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Review Phi Yaan-Zek – Interdimensional Garden Party – by John Wenlock-Smith

I first came across Phi Yaan-Zek as many others may have, through the pages and tracks on Prog Magazine, although at that time it didn’t really grab me. I was probably on a different musical phase ,as is often the way with me. However, I recently read a review of his latest album from a writer for The Progressive Aspect whose eloquent words piqued my interest, hence this review.

In all the years of my life I have never really been a big fan of Frank Zappa, although I can clearly see his influence in this music. I certainly like it here, for sure, and definitely in the humour contained within these tracks. Phi is certainly a very fine musician and can play a very mean guitar line when required. He also enlists an extraordinary cast of collaborators, like Andy Edwards and John Jowitt of Frost* and he also has a couple of Aristocrats in tow to give this music much flair and finesse.

It has strong touches of psychedelia along with certain hippyish elements, but these are woven into the overall sound of the album. I am certainly highly impressed by all of this excellent and exciting music, it is all wonderfully produced with excellent guitar skills on display. The music also has jazz elements at times, giving the sound a definite jazz/fusion blend.

An outstanding track is track Wickety Wickety, which is a cross between a rumbling song, something like Nelly The Elephant but with brass embellishments. It is rather a fun piece but utterly engrossing and captivating. This whole album is different, it is definitely a positive sounding album and will imbue feelings of well being and contentment. Above all, this music is good fun and we should all be glad of that, especially at this time. Also notable is Anomaly Temporal with an almost reggae swing and spoken vocal from , this also has a touch of Star Trek to it and rounds out with an excellent instrumental finale.

I really enjoy the instrumental flourishes that abound throughout this very imaginative album, it really is a fascinating and captivating listen. Phi is a very fluid guitarist, think of folks like Steve Vai and you won’t be far off the mark, but he is also very melodic in tone and, whilst he can shred with the best, he works for the track, not just to stun.

This is clearly shown on My Favourite UFO which combines his fine guitar virtuosity with a strong tune to fine effect. This track has a dreamy type of sound and reminds me of 10CC in parts, it also has great bass from Bryan Beller of The Aristocrats. The song speeds up towards its conclusion and this proves very effective, as is the vocal from Ellie Williams. The next track Floating gives room for some free reign musical improvisation which is taken by Phi with Mike Keneally in tow, along with the fabulous and dynamic Aristocrats rhythm team of Beller and Marco Minneman. With Phi’s guitar floating over the top most efficiently and effectively, it really is a sublime piece of intent delivered really well.

Final track The Puffball That Ate My Village is another monster track with a similar pace to Wickety Wickety but with fiery guitar interjections and interplay between Phi and Chanan Hanspal, who play off against each other in a six string orgy of soloing. It’s all highly effective, especially with Andy Edwards‘ drums and Steve Lawson’s majestic bass playing that anchor it all together seamlessly. The song also features lots of guests adding chant type vocals, which really sounds good. When this track end there is a brief pause of about 2 minutes before A reprise of opener The Interdimensional Garden Party plays, this is a fitting close to an exceptional album but wait, there’s more as there is a brief untitled track that is basically the words spoken backwards deliberately.

This is a truly entertaining album with fabulous music and performances throughout. Definitely one of my album of the year contenders, outstanding. In a year that has seen so many really good albums, this one can truly stand tall and proud and I recommend it without hesitation, especially for its weirdness and sense of fun.

Released 7th October, 2022.

Order from bandcamp here:

Interdimensional Garden Party | Phi Yaan-Zek (pyzmusic.com)

Review -Major Parkinson – Valesa – Chapter 1: Velvet Prison – by John Wenlock-Smith

Major Parkinson are a Norwegian band who are currently making quite big waves in progressive circles. However, they are largely unknown to me hence this review that will tell you how this music affects me as a new listener.

The album has 17 tracks of various lengths and themes, it opens with Goodbye Blue Monday and what sounds like cinema sounds from bygone days, it’s a brief but engaging piece. Behind The Next Door is a piano led song in which you hear the very different vocals of Jon Ivar Kollbotn whose deep voice is very distinctive and possibly a challenge for some. It reminds me of someone, I’m just not sure who. The track is rather good and grows in strength as it proceeds. Saturday Night is also great, like a lost song from the 80’s with its superb synth bass line that moves the song along with good embellishments before a change of pace with some great female vocals. This is like very early Depeche Mode, it’s actually rather jolly in parts, an upbeat, positive track and the vocals work well together. It’s a very interesting and rewarding track. Ride In The Whirlwind is another brief instrumental vignette performed on grand piano, and very effectively at that! There is real skill on display, it’s another 80’s inspired track, albeit with a darker subject matter. Again, this darker song has an upbeat tone with some great effects employed throughout and I really liked it. At times Live Forever sounds like a Bruce Springsteen song, albeit with far more synths and electronics, but it has that sort of surge to it somehow, again, another impressive track. Sadlands is another brief vignette, one that continues the Bruce styling, although this one includes crowd noises, the grand piano and name checks More Than A Feeling.

