Jon Gomm, the UK based acoustic guitar virtuoso, who recently released his new album The Faintest Idea on Kscope has announced a run of social distance shows for later this year. Jon states,
‘It’s not unexpected, but I’m still crushed to announce that I’m having to reschedule The Faintest Idea UK/Eire Tour – New dates are all set up for Autumn/Winter 2021, and tickets on sale (if you already have a ticket for one of the gigs, it’s transferable).
However, I am desperate to play these new songs. They don’t feel completely born until I’ve physically felt a human reaction to them. So I’m doing a short run of very limited Social Distance Gigs in the coming weeks (there were more booked, but some have fallen to new lockdowns before we could even announce them), and an Online Album Launch Gig on November 15th.
I can’t help but feel angry with those governments who have let their ideological obsession with the free-market overrule public health, and so ruined both. It’s a macro version of the exact same heedless dollar-chasing which unlocked a vault of rainforest pathogens and spilled it into a city street.’
Online Album Launch Gig Exclusively at jongomm.com – 15 Nov 2020
The Faintest Idea is out now on CD, double LP, digital and as a stunning limited edition deluxe 3 disc hardback book edition. The beautiful book features Lee Zimmerman illustrations, song descriptions, hand written lyrics and full track tablature for the song “Check You’re Still Breathing”. Jon’s reaction to the deluxe edition can be see in this latest unboxing video here.
Having recently announced that Snapper Music will be representing Porcupine Tree’s Transmission label worldwide, we are excited to release details of the first release under the new deal – Porcupine Tree – The Delerium Years – a deluxe 13 CD box set chronicling the evolution of Porcupine Tree, bringing together all of the band’s recordings issued by the Delerium label between 1992-97
This period in the band’s illustrious career will be documented visually though a 140-page book with rare photographs and other archive material, plus biographical liner notes by Stephen Humphries (adapted from his sleeve notes for the Delerium Years vinyl box sets), and replicas of the full width original artwork for Signify and an October 1995 tour poster.
The 13 CDs – packaged in digi-sleeves – are presented in a heavyweight lift-off lid box designed by long-term collaborator Carl Glover. This includes the 5 full length albums officially released on Delerium in their most recently remastered form:
• On the Sunday of Life…
• Up the Downstair
• The Sky Moves Sideways (2CD – also includes Stars Die EP)
• Signify
• Coma Divine – live (2CD)
Plus:
• Voyage 34: The Complete Trip – with the original full-length version of Phase IV
• Staircase Infinities – mini album (newly remastered)
• Metanoia – studio improvisations recorded 1995-96 (newly remastered)
Plus 2 releases originally created for subscribers to the PT information service Transmission, both newly remastered for this set:
• Transmission IV – all 40 minutes of an unedited Moonloop
• Insignificance – a selection of Signify demos, including tracks not recorded for the final album
Finally a newly compiled and mastered 9 track disc called The Sound of No One Listening rounds up stray single and compilation tracks, including 2 demo versions of the song “Disappear” which were previously only available on a bonus 7 inch with the first vinyl edition of Coma Divine.
This beautiful deluxe box set is a “must have” for Porcupine Tree fans.
Just in time for Halloween, Chicago prog rockers District 97 present their first animated short film, the epic tale of “Ghost Girl.” Taken from their most recent release Screens, “Ghost Girl” is the musical journey of a little girl who longs to fit in. The only problem? She’s terrorized by malevolent spirits, and nobody believes her—except for her loving but overbearing mother.
Jonathan Schang, District 97’s drummer/primary composer and Ghost Girl Executive Producer states: “For well over a year, I’ve had a vision in my head of an animated short film for Leslie’s and my song “Ghost Girl” from the Screens album. I imagined something that conjured a similar mood to Steven Wilson’s and Owl House Studios’ stop motion videos. Through happenstance I was put in touch with director Christopher Kezelos (Zero, The Maker), who enthusiastically took on the project. Since January, we closely collaborated to bring Ghost Girl and her world to life.
“I never could’ve guessed how much all of our lives would change during the making of this film, but I feel that makes its story of isolation, alienation, and redemption all the more relevant. I hope it captivates music and film fans everywhere this Halloween season and beyond.” Christopher Kezelos, Director says: “When I first heard the song Ghost Girl by District 97, I was instantly drawn into the disturbing tale of a young medium terrorized by evil spirits and the epic highs and lows of this sweeping rock ballad.
