mellotron if I recall, and other parts totally stood out. Another big part was how they used saxophone.
Sax is not a commonly used instrument in rock. Here and there, namely with Bruce Springsteen and even King Crimson at times (or Jethro Tull some may recall). King Crimson in particular, I came to hear as an influence with Menomena. I'm not certain how much exactly, but from memory when I spoke to both Justin Harris and Danny Seim at some of the shows I saw them in the past few years, I seem to recall asking them about Crimson and them saying they were fans.
Specifics with this record, and like many of these records that are so significant, I find this is another album that works best all at once. Or is greater than the sum of its parts so-to-speak. But songs like "Rose," and "The Late Great Libido," "Cough Coughing," "Strongest Man in the World," "E is Stable," and maybe my favorite track, the nearly 9 minute closing piece "The Monkey's Back" which features Brent Knopf's vocals, driving guitar riffs and what sounds like a combination of an organ and especially wonderful, mellotron patch.
But I wouldn't throw away a second of this album. It is a very complete work, even down to the title, which is an anagram for "The First Menomena Album" to the extensive packaging, which as you flip through the 80-page booklet, it can be flipped-through like a cartoon almost, with the artwork. Some have been given the impression of how young they were, with song titles and their silly, quirky style. But I honestly find it to be unique and a big part of their and this album's charm.
There really isn't another band who sounds like them, nor this album. The at times not-taking-themselves-too-seriously, to at times sounding incredibly emotional and deep/serious and almost sad, comes across throughout this record. It's definitely an album that if it connects with you, it may surprise you. In that you listen to it, and after wards are a surprised how much it can stay with you. And not just on a musical level, but sort of a mood/message/emotional thought-provoking way. Kind of like, what the hell did I just listen to? and wow, I feel like I just woke up from a dream or finished a best selling children's story; like Where the Wild Things Are or Peter Pan or something.
Menomena's 1st album clearly was the culmination of many years of refining song ideas from all 3 members (including lead vocals from all 3, in sort of a Beatles-kind of way. The member who sings lead vocals, I've kind of believed was the main songwriter from said song. And each member has a pretty distinct voice, so it's not hard to distinguish). However, on this debut record of theirs, they showed how they were a 3-headed monster of rather skilled songwriters, and especially on this 1st album, many of their best ideas came and worked together extremely well.
I revisit this record every so often, and every time I think I have finally heard them do something better, albeit the present Menomena, Brent Knopf's now full-time band Ramona Falls, or any of their other work, I keep being denied, in that this was a special record that just happened to be made as their 1st work. And it certainly stands up as many years later, and remains one of my favorite albums of the 2000's as well as all-time.
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Jellyfish - Spilt Milk (1993)
(https://upload.wikimedia.org/wikipedia/en/5/51/Spilt_Milk_albumcover.jpg)
This album. I can't recall the exact time, even year exactly, but it had to have been in the mid 90's, possibly 1996 or 1997, when I would guess Mike Portnoy had dropped the name Jellyfish in 1 or more interviews I read. Per Metal Edge or maybe even on the old "Under a Cyber Moon" Dream Theater website.
But I distinctly remember checking this album and Bellybutton out, and finding both for not a lot, likely at Cheapo. And the truth was, I wasn't crazy about them. Maybe it was the title "Spilt Milk" or the girl on the cover, but it didn't jump out at me.
So, they both remained in my cd collection, and I think the next point their name came up was when I was at KFAI around 2000, interviewing of all bands, local prog metal/Queensryche-like band Conditioned Response. And one of those guys on the air mentioned that he was listening to Jellyfish.
So, at that point I recall re-checking them and those cds I had out. And I do remember liking them, actually Bellybutton more.
And in the coming years, with listening to both albums more, and also seeing Mike Portnoy and some others online use their name more and more, I became pretty won over by them.
And I'd say over the last 7 or 8 years at least, maybe more, they have stood out more and more as being ahead of their time in a lot of ways.
Now with this album compared to Bellybutton, I came to see them as about equal, but in the past 4 or 5 years, I've given in to the fact this is their finest work. It just works so well on a production level, and on a flow or track-2-track level.
I recall once thinking and telling people about them as being like The Beach Boys doing progressive rock, which in a vague sense still makes some sense. But I also hear a ton of Beatles influence, as well as Queen, XTC and even groups like ELO. Along with sharing some qualities with some of their contemporaries like King's X, Galactic Cowboys and even Faith No More to a small degree. And Toy Matinee even I would later come to hear/agree with.
Even people like local Minnesota songwriter/popstress Jenny Case and Jimmy Gnecco of Ours have spoken about their love of Jellyfish and this album.
They just found a way to combine power-pop with a classic rock feel, that somehow sounded really clean and modern. When you listen to Jellyfish, and Spilt Milk specifically, you think it was music made in the 70's, but like it was remastered or something, because the recording sounds very hot and almost glitzy and layered.
To not name some of my favorites would be silly. Songs like "New Mistake" and "Sabrina Paste and Plato" are just so catchy and ear-worm like, they are impossible to not love, the more I hear them.
"So serene, Sabrina makes me feel..dah dah dah dah dah dah dahhhhhhhhhh"
"Joining a Fanclub" is a great sort of track to kickstart this album off, which I always think of Andy Sturmer and Roger Manning being in some Beatles fanclub.
Andy Sturmer, not only is an incredible drummer, but his voice is 1 of the biggest reasons I think Jellyfish stands out. It is just so crisp and the little raspy element makes it sound so distinct.
I have always felt the 1st half of this album has this amazing energy, which has only seldom been matched, so much so, I always look for, but rarely find other albums that have that.
Also the lyrics seem to stay with me frequently,
like from Ghost at Number 1:
"how does it feel to be the only one that knows that you're right"
That certainly is a line that I can and have related to in many ways.
I'm sure there are a ton of points I am not remembering at this very moment about this album, that I may or may not try and edit in eventually. But the thing about Jellyfish and Spilt Milk is, it was clearly to me ahead of its time, and frankly. there has not been a band to make a record as good or quite like it since in this sort of progressive power-pop. Combining similar if not the same influences. Some have tried like The Wondermints or recently The Pillbugs (or even Bleu), but it hasn't happened. I guess I keep waiting for it to happen. The New Pornographers and The Apples in Stereo are sort of the closest thing to modern bands who have made power-pop I enjoy a lot (or getting a bit looser, stuff like Self, The Dissociatives, Bend Sinister and many others), but neither have come close to matching either JF LP, and this being their Swan Song thus the 1 to think of.
A reunion would be a miracle at this point as Roger and Andy can't stand each other I guess, so their likely is a better chance I join 1 of them live or in the studio, but I guess I still keep a small fraction of hope it could happen before I die.
If only I had been a fan and been old enough to go, I probably would have seen them at First Ave supporting this album in '93 (or '94).
The thing is, when Jellyfish came out, they were such a contrast to the whole Grunge movement, that it probably was as big of a reason they ended. Why a band like Dream Theater didn't go by the wayside, and they did? I dunno, maybe personalities. But the 90's pop and alternative music really doesn't compare to them in so many ways. A band like Weezer for example, were around not long after, but because they had enough of a garage sound, I think made it.
It's kind of a shame, but also likely a case where had Jellyfish continued on, their music may have suffered. So in that sense, their legacy never got tainted.
It is also definitely worth mentioning how this was their Swan Song, after 3 years from Bellybutton their debut album. Spilt Milk does not include the work of singer/songwriter Jason Falkner, who was on Bellybutton. Why this album is as good as it is may speak to why Jason left, i.e. he wasn't getting enough of his songwriting involved with the band. Of course there's no way to know what this or other work may have been like with him, but it may have ultimately been for the benefit of both JF and Jason.
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Toy Matinee - Toy Matinee (1990)
(https://upload.wikimedia.org/wikipedia/en/a/a5/Toy_Matinee.jpg)
It was the fall of 2004. I started a brand new job, and I was being introduced and reintroduced in some ways to both Jeff Buckley and Kevin Gilbert.
I think it was actually before 2004 I heard the name Toy Matinee. It may have been when the 1st OSI album came out, it was brought up in a topic in Mike Portnoy's forum, by Mike himself I think. A trivia question about artists who released a Self-Titled album with a Self-Titled song on it. And among them, Mike mentioned Toy Matinee one of a handful of artists that qualified. And I don't even think he included Kevin Gilbert's name.
But I must have found an mp3 of Last Plane Out or somethine in 2003 or 2004. But the biggest point was one day I went down to a music store in Apple Valley that I don't believe is around anymore sadly. It was like a Video rental place and cd store, or perhaps a CD Exchange or CD Warehouse. I wish I knew specifically, but I remember seeing 2 copies of Toy Matinee's cd there, for like $5 a piece. I forget why but I snatched up both of them.
I wish I could remember my background at that point with them, but I do recall after that point playing one of them constantly at work. I was so blown away by the clean production and nuances. This was such a great sounding pop record. The period it came out didn't matter much to me. Even if it resembled 80's pop, much in the vein of Tears For Fears or something.
It in a lot of ways sounded like pop music done by a prog band. Maybe a bit like Spock's Beard or something, who at the time I was still a pretty big fan of, along with Transatlantic. But I had no idea about Kevin Gilbert's history at that point. Only later I would come to realize and follow how he influenced Neal Morse and Spock's (and of course Nick D'Virgilio).
But this album was THEE album that I found my love for my favorite musician to this day, Kevin Gilbert. Even though I would come to understand that Patrick Leonard of course had a ton to do with how good this record was as well. Kevin just sounded so good on every track. The emotion, the personality, the layering, the production, the clever little bits, the voice overs, the lyrics.
Every thing about this album screamed to me, like where the hell have I been to not have known this before?
I mean every track works so well. Last Plane Out, The Ballad of Jenny Ledge, Things She Said, Remember My Name, Queen of Misery, There Was a Little Boy, the Title track. Turn it on Salvador. I even adore the b-side Blank Page, and still regard it probably as the saddest song Kevin ever wrote in some ways (I know the Song For A Dead Friend lovers will disagree!).
A few of my favorite lyrics
"And this party is addictive Self-destructive, no doubt So I hope that someone saves a seat for me On the last plane out"
"No One Can Take This Away from Me. The Martyrs and Madmen I learned of in School Will Remember My Name"
I came to learn many things in doing research, to the online communities and email lists about this album. How Kevin left Giraffe to make it, how Sheryl Crow went out on tour with him and is of course on the Live at the Roxy album. To not having Patrick and others available to tour. To at least it making its money back.
A major label release which didn't receive the exposure it should have, blah blah blah.
It came out in 5.1, DTS and Special Editions.
It was award a mastering award for excellent signal-to-noise ratio and clarity, one that the likes of Donald Fagen and Stevie Wonder's albums have won.
I guess the music does speak so much for itself, that trying to go on and on about it isn't as valuable as just listening to it again. I own it on cassette, vinyl and multiple cd formats in fact. And each one of them I can still listen to and love. That may be it's best quality, in that I still am hardly tired of it, even after listening to it 100's of times.
It would belong in some kind of library of congress preservation archive if it were up to me of course. I even tried donating a copy to my local library in Eagan back in 2005, but I forget why they told me they couldn't accept it. Something involving money I think, I forget. I just recall thinking, having a copy in a library might expose it to someone who otherwise never would know about this album, which seemed and still does seem incredibly accessible.
Perhaps decades from now, it will be known better, as I'm sure the much of the most well known 80's (or early 90's) pop music will. I would hope fans of Tears for Fears or Simple Minds among others may remember or find it someday if they haven't yet. But, that of course seems too much like the ole wishful thinking.
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I heard that Jellyfish album is awesome, I'll have to check it out.
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Out of curiosity; how many albums do you own in total?
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All of them.
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I'll have to find that Jellyfish album. Toy Matinee is great, but I have to be in the right mood to listen to it.
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Out of curiosity; how many albums do you own in total?
physical copies? too many to count, but if I had to guess, probably around 2000. My rateyourmusic.com page says 2793, but a ton of those are digital of course. But I also purchase a lot of stuff that I either haven't gotten around to cataloging in there, or aren't listed, like a lot of recent Vinyls.
I probably have picked up around 400 vinyls in the past 3 years, ever since the girl I'm with and I found it an addiction to shop for Vinyl together.
Soundscape - Grave New World (2009)
(https://i184.photobucket.com/albums/x110/SoundscapeMN/Soundscape_GNW_Cover.jpg)
Long winded original review from from 2009 (https://allmediareviews.blogspot.com/2009/03/soundscape-grave-new-world-2009.html)
I'm not sure how much more I can add to this Significant Album listing from that extensive review I wrote in 2009, that wouldn't be a ton of rehash.
I guess given it's been 5 years, I have not played this record extensively since that year, but I have had it on my mind still, especially recently for some reason.
I think part of my thought about it is, I still love it, and it is a big step up in production from Discovery. Soundscape also still stand out over a lot of the so-called "prog metal" that keeps being made, so much so, I think that is why I love this record even beyond my unhealthy fanboy-ism for the band.
But, I guess in retrospect, expecting a lot of people to catch-on to them was a bit naive. Forgetting the fact they were a name from the past, that never got much recognition when they 1st came out. Really, only among a select few into progressive metal and Dream Theater.
But traditional sounding prog metal has become watered down so much, even if a band like Soundscape stands out to me, to others? they are just caught up in a large numbers game.
But then again, to my ears they do stand out, and this record stands out in many ways. I just can't fathom seeing new fans acquiring even half the amount of interest I had, even if they love Rush and Fates Warning like I do.
But, it doesn't matter all that much now anyway. The record stands up, and this was a huge deal to finally get released in 2009, after waiting 10 years, and not really believing it would ever be released (but knowing it was made in some form at least).
Production was maybe the biggest thing that stood out on this record. It's incredibly clean and clear. It showed why the 10-year wait was well worth it.
I guess I can claim this to be 1 of if not my favorite more traditional sounding prog metal records, released in the last 5 years. And that is why I still find it stands out as well.
There's not any music on it that drags, or seems out of place, or just bugs me. The vocals, the guitar work, the keyboard textures, which are maybe even greater in many ways than on Discovery. I used to describe Soundscape like Fates Warning with really bubbly keys, and that is still present on Grave New World.
I dunno, I probably should and will go back to it soon and be even more reassured how much I enjoy about this record. It's 76 minutes, but it never feels long to me.
Is it their last work? likely. I would love to even just see them live once, but odds are maybe better I win the Megamillions, lol. At ProgPowerUSA would be the only likely time, and the cost of that festival and priorities seem low, even if they did go. I would go for just seeing a reunion show in Connecticut instead. It's too bad, Rob Thorne's activity with Sacred Oath still happens, so you'd think at some point the opportunity, desire, or even IDEA might still come up. But if it did, he might contact me. Maybe when his kids are older? lol..wishful thinking of course.
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Toy Matinee is fantastic...glad to see it on your list!
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Following... I like your waiting till the end to rank Idea :hat
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I like your waiting till the end to rank Idea :hat
Actually, I think it might be having the opposite of the intended effect based on traffic.
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Just gave it a listen on Spotify, but wow, that Toy Matinee album is really damn good. I've seen it on several of these lists, but finally decided to give it a chance. That was a good choice. :)
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very cool to hear your digging Toy Matinee TKiC. I didn't realize too many others included it in their top 50 lists though.
Marillion - Brave (1994)
(https://upload.wikimedia.org/wikipedia/en/d/d5/MarillionBrave.jpg)
When I 1st was told about Marillion, it was May of 1995. Misplaced Childhood was the record I was suggested, being a Rush fan, and I was for he most part immediately won over. So naturally I got to looking for more of their music the Summer of 1995 and soon there after.
They had a pretty big catalog, and I remember seeing this album and Afraid of Sunlight, and being a little thrown off by it. What was it about? It seemed darker than Misplaced Childhood for some reason.
I of course came to learn their history with who was still a relatively new singer in Marillion in 1995, having Steve Hogarth, instead of Fish, the singer on Misplaced Childhood.
I remember though buying 2 cds in particular, Six of One Half a Dozen of the Other, and Made Again, the double live album. And Made Again had a lot of their recent songs/singles per say on disc 1, including a few of the Fish era tracks, and on disc 2 of course was the complete Brave live.
I recall buying Brave at Media Play in 1996, as I stumbled upon, somehow, a receipt recently that I saved when I purchased my 1st cd copy of this album. The Made Again performance along with a bootleg video I picked up at 1 of the local Twin Cities area record shows where the band played the whole thing, I think really won me over to the Hogarth music and this album in particular.
And it sort of helped me through/related to some depression I was going through.
As much as every part of this album works cohesively and is without any song/moment that is out of place (including "Paper Lies"),I think this album has 3 songs that probably reach me more than any other Marillion songs, or maybe songs in general, save for some huge level of sadness or nostalgia on a song like "Somewhere Over the Rainbow."
The Great Escape, Hard As Love, Runaway.
Steve Rothery's tone and phrasing, along with the lyrics especially. I frankly do not have enough space or time to capture how much some of the lyrics on those 3 tracks hit me. Not exactly on a directly personal level, but in a mood/escape/sympathetic/empathetic (or pathetic? lol) ways.
Some of the saddest guitar lines ever. Some of Hogarth's most impassioned vocal lines. He sounds like he's crying throughout, even though he's in voice exactly.
Very much a record that transcended music. The message was extremely powerful, I almost have felt Brave was not so much music or an album, but an out-of-body experience. I still to this day cannot get through it without balling like a baby at times. Why I love it so much? I'm not sure, but the natural human tendency to curl up in the fetal position to feel safe and comfort kind of hits me.
I recall Hogarth talking about playing it and the rest of their music live at the time, with the Brave music/performance being more like a painting that would be displayed in a museum or something,and the rest of their set being like Greatest Hits or something people might enjoy to party to.