Intermezzo has a strident drum pattern and ethereal synth sounds with discordant backing vocals. To me, it doesn’t really say much or go anywhere and I think it is a more atmospheric piece really. Jonas is totally different in that it has an almost choral opening set against heavy synth sounds. This is another very 80’s sounding and influenced track and the sparing use of piano works particularly well. The song is about a friend who was seemingly in the military as it speaks about his rifle. Velvet Moon follows, another brief vignette and one that has another subdued vocal from Jon. This sings about the velvet moon and is very evocative, even if I haven’t got a clue about what he is going on about! Irina Margareta is another filmic piece with a very cinematic sound and great vocals from , who again works well in tandem with Jon Ivar Kollbotn, this song is packed full of dynamics flourishes. This House is rather darker still and speaks of the house where it all happened. Obviously it was something dark and troubling, although we are not told what “it” was exactly, possibly childhood memories and probably not good ones at that! All this is set to a brutal and almost ‘dance synth’ bass riff and music, a strong if not a rather disturbing track at that. The Room carries on in a similar vein, at least musically. This album has a lot of electronic touches, not least on next song Posh-Apocalypse, and is very 80’s sounding at times.

Moma is a furious and brutal track with excellent vocals, Lemon Symphony is a strange little vignette, all very keyboard led and with lots of tremolo effects. It shimmers throughout and is very different indeed. We the return to the 80’s soundtrack for Fantasia Me Now!, another unusual track. This is a longer piece and, again, the combination of Claudia and Jon Ivar’s voices blend together exceptionally well. This is another upbeat song, again the theme is unclear so just enjoy everything as it progresses. Final track Heroes is another piano led piece with an interesting vocal line from Jon along with interjections from  Claudia and this closes the album in an interesting way.

In all this album is a very interesting listen, with lots of great touches and strong instrumentation throughout. I’m not sure about all the shorter tracks, although they do add to the atmosphere, even if they somewhat dilute the longer songs somewhat. It is certainly a bold approach to take and you must be the judge of its success though.

Released 7th October, 2022.

Order the album here:

Valesa Chapter I: Velvet Prison (burningshed.com)

Review – Red Bazar – Inverted Reality – by John Wenlock-Smith

This October sees the release of this highly impressive and sonically rewarding third vocal album from Nottinghamshire Prog rock band Red Bazaar, featuring Peter Jones (Tiger Moth Tales) on vocals and keyboards.

The album is fairly political in its subject matter with freedom of speech being a major topic. Now, some folks think that politics and music don’t, or shouldn’t, match but, if  you think about those 60’s protest songs and the more recent political ones like Another Brick In The Wall, you can see the impact such music can have. Personally I really don’t mind, especially if the sentiments expressed are important ones, anyway back to the album…

Opener One Out Of Three is a hard hitting track opening with soaring synths and a furious drum beat that sets the urgency of the song up well. The track also hinges on an angular guitar riff from Andy Wilson. Its subject matter is the state of the music industry and how cynical it is these days, both manufactured and marketed by those in control with their eyes firmly on profit and not quality and originality. This is a sweeping condemnation of the current scene, one that Peter Jones knows from personal experience as he was previously an X factor contender (coming 4th in the first series) before taking control of his own destiny and writing and performing the music he wanted to rather than being told too. A wise decision that enriched us all with the Tiger Moth Tales series of albums. The track is frantic and very fine indeed, as is the second track Spirit Of Man which opens with ethereal keyboards and an echo laden guitar arpeggio from Andy, accompanied by an underpinning keyboard swell before Peter’s vocal starts. The songs seems to be about keeping going against setbacks and mental health issues. It is a fairly positive song though and tells us that you have within you a strong Spirit Of Man. This is in part based on the mock-Latin phrase “illigetimi non carborundum” which is probably more widely known as “don’t let the bustards grind you down”, strong words but a good song nonetheless.

State Of Disgrace is highly political and critical of those in charge as they write the laws that benefit them most, while the rest of us are encouraged to toe the line or face being silenced by the ruling classes. It comments on the lack of morality and the lack of consequences for those in charge, along with the suppression and subrogation of the rank and file, i.e. Us! It is a very political song with elements of George Orwell’s epic ‘1984’ novel with which it shares several common themes. I really enjoyed this track and agree with the issues it so eloquently speaks of. Take Control is also another winner featuring both an excellent vocal from Peter Jones alongside a fabulous solo from Andy Wilson in a rather epic track that has it all in its near 10 minute running time, simply astonishing performances and a fantastic song overall.

Smokescreen follows and is a song based on a John Francombe book in which a man punishes his unfaithful partner by setting fire to their home whilst she sleeps. Quite a dark subject matter but well handled by the group and featuring great bass work throughout by Mick Wilson, who is consistently on form on this album. Final track Stop The World continues the politics as it talks about how politicians are creating division and using it to further their own agendas. This is the album’s longest track, working well as a very good good conclusion to what has proven to be an assured, intelligent and well crafted piece of work. Okay, its themes may be a bit dark and political but, for these times of uncertainty and incompetence, especially with modern political life, this is a very telling set of songs, urging us all to speak out and make our feelings known.