“Every line of the song conjured haunting and beautiful images in my mind that I wanted to bring to the screen.
“The song, sung from the protagonist’s point of view, felt very personal. I wanted to portray her story through a diary as she journals her life and shares her intimate secrets with the viewer. Sketches that ebb from dark and gritty to light and calm as she pours her heart and soul onto the page.“I wanted every scene to feel like a beautiful cinemagraph. A memory captured in time, with a hint of motion that draws you into Ghost Girl’s world.
“My hope is that her tale of transformation resonates with audiences struggling with their own demons.”
I think most people will concede that 2020 has been a somewhat challenging year, especially with the world wide impact and devastation that Covid 19 has bought, along with the subsequent lockdowns that have been enforced on different countries, affecting both world trade and travelling in particular.
Musically, tours and shows have been cancelled or postponed; often indefinitely. However, this has allowed artists time to record new music, albeit socially distanced or even remotely.
Yes were to have been performing their latest run of complete albums featuring ‘Relayer’ but that has inevitably fallen by the wayside and been postponed till 2021. To whet the appetite, they have elected to release a new live album recorded at the Hard Rock Hotel in Las Vegas, documenting last year’s Royal Affair Tour .
This is a single disc affair but with a new Roger Dean cover and an interesting set list including Yes’ own version of John Lennon’sImagine (a song Alan White actually performed on prior to joining Yes), the track also includes John Lodge of The Moody Blues on guest vocals. The balance of the tracks are staples of the Yes canon, mainly focused on their prime years i.e. pre 1980’s, although time is made for a rare version of the Simon and Garfunkel classic America, which gets a decent dusting down here.
The album opens with No Opportunity Necessary, No Experience Needed, which also includes the main theme from The Big Country (which is an interesting twist). It sounds very impressive and allows Steve Howe to vamp things up a little. The band sound on good form, relishing the experience and playing very competently indeed, in fact seldom have Yes sounded as on form as they do on this recording.
Geoff Downes’ keyboards continue the theme with lots of orchestrated sounds filling the sound scape out before Steve Howe delivers a fiery solo. But this album is more about ensemble playing than solo flights and those excesses are tightly reined in, this album is about Yes as a band it and plays to that strength very well.
Next track is the powerful Tempus Fugit from the ‘Drama’ album. Again, it is delivered with much bite and flair, Billy Sherwood’s bassline sounding especially muscular and fluid throughout, Steve is on on rampaging form too with strong drum support. This performance reveals just what a monstrous track Tempus Fugit really is and how its status has grown as the years have gone by, so much so that now it is an integral part of any Yes show and rightly so too. Next comes a familiar pedal steel lick that heralds Going For The One with Steve’s interjections taking this song soaring to the heights as it plays as another fabulous performance. Strangely the audience do seem a bit restrained here and they do not really roar like a great Yes crowd can, thank goodness that this performance was captured on tape and is now available for us non-Americans to enjoy at our leisure.
All Good People follows in this fine set of crowd pleasers and, again, Yes deliver an excellent version of this great tune. I know the band have become a bit polarising these days, with lots of detractors but, let’s be honest, this version carries the flame just as well as any others do and they seem to still be enjoying performing these pieces, so, on that basis, long may it continue! Any Yes is better than none at all in my view. Back to the track, which is a genuinely great performance and one that allows some delicate guitar lines from Steve to work in concert with some thunderous bass and powerful drums.
Siberian Khatru follows and represents another classy example of the current line up, still having the classic Yes sound The band give an excellent reading of it, with all its excellent parts sounding as strong and good as they ever were. We are then treated to a short version of Onward from ‘Tormato’, an album where Yes faltered and fell apart, however, this was one of its better songs.
The audience are then treated to the first real epic in the form of the rarely performed (these day at least) America, made famous by Simon and Garfunkel. I first heard this song on an Atlantic sampler LP, ‘The New Age Of Atlantic’, where it shone out as a remarkable reworking of a great tune and it still has the power to impact some 48 years after first being released. I have always liked this song and here Jon Davison brings this song to life wonderfully. It is a fabulous retelling of a great song, Jon’s voice is strong and warm and he brings new life to this version. Some great guitar work from Steve and fine contributions from all quarters make this a superior version of a great song.