I'm sort of at the place where I need to move along for now, just to not invest the time that I don't have right now to dissect so much more about this. In fact I guess the best thing I can include for now is, this very well may be just a preamble or excerpt of what very well could be like a essay (novel? lol) size examination on the *significance* of this album to me.
I almost feel like I love it to death, in that if I ever feel my most down, vulnerable, or needing of some excessive melancholy with nostalgia, and with a 3rd ingredient I don't know if I've ever found again, it is on here.
Justice will have more to add, I just need to find the time and be in the mood. But it may come sooner than later (2014 perhaps).
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The Dear Hunter - Act II: The Meaning of and All Things Regarding Ms.Leading (2007)
(https://upload.wikimedia.org/wikipedia/en/0/0f/Themeaningof.jpg)
This has been my favorite record of The Dear Hunter's, more or less since it was released. Sure, I love Act I nearly as much, and adore nearly all of Act III as well, but this album is just without flaw. And people say it's too long? I feel it's more or less the proper length. Or rather, I enjoy it most all at once, and don't find myself wanting it to end, even at the end of "Vital Vessels Vindicates."
Lord, I don't know how extensive the details will be included here initially about it, but I will include at least some of them for now.
I love the layering, the styles incorporated being ragtime, progressive rock, Beatles and Beach Boys like harmonies and instrumentation. Some of those melodies I will never forget. When I listen to it now, I do get a ton of nostalgia to the Summer and Fall of 2007. "Red Hands," I'll admit, I still adore and think it's the most accessible track the band has ever made (as much as Casey may not agree, and at least doesn't quite love it, for that or just for what it is).
The chorus is just so addictive to sing along to. And the way he brought it in with the strings towards the end, I often get tears just thinking about the passion or emotion put in to it. "Oh My God What Have I Done? Now My Darling Put Your Clothes Back On."
Shit, my train of thought is leaving me....
I mean just going down the track list, "The Procession," "The Lake and the River," "The Oracles and the Delphi Express," and "The Church and the Dime," just offer a great sense about how The Dear Hunter have so many influences. From the time changes, to the choruses and lyrics that return or get referenced. They are 4 songs, but almost seem like 6 or 8, with the transitions and change in style. Among them, I guess I think of the deep vocal section of "The Lake and the River" "Eat so much but I never get full" . For some reason, the track "Nauticus" from Pain of Salvation, I get reminded of in that section. Musically and lyrically, they aren't that similar, but the whole slow, rhythmic deep (baritone?) vocal use and what sounds almost gospel or preaching/prayer-like, and sort of in a random, out-of-the-blue way in style, those 2 songs/section I seem to think of.
"Smiling Swine" I guess I will always associate with The Beatles "A Day in the Life"..the whole rhythm and use of vocal dynamics. I thought I read or heard once of Casey's love for that Beatles song or at least that song being inspired by The Beatles. It might have been other Beatles like something off of Abbey Road or something. I also for some reason think of the story being at a Hotel or something, and The Who's "Bell Boy" ideal if not music specifically.
I guess that is one point where the story seems to be as big a deal as the music. But unlike many Rock Operas (not including Quadrophenia tho) and story/dialogue based albums/music, The Dear Hunter's storytelling and narrative totally works and avoids the issues with a lot of the cheesy melodramatic elements of those kinds of albums. The music still does come first and the vocals are not written for the story, but for the song still.
The story itself, while I honestly don't attach myself to, I find appealing enough to wonder about. It does pickup from where Act I left off about the young man Hunter's exploits and encounters, in this case, with a call-girl who he falls in love with, but then learns about what her intentions and identity are. Although I kind of see her as initially trying to deceive him, but ultimately wanting what's best for him.
I love the ending of this record to bits, as I stated earlier with this album not dragging or seeming too long. In fact the last 3 or 4 tracks in some ways are the most memorable. From "Red Hands" on, I seem to receive ear worms with nearly every track. "Dear Ms.Leading" is such a great rocking tune. The vocal harmonies and the way it builds. The organ texture works so well, almost in a Deep Purple-kind of way. And Casey's screaming totally fits.
"Where the Road Parts" and "Black Sandy Beaches" are dreamy and just impossible to leave my head. The line "You were the only one that didn't fold"....I keep hearing over and over. And actually recall loving the original demo which I think was just titled "You Were the Only One That Didn't Fold." It's just a tear-dropper, the way it builds and the dreamy floating synths with the vocal chants.
"The Bitter Suite" suite, and "Evicted" I would say the same about as well. Dreamy, mesmerizing, and another great example of The Dear Hunter's use of falsetto vocal harmonies, that I totally love. Whether that is partly due to Casey's love of The Beach Boys and Brian Wilson or just his general interest in using them, especially at the time he wrote this, I dunno. Although I suppose the overt Beach Boys-like moments aren't as evident on this album as they are on a couple of tracks on both Act I and Act III, they still seem to be noticed enough.
Blech. I guess for now, I can just add or conclude, this is a special record that while it may not be exactly the kind of music The Dear Hunter are making now, and wasn't my introduction to the band initially. It totally cemented my love for them and Casey Crescenzo as a songwriter and musician. It's a record with a ton of ideas and a ton of moments to enjoy. And it's very progressive rock-like but in a modern way, screaming being one-of but not the only part of that. I hope for the day Casey makes something I enjoy even more than this, but if it never happens I can't say I will be disappointed.
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Marillion - Marbles [Deluxe/Campaign Edition] (2004)
(https://upload.wikimedia.org/wikipedia/en/5/5f/Marillion-Marbles.jpg)
The most recent absolute classic record from Marillion. And it's actually 10 years old this year, which I must be dating myself, because it doesn't feel even close to that long ago it came out.
There's a long list of reasons why this record is so significant to me. Maybe 1st and foremost, when it was released in 2004, it was coming off two good, but not amazing records by a band who I fairly or unfairly, hold maybe at a higher standard than any other given my own personal love and bias towards them. In other words, they were at the time, and still remain my favorite band of all-time.
Anoraknaphobia and Marillion.com are both records I enjoyed at the time and still do, but don't place as highly as many their others. And I would say even going back to This Strange Engine, it had been since Afraid of Sunlight, when they genuinely made a record that I loved every moment of. And I really came to the point of not expecting anything on that level again.
But they did it. They totally did it on this record. And I had done the whole campaign for Anorak, but after that, I just decided to buy this after sampling it.
But this was hit right out of the park. Every track stands out in some way. "The Invisible Man" I loved when I 1st heard it, and still love now. The crescendo is just so infectious and moody. It's one of Steve Hogarth's best vocal performances, and one of the best musical climaxes ever written.
And the scary thing was originally when I bought it in the Summer of 2004, my copy didn't include" Ocean Cloud." I was busy that Summer adoring that track, "Neverland," and "Drilling Holes" among the rest of the record, but the US Edition didn't include "Ocean Cloud," "Genie," "The Damage" and I think one other track. I do recall though having to special order a copy of the cd per either Roadrunner Records or The Electric Fetus, and being extremely pissed off not for the fact it didn't include those tracks, but THE PRICE being like $25 or $30. And I unhappily paid said music store that much for the cd, but could not figure out why it was so bloody expensive.
The explanation is kind of a bad memory and mystery to me still, but my guess is I couldn't find it in retail or figured it would take too long to import. I recall around this time, I wanted-to, but was unable to use my cc or paypal on the Racket Records site. But why I didn't use Amazon or cduniverse (or even Ebay) I guess I may never know. I suppose it may have been the whole import price and time, and I was being impatient wanting the bloody thing asap.
But I would guess it was sometime around July or early August (Mike Portnoy's forum history would likely show it) I saw all the buzz around the extra/campaign edition tracks, I was able to find them eventually and totally got won over. "Ocean Cloud" I eventually grew to like maybe more than "The Invisible Man." The dynamics, and layers, and samples on that song created such a wonderful atmosphere. Pink Floydy in a lot of ways. It is kind of a melancholy piece lyrically, about a man, possibly who makes his living at sea, not wanting to settle down like most normal people.
"You can take all the boys and the girls in the world
I wouldn't trade them this morning for my sweet Ocean Cloud
I've seen too much of life
So the sea is my wife and a sweet ocean cloud is a mistress I'm allowed
for now."
I know Hogarth has had relationship up and downs, and not every one has worked out for him, So maybe writing about a man retreating to the water, and attaching himself to that environment, it became his way of living. Maybe lonely in some ways, but to him, therapeutic perhaps. I dunno, I've always sort of been taken away by the music more than the lyrics directly. Although I do enjoy when he drops certain things like Barbados and radios. I guess my life being a homebody and someone who hadn't had much if any luck in relationships, I kind of related to some of this. The water or ocean was his sanctuary. I often listen to this song wanting to be lost at sea, but safe and at peace.
"Genie" is another track I adore on this album. Simple, yet the use of vocal textures is just perfectly captured for the tone. And it has a great climax as well.
I'm scared of everything I am
I'm scared of opening the can
I'm scared of losing who I am
Think I might've taken all I can
I let the genie out of the box
"Drilling Holes" has that wonderful driving, adrenaline infused riff that leads to that calming line "It was just one of those days When the mind strays One of those days When everyone plays." The shifting dynamics and some have mentioned the Beatles influence, stick out among other parts of this track. I also for some reason think of the story Lord of the Flies when listening to this song. Maybe it tells the story of kids playing amongst themselves. The "insects" reference maybe I think of with the insects or *flies* on the island those kids are on.
"Neverland" is probably the most loved tune on this album universally, and I get why. It's really dreamy and almost inspiring. Although I'll admit, I often think of Peter Pan, when I hear it (beyond the title), I have no idea if the band or Hogarth specifically titled it for that Peter Pan reference. The lyric "I want to be someone, someone I want to be" etc, I kind of hear a dream of so many out there, wanting to find themself making a mark on the world. Whether it be famous, or just accomplish something. And it does speak to me and many others in that sense. It also does just stand out as a wonderful closing track, with an infectious flow to it. The whole vocal echoing with Mark Kelly's floating synths just give you an incredibly uplifting feeling. It actually might be a great tune to play at a wedding or awards ceremony or something. I could see an Orchestra totally bringing it to even greater heights actually. It's just 1 of those pieces of music that almost transcends it's original format.
But I cannot also forget so many other parts of this record. "Angelina" is a cool sad/relatable mesmerizing track where I think of hearing a soothing voice late at night on the radio (and in fact I have played it on the radio).
"Fantastic Place" is frankly, pretty fantastic. A fantasy tune, that musically I hear a lot of U2 on, but in such a cool way.
"The Damage" is very Beatles-like. It almost sounds like something from the Abbey Road period. Very catchy. I wish I could say the same about "Lucky Man."
"The Only Unforgivable Thing" I probably think of for hearing some dude at the show I saw in Chicago say to another person talking "the only unforgivable thing is talking during a Marillion concert." Lol, but it leads to in a classic Marillion element, something very cool in the bridge. I swear Marillion have written like 10 or more tunes like this, and I love it when it happens. Where it's a song that starts out slow, and doesn't sound like it's going anywhere, and then eventually starts to get trippy and rocks out in such a great way.
"Don't Hurt Yourself" is probably the catchiest track on Marbles, and one that I never get sick of. It almost sounds like The Eagles or Neil Young or something, but the melody just stays in your head for hours.
"You're Gone" is another track that could have been played on the radio. The wall-of-sound textures at times, with Hogarth's impassioned lyrics and vocal lines. 'You are the light, you have the day, I have the night." I mean it does speak to saying goodbye to someone, but almost in a good way. Almost like if you were a parent sending your kid off to camp or college or something (or in a relationship with someone, and they are leaving to college or for a job or some other reason), but you still have the memories or something. It almost is a song that could be sad, but actually ends up being happy.
And then there is the "Marbles Suite" which I think adds a very storybook-quality to this album. Almost in narrative, or telling a story of someone's childhood (Hogarth's I recall reading once), in 4 phases or chapters at least.
This is a double album, that seems to work best as a double rather than single record. The production/mixing/mastering also stands out among many other parts of it.
But I think maybe the most significant part of this album was it really proved to me to never doubt this band again. Even if they never make a record at this level again, I just can't discount that 25+ years into their career, they made a record as good as anything they'd ever done. It felt like to me, Marillion saying, yeah,we may be older, but we still know how to make an album you can revere like many of our others. And it'll still sound modern and not exactly like our music from so many years ago.
And who knows, it would not surprise me to see them make another record this good again.
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Great write-ups. I'm not into any of those albums, but I appreciate it.
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TAC, thanks for saying so, different strokes of course.
Yes - Relayer (1974)
(https://upload.wikimedia.org/wikipedia/en/9/92/Relayer_front_cover.jpg)
This is my favorite Yes record. Patrick Moraz is a very big reason for that. The wall of sound he created on this was really, like no other I've ever heard. I wonder how many synth/keyboard tracks were used on "The Gates of Delirium?" Maybe dozens.
I guess I'm not going to try and give my entire history with the band Yes with this, but I can say, originally I never got totally into Yes. I liked Roundabout and a few of their other tracks, and then I checked out Tales from Topographic Oceans and was more or less turned off.
Maybe a year or two later, I ended up picking up Close to the Edge, Fragile and this album, and had all of them inside the Jukebox cd player I got from Best Buy. And I often would fall asleep listening to music at random on that thing. I had a dream or two where some of their music seemed to be in, in the background, etc. Close to the Edge I recall specifically. But I think it was at that point, I was convinced to invest the time into their music more so.
That was probably around 1999 or 2000. And then I met some friends, 1 specifically, from being on KFAI, named Creighton. Creighton and I attended Nearfest together along with some other friends named Tim and Gino. And of course we'd listen to music during the non-concert time periods, and I specifically remember Tim playing Relayer, and "The Gates of Delirium" specifically, a handful of times on those trips. I think it may have partially had to do with the fact Yes were on the "Masterworks" tour in 2000 and played TGoD, and then I think the next year they played it as well (with an Orchestra/String section?). And I remember the show in Chicago was free and we went on KFAI just after Nearfest and Tim mentioned that show.
Sadly, I did not end up seeing shows on either of those tours. It was a budget thing, but I'd be lying if I didn't admit to regretting it.
So, I just ended up listening to this record a lot in that time period. I listened to a lot more Yes in the early 2000's than any other time. But this album I just seemed to go back to the most. I kind of see it as Yes at their most virtuosic, at least "The Gates of Delirium" was. And it was their most experimental while still not losing focus for the song/part/melody etc.
TGOD is just a trip. It features quite complex/multiple-tracks of guitars and keyboard textures that at times almost sound like guitars. It's a roller coaster really. And at times a battle of sound and echo or call-and-response between Howe, Moraz and even Squire at times.
Lyrically, I know it's some-of, if not the darkest stuff Jon Anderson has ever written. My Yes-savant friend John mentioned when we played it on KFAI, how the Vietnam war likely served much inspiration/influence for the lyrics.
"Listen, should we fight forever...
Kill them, give them as they give us..
The fist will run, grasp metal to gun"
The whole battle section is intense and heavy. I think the way it is so heavy, made me grasp onto it like I would progressive metal. Even though John would call it more in the Jazz-Rock vein. I just always hear the different sections getting more intense and layered so-to-speak, which makes it come across louder and thus, heavier to me.
And of course it all closes with the gorgeous ballad section of "Soon," which is just so fitting. It may be my favorite Yes ballad of sorts anyway.
But, so I was at that point, being floored by TGoD and then got to taking in both "Sound Chaser" and "To Be Over," which were both quite different tunes from TGoD, but they seemed to work really well on this record.
Moraz also was featured largely on "Sound Chaser", and it admittedly, has some of the oddest use of minor keys, at least within the composition of a Rock song. The whole "cha cha cha, cha cha" at 1st I thought was cheesy, but then started to enjoy more and more. And like on Gates, it seemed Steve Howe uses refrains and echoes to the songs advantage. It almost sounds like a Jimmy Page approach. I guess I'm a sucker for a guitar texture, when it sounds cool, used to its fullest.
And the rhythms are almost dance-able in a way.Squire and White I think get overlooked on this album.
"To Be Over" is very unlike the other two pieces on here, but works really well as the last act of this record. It's a gorgeous piece that I never find drags or overstays its welcome. The pacing and tone is perfect. The pedal-steel guitar is anthemic I kind of see it as the happy closing chapter to this journey. The way To Be Over introduces the uplifting moods, it's almost spiritual. Yes often can get deep, almost too deep for me like on a track like "Awaken." But on "To Be Over" the balance of enlightening instrumental tones and how the vocals are used, never gets too deep for me. The vocals are kind of less is more in that sense, especially the way the keys and guitars make more or less every second of this song. The ending even with the background chants with the pedal-steel is as enjoyable a part of the whole record.
I probably will also think of Hawaii and in 2003, Yes played it there, (with a string section?), and I wanted to go, but also wanted to go to New York City to see Mike Portnoy play Led Zeppelin tunes. And it was in September I think, and going to Hawaii when it's warm in Minnesota seemed slightly less beneficial, than in say in January?. So, I went to see Hammer of the Gods in NYC instead, but damn, seeing Yes play "To Be Over" in Hawaii I'm sure would have been a memory I'd never forget.
Relayer, it just seemed/still seems to be the right length, approach to songs, textures, studio production. Despite Moraz replacing Wakeman and it only being the 2nd record with Alan White. I have always felt it just all came together, kind of when Yes was in transition, on the heals of the much polarized Tales. I also love the Drama record, so maybe for me, I find my favorite Yes, is the Yes when they aren't exactly like the Yes many people know and enjoy them for? lol
Maybe this album and that idea has something to do with a response to adversity? Or maybe it was having Patrick Moraz bring some new ideas to the band at that time?