I think it is one of the finer albums of the year. I really enjoyed it and the musicianship is excellent throughout, with great vocals from Jones and great bass and guitar work from the Wilsons along with solid, urgent drumming from Paul Comerie. This is an album that really cries out be be heard by a far wider audience than it will probably receive unfortunately. This really is something special and worthwhile and I heartily recommend to all.

Released 30th September, 2022.

Order from White Knight Records here:

Red Bazar – Inverted Reality (featuring Pete Jones) (whiteknightshop2.co.uk)

Kansas celebrate their 50th anniversary with release of ‘Another Fork In The Road – 50 Years Of Kansas’ 

KANSAS, America’s legendary progressive rock band, will celebrate their 50th anniversary in 2023. To commemorate this landmark occasion, current label InsideOutMusic are pleased to announce Another Fork In  The Road – 50 Years Of Kansas for release on the 9th December 2022. A career-spanning collection, it features carefully-selected tracks from across the bands sizable discography, as well as a new version of ‘Can I Tell You’. Originally recorded and released on their 1974 debut, the song is updated by the current line-up, providing a full-circle perspective on the band’s long and continuing history that has seen them release 16 studio albums and sell in excess of 30 million albums worldwide.

Phil Ehart comments: “We are really honored by the commitment that InsideOut Music has put into ‘Another Fork in the Road.’ This is far more than just another greatest hits album. ‘Another Fork in the Road’ is an in-depth representation of the evolving and winding musical journey of the band KANSAS that’s been 50 years in the making.”

Another Fork In The Road – 50 Years Of Kansas will arrive as a 3CD Digipak collection, including extensive liner notes by journalist Jeff Wagner, as well as pictures of rarely-seen memorabilia and archive material, all overseen by founding member Phil Ehart.

Pre-order now here: https://kansas.lnk.to/AnotherForkInTheRoad-50YearsOfKansas

The full track-listing is below. Please note, due to licensing restrictions there are minor differences between the European & North American release.

Disc 1:

1.     Can I Tell You (new 2022 version)

2.     The Absence of Presence (The Absence of Presence, 2020)

3.     Throwing Mountains (The Absence of Presence, 2020)

4.     Crowded Isolation (The Prelude Implicit, 2016)

5.     Summer (The Prelude Implicit, 2016)

6.     The Voyage of Eight Eighteen (The Prelude Implicit, 2016)

7.     Icarus II (Somewhere to Elsewhere, 2000)

8.     The Coming Dawn (Thanatopsis) (Somewhere to Elsewhere, 2000)

9.     Distant Vision (Somewhere to Elsewhere, 2000)

10.  The Wall (Always Never the Same, 1998)

11.  Dust in the Wind (Always Never the Same, 1998)

12.  Desperate Times (Freaks of Nature, 1995)

13.  Under The Knife (Freaks of Nature, 1995)

EU Version – Disc 2:

1.     House on Fire (In the Spirit of Things, 1988)

2.     Rainmaker (In the Spirit of Things, 1988)

3.     Silhouettes in Disguise (Power, 1986)

4.     Secret Service (Power, 1986)

5.     Three Pretenders (Power, 1986)

6.     End of the Age (Drastic Measures, 1983)

7.     Incident on a Bridge (Drastic Measures, 1983)

8.     Play the Game Tonight (Vinyl Confessions, 1982)

9.     Crossfire (Vinyl Confessions, 1982)

10.  Windows (Vinyl Confessions, 1982)

11.  Hold On (Audio-Visions, 1980)

12.  Loner (Audio-Visions, 1980)

13.  No One Together (Audio-Visions, 1980)

14.  On The Other Side (Monolith, 1979)

15.  How My Soul Cries Out For You (Monolith, 1979)

North America Version – Disc 2:

1.     Fight Fire With Fire (Drastic Measures, 1983)

2.     End of the Age (Drastic Measures, 1983)

3.     Incident on a Bridge (Drastic Measures, 1983)

4.     Play the Game Tonight (Vinyl Confessions, 1982)

5.     Crossfire (Vinyl Confessions, 1982)

6.     Windows (Vinyl Confessions, 1982)

7.     Hold On (Audio-Visions, 1980)

8.     Loner (Audio-Visions, 1980)

9.     Curtain of Iron (Audio-Visions, 1980)

10.  No One Together (Audio-Visions, 1980)

11.  On The Other Side (Monolith, 1979)

12.  Angels Have Fallen (Monolith, 1979)

13.  How My Soul Cries Out For You (Monolith, 1979)

Disc 3:

1.     Carry On Wayward Son (Two for the Show, 1978)

2.     Portrait (He Knew) (Point of Know Return, 1977)

3.     Sparks of the Tempest (Point of Know Return, 1977)

4.     Miracles Out of Nowhere (Leftoverture, 1976)

5.     Magnum Opus (Leftoverture, 1976)

6.     Icarus – Borne On Wings of Steel (Masque, 1975)

7.     Child of Innocence (Mas            que, 1975)

8.     Down The Road (Song for America, 1975)

9.     Song For America (Song for America, 1975)

10.  The Devil Game (Song for America, 1975)

11.  Death of Mother Nature Suite (Kansas, 1974)

12.  Belexes (Kansas, 1974)

13.  Journey From Mariabronn (Kansas, 1974)

Kansas will celebrate their 50th anniversary with extensive touring in North America in 2023. The band is currently comprised of original drummer Phil Ehart, bassist/vocalist Billy Greer, vocalist/keyboardist Ronnie Platt, violinist/guitarist David Ragsdale, keyboardist/vocalist Tom Brislin, and original guitarist Richard Williams. 

 For a full list of upcoming dates, head to: https://www.kansasband.com/tour-dates/

With a legendary career spanning five decades, KANSAS has firmly established itself as one of America’s iconic classic rock bands. This “garage band” from Topeka released their debut album in 1974 after being discovered by Wally Gold, who worked for Don Kirshner, and have gone on to sell more than 30 million albums worldwide. 

Composing a catalogue that includes sixteen studio albums and five live albums, KANSAS has produced eight gold albums, three sextuple-Platinum albums (Leftoverture, Point of Know Return, Best of KANSAS), one platinum live album (Two for the Show), one quadruple-Platinum single ‘Carry On Wayward Son,’ and another triple-Platinum single ‘Dust in the Wind.’ KANSAS appeared on the Billboard charts for over 200 weeks throughout the ‘70’s and ‘80’s and played to sold-out arenas and stadiums throughout North America, Europe and Japan. ‘Carry On Wayward Son’ continues to be one of the top five most played songs on classic rock radio, and ‘Dust In the Wind’ has been played on the radio more than three million times!

The summer of 2020 marked the release of The Absence of Presence, KANSAS’s sixteenth studio album, which debuted at #10 on Billboard’s Top Current Albums chart.  The wide-ranging progressive rock album, released by InsideOut Music, follows-up 2016’s The Prelude Implicit, which debuted at #14 on Billboard’s Top 200 Albums chart.  

Band picture by Emily Butler.

Review – Man: Life On The Road – On Air 1972-1983 – by John Wenlock-Smith

Man are a band of who you have almost certainly heard, yet may be largely unaware of for various reasons. Their style and sound encompasses both progressive and psychedelic leanings along with a smattering of West Coast sounds. Think of a Welsh version of Grateful Dead and you won’t be a million miles from their influences and their missive.

I became aware of Man through their rather splendid 1975 album ‘Maximum Darkness’, a live set recorded at The Roundhouse in North London, a show which also featured John Cipollina of Quicksilver Messenger Service as a guest guitarist.. This one album was highly regarded, especially by my school friend Peter who had also influenced me with his bizarre yet enticing recommendations, ZZ Top’s ‘Fandango’ live album and Foghat’s ‘Energized’, among others. He was also a huge Uriah Heep fan but this was his favourite, becoming an admired piece of work, its classic cover and excellent grooves making for a rewarding listening experience.

This new boxset from Cherry Red captures much much more of that sound and era, the sets are spectacular, really capturing the essence of Man who were always a far better band live as that was where they excelled, truth be told. Some bands are far far better live than on record and that was definitely the case with Man. Live they were a force of nature, stretching songs to the max and turning in excellent performances which is why they released so much live material as they were at their best on stage.

This set has 4 CDs and 2 DVDs of live performances. Okay, there is a bit of overlap but that doesn’t really matter, especially if you are a fan like me. I never saw Man live so this is an opportunity to rectify, in part at least. The set is compiled from recordings made for the BBC and covers the period 1972 to 1983. This includes favourites like Spunk Rock, Romain, Life On The Road, C’mon and Bananas, the sound is good throughout and you can hear their influences clearly. I especially like the longer tracks where improvisation is given free rein. There is some very fine music on display here, great dual guitar lines, good slide guitar and a very solid rhythm section prowling things along.

Very noteworthy is the track God Gave Us Turtles that was unreleased at time of recording and later surfaced as the epic album track Scotch Corner on the ‘Rhinos Winos and Lunatics’ album, here it is in embryonic form. Also laudable is the live recording of Man’s 1983 Friday Night Rock Show coverage of their Reading Festival performance from August of that year, with great versions of Spunk Rock, C’mon and Bananas. There’s also a great set from The Rainbow on DVD and the long thought lost BBC Schools documentary from 1973. Man were more of an albums band, their music did not fit the mainstream well. It was too hippyish and drug fuelled to fit easily, although it was popular with students and hippies, their ever changing line-up didn’t help much either.