Imagine is a new version of the Lennon track performed by Yes with John Lodge on guest vocals. It is a more than adequate version but, really, adds nothing new to a well known and loved song. Then it is into the home stretch with Roundabout and Starship Trooper, both of which are well received. They are excellent versions, despite the fact that they had been covered many many times now. Then again, these are classic songs that everyone know and love and always want to hear played. It’s an excellent way to bring the show to a finish, everyone going home happy and the legend is preserved, credibility is maintained and Yes live to tour another day.
This album is a fine collection, nothing new or essential but certainly a fine and worthy memento of an interesting tour, all for less than the price of a T shirt! Highly recommended and certainly worth a listen in my view.
This review is of the recently issued re-release on CD of the 1971 album by early UK progressive rock band Samurai. This was originally issued by the Greenwich Gramophone label and featured Dave Greenslade (who later found further fame as a member of Dave Greenslade’s Greenslade which, oddly enough, also included Greenwich’s creative director Tony Reeves).
This album is new to me even though, as a youngster, I was enthralled by Greenslade’s music and covers. This stemmed from hours spent in a local record shop in Sutton Coldfield (called Preedy’s) who sold records in their basement and in which I discovered Greenslade. Whilst I loved the band, I knew little of the members earlier previous musical heritage or history, which is probably why this album passed by me unnoticed, so now is the chance to rectify that situation.
One thing that rapidly becomes apparent is that Dave Lawson certainly added far more to Greenslade’s sound than I had previously thought. Here his vocals are really impassioned and interesting and as rich as his keyboard playing in fact. Whilst this music is of its time and has many of the attendant deficiencies, what it does have is lots of energy and, musically, a lot going on.
The album opens with Saving It Up For So Long, containing a meaty hefty bassline from John Eaton along with swirling keyboards from Dave Lawson, a complex guitar line from Tony Edwards and sax from Tony Roberts and Don Fey. The use of the brass section makes this very unusual and certainly interesting. The next song, More Rain, is a far mellower affair and shows what Dave bought to Greenslade. Being mellow in its tone and mood doesn’t mean that the song is dull, far from it, the song had a casual pace to it but it still swings nicely making it a fine listen.
Next up is another sax fronted piece, Maudie James, which sounds somewhat sultry and moody before some fine piano leads the song forward again. Another fine Lawson vocal propels the song along with brass incursions parping at various points making this sound very good indeed.
This really is an interesting album and one that deservedly gets a fine reissue from the lovely folks at Esoteric Arts, who once again live up to their image and policy of remastering and reimagining the classics well. They have done a great job with a great sound and have included three hitherto unreleased live tracks from a show in Sweden in 1971, along with an informative booklet with comments from Dave Lawson.
Give A Little Love opens with some rather urgent guitar backed up with horn blasts creating a solid wall of sound. This is done in a good way, some interesting keyboard tones adding to this song and a fine guitar riff with its subtle wah-wah usage driving the song forward before a jazz sax solo comes to the fore. The next two songs are the longer Face In The Mirror and As I Dried The Tears Away, both of which offer room for the music to stretch out a bit more. In the case of Face In The Mirror, this allows the bass to carry a walking beat to proceedings interspersed with subtle keyboards and guitar lines.
The song is quite different in tone, again being mellow in parts but the instrumentation is certainly striking and interesting as is the guitar solo from Tony Edwards who uses his effects pedals well, with the precise drums of Lennie Wright offering solid support for his efforts, making this track a real winner. As I Dried The Tears Away utilises its longer length to good effect, opening with some jazzy keyboards and a growling bass. Good use of vibes offer a shimmer to the sound, again very similar sounding to Dave’s later sounds, and his unusual voice and tone are well displayed herein. A nice brief guitar part as the song proceeds helps gather momentum and pace before a more jazz sounding passage is played with swirling organ parts and bells and whistles being employed, very psychedelic sounding in parts with excellent keyboard passages used.
The last three songs are live versions of album songs, of which the extended version of Holy Padlock comes out strongest as its extra couple of minutes are used wisely and to maximum effect. The sound takes up an urgent and strident pace halfway through that really swings well. The vocals are somewhat buried in the mix but the band certainly seem to be playing up a storm here. Final Live track is More Rain and, again, this live version really shines, the horns work well creating the sound and making noticeable inserts to the song. The guitar line is also carried well with subtle wah-wah really making it sound very good indeed.
The live tracks show this band could deliver in a live setting although, sadly, that opportunity to develop was cut short as key members became disillusioned and left, leaving Lawson and Reeves free to join Dave Greenslade’s project Greenslade, where their talent would blend to create new magical music over their four album career.