Yes included 4 tracks of 20 minutes a piece on Tales, but this album only had 1 song over 20 minutes. In a way, it's sort of improving on the idea of Tales in some ways, in, instead of including 4 side-long pieces, just get all the best ideas into 1 side long piece? and then the other 2 pieces work as slightly shorter, but complement the 1 extensive piece? At least just from a comparison and reflection to their last record.
I also think it was kind of a studio experiment that worked extremely well, but when done live, maybe not so much. Gates is on Yes Shows, and I have never found it to be as engaging as the studio track. Which ironically, most of the stuff on Yes Songs, I like more in some ways. But, Bruford vs White, Wakeman vs Moraz live, etc. maybe had something to do with that.
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Jerry Goodman and Jan Hammer - Like Children (1974)
(https://upload.wikimedia.org/wikipedia/en/5/52/Like_Children.jpeg)
Odd enough in the random numbers this record comes up right after another record from 1974 in Yes's Relayer. Maybe 1974 was the year of Jazz-Rock? lol
Anyway, this album I find to be the best thing any of the members of Mahavishnu Orchestra have ever done. Even though a few of the songs were recorded on what ended up as The Lost Trident Sessions, and performed live with Mahavishnu on Between Nothingness and Eternity. The stuff on here, and those versions of "Stepping Tones," "Sister Andrea," and "I Wonder," I prefer. There is something about the less-is-more and clean production on this record which always wins me over.
My friend Creighton once brought this album down to KFAI and played 4 or 5 cuts off of it on the air. He didn't mention who it was until after playing them. And I will never forget how much he stressed in finding a copy of it, at the now long since gone, record store in St.Paul, MN (the store might have been called "One Stop Music Shop"? but I'm not certain). He mentioned how shocked he was to find it, and thought he'd never see a copy after his friend Tim had showed him it years before.
I'm not sure entirely how rare it was, but it certainly is less well known than most of the classic Mahavishnu records.
I guess as much as I love John McLaughlin and Billy Cobham especially, there is something incredibly warm and vintage about the way Jan Hammer and Jerry Goodman not only were featured on their primary instruments (keys and violin), but also Hammer on drums and Goodman on guitars. They fit each piece so well. And the production, both the original and the remaster, I just am in awe how clean and clear it is.
The songs themselves: "Country and Eastern Music" is a rocker that even the vocals stand out in many ways.
Like Children....., they are free to be up or down...
Dance to Country and Eastern Music, Feel the sweet balance of Life!..
I adore not only Hammer's moog synths on this track, but that gunning guitar riff is really ballsy. Also the bass line, which may be from Mahavishnu's Rick Laird, as I know he plays on some of this album, but which tracks specifically? I'd have to look it up.
Some of my other favorites include "Earth Still Our Home," "No Fear," "Stepping Tones," "Full Moon Boogie" and the closing track "Giving in Gently/I Wonder" is a favorite. The walking piano on "I Wonder" I totally love. And Goodman's guitar part more or less takes some of what McLaughlin did on the Mahavishnu version, and made it his own.
This album can sound a little bit like a 70's hippie record; but with some tight compositions, that are both laden in Jazz and Rock (or prog). But it has its funky side, it's dynamics, its textures. Yet, it always sounds stripped down in a good way.
Maybe it was like if you took Mahavishnu or Return to Forever, and isolated a lot of the great melodic and harmonic ideas, and added some adequate vocal lines. When I listen to it, I feel like I'm living in 1974, hanging out at the lake on a sunny afternoon in July. Looking at a river, or a garden or a meadow or something, and am at peace. It really is a record I find is bright in tone and mood. Could drugs have made some impact on it? sure, perhaps, but what music being made in 1974 didn't?
And while I do enjoy a lot of the other Mahavishnu records and related works, I just find this album stands out as a blend of their sound and other influences in great way. Is it dated? some probably feel that's the case, but the remastering job I find does help alleviate some of that.
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Relayer is on my list of things to check out. I love Close to the Edge and have found a lot to like in both Fragile and Tales from Topographic Oceans. Recently got Going for the One, and have enjoyed what I've heard of it.
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Great writeup on Relayer. We can only imagine what it was like for people that were privileged to see that live show. :eek
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I feel sorry that this thread doesn't get a lot of replies, because your write-ups are great - even the ones for the albums that I don't know (read: all of them except APSOG :lol) are really detailed and informative :tup
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thanks for the comments. I suppose this Top 50 differs from some others given when the idea of doing one of these came to mind, I felt it was worth including it in allmediareviews. And if I am really regarding these as favorites, they are worth including as much as possible, even if they are just personal anecdotes or memoirs.
That being said, here's another:
dredg - El Cielo (2002)
(https://upload.wikimedia.org/wikipedia/en/7/7f/Dredgelcielo.jpg)
Another *deep* record with which probably warrants a more extensive background, that may end up being put into this blog, but I'm sure I'll not be able to include it all tonight.
dredg is a band I have grown to love and their music has meant a ton to me. And while I still appreciate every one of their records, this is their highest art in some ways to me. Like Marillion's Brave in a way, the feeling, images, nostalgia, goose-bump moments, and what hits my brain when I listen to many parts of this album, are like staples in my existence.
It's at least partially a concept album about people's experience with Sleep Paralysis, which I thankfully cannot relate to, but still empathize with. But I also think the way the tones and lyrics that are used in this, can be connected on, with many other things. And naturally one of them is love and relationships.
Which brings me to the association I will likely always have with one of my favorite movies, Michel Gondry's The Eternal Sunshine of the Spotless Mind; which is a movie that tells the story about 2 people who have the memory's of their what seems like failed relationship erased.
dredg wrote and recorded this album long before that movie was made, so it of course is more or less pure coincidence, yet still rather fascinating how it was discovered this album syncs up rhythmically/lyrically/tonally with that movie. The song "I'm Sorry But It's Over" maybe being the most coincidental as Kate Winslet basically is saying that very thing to Jim Carrey's character when that song comes on.
And as hard to believe, it was watching that movie with this album that kind of made me realize the unique element of this record, and got me to start listening to it and even the band in a different way I suppose.
The use of strings, the way this album flows so well, stands out. It almost is more of a *suite* like Marillion's Misplaced Childhood or Fates Warning's A Pleasant Shade of Gray in a sense. And for that reason, I do enjoy this album all at once, rather than hearing the tracks at random or selectively.
"Here We Go, down that Same ol road again..."
As much as something like "Bug Eyes" is dredg's most well known track, I think that line is probably their most well known line.
I guess to highlight some specifics though, tracks like "Convalescent" which I often think of a 50's or 60's family home like Leave it to Beaver or something from Big Fish or Pleasantville when I hear Mark Engles guitar riff at the beginning. and makes me imagine being in some old fashioned automobile, coming home to the family or something. It's almost dreamy. But the way that tune crescendos is just infectious. The line:
Maybe you've never seen it
Maybe you've never been through it
It's the only way to understand it
Save your clever statements
Brave yourself if you want in
It's the only way to understand it
To understand it
"Whoa is Me" also really stands out, as I always get goosebumps hearing the ending with Gavin's soaring vocals and the saxophone. "Waiting for the Snow ....When the water comes, I will over flow I will overflowwww ohhhh ohhhhh." Great saxophone, great building crescendo, and rather sad/sympathetic sounding ending (although go figure, with a song of that title). Those lyrics almost read like a story thinking about at the point when the weather gets warm enough to have the snow melt, something bad or sad may happen. Almost like a snowman? lol (Frosty?)
And it segues so well into "The Canyon Behind Her."
The line "Does anybody feel this way? does anybody feel the way I do...now half of me is gone, but the lonesome part remains"..is just so sad yet powerful. This song gives this image of someone whose lost a loved one, or lost part of themself in some dark, horror/scifi story. Half of this person essence was taken away, died, or went to heaven or hell. And I always think of a guy or girl sitting near a cliff looking onto a desert landscape. It's kind of surreal, which is another reason I am in awe of that song and the end of this album.
I think it was that song and those lyrics that 1st grabbed my attention to the band in general. Before that, I kind of thought they were just a rap-core band,or a band who just wanted to sound like Tool. But far from that I would come to learn, and there's a reason why Canyon closes this album and is the last song they play at most if not all shows in the encore. Call it "epic" or just call it a piece of music that can be impossible to ignore. It almost could be considered a spiritual or religious hymn or prayer actually.
Other songs or aspects to El Cielo stand out, from "Sanzen" to "Triangle" and for one, its reference to "Penguins in the Desert" from Leitmotif.
The ending of that track just soars in the whole "born into silence, and let it all be... a fortune in silence"
We live like penguins in the desert
Why can't we live like tribes?
To "Eighteen People Living in Harmony" which I love how it builds and the 2nd half builds
Art is dying, is art dead?
Art is dying, is art dead?
Believe it, we need to move on.
A one track mind in a one way time,
Let's go ahead and gentrify,
We let art die with robot minds,
They steal the brush and paint boundary lines.
A stale kind of people we'll find,
Walking in single file line,
I think it's time we finally rewind,
Let's go ahead, we might as well
which repeats the chorus and then goes into a trippy almost backwords guitar interlude.
The guys in dredg love Pink Floyd, so there are moments I totally think they may have been going for a Floyd thing, from the samples to those dynamic sections that go spacey and quiet.
"Of the Room" I have always enjoyed, including the poetic lyrics (which a lot of this album's lyrics read lie poetry anyway), but for some reason i have always thought of the Jeff Buckley tune "Mojo Pin" in a way. The reference to a 'White Squalls" and on Mojo Pin referencing to "Black Beauty" I think of a black and white horse for some reason. Or horses or the story/movie? The Black Stallion.perhaps. Even though the term "squall" refers to a gust of wind, the idea of wind and riding a horse or horses kind of fits, so that connection, while may sound silly or a reach of sorts to some, I am not surprised the two might hit me.
The uses of samples, and dynamics, to even the ethnic chanting and the rather clean production adds even more to how much this album stands out. It's really a work of art, that even though it was just their 2nd record, it seemed they spent the many years leading up to making. In fact dredg seem to be one of the best groups at doing that. Which is one of the reasons why, even with a smaller catalog than some bands, the quality of their work could be all the better because of the time and effort (and patience) they have spent creating them. And El Cielo being their most unique. I don't find any of their records, nor really any other records are quite like it. I just wonder if they will ever make something as revered as it again (Pariah I found came close a few years ago).
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Wonderful album. Fantastic write-up. Thanks for sharing.
I really need to see "...Spotless Mind".
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Your write-ups are fantastic. :tup Lengthy, but enjoyable to read.
I wanna check out this dredg album now. Never heard of them before but I love Eternal Sunshine of the Spotless Mind. And I've had experiences with sleep paralysis before as well.
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I don't know how I only noticed this thread now. Great write-ups so far! Even if I don't know the album (which is the case for some of them so far) they are super-entertaining to read!
edit: looks like I had the same thought at the same time as ThatOneGuy2112 :)
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thanks again for the comments. I guess I try and include as much detail as I can. I very much appreciate the kinds words guys. :)
(https://upload.wikimedia.org/wikipedia/en/5/50/Sgt._Pepper%27s_Lonely_Hearts_Club_Band.jpg)
The Beatles - Sgt. Pepper's Lonely Hearts Club Band (1967)
The 1st vinyl record I ever bought. I have a vague yet certain memory of buying this album on vinyl LP in the year 1987, likely in the Summer. And after I bought it, which I am guessing was at the old 'Great American Music" store at Harmar Mall (or possibly Rosedale). My parents and I went to dinner after that, at I think the Green Mill at Rosedale
It was around that time I had seen "Complete Beatles" which my folks had recorded on VHS tape off I think the local PBS affiliate in the Twin Cities, Channel 2. And of course that documentary spoke glaringly about this album. I recall there was one guy whose title was "musicologist" praising it to no end. I remember after seeing that title, wondering what a "musicologist" was exactly, and how does one become a musicologist. How much money could a musicologist make? etc.
"Within You, Without You" in my 2nd or 3rd revisiting/renewal of my love for The Beatles music, was the song I became the most in awe of. Some of the best Beatles songs are the one's where they incorporated spiritual and middle eastern elements.
Try to realise it's all within yourself
No-one else can make you change
And to see you're really only very small,
And life flows within you and without you.
When you've seen beyond yourself-then you may find, peace of mind,
Is waiting there-
And the time will come when you see
we're all one, and life flows on within you and without you
A therapeutic and meditative track, that I love the call and response between Lennon's vocals and the sitar played by George Harrison, which I'll fully admit, I use to assume was Ravi Shankar.
The triippy nature of "Being for the Benefit of Mr.Kite!" I also have probably appreciated more recently than back in 1987. The *circus* atmosphere Lennon wanted-to and more or less created is wonderful. It's 1 of those tracks, like "Tomorrow Never Knows" or "Strawberry Fields Forever", that is a head rush that I can't help but love. And I can't even imagine how it influenced a lot of psychedelic rock that came after it.
And actually the same could be said about "Lucy in the Sky With Diamonds" which I know received more notoriety (and airplay), for one reason alone, just the whole LSD thing with the title. That tune I distinctly remember hearing as a kid and liking. I think maybe even more than the trippy odd tones coming from the music, the lyrics told a story to me. "The girl with Kaleidoscope Eyes"..the 11 or 12 year old me found that freaky. But I also remember picturing a tale of 2 younger people sort of in love. The different adjectives and references, honestly may have been the 1st time I'd heard them. "Marmalade" I remember once hearing in a kids story, that was British, because I came to often associate that word and food with the UK.
Cellophane Flowers and Marshmellow Pies? yeah, I don't think I had been exposed to those before hearing this tune.
Getting Better, When I'm 64, Lovely Rita, the title track and the reprise, A Little Help From My Friends were all kind of Beatles staples I got to know about, I think on the compilation record my folks had they would play. And songs like She's Leaving Home and Fixing a Hole also add to the charm of this album.
And then you have "A Day in the Life," which to many is the quintessential Beatles tune. It seems like an experiment of studio technique and little movements that worked perfectly. "I heard the news today Oh Boy"..which leads And then the McCartney voiced
Woke up, fell out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up I noticed I was late
Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke
And somebody spoke and I went into a dream
to that trippy moaning from Lennon.
So relate-able at first, the whole rush in the morning (which maybe the fact there is a song titled "Good Morning" was made or influenced this song, or vice-versa). But the way the lyrics talk about "a dream" this song and maybe the album as-a-whole is meant to be kind of a dream.
Like Alice in Wonderland or The Wizard of Oz (or The Secret Life of Walter Mitty even..the whole idea of a DAY DREAM). I mean this by many is regarded as the 1st *concept album* of sorts. So it sort of tells a story, but fictional. The ending of A Day in the Life kind of wraps up the experiences of the album and offers where the story of the band or just one person.
I have no idea if the band intended it to be that way, or if the songs just seemed to go well together lyrically and musically. Even down to the cover art, with all the famous people and what not. It's almost like this fictional band, Sgt Pepper's, is taken or takes you, to a world where all those famous people are. Whether they were alive in the real world The Beatles themselves were in, or not.
I guess I haven't read boat loads of material about the analysis of this record to know if many others interpret it in a storybook almost fantasy or scifi way, but it wouldn't surprise me. A Day in the Life though, is just one of those songs that included a ton of ideas, from dynamics, to sampling, to like I mentioned before, some clever, original studio tricks.
Sgt Pepper's is historically a highly praised record, and by many, The Beatles peak. I'm not sure if I feel that way entirely, but the influence it had on not only on so much music I love, but just personally myself I can't deny. Even for the fact there was a period in the 90's, I came to shun The Beatles, I suppose due to hearing bands like Rush and thinking much of their music was too simplistic and overrated. My best friend from High School felt similarly (probably more so), and used to criticize them frequently (And my girlfriend has and probably always will as well).
But I came to realize how naive I became in that thinking (whether I ever feel the same about bands like Nirvana or Radiohead, I dunno, I have my doubts though).
But no, Sgt Pepper's is a work of art, a very experimental/forward thinking record that I still honestly am marveled by for nostalgia sake and for just the quality of the songs, production and historic importance of. I might even say in some ways, it was my 1st favorite album, even though I wasn't so into "albums" when I was 10 or 11 years old. Thriller and Purple Rain, I think I mainly think of the singles 1st, but Sgt Pepper's still was then and still is an *album* greater than the sum of its parts. And it really set the standard for the millions or more artists to make *albums* as opposed to just a bunch of songs.
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El Cielo is a top 5 album for me and The Dear Hunter's Act Two is indeed an almost flawless record. Awesome picks!
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The last two albums are fantastic, especially Sgt. Pepper, being that it was my number one.
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King's X - Gretchen Goes to Nebraska (1989)
(https://upload.wikimedia.org/wikipedia/en/3/36/King%27s_X_Gretchen_Goes_to_Nebraska.jpg)
The Summer of 1996 I recall 1st checking out King's X. I think the name was 1st mentioned to me on the ole Rush DejaNews Newsgroup when I was in college the year or 2 before. Just something about a ton of Rush fans liking King's X, etc.
And, I'm not sure it was exactly at the point, but around the time I saw an ad in Citypages or the old Twin Cities Reader (or a flyer?) with their picture and a show coming to the long since closed "The Mirage" club in Minneapolis, with Galactic Cowboys as well.
Their lead singer had a mohawk in the picture which struck me as odd yet curious. I also recall seeing a dealer at the Twin Cities record shows selling a bunch of King's X bootleg VHS tapes, who happened to be the same dealer who I had purchased Dream Theater and Fates Warning videos from.
In then checking them out, I kind of felt they were a bit like Lenny Kravitz, but maybe not as good initially. But I invested some time within their reasonable size catalog and got very won over soon after. I recall either around the time or soon after Ear Candy was released which I enjoyed a fair amount, especially after seeing that show.