I also really enjoyed the last performance from The Rainbow in 1976 that later emerged on the album ‘All’s Well That Ends Well’ in 1977, their last album before they reformed for The Marquee shows in 1983 and The Reading Festival show. It’s great to have a film of that performance where they are a bit looser and less restrained.

I have to say this set really grows on you as you familiarise yourself with it and it will appeal to fans of Man far more than the casual listener, although it does serve as a good way to get a taste for the band as most of their more accessible tracks feature here. For me though, I’d start with ‘Maximum Darkness’ and work forward from there as most of their albums are worth hearing.

With excellent music, a great booklet and two great DVDs of performances, what more could you ask for? I’d certainly recommend this to listeners as it is an excellent and comprehensive collection compiled with a lot of affection and attention to detail.

Released 7th October, 2022.

Order from Cherry Red here:

Man: Life On The Road – On Air 1972-1983, 6CD Box Set – Cherry Red Records

David Longdon – “Love Is All” – New single taken from the forthcoming album Door One, the posthumous solo record from the late vocalist of Big Big Train 

“Love Is All” is the second track to be taken from ‘Door One’, David Longdon’s posthumous solo album, which will be released on October  14th, 2022 on CD via Big Big Train’s label English Electric Recordings and white and black vinyl editions via their vinyl partner Plane Groovy. The album will also be available on all digital streaming platforms. 

AVAILABLE FOR PRE-ORDER: https://burningshed.com/store/english-electric-recordings

LISTEN TO “LOVE IS ALL” HERE:

Door One, borrowing the nickname for a recreation ground in Nottingham near where David grew up, has a musical personality that is distinct from his work within Big Big Train, even though Gregory Spawton plays acoustic guitar on ‘Love Is All’. Gregory Spawton: “I sat in on some of the sessions for the album and heard Jeremy Stacey record drums for Love Is All. As the session came to an end, David turned to me and said he wanted some 12-string guitar. David was aware of my passion for the instrument and I recorded my parts for the song a few days after David died. Although he was gone, it felt like it was one last precious moment of making music together.” 

David had been accumulating musical and lyrical ideas for Door One over the past few years. He had been recording since April 2021, following the completion of Big Big Train’s Common Ground album. On the night of David’s tragic accident, which resulted in his untimely death on 20th November 2021, he had just returned home to Nottingham from a recording session at Playpen Studios in Bristol with his co-producer and engineer Patrick Phillips. At the time of David’s death, the album was 90% finished. However, David’s partner Sarah, his manager Nick Shilton, Big Big Train founder Gregory Spawton and all the key protagonists involved in its creation agreed that David would want the world to hear the album. 

The album’s eight songs are highly personal and follow a lyrical journey from darkness to enlightenment, from the intense and raw sound of the first single ‘Watch It Burn’, channelling David’s love of The Who, to the folk inflected ‘There’s No Ghost Like An Old Ghost’, which recalls David’s Dyble Longdon album with the late Fairport Convention singer Judy Dyble, and ‘Love Is All’, the gorgeous ballad which closes the album.

Door One was recorded with a core of four musicians: drummer Jeremy Stacey (King Crimson, Eric Clapton, Noel Gallagher, Sheryl Crow, The Finn Brothers), bassist Steve Vantsis (best known for his work with Fish), saxophonist Theo Travis (Steven Wilson, Soft Machine, Gong) and David’s longstanding friend and former 1990s Gifthorse band mate Gary Bromham (Bjork, Sheryl Crow, George Michael) who contributed guitar, backing vocals, keyboard parts and textures.

The album’s stunning artwork is by Sarah Louise Ewing, with graphic design by Steve Vantsis. Sarah’s cover portrait of David is from a photograph by Sophocles Alexiou. 

DAVID LONGDON ‘DOOR ONE’ LP
Side One
Into The Icehouse
Watch It Burn
There’s No Ghost Like An Old Ghost
The Singer And The Song
Forgive (But Not Forget)

Side Two
Sangfroid
The Letting Go
Love Is All

‘DOOR ONE’ CD
Into The Icehouse
Watch It Burn
There’s No Ghost Like An Old Ghost
The Singer And The Song
Forgive (But Not Forget)
Sangfroid
The Letting Go
Love Is All

AVAILABLE FOR PRE-ORDER NOW 
https://burningshed.com/store/english-electric-recordings

Live Review – Steve Hackett – Foxtrot At Fifty And Hackett Highlights – Live at the York Barbican

Genesis’ fourth studio album, ‘Foxtrot’, was released in 1972, five years before I was born, so you’ll forgive me if I missed it first time around! Since my foray into the world of music reviewing has led me down the progressive rock route from when I started in 2013, it was inevitable that I would eventually seek out early Genesis material.

I have delved into everything from ‘Trespass’ right up to ‘Abacab’ and everything in between and now have a definite soft spot for the earlier stuff like ‘Nursery Cryme’ and ‘Selling England By The Pound’ but it’s only recently that I discovered what an absolute classic ‘Foxtrot’ is.