Tracks: Saving It Up For So Long 3:47, More Rain 4:29, Maudie James 4:59, Holy Padlock 4:45, Give A Little Love 3:42, Face In The Mirror 6:46, As I Dried The Tears Away 8:25, Give A Little Love (Live) 5:12, Holy Padlock (Live) 7:49, More Rain (Live) 4:30.
Marillion have seen The Light At The End Of The Tunnel! With the long, dark days of Covid-19, hopefully, behind us by then, Marillion will shed some light across the stages of Britain with a 10-date tour in November 2021 culminating in 2 nights at the London Eventim Apollo, Hammersmith. Tickets go on sale from Friday 23rd October 2020.
Steve Hogarth says: “We’re currently writing album number 19 and, as you might imagine, looking forward with every sinew to getting back on the road and playing it to you. Not as much as my wife’s looking forward to getting me out of the house though…
The Light At The End Of The Tunnel Tour dates for November 2021 are as follows
Sunday 14th Nov Hull City Hall Monday 15th Nov Edinburgh Usher Hall Wednesday 17th Nov Cardiff St David’s Hall Thursday 18th Nov Manchester Bridgewater Hall Saturday 20th Nov Cambridge Corn Exchange Sunday 21st Nov Birmingham Symphony Hall Tuesday 23rd Nov Liverpool Philharmonic Hall Wednesday 24th Nov Bath Forum Friday 26th Nov London** Eventim Apollo Hammersmith (seated) Saturday 27th Nov London** Eventim Apollo Hammersmith (standing)
**Please note the Apollo Hammersmith shows will be – one night seated and one night standing.
MARILLION are: Steve Hogarth – lead vocals, lyrics, keyboards, percussion, Steve Rothery – electric guitars, acoustic guitars, Pete Trewavas – Bass, Guitar, Backing Vocals, , Mark Kelly – keyboards, and Ian Mosley – drums, percussion.
We are extremely fortunate, we had set aside this year to make our 19th studio album and so we saved up a bit and we budgeted for a year on the ground, before this plague broke,” said lead vocalist Steve Hogarth.
2020 has been a terrible year for everyone and Marillion are grateful for the continued support of their family of faithful fans, particularly the wonderful donations from the Couch Convention weekend in September which raised £31,530 for their crew who have been hard hit financially by the pandemic.
Of the success of the weekend, Mark Kelly said: “What a weekend it was! We were totally stunned and knocked out by everyone’s involvement in everything that went on, from Steve Rothery’s late night cocktails to Pete’s Bass Masterclass. Ian’s Drum Q&A and my early morning fun run and all the music, chat and fancy dress in between.
“It was fun for us to be in the audience, too, reading and reacting to all your comments as the shows were streamed. The crew tip-jar was overflowing with your generosity, you raised a substantial sum for our wonderful crew. The money will go a long way to helping them survive a difficult year. Thank you!”
This set has been a long time in coming, especially if you consider that the main attraction of Back Street Crawler, namely one Paul Kossoff, died way back in 1976 (some forty four years ago). This compilation collects all the recordings the band made for the Atlantic label over a brief two year period. Kossoff was, of course, the guitarist in seminal British rock band Free and his fluid, soulful guitar fuelled the albums they made for the Island label.
Included in this retrospective are the ‘The Band Plays On’ (1975), ‘2ND Street’ (1976) and the ‘Live at Fairfield Hall, Croydon’ set from shows recorded in 1975 that were released after Paul’s death in 1976. The fourth disc is from Paul’s final show on 3rd March 1976 at the Starwood Club, Los Angeles, although this is an illicit (bootleg) recording along with studio outtakes and two unreleased tracks.
Paul was a not only a great talent, he was also a troubled soul, gentle at times and fiery at others. His lack of height and his red hair made him more volatile than others. The fact that he was also a drug addict made him unpredictable and unreliable but he was also in poor health as a result of his addictions. Back Street Crawler was his attempt to regain what he’d lost since the demise of Free in 1973. After Free parted company he made a solo album that Back Street Crawler was named after, he’d also been a part of the Kossoff, Tetsu, Kirke and Rabbit project (also in 1973) that had released one self-titled album on the Island label.