But I can't deny, I came to love their 1st 4 records more than their last 2, Dogman and Ear Candy. Which then leads me to Gretchen...
I came to love those 4 Sam Taylor records all nearly equally over the subsequent years, but I guess among those 4, it was Gretchen, like a lot of fans, that grabbed me the most. Maybe it was their most progrressive, or at least due to the fact it was a concept album that included a very cool story that seemed inspired by fantasy/sciti stuff I love like The Wizard of Oz.
Maybe because the artwork, or maybe because the flow of the damn thing.
It maybe (which I'm not sure why I keep using that word?) has my favorite track the band has done, in the opener "Out of the Silent Planet." The rhythm and groove is infectious, and the vocal harmonies create such a great, dreamy atmosphere. It does seem to take me in or onto a journey. I often feel like I am been brought into the world of this girl (Gretchen) and her adventure home to Nebraska and the other places she ends up.
Then you have "Over My Head" which, as memorable as the countless versions I've heard live, the studio version is still as a rocking a track as the band has ever made. The guitar riff just is so punchy and catchy. "Music Music I Hear Music, Music I Hear Music. Music I Hear Music. Music. Music oh oh lohhhrd, music over my head.'
That line IS King's X in a nutshell dUg's screaming, chanting and even the lyrics and the story/stories behind them add so much to that song And I think the band has played it for nearly every concert they've played since they wrote it, for that reason. The way dUg tells the story of his grandmother praying and his growing up with her telling him what was right and wrong, preaching, praying for him, etc. I think he's probably told the story 10,000 times and maybe even in 10,000 different variations.
At any case, the story this album tells from track to track is just something I always enjoy. "Summerland" is rather mystical. The line "Summerland, the wind is getting cold. Summerland, you're finally getting old." I've always thought the lyrics to be a little ironic referring to cold and Summer. But while it's a slower methodical piece compared to Over My Head, I love the mood and vibe it creates. I kind of think of it as it is setting the stage for a long journey or story.
The other track I recall initially I got into was "Pleiades" which the band played live at that show I saw the Summer of 1996. I always found the tone and lyrics to be trippy. The sound of Ty Tabor's vocals on that song namely, are soft yet hold my attention.
far off in the field i see a castle (far off in the feeeeeeld)
today the people gather at the pole
he tried to tell us all the world was spherical
they burned his body but not his soul
I guess that track adds to the story of Gretchen's experience or adventure. The term "pleiades" actually refers to a cluster of stars, so the way the lyrics refer to gazing up at the stars fits. Perhaps in the story, Gretchen becomes so disenchanted or tired of trying to get home, she wishes or wonders what it would be like on another planet. Then again, the planet the story takes place on, may not be Earth ("Out of the Silent Planet"?).
But the rest of this record I came to enjoy more and more, and like a lot of records, they become known for a few specific tracks, but often some of the others end up being more interesting or "under-rated" vs "over" or accurately rated.
"Everybody Knows a Little Bit of Something" is a great inspiring piece. I sort of see it as a universal thing. Everyone whose born has (or eventually will discover they have) some special knowledge or have a unique skill or skills.
I really enjoy the last verse with the tone and call and response change from the chorus. Another great dUg vocal line and lyric.
I saw the man stare in silence Why can't he be honest with who he wants to believe A cry for help was written on the cover of the magazine And I know what it means
'The Difference" is a nice almost acoustic ballad kind of piece, that is a nice contrast to the tracks that preceded it. The echoing "Ihhh, Ihhh can feel the difference" is a part I always think of it for and enjoy.
"I'll Never Be the Same" has great poetic lyrics. That verse in the bridge for the chorus is another favorite section of this album. In re-reading the lyrics, it's interesting how they do actually refer to *Gretchen* herself at the end.
The way looks awful lonely
So long or maybe less
The time has passed so slowly
There's pressure on my chest
Your eyes speak invitation
To follow with the beat
So tell me what I'm feeling
In seven words, so speak
"Fall On Me" is a total groove rocker track. This track almost reminds me of among some other King's X tunes, 'Moan Jam" which is a song they wrote on the following record, Faith Hope Love. The way the instrumental part of the song just flows and goes on for awhile without it seeming too long or boring. Maybe it's a song that has worked well live as well.
"Don't Believe It (It's Easier Said Than Done)" has a very strong chorus or ear-worm of sorts. I swear, this song that "It's Easier Said Than Done" could be the most memorable lyric King's X has ever written. And it APPLIES like "Everybody Knows a Little Bit of Something" in universal lyric, kind of way. I probably think of that line more than once a week.
"It's easier, it's easier, said than done. It's easier, easier, to get up and run, it's easy-errrrrrrrrrrrr..don't believe, it's a lie (it's A lie!)"
The opening line also seems to apply "this is not the end of the road, it goes on for maybe, miles and miles" which both with the story of the record and metaphorically, I seem to think of.
"A Message" and "Burning Down" close this record out well.
With "A Message" I think of the line in the chorus "There's trouble in the kingdom send a mesage to the king ([echoing] messssss-ijjjjj)"
And Burning Down is just a *cool down* piece, that whether Gretchen actually does find Nebraska or not, seems to give me the impression she is at least at peace, which may be ultimately what she and many are seeking out anyway. As the old adage can go in these stories, it's about the journey, not the destination anyway.
To sum up though, this I do see as King's X's finest work, although I do regard the 1st 4 records produced by Sam Taylor to be their best 4 and really, all very close in quality. But given I do love a concept album, or one that tells a fictional story (and Scifi or Fantasy as well), I have a slightly more romantic attachment to this one over the other 3.
I shouldn't forget, I will always think of the fact when I purchased my copy in 1996, the story that Jerry Gaskill wrote was incomplete. I recall tracking the story about the girl who meets the old woman, online a year or 2 later on 1 of the early websites or email lists. But the cd booklet was incomplete with my copy, and it wasn't until just a few years ago when I found a copy on Vinyl per Ebay or 1 of the other vinyl selling import sites, that I finally possessed a printed copy of Jerry's cool story that accompanied this great record.
Like The Lamb Lies Down on Broadway and some others, the extra little story adds even more of the unique quality of this album.
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Genesis - Foxtrot (1972)
(https://upload.wikimedia.org/wikipedia/en/3/39/Foxtrot72.jpg)
When I 1st checked out Genesis, I believe it was again Mike Portnoy, talking about The Lamb Lies Down on Broadway, likely on Dream Theater's official site. I recall liking much of that record, namely track "In the Cage," but I guess I never fully fell in love with it nor the band until later. Maybe partially due to Peter Gabriel's voice.
I guess I kind of wanted to get into them like I got into Marillion, but it didn't really happen too quickly.
But then a few years later, when I went to Nearfest and hanging out the friends I was with there, and the other fans at NF, and maybe even when Transatlantic covered some Genesis at that show in 2000, my motivation to invest more time into Genesis, especially the Peter Gabriel records went up.
And I went through them somewhat meticulously, but after about 18 months or so (just guessing), I came to a conclusion:
-All of their albums with Peter Gabriel were better than any album they released after he left (save for their debut, From Genesis to Revelation, which to this day, I still have yet to hear,lol).
-Among the 5 definitive Gabriel records, The Lamb was THE WORST, even though I came to love a lot of it.
Among the other four, they are about equal, but given the achievement of "Supper's Ready," I came to see Foxtrot as my favorite.
And it's not just due to what some consider the definitive progressive rock epic piece, but it's hard to ignore. It's one of those epics that has a ton of ideas, segued to together extremely well.
I guess I'll mention a couple of my favorite moments in it for now. The Guaranteed Eternal Sanctuary Man certainly.
I know a farmer who looks after the farm.
With water clear, he cares for all his harvest.
I know a fireman who looks after the fire.
You, can't you see he's fooled you all.
Yes, he's here again, can't you see he's fooled you all.
Share his peace,
Sign the lease.
He's a supersonic scientist,
He's the guaranteed eternal sanctuary man.
Look, look into my mouth he cries,
And all the children lost down many paths,
I bet my life you'll walk inside
Hand in hand,
gland in gland
With a spoonful of miracle,
He's the guaranteed eternal sanctuary.
We will rock you, rock you little snake,
We will keep you snug and warm.
I get goosebumps every bloody time I hear that part, right when Peter Gabriel sings that 1st line "I Know a farmer, who looks after the farrrrrrrrrrm...." I just am in awe of the way it introduces such a magical piece of music and the sound of the chord progressions, crescendo and Gabriel's expressive vocal lines.
the [Ikhnaton And Itsacon And Their Band Of Merry Men] movement follows, which I really think of for a a couple of things.
But we saw a host of dark skinned warriors
standing still below the ground,
Waiting for battle.
The fight's begun, they've been released.
Killing foe for peace...bang, bang, bang. Bang, bang, bang...
And they're giving me a wonderful potion,
'Cos I cannot contain my emotion.
And even though I'm feeling good,
Something tells me I'd better activate my prayer capsule.
Today's a day to celebrate, the foe have met their fate.
The order for rejoicing and dancing has come from our warlord.
Right when and after Peter sings "waiting for BAHHHHTUHHL" the music really starts to move.
Tony Banks lays in such great harmonic lines that complement Peter's vocal phrasing. The whole "today's the day to celebrate.." even though the subject matter is talking about a battle or fighting, the melody is actually really happy sounding or *celebratory*. Some of the Steve Hackett refrains also stand out at times here.
[Apocalypse In 9/8 (Co-Starring the delicious talents of Gabble Ratchet)]
Most people love this part of this piece most, which while I do still enjoy it, I'm not as fond of as those previous two sections I mentioned. But the way it builds methodically, just fits perfect for the grand finale of this story and album. The way Genesis keeps bringing in track after track, adding to a mass of tracks, by the end, you're kind of thinking how much BIGGER can this song get?
Now, there is the whole other side to Supper's Ready, being the story/subject matter. Which I often don't hold too much importance most music, compared to the music itself, but with the Gabriel Genesis especially, I ended up getting more into the lyrics and stories for some reason. The fables or tales Gabriel created somehow.
"Supper's Ready," I think of a few similar ideas or stories, but probably the biggest most direct is Dr.Moreau's Island. The way the genetic hybrid and experiments are described. And per the artwork, which shows an *Island*.
"Get Em Out By Friday" is another favorite that is also quite story driven. The line:
This is an announcement from Genetic Control: "It is my sad duty to inform you of a four foot restriction on humanoid height."
Referring to "Genetic Control" and the directors-of and such, I came to think about the scene in the Terry Gilliam movie Brazil. In the movie, the organization isn't identified with Genetics exactly, but if I recall, they have to more or less kick people out of their living space for possibly many reasons.
I mean in a real-world level, it does cite the idea of people being evicted, population control and overcrowding. But with the reference to "Genetics" specifically, it seems to infer a more inherit purpose with humankind, not just purely social.
"Can-Utility and Coastliners" is one of the most underrated or overlooked tracks in the Gabriel-Genesis canon. It's a terrific, multi-part piece with your time changes and dynamics. I do love Tony's textures and mellotron on this piece in the middle especially. It's so moody,and \it harmonizes with Hackett's acoustic guitar lines really well; I actually could have gone for that instrumental section go on for a few minute longer that it does.
Then when Gabriel comes in and Tony's organ takes the lead, it's so thematic. You can almost sway to it it, or dance in a mid-tempo way. And then it segues to feature Mike Rutherford's upfront bass lines. And later features Tony Banks organ solo. I really can't get enough of that solo he takes.
Its parts or sections of music like that where I began to really LOVE Genesis and this period. They are like a drug that the more I heard them, the more I came to love them. And even though I don't listen to them nearly as often as I did 10 years ago, I swear, their music never gets old to me. I'm not sure why, but there's something so unique about the way they used instrumental passages and tones, with moods and Peter Gabriel's vocals telling stories, I was and am still am in awe of.
"Watcher of the Skie"s in some ways may be the most known or thought-of Gabriel-Genesis tracks (maybe along with" Firth of Fifth," or "I Know What I Like"). It opens up this record and sets the stage for a trip within each track. Is it about a Stargazer? maybe. Musically, the way it goes from slow to soaring parts. The bass-line rhythm which has often been said to be using Morse Code, which is rather distinct, as I don't know much if any music who did that sort of thing before that. The only piece I sort of think of in a similar way is Rush's "YYZ", but that was many years later.
Watcher is also another track that features Tony's mellotron, which is rather distinct.
Judge not this race by empty remains Do you judge God by his creatures when they are dead? For now, the lizard's shed it's tail This is the end of man's long union with Earth.
That is one lyric I often think of. I used to think Peter Gabriel sang "the end of man's universe" instead "union with earth." Which in some ways could be meaning the same thing.
The section after where Peter is sort of telling a history of life or someone's life; I almost think this song is not so much about a Stargazer, but someone whose been through history. Maybe human history on Earth, or just a few lifetimes. It's so storybook or fairy tale-like. I don't think I've ever really thought about music and lyrics in such a way.I'm sure Gabriel and some of the other guys don't think all that much about the stories and fiction they were creating when they were that young and early in their careers as musicians/artists, but I think it's some of the most creative works of telling stories. Fables, Fairy Tales, etc.
And among the many stories that the Peter Gabriel period of Genesis made, on Foxtrot, I came to find to be the most interesting as-a-whole or rather, on 1-album. Being cohesive still (Lamb, I'm looking at you :p).
"Supper's Ready" is a landmark piece of music, composed like a piece of classical music, that in Rock music, hadn't been done maybe as successfully and with the narrative moments that got me so engaged. And maybe why Genesis never made another 20 minute epic again, because how were they ever going to make something that good again? I dunno.
And the rest of the music on this record complements it so well. It's almost like a a bunch of incredible appetizers (not thinking about the lyric "human bacon" with the metaphor mind you :).
"Time Table" and "Horizons" included.
"Horizons" being a solo acoustic Steve Hackett piece, which is simple, yet beautiful. I suppose not only seeing Steve perform that tune live a few times, but also it's similarity (if not being identical) to the Make-A-Wish Foundation theme or music used in the spots that used to air on television when I was a kid. It may have just been in the Twin Cities (although a Wikipedia entry shows Make A Wish isn't/wasn't exclusive to my hometown). that those ads aired.
But I recall trying-to but never being able to find some old commercials to hear that theme and compare. But Make-A-Wish didn't start until 1980. It may be pure coincidence, but who knows, the founders or producers of those PSAs may have been fans of Genesis, Foxtrot and/or the "Horizons" piece. But from memory of those commercials, the acoustic guitar music and chord progression, tempo, is nearly identical. Although I suppose Hackett has mentioned the inspiration/influence on Horizons was some classical guitar pieces (JS Bach?), so that may have been the influence/inspiration on the Make-A-Wish theme as well.
I just came to conclude how similar they sounded. I remember some woman singing over that acoustic guitar "Young chiiiiiiild" but I have failed to find a video online of the PSA/PSAs that I recall at this point.
I am heading to see most-of this record performed live by The Musical Box in Minneapolis tonight. I expect nothing less than being wow-ed and in awe, like I was when I saw them in Milwaukee about 10 years ago, as getting to hear and see music-from one of these significant record performed live should be.
Save for the band doing a reunion with Peter Gabriel, I would hope something like that (or someone like Kevin Gilbert) would also be given to other people who come to love this record and the Gabriel Genesis as much as I do.
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Perhaps Foxtrot still hasn't totally connected with me yet, and I enjoy it quite a bit, but I still much prefer Selling England and Nursery Cryme.
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I know some people feel that way, especially with Selling England. I just happen to love Supper's Ready so much that it kind of trumps the others slightly.
Yes - Drama (1980)
(https://upload.wikimedia.org/wikipedia/en/2/27/Yes_Drama.jpg)
In the process of getting into Yes and their many records, it took a little while to check out the later 70's records, I think partially due to the way the "classic" period was so talked about and revered. And albums like Going for the One (1977) and Tormato (1978), while I came to enjoy some of, I never became as won over by as their earlier stuff like The Yes Album, Fragile and especially Relayer.
And I had heard the more recent Yes (90125 and parts of Big Generator and Talk) and more or less grew bored by them easily. So, I think that is why it took me a few more years to checkout Drama.
I recall Dream Theater played the intro to "Machine Messiah" on the 5 Years in a Livetime video from the footage/medley with Steve Howe at the Ronnie Scott Jazz Club in 1995. But for some reason, I never investigated that original song or the album it came from until finally checking this album out like 4 or 5 years later.
But when I finally did, I was almost shocked and blown away by a few things;.
1) how heavy it was at times. I'm referring to Machine Messiah's riff mostly.
2) the style and tempos and production seemed to sound more modern. Now mind you, I 1st heard it from a Remastered version that was released sometime in the 90's, which probably helped give the modern or improved production from hearing those other post-classic Yes period records.
3) hearing both Geoff Downes and especially Trevor Horn, sort of reinvented Yes's sound a bit, but not as dramatically from the later 80's Trevor Rabin Yes sound.
I really got won over by Trevor Horn's voice. He was like Jon Anderson in some ways and the vocals were like the Jon Anderson's in some ways. Higher pitched, chanting, spiritual, rhyming at times for the way it sounded. And while he was still not sounding identical to Jon Anderson, I found his style fit with what Steve Howe and Chris Squire were writing musically.
I also sort of heard the music from Drama being technical, heavy at points too, as sort of proto-Prog Metal in some ways, which go figure for someone who loved Dream Theater, to get into a slightly new kind of music from Yes sounding heavy.
But, I suppose Drama includes a lot of music that isn't sounding like Prog Metal at the same time. Songs like "White Car" or "Run Through the Light" were more mid tempo and textured. Including some of the Buggles? elements of using voice effects or vocoders.