Steve Hackett was the guitar player on ‘Foxtrot’ and five other studio albums, plus numerous live releases, before leaving the band in 1977 to pursue a solo career. His rewarding solo career has spawned many great albums but, in recent years, he has returned to the Genesis material he helped to create with a number of very successful live tours and recordings.

Steve has stepped up the Genesis Revisited idea with playing a classic Genesis album in its entirety and the latest record to get this nostalgic treatment is, yes you guessed it, ‘Foxtrot’ and I was invited to review Steve Hackett’s latest tour when he stopped off in York to play at the Barbican.

The concert was split into two parts with the first set being some choice selections from Steve’s stellar solo career.

The band came on stage to a very warm welcome and Steve has a great rapport with the crowd, they launched into an excellent version of Ace Of Wands from Steve’s debut solo release ‘Voyage Of The Acolyte’ which, for someone new to his solo material, was a real eye opener and a great starting point. Steve is a virtuoso guitarist and is fascinating to watch. He has surrounded himself with some of the best musicians around and to experience it felt like a privilege, even a short lighting malfunction only seemed to release any tension and provide an amusing moment between Steve and the crowd. Steve’s long time vocalist Nad Sylvan joined the band for a dark and determined version of The Devil’s Cathedral from Steve’s latest solo release ‘Surrender Of Silence’, quite a brooding track that maybe seemed slightly out of place in the set list but was delivered perfectly nonetheless.

Next was a simply stunning version of perhaps his best known solo work (even I’d heard this one before!) Spectral Mornings, it was filled with so much passion and his guitar just bled emotion, something I just need to experience again, it was almost like an epiphany! The uplifting, joyous Every Day came next and saw this incredibly tight band deliver with a wonderfully inspiring version, keyboard player, and main orchestrator, Roger King was in fine form and is there a finer player behind the drum kit than Craig Blundell? add in the king of cool Jonas Reingold on bass and the hyperactive, energetic and just plain brilliant Rob Townsend on sax, clarinet, flute and keys and you really have musical eminence personified.

A monstrous version of A Tower Struck Down (another from ‘Voyage Of The Acolyte’) sent a bolt of electricity through the audience and this song came with one of the funkiest bass solo’s ever to close it out, Jonas and Steve exchanging smiles and knowing looks. Camino Royale was next and was a highly intensive jam before the first set came to a satisfying close with a tightly played Shadow Of The Hierophant although, due to the absence of Amanda Lehman, it was the closing section only.

So, onto the main event and what the majority of the audience had come to hear, ‘Foxtrot’ and this was obvious from the huge roar that erupted on the first opening notes of Watcher Of The Skies! This band have obviously played together a few times and are a few gigs into the current tour and you could tell as they were in perfect synchronisation and feeding off each other’s energy and bonhomie. The knowing looks, smiles and laughter were a real joy to see and really added to the fantastic atmosphere that the gig had already engendered. The superb version of Watcher… became a grand, piano led Time Table, which was played to a rapt audience who were totally engrossed in the music. Craig Blundell is a power house behind the drum kit but he has real finesse and nuance as well and really showed it here. The uproarious Get ‘Em Out By Friday is a proper 70’s prog jam and it was on this track that I began to realise what a great voice for this material that Nad Sylvan has, I’d listened to the original in the car on the way over and his vocal delivery and inflections were superb and I loved his spoken parts too. Also on the top of his game was Rob Townsend, his flute work here was a particular highlight but he is accomplished no matter what instrument he is playing, and he never stands still! This involving and convoluted piece of music was one of many highlights from the night.

Can-Utility And The Coastliners is a song that has that feel of Old-English progressive rock to it and was played flawlessly on the night. I was watching Craig’s drumming throughout the track and he was in perfect unison with his rhythm section partner in crime Jonas. Roger King is the opposite of flamboyant behind his keyboards but he lets his playing do his talking and he really shone all night but especially on this track. To be honest, I couldn’t take my eyes off any of the band as they were utterly flawless. Steve then got himself a stool and an acoustic guitar and delivered a beautiful version of Horizons with a wonderfully fluid flamenco opening, as my friend Jim, who I went with, said, “It’s real showcase guitar playing…”.

And so to the main course and what I had especially been waiting to hear, Genesis’ most loved epic track Supper’s Ready. From the first gentle acoustic guitar notes it was utterly magical and totally blew me away. Nad’s vocal was perfect, the musicians were on another planet and it’s (well) over twenty minute running time just flew by. Jonas was amazing, duelling guitars with Steve at one minute and then swapping over to deliver his perfect bass lines. I took a moment to look around the venue and everybody was just spellbound and captivated by the show that was being put on in front of them. This isn’t just music, it is an actual experience and one that will live with you for along time, the epic guitar solo at the end nearly tipped me over the edge and I admit I had a tear in my eye as the song came to a close and everyone stood up in unison to applaud, whistle and just show their appreciation in a way they felt appropriate.

Encore? Of course there was an encore and one that opened with a spine tingling version of another Genesis classic Firth Of Fifth. This is a particular favourite of mine and I was totally absorbed in it, it was just bewitching. We then got a melody of Myopia/Slogans and a particularly fine Los Endos to bring things to a resounding close and an ovation that seemed to go on forever!

This wasn’t just a live concert, this was a life-affirming musical experience and one that has leaped into my top five gigs of all time, check out the remaining tour dates on the poster below and get yourself a ticket, you can thank me after (and you will, oh yes, you will!).

The Fierce & The Dead – Golden Thread released on 22nd July via Spencer Park Music

The Fierce And The Dead release Golden Thread, the 2nd single from their upcoming 4th album ‘News From The Invisible World’, once again featuring vocals from bassist Kevin Feazey, described as psychedelic metal with a shoegaze feel.

Recent Press:

“A fresh psych-fuzz freakout from one of the UK’s trickiest-to-pin-down instrumental rockers – except their first new music in four years isn’t actually instrumental, featuring vocal contributions from Kevin Feazey for the first time. (A) peak grunge- channeling chorus riff, which takes equal billing with the verse’s shoegaze-worthy washed-out chords.”

Guitar World (Essential tracks of the week)
“The work of a truly original band pushing forth and genuinely progressing”

Real Gone

“Be prepared to have that phrase – annoy and irritate your friends with it floating around your brain for days. Surely the sort of hook that makes a good single?”
At The Barrier

“Modulates between being a dark, fuzzed-out ripper and an exploratory post- rock/jazz fusion. It’s an exciting track that shows off TFATD’s mastery of post-rock songwriting and excellent mix/master engineering. Highly recommended.” Independent Clauses

Biography:

The Fierce And The Dead are releasing singles ahead of their first album in 4 years with (for the first time) vocals from bassist Kevin Feazey. Their music has been championed by Kevin Cole of KEXP, Stuart Maconie on BBC 6 Music and Steve Davis on his Interesting Alternative Show.

The Fierce And The Dead formed in London in 2010, with all 4 members originally from Rushden, Northants, they mix in elements from psychedelic rock, old metal records, post-rock, prog, broken analogue synths and shoegaze.

They released their breakthrough 3rd album ‘The Euphoric’ in 2018, via BEM records, which was Classic Rock Magazine’s Prog Album Of The Year and 8th in Prog Magazine’s critics choice. Prog magazine included them in their 100 Prog Icons and they have appeared ranked highly in the magazine’s Readers Poll for multiple years and categories, although the band never considered themselves to be deliberately prog. Pre-COVID headline shows in Manchester and London sold out months in advance. 


They have toured with Hawkwind, Big Business, Dave Lombardo, Crippled Black Phoenix, Evil Blizzard and Monkey 3 and at festivals in the USA, Europe, and the UK including Freak Valley, Prognosis, Arctangent, HRH, Kozfest, Ramblin Man and Rosfest and will support Kings X in Italy in September 2022. They have released 3 studio albums alongside 4 EPs and 3 live albums.

The Fierce And The Dead are:

Kevin Feazey – Vocals/Bass/Keys

Matt Stevens – Guitar/Keys

Steve Cleaton – Guitar/Vocals

Stuart Marshall – Drums

Order the single from bandcamp:

Music | The Fierce And The Dead (bandcamp.com)

John Wenlock-Smith Interviews Steve Hackett

Steve Hackett is certainly a very busy man of late, on the day we talk, he has just returned from time in Borneo and a few club dates in Japan, amidst a wider Australian and New Zealand tour. Even so, he continues to be his usual self-effacing and courteous host,  he is such a gracious interviewee and always has interesting things to say and learn from.

This interview is in advance of his upcoming season of shows entitled ‘Foxtrot At Fifty’, which will  see him delivering a complete set consisting of that entire album. The tour will see Steve and his band playing the album along with various other classic Genesis material and some of his own solo material from the ‘Surrender of Silence’ album from last year. It is looking to be a busy few months again for Steve.

John Wenlock-Smith: Good Morning Steve, so how are you sir?

Steve Hackett: I am all right, fine, it has been a busy time, how about yourself?

JWS: We have had Covid actually.

SH: Ooh, that is nasty!

JWS: With Sue having asthma, she had it worse than me but we are both on the back end of it now so, hopefully, will be back to normal soon.

SH: Well, next week we go to Germany and Italy as we are doing some outdoor shows, which should be good, I like festival shows, they are genuine fun.

JWS: Then, when you come back, you have ‘Foxtrot at 50’ starting?

SH: Yes, that is right, in the autumn. I am looking forward to it, it is an album that is worthy of a revisit, some of it I have not played in 50 years!

JWS: You have also got the ‘Seconds Out Live’ album coming out in September?

SH: Yes, it is the best live album I have ever done. It sounds good, much better than the original album, which was not a good production sadly, whereas this one really does sound good. The drum sounds are better plus we took the key down for Squonk.

I think Genesis did that as well because a lot of those songs were written by non-singers and they forget that voices change as people get older and they can’t reach the high notes as easily as they used to, I know Phil cannot do it now. This latest version is exceptionally fine indeed, I guess time will tell though?