"Does it Really Happen?" is a more uptempo piece that probably gets overlooked more than it should. It's sort of dancey in some ways, or even a song you could work out to. A bit like mathrock, or how some math-rock sounds in some ways. Maybe it was influenced by that period of King Crimson? Alan White even uses some what sounds like eastern percussion.
After about the 5 minute mark, there's a quiet refrain and the bring back the basic melody.
But I would say Drama's greatest parts are on 3 tracks especially.
"Machine Messiah" and it's driving riff, movements from heavy to majestic. The way vocals and guitars layered together and gradually build I just love. I even don't mind how Trevor sings this line
Machine, Messiah
The mindless
Search for a higher
Controller
Take me to the fire
rhyming "Messiah" with "Higher" and "Fire"
It's one of those songs that the production and layers of vocals and guitar and keys come in gradually, that they end up all complementing each other. And it also is a very strong ear worm, as I will have the melody and parts of verses in my head for hours.
But as much as I loved that multi-part opening track, I came to love "Into the Lens" even more. The way that songs builds and the energy is breathtaking. I was doing my data entry work while listening to this album, and that song alone totally got my work production up a ton. So much so, sometimes I would hit repeat on it.
The flaring fast vocals and Howe's arpeggio runs just blaze through this song like it's white on rice, lol.
The whole "I am, I am..a ca-merrr-ahh!" while lyrically seems silly, the way it sounds with the drumming and momentum at times totally work.
I mean I guess the 1st couple of verses of "Into the Lens" sound almost like The Buggles or some other 80's song, but that song's crescendo is unbelievable. And the more I listened to it and this record, the more I always looked forward to that part.
That climax section
Here, by the waterside
There, where the lens is wide
You and me
By the sea
Taken in tranquility
I almost get like a realization (for lack of a better word) about not only that song and their music, but something else. Like something from a movie, or one of these moments something hits you like a ton of bricks about learning something you never knew or discovering something that fascinates you.
I love this record, but I marvel at that song, and maybe because I would not have expected to be so blown away by it. It sounds more like a standard 80's pop song texturally at the beginning, but after listening to it 5 or more times, I totally saw/heard it in a completely different way.
But beyond the amazement of "Into the Lens," the track "Tempus Fugit" became the 3rd most go-to track on Drama. I recall knowing that song before hearing this album, I think from a Yes tribute album and possibly a compilation I had. But I hadn't really listened to it closely. Like "Into the Lens," it features in the 1st couple of verses, those fast-ly sang vocals that still in rhythm, fit the tempo and pattern of the song.
Then the chorus comes in
In the north sky time flies faster than morning
The cold of the dawn it meant nothing to us
You were keeping your best situation
An answer to Yes
(Yes, Yes) And the moment I see you
(Yes, Yes) It's so good to be near you
(Yes, Yes) And the feeling you give me
(Yes, Yes) Makes me want to be with you
(Yes, Yes) If we wait for an answer
(Yes, Yes) Will the silence be broken
(Yes, Yes) Should we wait for an answer
(Yes, Yes) Do we leave it unspoken
The way Steve Howe's guitar runs lead up to the slower tempo chorus, and then echoing chorus which includes some of the best keyboard layers contributing from Geoff Downes adds a lot to take-in from this song, and part of 'Tempus Fugit."
It's really an uplifting song and melody. Even just using the repeated "Yes!" I always thought was ironic or odd as I don't recall many if any lyrics previously, where the band mentioned their name, especially with a name with a word so commonly used.
I also sort of hear a romantic message in the lyrics, even though Yes's lyrics don't go as far with me as say Genesis or some other bands.
I kind of wonder if they had the repeated phrase of "Yes" to sort of reintroduce themselves in lyric and song, given Jon Anderson and Rick Wakeman were not with them at that point.
Summarizing though, this record I listened to a ton about 10 years ago, and I think the biggest reason was how well the flow and energy of it was. "White Car" I think is brilliant, but a little too short. And I came to feel the album was so good, I wanted more after it finished, which is why I almost always would listen to the demos and bonus tracks on the remaster I had. The "Run Through the Light" with the vocoder comes to mind as a favorite, among them. I loved the vibe of the way so much of this album sounded, I really found I couldn't get enough of it.
So much so, I came to feel it was my favorite Yes record only to Relayer. I know a lot of fans don't agree, even that enjoy this album. I just found it was Yes in a new way, with a fresh start in some ways, that happened to be at a point of transition. Perhaps after Tormato was a transition, Drama ended up refining some of the new ideas they tried on Tormato but didn't work. And I say that, not so much given Jon Anderson wasn't singing, but I think from a SONGWRITING standpoint.
I suppose some of demos help, but I have often wondered how Jon Anderson would have sounded on many of these songs. I know it's kind of a question he poo-poos, save for maybe playing "Tempus Fugit" live once in a blue moon.
The Fly From Here situation, I'm not sure so much, although it was a demo that the band had from that period. And I like some of it, but didn't fully fall in love with it, despite the Drama-elements to it. Maybe it was the lack of Trevor (although I recall he produced it), or something else.
I suppose it speaks to timing and Yes made Drama then and only in 1979 and 1980 could have this or any other music with their lineup then, turned out this good. Maybe sad, but true. Regardless, this remains a favorite Yes record of mine and one of those records I likely will always love. If I need a go-to Yes record, for an uplifting or energetic feeling, Drama is at the top of my list.
-
Foxtrot is my favorite Genesis album. Drama is also great and Steve Howe's playing on it is incredible.
-
Between the Buried and Me - Colors (2007)
(https://upload.wikimedia.org/wikipedia/en/c/cb/Colors1.jpg)
This record was released in the late Summer/Fall of 2007. And 2007, was probably one-of if not the biggest year for new music for myself. Before hearing Colors, I was totally obsessed with the likes of Kaddisfly's Set Sail the Prairie, The Dear Hunter's Act II, Fair to Midland's Fables from a Mayfly and in truth, a laundry list of others.
But come late August or September I recall, there happened to be a constant amount of obsession about this new album from BTBAM. And I really, had next-to-no interest or thought about even considering it. But I guess it came down to so much hyping on the forums and I gave in.
But to back track a bit, their name I knew about for many years. I recall even seeing a video of theirs on the new Headbanger's Ball when it 1st came back onto MTV2 I think around 2004 or 2005. I specifically remember making a comment about them not being cohesive or growls with humor and thrash was just pointless. I forget. I know I gave 1 or 2 examples of a band who was better, etc.
But, in remembering that, I was being naive, and of course looking back on that, I wish I had been more open to their music, and the stuff I read about them.
For some reason I figured their vocals especially, were just going to ruin anything I might enjoy.
But at that point I really was limited in the Metal I liked. It was going to have to be pretty clean singing prog metal or my odds of liking it were low. I did like Opeth, even though I would laugh half the time at the growling. And Orphaned Land, whose music I enjoyed enough, but admitted the "Orphan Jam" with no growling, was my favorite thing I'd heard from them. And the likes of borderline screaming from Pain of Salvation and even Faith No More. But for the most part, I couldn't handle ANY of it.
But then in just reading more and more about the reactions to this album and their style, history, for probably 10 days or so, I just had to give in and (re)check this band out. And I specifically remember after listening to Colors 3 or 4 times in a few days saying "I'm almost in disbelief about this, but this album will probably be in my top 10 for the year" or something along those lines (mp.com's fall 2007 BTBAM Colors topic would show).
So, I did get won over, nearly 10 or 20 fold, in a totally out of nowhere, unexpected way. A few things to note:
1) the screaming I came to be able to hear, instead of like an annoying or silly throat exercise, but more like a rhythm guitar part. I didn't mind how it sounded, or what the lyrics were being sung.
2) Tommy's clean vocals I totally got into. I recall someone said they loved how he had this "Thom Yorke thing" but I remember saying he sounded a lot more like Josh from Kiss Kiss.
3) the music was not chaotic, or extremely un-cohesive. It actually was extremely well thought-out and the little intervals and things actually were charming and not overdone.
4) the musicianship: I hadn't really noticed it, but I came to really acknowledge the band's chops. Blake Richardson's drumming to Dustie and especially Paul's guitar work, tonally, using syncopation and dynamics really stood out the more I listened to this album.
5) Dream Theater and some others: Namely Dream Theater I came to hear a lot of influence with this band and this album. I think the drum work and a lot of the guitar tones especially. I hear parts of Scenes From a Memory for one in different places on this album. And I remember reading someone say SFAM is or was considered the band's jointly favorite record, or maybe collectively their biggest influence? something along those lines. Which I've heard my share of Dream Theater influenced bands, some good, some copycats and just unoriginal; but I found BTBAM really just showed their Dream Theater influence to the right degree. Not sounding identical, but sharing many of the qualities to songwriting and including extended musical ideas, etc. I.e. using the DT influence to their benefit.
I actually will never forget my friend That Drummer Guy also making a topic "Is BTBAM becoming Dream Theater?" lol. It was and still in some ways a valid question actually.
So, as far as specifics:
"White Walls:" is an amazing closing track filled with almost out-of-body levels of emotion. The way it slowly builds and builds, it's like a locomotive gaining steam and force, almost to the point it seems unstoppable.
The 1st 3 or 4 minutes set the tone, but then the tracking of layering and interplay of guitars and drums. Then it does have a calm-before-the-storm with Tommy's clean chanting in a gorgeous mellow part that leads to a clean picking guitar line with some thick synth layers; which adds a lot of ambience. That section last maybe 2 or three minutes, until the grand finale and probably the band's greatest section.
"get. out. of. this. closed. off. circle"
Tommy screams...and the reprise of Paul Waggoner's intense rhythmic
"this is all we havvvvvvvvvvv...when we dieeeeeeeeeeeeee
it's what's left of us...when we die"
and
"we will be remembered for this"
And then, the song goes into what I think of as a section that I could listen to for 4 or 5 times as long as it is. The guitar solo is just so bloody good. It flows harmonically and melodically. Some may think it's a totally strange comparison, but I remember after seeing a movie theater screening of Led Zeppelin's Song Remains the Same, thinking "Stairway to Heaven" has a very similar feel and flow to it. The way it builds and leads to this great exercise in letting things loose. I'm not sure I can exactly put into words the idea, but there just seems to be a similar ideal in the epic nature of the ending of "White Walls" and Stairway. And I happen to love "Stairway to Heaven" still to this day, so that gave me all the more reason to connect with "White Walls."
And "White Walls," really is one of the greatest pieces of music made in recent years.
However, some of the others parts of this record that stand out:
"Sun of Nothing" starts off intense, almost like a fast jam, but then changes gears enough to keep you interested. The screaming contrasts enough with the ferocious guitar riffs and snare and cymbal work from Blake Richardson, it starts to eventually blend into an incredible combination.
Some of the clean, major key guitar work really adds a lot to it.
-The frequent intervals of lower voice boxes
-The quieter sections are wonderful. The "I'm floating" with the change in guitar tone and thick synths.
I love the guitar variations. Paul and Dustie are masters at switching tempos, moods, textures and tones to fit where the rest of the song goes.
I remember specifically being won over by this song especially how the intense opening leading to those amazing changes in mood and beauty. It somehow found the band sounding like 2 or 3 different bands or styles of music in some ways, but after taking it in a few times, it seemed to totally work on a dynamic level. Sort of like how we have those mood swings sometimes or stories that are really serious, then our mindset changes with humor or a change in subject, and then shifts to something else. BTBAM on a musical level, came to totally know how to swing the mood without coming across as unnatural or forced.
The
"i'm floating towards the sun.....the sun of nothing...floating towards the sun....the sun of nuhhh-theeen. I have become the sun of nothing"
the outro even rocks hard, but almost not in a heavier, Metal way, but just the right amount of amplification.
And then it journeys onto into that intensity and back and forth between guitars, tommy's growls and that segue nicely into "Ants of the Sky."
"Ants of the Sky" is maybe a more consistently heavy and busy piece. I think my favorite section being the almost Southern element, which I often hear a band like Kansas. I'm referring to some of the keys with the guitars. It almost sounds like a piece you'd hear at bluegrass night or OK Chorale. I mean this band are from North Carolina, so they are not without some Southern music influences.
The guitar riff on Ants as well as many other sections of this record are just so driving, so much so, I remember just enjoying the ride. Sure, I couldn't understand the lyrics and a lot of it was including more distortion than I was used to. But there was part of my brain that just enjoyed getting through it. Almost to the point, I enjoyed the heavy intense parts as much if not more than the clean melodic parts. Including Tommy's voice. Their sound, sounded more normal or natural with him screaming and those pounding guitar riffs and drum patterns.
"Sleep on. Fly on. In you mind. You can fly
Sleeeeeep on. Flyyyyy on. In you mind. You can fly"
That section again is another example of a perfect segue.
And then it leading to the an actual bluegrass section which sounds like it's from some southern saloon with line dancing or something. Which lasts like a minute, and then the band go back to the distortion with a great clean guitar solo/outro (and even a little bit of trumpet?).
"Prequel to the Sequel" I remember enjoying its upbeat, almost marching style, which goes on for a few minutes and then has the band go back into another intense driving shift and breakdown. Around the 3-and-a-half minute point, they start to do this cool time changing with syncopating. Unusual, but it still goes with the flow of the song. It leads to almost a ritualistic section that even includes some accordion synths with Tommy using his Mike Patton style of background chanting.
It noticed its walking seemed more staggered than normal.
The breeze didn't flow like it used to...
the heart seemed to pound slower and slower...
what caused this? (what caused this?)
building..
It seen was noticed that these three had torn every branch, every single stem...
screamed (but not growled)
torn to its last life...
how hadn't it noticed
a drastic change in the surroundings...
It didn't think anything could go this wrong.
"Comfort!...Comfort Comfort Comfort!.....Comfort Comfort Comfort!"
I really love the way Tommy changes his voice so fluidly here. And how the screaming is screaming, not growling. It sounds more like how Toby Driver or Daniel Gildenlow screams rather than the tone and style of his 'core voice. And I think somehow that has it come across more powerful and human.
edit: apparently this section is not sung by Tommy but Adam Fisher of the band Fear Before. Something of course I have never seen mentioned and would explain how different sounding the screaming is. It's a great vocal section regardless, and live, I imagine Tommy does perform it (or did when the band has played this track).
"Informal Gluttony" has this cool drum pattern and use which almost comes across sort of middle eastern-sounding. And the guitar melody adds some of that same, but also I am reminded of Dream Theater and SFAM again. "Home" specifically. But again, it's not BTBAM trying to sound exactly or nearly like DT, but more just incorporating a similar idea within a song idea of their own.
I think Tommy sings "when will you learrrn" a few minutes in, which I wonder within the concept of this record if it's a self reflection (I'd lean towards it being one).
After a few minutes of intensity, what is the 1st of many more calming, dreamy parts of Colors. "Feed Me Fear" is repeated and then segued to end with that middle eastern sounding percussion.
-"{b} the Decade of Statues" I think of the interplay with a wah-wah pedal that accents on the offbeat. In fact, it doesn't happen for too long, I could go for that part.
It segues into these chromatic guitar runs that almost sound lower fi.
-"Viridian" really is just an overture or intro to "White Walls." But it's a nice, mellow piece that works well in how the ending of Colors was composed.
So, to summarize, this record is kind of all over the place in a good way. Sort of the culmination of years wanting to fit many parts and ideas into songs, and finally doing it well.
But as for its significance, it seems to be to me for a few reasons.
1) I never could get into Extreme Metal, metal with any kind of screaming
2) it opened the doors for me to enjoy a ton of music/metal, namely technical and progressive still (but not exclusively, like Black Metal and even a little Doom Metal), that I likely never would have been up for, almost entirely based on the inability to hear screaming. Now, in some cases like punk screaming like with The Dillinger Escape Plan or Deftones, I still can't quite get past the vocals. But the % of screaming I can tolerate if not enjoy went up significantly.
3) It became a fine work of 60 or so minutes. Almost like 1 song, really or a suite. And it was a trip to listen to. The dynamics and ability to compose such differing styles of music so naturally, was almost unthink-able. I mean how many bands have ever included Bluegrass with Metal? no matter how short or long? Some say it can come across as blatant and a gimmick. I guess for me, having never even heard or thought of that idea, it was charming and worked on this record.
4) this was the record I enjoyed the most of theirs. "White Walls" being the piece/part/song I enjoy the most in their entire catalog, and it's fair to say the song that won me over single-handed-ly.
And while I do enjoy Alaska, The Silent Circus and some of their others, Colors still wins. And sadly, where they are going, I am not sure if I will ever be won over at this level by them again. Although as I've said many times, I'd love that to happen. But if it doesn't this still remains their masterpiece and peak of sorts. And a highly important record for me and really for progressive rock and Metal kids. fans, musicians around. It and the band have reached a lot of people who normally never would like progressive rock or metal because of this band and this album specifically. In that sense, I kind of do see BTBAM and Colors as a template or standard for where metal has gone the last 10 years or so. Is it maybe even in some ways like a Metal Dark Side of the Moon? in some ways, on a smaller level, perhaps.
It's like a drug or a marathon of sorts metaphorically, Colors really is a trip or journey (and concept/story) that somehow the more times you get through it, the more you appreciate it.
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Colors is indeed a masterpiece. :hefdaddy
It took a couple of listens for me, but when it clicked, did it hit hard. The ending to White Walls is probably my favorite moment on the album. Flaming angels riff out to my ear at that point.
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Apes and Androids - Blood Moon (2008) (PART 1)
(https://upload.wikimedia.org/wikipedia/en/5/56/Blood_Moon_%28album%29.jpg)
I knew this would come up eventually.
I honestly don't think I ever found myself so personalized and attached to a single record. And the truth is, I have not even listened to it all that much the last couple of years, as sort of a pattern I often get. Because I know ("because you know"), I came so close to this record for a large duration of time, it became almost like breathing.