JWS: Yes indeed, I was listening to a friend of yours last week, Nick Fletcher?

SH: Yes, he is great, an extraordinarily accomplished and amazing player, the best jazz rock player in Britain today.

JWS: I was also going back and listening to some early Fleetwood Mac with Peter Green.

SH: Well I saw Peter Green many times over the years, he was always a fabulous player.

JWS: I also heard an album by Ryo Okumoto that you play on as well, a track called Maximum Velocity.

SH: Yes, a friend of mine is also on that album, Michael Whiteman, who sings and plays bass on the album. He is part of a band called I Am The Manic Whale, he is particularly good too, it is interesting that he is also on the album.

I have not heard the finished album though, so I do not know if I even made the cut or if I am one of several guitarists on there but enjoy it anyway.

JWS: There are some great keyboard players out there now like Ryo and, of course, your own Roger King, about time he did a solo album.

SH: I keep telling him he should but he thinks anything he did would not sell so he is reluctant to try.

JWS: Well, maybe he ought to cover songs he likes himself or something?

SH: I will tell him, but he is happy just playing on my stuff, although he will tell me if it is not any good, he can be vocal about it too. But they are all talented players and play like demons at times.

JWS: So what is next for you?

SH: We have been so wrapped up in touring that I have not been able to record much. I have got three songs ready but not had a chance to record them so, hopefully, that will happen before long and then we will be touring ‘Foxtrot’ around the world too, so busy days ahead.    

JWS: Right then Steve, I had best let you get on but thank you once again for your time. Stay safe and well and we will hopefully see you in Buxton in September.

SH: Thanks John, take care of yourself and keep well.

Interview With Nick Fletcher by John Wenlock-Smith.

John Wenlock-Smith: ‘The Cloud Of Unknowing’,you were going to tell me what it is all about?

Nick Fletcher: Well, the album came out of lockdown and my own search to find meaning and purpose in my life as a result of that time.

JWS: How did you do that?

NF: Well I looked in mythology and also to Christian mysticism to find some answers.

JWS: Mysticism? like who?

NF: Under the CD tray is a quote from St John of the Cross, I looked at what folks like him were saying to see if that gave any clarity. For me, I think that it did impact me in how I looked at things and situations and also how to enjoy solitude and silence.

I found there to be much insight and wisdom in these medieval mystics writing, much to learn within those monastic traditions.

JWS: And this all influenced the album?

NF: Yes but indirectly, in that it helped me focus and create the music accordingly.

JWS: The album is great

NF: I feel it’s best listened to straight through to really get what it’s trying to say.

JWS: I can certainly spot the influence of U.K., for instance. While you may not play legato style like Allan Holdsworth, you certainly fly across the strings with some style.

NF: Well, I loved U.K. and I wanted a singer who sounded a little like John Wetton as I love his voice. When Caroline Bonnet  (my producer) suggested her friend Stuart Barbour (who she’d worked with before), I tried him and found he had a very good voice, a British voice rather than an American one, and I think that matters for the two songs he does, he did a great job.

JWS: So, obviously, U.K. was an influence.

NF: Yes, but so many other guitarists were too, like John Mclaughlin, his Mahavishnu Orchestra and later 1970s albums were influences too.

JWS: With some guitarists it is all about the song being the springboard from which they can do the guitar solo.

NF: I try not to take that approach, for me, if the song calls for a solo then fine, but it’s a tool that I can choose to employ and it’s not mandatory really. I’m a writer mainly, one who also plays the guitar, it is really merely a tool I can utilise in my music. I’m always writing stuff and the guitar is a tool to use within that context.

JWS: You have some great musicians who lend their skills to the album.

NF: Yes, I have some great friends who are prepared to help me out.

JWS: Like Dave Bainbridge?

NF: Dave played some great organ parts on several tracks.

JWS: How is Dave?

NF: I’m actually seeing him this week as he’s playing a gig in Sheffield and it’s so close to me, it’ll be good to catch up with him again.

JWS: So what’s next for you?

NF: Well, I’m still writing with a view to a third album and in August we (The John Hackett Band) resume touring activities again, plus I’ll have more solo classical guitar recitals to do.

JWS: So, all in all, keeping occupied after the two years of difficulties with covid?

NF: We are doing a promotional film shoot for the band with some live stuff that will be used to promote the band to a wider audience hopefully. That will, hopefully, appear on YouTube.

JWS: So it’s all looking positive Nick?

NF: Yes, very much so!

JWS: Thank you for your time and for the information about the album, that will help me with my review, I hope, and, hopefully, I’ll see you on the road again soon.

NF: Thanks John, good to talk with you again, hope to see you soon too.

‘The Cloud Of Unknowing’ is out now and can be ordered direct from the artist here:

Nick Fletcher – The Cloud of Unknowing CD | Nick Fletcher guitar (nickfletcherguitarmusic.com)