So, that's more than enough of the metaphysical stuff for now.
I probably listened to this record 125 times in the year 2008. It was more or less the soundtrack for my year.
But its story, while it was/is documented on this blog and some message boards, I will attempt to abridge it as best I can. And I'm sure the reader and fan in-me will find it not worthy of what it probably deserves, but it's just for now I guess.
It goes back to a blog called "kokoro" that suggested this among some other good records. And at that point, after the amazing year for new music that was 2007, I was still wondering if I could stumble upon some great unknown music the next year (but doubting I'd find as many just being skeptical).
The description said "psych, electronic" and 1 other genre. The cover looked curious, so I checked it out among many records on that blog.
It was odd. They used humor, almost in a theatrical way. I remember my early impressions were of the voice mail of the woman saying "capitalist mother fuckers, and I hate you, all of you" and also the bit "these are all words that won't help you, but they definitely will make you sound weird."
Some of the music was interesting as well, but it fell victim to time and my job. I seemed to never be able to listen to the whole record in one sitting for like 2 months. So, it got to the point, I may have even skipped lunch to make sure I got to hear it all.
And I probably did that 2 or 3 times one week in April, and I started to enjoy it more and more, but also saw them as being almost subtle humor rock. The humor and sarcastic element stuck out more than the music. But I sort of thought, Apes and Androids may be trying to be funny, but in sort of a clever way. They may be funny, but also brilliant in some ways.
Which that ideal held or still holds true about this album. But, there came to be a ton more than just that part of it.
I eventually came to learn the version that I was listening to, the track order was totally out of order.
This is the track list I was listening to it for probably 2 months:
1 And Now...
2 Bad Kind of Wetness
3 Blood Moon I
4 Golden Prize
5 Hot Kathy
6 Make Forever Last Forever
7 Nights of the Week
8 Radio
9 We Don't Understand You.
10 Blood Moon II
11 Doyle Is Dead
12 Imaginary Friends
13 Johnny and Sarah
14 Locked in a Car
15 Riverside
16 Sweetest Secret
17 Trank
18 Will I Live
Here's the real track list:
1 Blood Moon I 1:14
2 Make Forever Last Forever 4:33
3 Golden Prize 3:40
4 Bad Kind of Wetness 1:32
5 Hot Kathy 5:13
6 We Don't Understand You 4:36
7 Radio 4:31
8 And Now.. 1:58
9 Nights of the Week 5:18
10 Sweetest Secret 4:09
11 Johnny and Sarah 4:13
12 Will I Live 3:35
13 Trank 1:54
14 Doyle Is Dead 5:10
15 Imaginary Friends 3:10
16 Locked in a Car 3:02
17 Riverside 5:12
18 Blood Moon II 2:24
Not entirely out of order, but enough so, and especially given the story and narrative of a kind this record presents, the promos were not doing it the full justice it deserved.
However, I was growing so attached to it, at the point I learned of the proper/correct track list when I received my physical copy in the mail, it really didn't matter. And it allowed me to hear it in a new way.
Track dissection:
Blood Moon: very cool intro section hearing what sounds like a ship/spaceship land on a/the moon perhaps.
Make Forever Last Forever: great energetic rhythm. The whole "Riders on the Storm" is repeated and I guess I will never not think of The Doors of course with that lyric. But this song also features some wonderful percussion including what sounds like djembe or some kind of hand drums.
But the trademark Apes and Androids vocal layers, which I have no idea how many tracks or layers they used, but I have often thought they sound so multi-layered to try and create an *android* or digital voice of some kind. I think it's Brian Jacobs, although I really am no certain from song to song who sings lead.But from hearing some of Brian's stuff recently, I suspect he sang more of the leads, and David Tobias played more of the guitar leads. But that is just pure guessing on my part.
This track also includes a voice that I can never make out quite what it's saying. But some part of it talks about a city, and looking back and wondering "if someone is looking back at me." And the voice is almost muffled to the point it creates the sound of a storm trooper or an android/computer.
bad Kind of Wetness: This is a cool almost backwards synthy segue Did you talk to Betty, did Betty to talk
Golden Prize: This track introduces
"I'm looking at you and you've not got that look in your eyes"
the snapping, puckering sounds
"Oh never stay at home and stay"
"I've got like a sponsorship by the case load"
La La La La La La La
gawd I LOVE the way the vocals and synths go back and forth. I just fucking love it. Even the way they use like a Fat Albert-like in the background
"the girls' got lots of money, but she still wants her money. In the mood for something tasty. I think you know what I mean"
It's genius. I swear, I just adore how they segued and transitioned the vocals and synths.Such an, escape, the feeling of taken away on a trip to the moon or some scifi story or movie from the 1980's, that I can totally get sucked in for nostalgia and desire to dream to go somewhere else. I swear the narrative and imagination that I receive when hearing this album is like The Wizard of fucking Oz brilliance. It's like The Martian Chronicles or Night of the Comet or John Carter of Mars or Dune or I dunno, you name any romantic, nostalgic, creative story in fiction or myth, and this in the same ideal and reaction.
Hot Kathy:
"She's standing on the platform holding bags with a glass flower in her soft hands, hands"
"I'm melting in the wood waiting for the train holding with a dollar that a peasant couldn't save
"Breath blowing from saint/ in a cave like he's sending her a message like he needs to be saved."
"Hot Kathy Hot Kathy ...choppers.
She's looking straight ahead..
There's a magic wand
Breathe blowing
Look at her bags, look at her neck Am I this lonely, this lonely, this lonely...woooooo..wooo woo woo woo
this is another favorite that I'll fully admit, I don't know all the lyrics because they were not included in the cd nor online I don't recall.
The Queen -like falsetto vocal lines again totally stand out and sound wonderful hear. I often would mention Apes and Androids name to people and have to bring up of Montreal, but I would say, one of the differences with A&A and of Montreal is, Apes and Androids can really sing.
I also love the synths in this song to bits, including the solo towards the end.
We Don't Understand You: This song is incredibly catchy and energetic. Some have said it sounds like an anti-drug song with the chanting chorus "Put Your Hands Up" and some vocal effects after.
"You can go to bed"
"Everyone you're gonna get fucked up"
I think how hard the words they are singing are to understand is intentional per the title of the song, lol And even the story and characters perhaps. An android or species not understanding another? And the puzzle or mystery is I suppose to try and understand some of them beyond the "Put Your Hands Up"
The crying out vocal refrain in the middle is dreamy as hell. Another point the music creates a mood and illustrates and story or character even. Nice brief guitar solo, which then leads to repeating the chorus and adding tracks of more vocals and synths. I always love how it creates this theme for the song with the repeated chorus.
I always thought it could have been on the radio if not for the profanity. It's just so catchy and almost dance-able.
Radio: This song features a great what sounds like lead bass, or synth bass.
The gradual build with the fuzzy synths and basslines and vocal chanting just creates such a great mood for this song.
"Lay me down with the radio and I'll tell you more if you wanted to know, what you wanted to know"
And Now...: Jermaine Dupree and the DJ bit. Which then they bring in the slowed voiced part about "you'll definite sound weird" which is preceded by something about ejaculating I believe. I sometimes think of those sexual instruction recordings, sort of like the parody in Kentucky Fried Movie. This bit is almost like Hitchhikers Guide to the Galaxy meets the thing in KFM, lol. And it provides nice comic relief.
Nights of the Week: If "We Don't Understand You" didn't make the radio, this song I found also could.
So bloody catch
"Theres and the and the girls you got a drink in your hand but your fear that nobody knows
there's a temporary meansthe drama's the same, the bills are the same and I ..weighs a ton?"
These are the Nights of the Week when you force yourself out of bed.
There's a place in town where the spirits are down but nobody admits a thing
A toned down place ..Where Happiness is king, but tragedy has a better ring
There's the boy you kiss and the girl you sex
I wonder if they know you're there..
Just drink 10 shots with the girl who nods..but nobody really cares
so get my coat little darling, I think that it's time to go
let's sleep down in the back room because nobody can know
where time never seems to pass
I want to lay down in my bathroom and feel okay at last.
Oh Oh Oh Oh...these are the nights of the week
that verse or line where they talk about laying down in the bathroom (or bathtub) I always get goosebumps. It goes back to feeling
I also love the vocoder build at the end and the guitar solo just works on so many levels. Brian May and David Gimour. David and Brian were big fans of Floyd and Queen and it seems to show up in such great ways throughout this record. Lyrically, I almost am reminded of Floyd The Wall..the whole laying down, needing to relax and not think about stressful things.
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Apes and Androids - Blood Moon (2008) (Part 2)
(https://upload.wikimedia.org/wikipedia/en/5/56/Blood_Moon_%28album%29.jpg)
Sweetest Thing: This was one of the songs I liked but not at the same level as many of the others. This record starts out with track-after-track that are outstanding. Great energy, synths, lyrics, guitar, percussion, and "Sweetest Thing" kind of halted that momentum, I felt initially. But I eventually grew to love it and see it more or less on par with so many of these other incredible songs. The epic nature of it really with the repeated line "all of thahhhhhhhhhhhhht tiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiime gone toooo waste"..and the chanting and percussion. It was sort of depressing but maybe in a sympathetic way.
"Climb through the hole in the fence and that's when Momma said..all of that time, gone to
"take my hand Brian take my hand Brian do you have a...
"she dug her little fingers into his neck until he choked. You could what was finger tips were growing white....
he looked so bright."
All of that tiiiiiiiiiiiiiiiiiiiiime, gone to wayyyyyyyyyyyste. All of that time, gone to waste"
I have often wondered if "Brian" was referring to Brian Jacobs in some metaphor or based on a real experience. I mean I don't question the lyrics, what I can make out of them, are still within the concept story.
The outro has some really tight drum work. I forget, but it may have been played by Matt Mahaffey aka sElf. I know he played on a couple of tracks and did some mixing on this record, which the mix is absolutely pristine.
Johnny and Sarah:
I absolutely LOVE this song. It may be my favorite on this record.
Great post-punk opening riff
Johnny was a thorough chap
He worse shirt tucked into his slacks
He wore his name
Sarah was a lovely lass
_____wants to kick his ass
Going to Get him in a lot of trouble
desperate souls with nothing to lose A story of drama and a pathway to tell?
Oh shit that's right.
Johnny had to think of a plan
So is plan moved again
He moved 6 times
He spent the night
And he died and he cried?
woo hoo hoo!
Love the synth part that follows which then leads to one of the greatest guitar solos ever comes in. It totally fits the energy and tone of this song. Sort of brooding and dark but with the right amount of extension or kind of climax.
Lyrically, I always think of this song as being like Bonnie & Clyde. A couple traveling through towns and either robbing people or just getting away from the law or trouble. In the story perhaps the Androids are enforcing the law, and Johnny and Sarah are with a resistance or just defying and dodging the law.
The pounding intro and main riff just own so much. It's so tight and so ballsy.I don't think I could ever get sick of this song.
Will I Live:
She had a (bustle?) on her dress...makeup on her face... dressed up like a raccoon...
I suppose it's just another song about a foool
la la la la la la la la la la la la lahhhhhhhhh
lie lie lie lie lie lie lie lie lie lie lie lie lie
die die die die die die
Very odd piece, but a grower like many of the last 1/3 of this record. It continues to add imagination of the story or plot.
I always wonder what the solo string part the end is, a violin or cello? It's a very calming movement.
Trank:
This is a ambient, soothing mellow synth solo piece, which often sounds like sound moving in slow-motion, the tempo is so much slower than most of Blood Moon. And it transitions really well into Doyle is Dead"
Doyle is Dead: (The Untimely Death of Dr. Richard Lancelyn Green)
The thick, slow, dark synths in this song do make me think of the movie Night of the Comet. the mysterious element that something will be revealed rather soon.
Can anybody save anybody save anybody?
Can anybody save anybody save anybody?
So my husband found the way in the biblioteque?
Little pieces had....
I can see your silhoutete on my basement stickers?
I hear your thoughts dancing in my head, quickening my pain
And as the footsteps get louder
I can feel your shoestring caressing my neck
I'm ready to untie this knot in my neck, I'm ready I'm ready I'm ready I'm Ready I'm Ready I'm Ready
Can anybody save anybody save anybody?
Can anybody save anybody save anybody?
The extended title refers Dr. Richard Lancelyn Green:
Dr.Richard Lancelyn Green was a British man who was fascinated by Sir Arthur Conan Doyle I guess, and died in the early 2000's. The mystery of his death involved his opposition to an auction of Sir Arthur Conan Doyle papers. per Wikipedia
Lancelyn Green suspected that the Conan Doyle papers being auctioned at Christie's were part of a collection that Dame Jean Conan Doyle, the author's daughter, actually wanted the British Library to have.[2] He attempted to stop the auction, but was unsuccessful.
In the weeks before his death, he told friends and journalists that an unidentified American was following him, and that he feared his opposition to the auction could endanger his life. His behaviour became increasingly erratic, and once he insisted on speaking to a visitor in the garden because he said his apartment was bugged.
During the night of his death, his sister, Priscilla West,[3] telephoned his apartment, obtaining only his answering machine, which had a new message with an American voice (this was found later to be the standard message tape supplied with the machine). Her worries about this resulted in the discovery of Lancelyn Green's body, face down on his bed, garrotted with a shoelace that had been tightened with the handle of a wooden spoon.
Murder was suspected, and there was some newspaper gossip. Because the CID was not called at the start, any evidence that might have been useful for a murder enquiry had been disturbed or removed during the course of dealing with the body. The Coroner returned an open verdict. Many of Richard Lancelyn Green's best friends thought it was not in his nature to commit suicide. However, some thought the death to have been an elaborate suicide, intended to seem like murder, in order to cast suspicion upon one of his rivals. This replicates the plot of one of the last Sherlock Holmes mysteries, The Problem of Thor Bridge, in which a woman commits suicide in a manner meant to implicate the woman with whom her husband had been flirting.
This is a track I think has revealed maybe more than many others on this record. The reference to this guy Dr. Richard Lancelyn Green and his connection to Sir Arthur Conan Doyle. The lyrics may be just what the Apes and Androids guys speculated how he died, the thoughts running through this Doctor's head at the time. Perhaps based on some news stories. It really is rather fascinating.
Musically, it is another appealing side to this record that while is still a contrast to many of the energetic tracks on the 1st 2 acts per say, I think it complements them and the concept incredibly well. A slower, darker, ballad of sorts shows another great side to the Apes and Androids sound and songwriting approach.
Even the vocal harmony chants on the outro add something.
Imaginary Friends: Another stripped down, acoustic piece which is sort of sing/songwriter sounding for the 1st minute. But then we get more slight Brian May-like guitar refrains for a bit.
We're skipping stones again.
Yaye Yaye Yaye Yaye now....woo woo woooooo
Oh My Friends, we've reached the end?
We will never meet again
I'll cover my hands.
Lyrics on this song is kind of telling the story is close to ending. Rather sad, but still about the right time. Withint the story? I sort of picture humans or Apes thinking this about the Moon or something. Whether the Moon or the planet they are on will blow up, or something more along the lines of thinking it's the end of the race, being wiped out by technology.
Sort of pre-apocalyptic in a way.
But then again, it also might be just referring to the approaching death of someone.
Or all of that could potentially apply the the Androids as well.
Questions that are I still find worth pondering about it, which is maybe how Blood Moon has so much intrigue. There is a story or 2 or 5 here, and even for the fact the lyrics are not anywhere to be found, the mystery is one part of why I kept going back to this record.
Locked in a Car:
My best friend is locked in a car...
These walls expand on
forever until the room becomes done
I'm still holding awwwwwwwnnnnn
We'll still holding onnnnnnnnnnnnnn
The slow guitar bridge is unusual but definitely grew on me. I came to hear it like another featured Brian May refrain(s) or something.
Another slow, sad, stripped down piece that doesn't last too long. But like many of the preceding tracks, is dreamy.
Riverside: In some ways the crowning piece on this record. It starts out with an acoustic guitar intro.
Passing fields in a car
There's a grim walking down by the riverside
And she wore her head up tall, in case the tears fall
bah-ah bah-ah bah-ah bah-ah
Then sometimes she thinks, I had it all, when I was small
Skies getting wide the countryside
Light getting dim from above
I miss the sun
Watching all the trees
Feeling like a bed locks made of bees
An old man and his wife
sitting up reading books through the night
And they know that they know that's something wrong
everyone's gohhhhhhhhhhn
As they held eachothers hands
the trouble supsides
I am the sun!
Nothing's wrong Nothing's wrong oh no!
Can see me I'm got flowers
Can breathe me I've got power
Got I've Got I've Got!
...
Syntax from the flood
Extend to the clouds above
All our dreams pulling them up
and their hearing this song!
oh yes!
Skies ride by the countryside
Light shooting down from above
I am the Sun!
Nothing's wrong Nothing's wrong Nothing's wrong oh no
The trumpet and then the happy synth/guitar solo I for some reason think of Muse, although over time, I suppose many other groups have used that tone. I also like how they say "oh yes" right before it hits.
Such an uplifting song. It goes from sad, depressing to uplifting. This song really wraps up what is such imaginary trip or story and exploration in sound and layers. From the vocals, many different layers of keys.
Blood Moon II: And it ends with the ship leaving and the sound of animals (apes or monkeys?) and sounds of nature (crickets?) along with what almost reminds me of a piece of software or device's intro or outro sound.
In summary:
I may find myself adding more to this, but I just can say for now, this record is as astounded as I may ever get with music. It was likely quite a long, ardous making for many years after Brian and David changed the name from Call Florence Pow. They likely spent 5 or more years making it, and it shows.
Do many of the vocals have lyrics you can't understand? sure, but I don't mind really, as it adds to the mystery, even with the story. It's almost like something Yes does with vocals being a texture or sound rather than words made for singing clearly.
I guess I also have and always will feel a very personal connection with this album, like many of these significant albums, in that I sort of found it 1 day and grew attached to it. And the mainstream never did, nor did many really online. Here and there, but I have only seen a few other folks who revere it like it's the greatest thing ever made. I'm sure the guys from the band don't quite see it that way, but that's natural, as they are artists always trying to improve and create something better than their past work.
I would love to see any of it performed live, but those odds don't seem likely. Brian at least is still making music, whether it be remixes of songs on his tumblr, or some of the original work he's doing. Those 2 demos were terrific a few years ago. David Tobias? a solo album was mentioned many years ago, but who knows if/when that will happen.
And of course trying to find another Apes and Androids, or something close, has been more or less non-existent. There have been some good ones, like NewVillager a few years back, but with each passing year, I wonder. Although the music is still available, even just on Youtube or Vimeo or wherever else online (grooveshark) or even iTunes, Amazon mp3's and once in a blue moon I'm sure copeis of this record show up on Ebay. I personally own 2, but actually would go for picking a few more if given the opportunity.
But for now, this record still is the landmark work that I grew to see (and hear) it as in 2008. When will I become so enamored by another record like it, and for that matter, a case of a group whose it's their only work? it may happen, but I guess I've come to learn or not expect it really, if ever again.
-
Pain of Salvation - The Perfect Element I (2000)
(https://upload.wikimedia.org/wikipedia/en/8/8a/POS-PerfectElement.jpg)
In the year 2000 (in the year tewww thouww-saaaaaaaaaaan" lol) Dream Theater were kind of becoming all the rage, I suppose in a 2.0 sort of way given their comeback of sorts record Scenes From a Memory had rejuvenated them after a few years of polarized reaction to the overt commercial attempt of Falling Into Infinity.
But at that time, I was starting to investigate new bands, namely still in my favorite genre of sorts around that time, progressive metal. And I forget when it was announced, but I would guess around November or December of 2000, the inaugural ProgPower USA festival was announced to be taking place in February 2001, in Chicago (or Lansing, IL at JJ Kelley's, which in effect was a bar actuallly) of all places. And the 2 headliners were Symphony X and Sweden's Pain of Salvation.
Those were 2 bands I had seen a lot of talk about online especially, and I also recall the Dream Theater fanzine as well. And they both had released new albums I want to say in the Fall. But I hadn't heard any music from either of them, but I distinctly recall hanging out in #mikechat the Chatroom on Mike Portnoy's forum one night in December, and my friend Paul C aka Pellaz talked me into thinking of going, especially due to the cost of a ticket ($25? I recall, for both days, 11 or 12 bands or something).
So, I ended up purchasing both Symphony X's new record V: The New Mythology Suite, and Pain of Salvation's The Perfect Element I a few weeks later.
Now I might mention briefly, the name Pain of Salvation I had seen maybe a year or 2 before in either Progression magazine or more likely James Bickers new printed publication Sea of Tranquility, and I recall an email list I was on for progressive rock titled "epigram" and I emailed a fella from Europe about some bands, 1 being Pain of Salvation. I recall a description being something like "avant garde prog metal" or something, which had me curious but also not highly optimistic..
But I don't think it was until they got confirmed for PPUSA that I even heard their music.
And unlike a ton of other people on the forums I noticed over the years, their music I actually enjoyed from the start. I purchased a copy of this record and I recall immediately enjoying a lot of it. maybe 1st and foremost, the track "Her Voices." Which has a slow but gradual build but then leads to this wonderfully uptempo time change that features incredibly catchy rhythms.
That section is fast, but flows perfectly. The interval patterns and changes in keys. The keyboards and what sounds like fretless bass from Kristoffer Gildenlow stood out a lot to me.
So, enjoying "Her Voices" a ton, I began to enjoy the rest of this record over a little time. I still have some vague memories of playing this record frequently in December and January of 2001 at my old job in Bloomington, MN. Especially late at night (I used to work a 2nd shift, and sometimes overtime into the wee hours of the morning). And for example on the track "In the Flesh" the contrasting verse to the chorus before the instrumental bridge
But She will fly, she will fly, she will fly
Before it dies
But She's afraid, she's afraid, she's afraid
Anyway
Sometimes the hands that feed
Must feed a mind with a sick need
And the hands that clutch can be
The same hands that touch too much
Eyes that hungrily stare
Read in an access that's not there
While eyes close to hide tears
Or look away in fear
Run away!
The doubling section of vocals with I think guitar, or possibly guitar and keys, that are not an identical octave, but they totally work on a melodic and harmonic level. Oh man, I swear that part specifically made me totally fall in love with this album and band and I knew I had to go see them in Chicago (also the fact I had gone to Nearfest only 7 months earlier and they were from Sweden so I wondered if it might be the 1st and last chance to ever see them, that I might regret).
And I won't elaborate extensively about that show in Chicago in February as the focus of this is about this album, but I'll just say, to this day, that remains the greatest concert/performance I've ever witnessed (despite their not even playing "Her Voices").
But why that section of "In the Flesh" got me so much, I suppose for one, it was so unusual and odd, and it sort of reminded me of Faith No More. I kind of started to see Pain of Salvation as like a progressive metal version of Faith No More and I'll not deny, a lot of their sound reminded me of the classic period of Queensryche.
But the bridge actually in "In the Flesh" I grew to love and get goosebumps. In fact, the whole bloody song really is just so moving. Some of the guitar parts or tones in the 1st couple of verses almost make
The bridge is also godly. I swear it is such a goose-bumper with the way the guitar comes in and then piano and then Daniel's deeper vocals.
Now she bites the words
"Never"
She kicks the ground
"Never"
Swallows her tears
"Never will I go back"
She hits the walls
"Leave me!"
Scratches herself
"Leave me!"
Begs to all Gods
"Rip me from this sick flesh!"
and then leads eventually to a climax and then calming which ends in that line "Back to the adults of her home" and an absolutely gorgeous piano section.
"In the Flesh" lyrically might be very disturbing, but ironically, the music is so wonderful, the lyrics are almost secondary in a literal sense to me. But I think about it among a couple others, still remain the best songs Daniel and the band has created. It's one of those songs that I always look forward to, namely some of the moments I wrote about above.
However, as this record became a favorite of mine, I came to always listen to it all at once. But running down the track list:
"Used" is a great opening track. The yelling "getting used to pain getting used to pain"..and "I'm getting used...I'm getting used!" stand out. It does set the tone for this album being very deep and in your face. Even the guitar solo is very trademark. And it features one of many classic Pain of Salvation builds that keeps getting bigger and bigger. Until we get Daniel taking a very dramatic falsetto vocal section that stays with you along with the pounding drum work from Johan Langell. And after Daniel sings "murder"..that eery, mysterious "leave me" which is whsipered.
"Ashes" received the most commercial exposure of any song on this record. It usually makes me think of Nine Inch Nails, with its industrial-riff. I'll admit, I do like it, but more in the scope of this record. I mean it's a dark, intense song. The grindy build "let's burn together" and guitar riff with the distorted vocals "this pain will never end..these scars will never end" ..and then the chorus "as we walk through the ashes I whisper your name a taste of pain to cling to. As we walk through the ashes You whisper my name Who's the one with the sickest mind...now?
Daniel's vocals and the tone of the song is overtly dark and almost over the top guilt-ridden. And I think the lyrics do stand out more so from it. But I still find it works on this record, and has enough interesting qualities musically to not be turned off by it. But it probably is the most preachy track on this album, and I'd say it in some ways is the most straightforward from a song-structure standpoint, which may be why it was given the most attention commercially.
"Morning on Earth" is a beautiful acoustic piece that features lovely string sounds, vocal harmonies and this perfect slow tempo. It also includes a sort of narrative/spoken part, which I came to also be reminded of Mike Patton and Faith No More again. "Hear this voice, see this man standing before you I'm just a child trapped inside this fallen man See this child."
I also love how the theme is used later in a different arrangement on "Reconciliation." Which is something I often enjoy in concept albums. And adds to the continuity of those kinds of records.
"Idioglossia" has this cool intro riff with the drums that I enjoyed somewhat initially, but came to find incredible over time. It's pretty busy and technical. I noticed how they use that section and change times frequently on this song, which added to its appeal. It goes crazy for a minute, and then the whole "eyes washed the surface and see"...and then the "Ashes" theme is reprised, which I think I came to enjoy how they used the sound from "Ashes" on this song even more than on "Ashes" itself, lol.
As I search through the ashes
For someone to blame
I'm afraid to see my face
As I walk through the ashes
I whisper your name
Meeting you have forced me
To meet myself
The way the last line there leads to the fast picking guitar outro is awesome.
The 3rd movement of this song is similar, but I think the part that stands out is the echoing clean guitar parts and the chanting vocal harmonies. They go on for awhile, but I actually don't find they outstay their welcome. "It all comes back to me....it all comes back to you"?
"Dedication" is another acoustic ballad which transitions well into "King of Loss."
"King of Loss" I know is a polarized song among fans. I actually recall liking much of it initially. At least the 1st 2 parts. The incredibly heavy pounding section I actually forget if I really was bugged by or not. I knew over time, I found it among the heaviest and most intense music I'd ever heard, but then grew to find it brilliant.
I suppose part of why King of Loss worked for me is I enjoyed the way the piano and bluesy guitar riffs along with how it told a story.
"We crown you, the King of Loss...
Better get on your feet
Best be one of us
Better get yourself on the list
For success
Dress up as a State investment
Charm the press
A breed from the seed of only
One short breath"
Mother, I wish that we could talk
You see
I'm not fit to play this game
Bound by its rules just the same
My talents turned to talons
Every monetary pile
Will buy me a precious smile...
smile...
Then tell me our lives mean more
Than this vain thirst!
These are a few of the lyrics I grew to appreciate on this song. For one, the line talking about "talons" I always wondered if that was the word Daniel was using (I never really sat down with the booklet while listening like many, but, I couldn't really since I listened to this album while working anyway). But "talent" and "talons" sound quite similar. "Talons" for some reason, I think of something biblical. I may be mixing it up with something else, but I swear in religous school, we read about or there were references to talons.
But the funky, bluesy music complements the subject matter and Daniel's sort of, letter to his mom and society on this track. I mean I have come to believe this song is like a letter to the workforce, corrupt government influence on it and the sad reality of what is required to make a living in modern society, or the way Daniel Gildenlow perceived society at least.
The highlight of "King of Loss" though is the gorgeous section that follows the intensity with the sad guitar lead and reprise of the "I am crying" -Used melody. I also love the strings arrangement, and the incredible vocal harmonies.
I would say it is among the greatest sections of music the band has ever made, even as short as it is.
"Reconciliation" follows and is quite a different track. It uses the "Morning on Earth" theme, but in a much faster, rockier kind of way. It's awfully catchy, in fact I kind of wish even now, this track had found the attention and been released as a single as well (or instead) of "Ashes."
"I thought I'd seen hell
Though I knew it all...
I was always on my mind
But never on my side
Run - but if you run away
You'll always have to hide
So if you need to run
Run for help!"
The way the music goes from dark and heavy to soft and higher pitched in the verses is such a cool dynamic when pulled off. I suppose they were hardly the 1st band to do it, but I hadn't really gotten into music that did that dynamic mood shifting so well. I suppose Faith No More was an exception, but Pain of Salvation spoke to me even more.
The line "but if you run away" is sort of foreshadowing for the closing title track. A line like that, and how it is sung, spoke to me as a message of escape.
"Song for the Innocent". I guess I think of it like a prayer. The line "We dreamed of a world" and "what else can the dying do?" which then brings back the outro from "Her Voices." One of a handful of reprised parts that work really well when they are returned to.
"Falling" is a nice intro guitar piece that then leads to the closing title track.
And "The Perfect Element" I came to find to be my favorite Pain of Salvation song. There are many reasons, for one the way it goes from section to section and I always found it was over too soon, yet it wasn't. The section
I will never leave this shame I will never leave this shame I will never leave this shame I will never leave this shame
Watching. unseen. untouched. bleeding
Empty. exposed. dying. eyes closed.
Once he had forests and mountains
That were only his - listening to him
Once he would run through the summer days
Catching memories for ages to come
Now he is dressing this naked floor
With his flesh and blood, and times passes by
His trade of pain might just have lead him
To deal with consequence
For some change as time passes by
I am the waking child
(Lingering, climbing, clinging, clutching
Craving, clawing, hurting, falling down)
I, the wayward son of a mountain lake
(Of icy liquor tears, of a silent Earth)
(Of a rusty lid, of a wingless wind)
(Of an eyeless storm, of fallen gods,
who lost their way)
I set myself on fire
To breed the Perfect Element
The section with the guitar echoing in those 1st 2 lines quoted builds so well into the pretty chanting falsetto section. That section after is so bloody dreamy and yet sad. It's a HUGE goose bump section for me every time I hear it. It again, sort of creates this escape. Like running away from in this case, some horrible circumstance to be treated for some children or child. Myself, I guess I do receive some kind of childhood memories.
Then the way the instrumental section comes back with the piano namely, my jaw drops. And then as it goes softer, the piano leads again, and the layers of vocals start coming in and the way it builds is absolutely astounding. The guitar solo of sorts with the pounding drums then leads to one of those Geoff Tate-like toned falsetto vocal lines.
"Falling far beyond the point of no return..Nothing to become and nothing left to burn....Now you are killing me.."
the echoing response I always hear as "this is what I want" (like burning the characters own body)..but the lyric is actually "is this more than you want?"
which makes some sense because the concept of TPE came to be about a "He" and a "She." But I've never thought about it that much.
In conclusion, this became a favorite album in the early 2000's for me. Even as dark as it is lyrically, it is as bright or as much beautiful and powerful musically. There is so much to receive from this record, and I still do consider it Pain of Salvation and Daniel Gildenlow's crowning achievement still (with Remedy Lane close as well), and certainly one of my favorite records from the 2000's. It's a very important record in the history of of progressive metal as well, as to quote James Bickers at that ProgPowerUSA festival "Pain of Salvation are like a clarion call for progressive metal..they're the 1st thing to come along in a long time that sounds new."
I think that is probably their greatest legacy at this point, and may always be. They came along when progressive metal needed something different, and this was the record specifically that did it. And I guess I appreciate them and this record as much as I do for that reason as well as the music itself.
-
Kaddisfly - Set Sail the Prairie (2007) Part One
(https://i32.tinypic.com/2qa7khi.jpg)
In becoming a fan of dredg in 2005, I ended up finding an active online community known as "Traversing" and like I had with some other bands, namely Dream Theater about 10 years before, I ended up enjoying talking about and learning of other bands who the fans of dredg really enjoyed.
And it may have been from a user named Spectre1982 aka Shane or some others, but I remember checking Kaddisfly out in the early months of 2006 with their record Buy Our Intention: We'll Buy You a Unicorn.
It may have been the identical trip to Cheapo in late 2005/early 2006 among the cds I picked up, 1 was a promo of Oceansize's Everyone Into Position and that Kaddisfly cd.
Both of them I liked, but didn't fall in love with right away. But I remember about Buy Our Intention, thinking, this band has a lot of interesting ideas, but I'm not sure if they have perfected them all on this album. From various kinds of songs, using piano, to hardcore screaming to a thematic or conceptual element.
And I'd guess I listened to Buy Our Intention at least a dozen times over the next 3 or more months. I even recall the band playing at Station 4 in February or March, but I missed them for some reason. I just recall thinking, parts of this album I find a bit low-fi or missing something, but there also were these great little sections I loved and found were worth getting through the rest of the songs/album to hear. Although I also recall part of why I didn't love everything on the record was Chris Ruff's vocals. His annunciation and some of the vocal melodies did sound sort of *emo* for lack of a better word.
But, I would guess it was around May, a few users (not Shane) started talking about the next record for Kaddisfly. And even getting to hear it, and it was supposed to be released in the late Summer or Fall. I even think the band may have shared the song "Campfire" online, likely on myspace or their official site perhaps. And I know I found that song impressive, even more than anything on BOI.
And not too much later, I was able to hear the whole record and suddenly, I began to see and hear Kaddisfly in an entire new and better way.
The record was titled Set Sail the Prairie, which was the title of the 2nd-to last track on BOI in fact, and the 3rd-to-last was that album's title track. The last track also was connected being titled Horses Galloping on Sailboats, which many now know of course is still yet to be released (but it seems imminent sometime in 2014 now it finally will).
But as I, like many others had the chance to hear SSTP in the Summer of 2006, I became addicted to it. It was a record that took you on a journey, even just in terms of the themes, styles and titles of nearly each track, which represented a month on the christian calendar and seemed to capture that period of time's mood, weather (in North America at least) and such. Which added another dimension to this album and the band's sound.
Tracks:
Summer Solstice: this is a nice intro narrative poem, which kind of foreshadows many parts of the lyrics. the ending kind of tells me, there's this fast coming storm, that will be impossible to ignore.
Campfire (Junio) 4:43: the aforementioned impressive track, really has great energy. The rhythm is almost dance-able.
Welcome to your life, you better watch your steps. they can turn to fire, they can sear it through your shoes.
And through your feet Move up your legs and eat away your heart until you
You walk a path with love Then you could be happy And your feet and head and heart will
Get along comfortably And you might even breathe easily
Albeit obvious We hardly seek But hope to find you there
Albeit obvious If we don't speak No one can lend an ear
With anyone Or with anything Or underneath a budding tree
No matter how much you've thought Or how much you've grown Or how much you've learned
Or how much you think you known Or how much you've grieved
Or you've forgiven Or how much you love You will never know
Albeit obvious We hardly seek But hope to find you there
Albeit obvious We'll never die We'll merely disappear
I absolutely love the bridge and the way there's almost this soaring element to the vocals and guitars. The "You will never knohhhhhhhhhhhh."
this song explores many moods, from happy to serious, to almost funny. It really sets the stage for the trip you as the listener takes, and even the story of sorts of an Owl's trip around the globe through different seasons, seeing different lifeforms, people, weather, messages, and even revelations from learning through experience.
Waves (July) – 4:37
This track opens with a nice piano intro.
The lyrics almost sound like gibberish. But the line "No prophet has ever been Accepted in his own village" I've always found interesting.
I listen to this song and picture canoeing with formidable tide. Aaron Tollefson's guitar riffs and Beau Kuther's snare pattern drive the chorus of this song really well. Very tight rhythms and interplay between the rhythm section and the vocal melodies. I also often think the line "But here's the thing with time" Later on they reference time and needing it (Clockwork?) and how it's value is made from perception.
An owwwwl over the hill knows the moon And clear as a river, like flowers, we bloom
Fahhh-ster when we're farther from the shayyyde Before you growwww ohhhld, don't get snipped and sohhld.
I really love the sort of echoing, and banging guitar lines on this song. As I grew to really get into Kaddisfly's music, I think one of the biggest parts were Aaron Tollefson and Kelsey Kuther's dual guitar assault; they use a variety of moods and textures, even within 1 song. And "Waves" is one of many examples of that throughout SSTP. They use what sounds almost like a wobbly echoing effect so well.
Waves eventually leads to this cool almost reggae-like section, which beyond the band's influences, I suppose part of that on this song, and many others on this record, it is overtly bring various cultural styles of music.
Since we all are dealt zero sum hands We should have a little compassion
But people sure can be incompetent At understanding this concept
Be offended by the things we've done Be offended by the shade of our thumbs
Be offended by just where we stand One day, I swear
I've probably said "One day I swear" more times I care to admit, but the lyrics there do speak to many ideals, in wondering why people don't understand your interests, tastes or perspectives, for better or for worse. I suppose the band may have dealt with some of that personally as well.
Harbor (Agosto) – 4:35 This song starts off with this cool off-beat rhythm.
It goes into this section that the lead part is almost played on the off-beat. "Under-stah-annndeeen is only comeeen when you dispose of the breathless bahhhhdeee."
The part where Chris Ruff repeats "when you deees-.pohhz uhhhhv a boh-ah- boh-awww-boh-awww-bawwww-deee" and the guitars get rather playful.
Then the little piano part comes in before 'Be aware, Be aware, Be aware"..which takes it back to the "Understandeeeeeeen.." chorus again.
The last verse the lyric "At this point. I'm off" I usually heard as "This boy. A moth" lol, which I suppose says something about the annunciation of so many of the lyrics and vocal melodies/phrases singer Chris Ruff uses, but I think for those who actually got into Kaddisfly's music, those silly little aspects to the music are so secondary, that he could be singing in a made up language and it wouldn't matter, because the music and the actual vocal sounds work on many levels past that.
The almost ragtime piano in the bridge is another part of this song that I enjoy as well.
Birds (Septembre) – 6:03:
Naturally, with a song titled "Birds," they use what sounds like a bird-sound of chirping as an intro and throughout other moments on this song. I guess overall, I have always enjoyed the soaring, methodical tone of this song. It almost is a narrative of a bird's perspective.
As we said a prayer the night gave us a song and gave us a voice so we sang along.
This tune is like 1 beautiful ballad-jam of some kind, that I'm sure could have lasted twice or 3 times as long.
Maybe my favorite part of it though is the soaring almost ethnic sounding female chanting vocals with the acoustic guitar, which eventually you hear her sing the chorus from Campfire.
Albeit obvious We hardly seek But hope to find you there
I get goosebumps every time I hear that part. Although it kind of sounds like the journey of a traveler on horseback in the old west at the same time.
Clouds (Heshvan) – 3:41
Maybe the heaviest song and heaviest part of this record with the opening riff. I know they sort of took the idea of going from the warmth of Summer and how in October mother nature can be a bit cruel in the changes in climate. Also the way "Birds" being probably the quietest or softest track into "Clouds" being the heaviest, was likely intentional, and a cool dynamic. Although I got into a terrible habit of always having to turn the volume down when that opening riff came in. I suppose it was due to not having it on so loud, my co-workers wouldn't have to ask me to turn it down.
But beyond that riff, I really grew to enjoy "Clouds." The chorus "After all that we've said and done, the sky still gives us the sun every morning when we wake up. So feel privileged that we're the ones, who are given so much and yet are so undeserving. Including on the 1st verse the echoing "whoah whoah whoah" I often think of this song for.
Also the thick, driving, forceful., angry guitar riffs lasting more or less throughout the whole track. It really does show yet another side to their sound. I've seen a number of bands who people hear or compare Kaddisfly to. I suppose this may be one of the tracks that people heard Incubus in.
Empire (Noyabr') – 4:25
Maybe the catchiest track on here, and the one they made an official video for. I came to the point, introducing anyone to them and this record, this had to be the song to suggest 1st. It's really catchy and happy sounding. Among other things, it features some great high-hat patterns.
We are quiet like birds With swiftly tilting minds And wings that are made of humility, yeah
We are quiet like birds With secrets like butterflies And we can only fly if we use our wings
The wording "a decent fashion" is another example, where the lyric's sound didn't matter, but I always hear "80's in fashion," lol.
That chorus is just so bloody strong and ear-wormy, I just wondered how most music lovers couldn't enjoy it. And the little piano part in the bridge stands out as well.
How big is a rainbow? How big is a smile? And can you tell me which weighs more?
We can all fly if We just believe
That last line, very much makes me think of the title of their 1st record Did You Know People Can Fly?
"Winter Solstice" – 1:20: This is a nice interlude piano piece from Chris Ruff that leads to the big epic track"Snowflakes."
Snowflakes (Desember) – 7:48: A little like "Clouds," the intro riff is extremely heavy. But then it transitions well, mainly a few minutes in after the 1st verse with the guitar melody and the line "A body's not a home Free will is not an art The wind can either help this sail or rip it apart...We're not as much a part of Earth as we see fit."
The band almost sound like a machine on this song. So many layers and the tones sound really thick.
"Human experience can be a misleading cartoon The true nature of things shadows our human"
Right after that line, what I suppose could be called a guitar solo, just gets crazy and insane. It's like noise, but refined or something. Because I'm not into noiserock really (I'm looking at you St.Vincent), but this song and that part of the song, over some time, totally grew on me. It's really badass.
The chorus comes back in and eventually leads to this gorgeous piano section, which is among the best transitions and use of dynamics on this album. I totally love that section (and I'd almost go for it to last longer than it actually does of course). But the band then finds a dynamic call-and-response between ragtime piano, and heavy riff back and forth in conversation. I remember distinctly hearing some little trailer clip, likely around or after hearing "Campfire," or them playing that example of the quick change in dynamics in a split second. It's clever editing and mood changing that works incredibly well.
Eventually the heavy riff leads to a HUGE climax of noise, energy and chaos.
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Kaddisfly - Set Sail the Prairie (2007) Part Two
(https://i32.tinypic.com/2qa7khi.jpg)
Via Rail (Janvier) – 5:23 My 1st and still probably my favorite Kaddisfly song. This song is so grand and majestic. It's like a fairy tale or prayer for the world. I suppose representing January fits that, sort of looking to have a good new year, etc.
The way it marches on in the narrative and the drums works so well. Even the vocal harmonies I often get goosebumps from hearing because they sound so dreamy.
I guess my strongest among many memories about this song is playing it a number of times 1 in July or August of 2006 and thinking, from the bridg- on, the crazy off-beat section is like King's X and Faith No More and a bunch of other bands wrappd into one. And I thought if the progheads heard this, they should catch on. Which I suppose it may have been this song or others, that did it to a point, but sadly probably not what I figured (silly me).
Amen
The nest of clay was forged into eternity atop the corner of the world, while the ocean floor was now covered..covered in gold, silver, and sand, yes it was!
the ocean floor was now covered in gold, silver, and sand.
The nest of clay was forged for eternity atop the corner of the world, while the ocean floor was now covered..covered in gold, silllllver..silver and gold..silver, and goh-h-ohhh-old
So build a house of clay and never ever, ever, ever uhhhhhhnder-estihhhhmayyyyte
what the dead can do for the living. If you listen closely you'll hear the harmony of
every man and woman who's passed away You better believe it's a song for the living.
The riff in the outro is so badass.
The lyric about the nest of clay withstanding the heat, almost reminds me of Indiana Jones and the Last Crusade with the Holy Grail not being made out gold or silver, but Clay "That's the work of a Carpenter" lol as Harry Ford says.
But that vocal phrasing and line is crazy badass and so infectious. Even the line about every man and woman who passed away..and you better it's a song "for the living" etc sort of speaks out, in a profound and desperate way. It really could be memorable and important, if it and maybe it's message of some kind, actually found more ears and resonated with people, younger people namely, but unfortunately Kaddisfly were/are a little too obscure at this point for that to happen sadly.
Silk Road (Pharvarì) – 5:27 Igt "Life is not a perfect game."
I often think this song represents India or some middle eastern perspective.
Fauuuuult isn't the emerald sky It is the ivory lie told through our eyes when there's no other way out, there is another way out your feet are the ground, one field of white
Crimson solitude lends yellow waves Patches of what was green now is white And what was future now is hindsight Brick and turquoise, dancing violet strands Bluish topaz acquiescent nerves bleed magenta
That 1st verse uses the term "Crimson Solitude" which also is the title of a track from BOI, which is another tie-in or part of the concept between the 2 albums.
I love this track nearly as much as "Via Rail," for different reasons I suppose.
so avoid the ones with the quick tongues those who talk away, way too much pour one out for those who've been blessed with the gift of silence and the grace to use it.
This line referring to those who talk too much, for one, I often think of the lyric "sometimes we talk so damn much" from the following track "Mercury." But also from a literal sense, I suppose it can be referring to people who are fast-talkers with an agenda. For money or persuasion. Even in a religious motivation. I suppose the point of this being in some middle eastern perspective and religion being so visible in that part of the world's culture (or just spiritual beliefs) it might suggest coming from an important spiritual person. Whether it be the Dali Lamma or someone like Deepak Chopra even.
we are the speed of light and we ride frequencies like the wind
Eventually a part this song includes these little slightly jazzy/cloudy synths over Chris's vocals. And from the last words "just wait" the band goes into such a magical climax with the soaring guitar and piano layers. and then the chorus
Fauuuuult isn't the emerald sky It is the ivory lie told through our eyes when there's no other way out, there is another way out your feet are the ground, one field of white
Mercury (Sān Yuè) – 5:07 Many people I used to notice adore this track. And I've always liked it, although after the previous two I think it hurt my ability to enjoy it as much as I could have. That being said, I still like it and it did grow on me over time.
"Sometimes we talk we talk so damn much..that we forget for what we ever started talking in the first place...
In a land of pirates, I'd be more concerned With what comes from your mouth than what you put in So flood your deck with quips fit for royalty I bet your ship sinks with the wave of so many
Maybe my favorite section is the last verse
There's a battle in a backyard alley Brothers fight over what's not there These siblings will be sad to find that war is the winner We keep fighting for position in a human race that never began Where the start and the end are both made up of the same thin air
The reference to a battle of a human race that never began is kind of compelling. The music and concept of this album and BOI is kind of about our planet Earth, life on it, how it evolved and humans evolved. So that line does speak to it in a bunch of metaphorical ways. It kind of reminds me a little of some of the Hitchhikers Guide to the Galaxy (or 1 of the other Douglas Adams books) when they meet the cavemen if I recall and trying to teach them how to play checkers I think, but don't recall exactly. I mean the War part, and Pirate Ship maybe not so much, but just the start of human evolution. BOI is the beginning or past, SSTP is the present, and Horses Galloping is the future.
Clockwork (Sì Yuè) – 3:46 Kind of an odd track, and transitional.
They say, "wait for such and such an event to happen,"
Call their bluff After all, the end is the beginning, my friend Oh, we exist in four...
There are a million points of view And a billion conversations
But there is only one end It will end one day There's one reason
We live in three dimensions But we exist in four, not three, oh...
The line "after all the end is the beginning" kind of hints towards the 12 month cycle is coming close to being reset. The line "we exist in four..." being 4 dimensions, not 3, is some kind of step into another evolutionary point. Like the character has a revelation of some kind ala Neo in The Matrix or you name the Scifi story.
Musically, the section that starts "There are a million points of view" almost sounds kind of math-rock like, which for a song titled "Clockwork" it sort of fits as mathrock can be described like it's using a clock or clockwork in terms of the emphasis on rhythms.
The outro also features albeit brief but still wonderful energy. And then slows down saying to grab a cocktail and then we hear some woman interviewing or chatting with 1 of the guys, I think Beau, Kaddisfly's drummer about their albums and mentioning it being followed by "Horses Galloping"...which to me totally foreshadows what is or should come. But again, goes back to BOI and the last 3 tracks. But on this album, transitions into "Forest" which mentions the title of the album.
Forest (Maй) – 11:13
Very epic track. "It is our birthday"
"We will be the ones with our hands raised to the sky"
It will be the end of the world, it will be the beginning of it all. Don't let ignorance harm you, ignore your circumstance. Don't. Don't be. Don't be Summer.
This song is like a march and statement that more or less anything that comes your way, shouldn't stop or affect you.
The driving guitars and drums continue Namely after one of the parts with the line "Don't be Summer."
That angry, intense movement then leads to this wonderful, peaceful sounding section, which is another great use of changing dynamics and time. It also includes some Eastern or ethnic percussion (xylophone? although I also know they used things like melodica and some other non-traditional percussion at points on this record, so I can't be sure).
Then this great clean-toned guitar part comes in and the vocal:
"You were born today, to Set Sail the Prairie..."..which gets really dreamy including vocal chants.
It will be the end of the world, it will be the birth of it all, oh of it all
Then the big climax starts up and gets bigger and bigger and so great. That repeated section with the way the percussion guitars and increasing of layer after layer, including some almost Pat Metheny-like trumpet-synthy guitar parts.
Two big things that I always think of when listening to this song and the ending in particular. For one being I think of some kind of journey and reaching a point of getting out of a vastly big and long Forest or Woodsy trek, and reaching the point of destination.
2ndly from a musical standpoint, the way that great line is repeated I dunno, 25 times or something, but eventually stops and we just hear the guitars and drums and such, I always hear it beyond that point until the very end of the album. I recall telling Chris Ruff that once and he was really moved by it. Maybe it's a timing thing (is in 9? I forget what meter it is in), but it fits rhythmically perfectly for the rest of the track.
And of course, the last few seconds you hear the galloping horses which I suppose pretty much is assumed will be referenced if not started off on the Horses Galloping on Sailboats with, when that record does come out.
In conclusion, this record kind of possessed me, at a time a ton of music sort of did. But I don't think I ever was so taken in by a record and had such high hopes for the response to it. Ultimately, the response maybe wasn't what I envisioned or hoped for, but as time has passed since that period of 2006 and 2007, I've come to not worry and be happy about its place in modern rock music and my personal love of music and great albums.
It was and still is such an inspirational record and so many songs stand out in diffrent ways. Even the big concept, which the band themselves may not have desired to overshadow how great the music is, still is fascinating enough for me and many others. I think it'll probably be one of those records that will be loved by a niche audience for many years. Whether Horses Galloping helps or hurts its legacy, I somehow doubt it. I even wonder how HGoS will stack up, but it really won't matter a ton because how much of a landmark record this is.
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The Perfect Element Pt. 1 :tup :tup :tup (triple thumbs up) LOVE your synopsis of it to. Well done!
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Haven't heard a lot of the albums but I have listened to The Perfect Element and it didn't grab me. I know I'm in the minority but I just don't like Daniel Glidenlow's voice, he is a great talent but it seems like he has to show you how amazing his voice is all the time.
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bumping the current crop of top 50 lists to hopefully get some updates soon. If you need to take a prolonged break, let me know and I'll get some other lists started. We've got people waiting in line ready to go.
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I have been working on the latest one, but have been battling a cold among other things over the last 10 days.
I guess if you think it makes sense, go ahead and give some others the green light.
But I can promise, this won't be dismissed.
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as long as you've still got the juice and time to keep going, please do so! Mainly wanted to make sure this wasn't forgotten.
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no it's not forgotten, trust me. I guess when I decided to really do my best to dissect these records, the time it required of me was more than I anticipated. But I will get through them this year, it just may be more of 5-6 month thing rather than a 2-3 month thing.
The next one (which if my counting is correct) should be the 20th. So, once it's up/done (which I'm almost done with it in fact), I'll have 30 left.
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I take it you've hit a bump. Shall I put you on hold and you can let me know when you're ready to resume?
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Haven't heard a lot of the albums but I have listened to The Perfect Element and it didn't grab me. I know I'm in the minority but I just don't like Daniel Glidenlow's voice, he is a great talent but it seems like he has to show you how amazing his voice is all the time.
How is this even a complaint from someone on a Dream Theater forum? :biggrin:
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I take it you've hit a bump. Shall I put you on hold and you can let me know when you're ready to resume?
yeah, go ahead. I'm sorry this has happened.
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no worries! Life happens. I'll just list you as on hold and you can tell me when you are ready to continue.
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Haven't heard a lot of the albums but I have listened to The Perfect Element and it didn't grab me. I know I'm in the minority but I just don't like Daniel Glidenlow's voice, he is a great talent but it seems like he has to show you how amazing his voice is all the time.
How is this even a complaint from someone on a Dream Theater forum? :biggrin:
To be fair I still don't care for JLB's voice but it's not off-putting like DG's voice is.