Back Street Crawler were a five piece band featuring Kossoff on guitars and Terry Wilson–Slesser (ex Beckett) on vocals, Mike Montgomery (keyboards), Terry Wilson (bass) and Tony Braunagel (drums), releasing their debut album, ‘The Band Plays On’ in 1975. The debut is actually rather good in parts, it certainly has Paul playing well, even if the material is generally not really very strong or as good as it could be.
There are some sparks on songs like It’s A Long Way Down To The Top and The Band Plays On, to name just two. Singer Terry Wilson-Slesser is a strong and versatile vocalist who gives his all on this album, the generally broody music allows Paul’s guitar to shine through and he plays lots of his trademark solo’s wailing suitably over strong backing from his bandmates. The album would be considered short now but was of its time. One thing this album does have is some great piano for Paul to play off, especially on the funkier tracks like Stealing My Way, which sounds like it could be a lost Free track as it has their bluesy swagger to it.
Disc 2 contains the album ‘2ND Street’, issued in 1976. However, Paul had been unwell and was only featured on certain tracks. These were a far better representation and vehicle for his unique talent kicking off in good form with the track Selfish Lover on which Paul’s incisive guitar slices through, sounding typically startling and oozing with emotion.
I’m writing this review in the week that that other great British Blues talent Peter Green has left us. In his own way Paul Kossoff was equally as stunning, when Koss played people listened, his tone and his playing were all about making each note speak. This was a talent that was very different to others. Why play 100 fast notes when one well placed note can say it all? that was his gift to music.
Blue Soul is another of his tracks, again he soars on this one. Sweet, Sweet Beauty is another excellent track, as is Some Kind Of Happy. This album is a far mellower proposition than the harder edged debut and it has its own charm because of that fact, it certainly acts as a graceful tribute to the genius that was Paul Kossoff. This is an album of songs that act as a tribute to a man and fallen friend whose days were numbered and would sadly end before the album was even released.
Whilst ‘2ND Street’ marked he end of Paul Kossoff’s recording career and he may have gone, his legend and his skill remained. His presence was still there in the influence he has been on many contemporary guitarists, many citing him as such, or a hero even. However, there was more to come because recordings had captured Kossoff in fine form at Fairfield Hall in June of the previous year (this is presented here on disc 3).
The live albums here are very interesting, especially Fairfield Hall as it was recorded on one of Pauls better nights where his playing is hot, fiery and exciting, bringing the songs from the debut to life onstage. He also adds covers of Free’sThe Hunter and his own Molten Gold. This live disc features all ten tracks from ‘The Band Plays On’ but here they are imbued with the power of a live performance. Obviously touring had consolidated the group significantly and these live versions are vibrant and vital, bristling with an energy that the studio versions somehow seemed to lack.
The sound is clear and full well mixed and captured in full flow, it’s a great joy to hear this show all these years later, one weeps for the loss of Kossoff. Standout tracks also include It’s a Long Way Down To The Top and The Band Played On, where Koss is all over the song, adding frills and stepping out to take some incendiary solos. This is everything the debut wasn’t as a studio release and validates the bands existence. I sadly missed the chance to see this tour at Birmingham Town Hall and I really wish I had made the effort I think I Missed something special, ah the folly of youth eh?.
Disc 4 is also of interest as it contains Paul’s last ever performance at the Starwood Club in Los Angeles. This being a bootleg tape the quality is fairly raw and rough sounding but its certainly listenable and featuring Free’sCommon Mortal Man is a nice touch. Opening Who Do Women is a good entrance but the sonic limitations of the recording dilute the power of the performance. Although you can hears Koss’s guitar clearly, the rhythm section sound a bit muffled and clipped. The swagger of Stealing My Way is next and you cant believe that you are hearing such a historical and monumental performance. Sadly Paul would pass away on an airplane between Los Angeles and New York from a pulmonary embolism just 15 days later, the legend was gone but, as this set clearly attests, his talent would live on forever.
I’ve not seen the finished box set of these discs yet but, in any event, these reissues by Cherry Red/ Esoteric bring to life again that tragically short period of Back Street Crawler featuring Paul Kossoff and the final period of his life. Back Street Crawler continued with Geoff Whitehorn replacing Kossoff and released 2 further albums for Columbia, namely ‘Crawler’ and ‘Snake, Rattle and Roll’. After the band split in the late 1970’s, Whitehorn joined Procol Harum where he remains to this day.
This reissue may be a tad obscure to some, especially as it has been some 23 years since Randy California died in the pacific ocean whilst rescuing his son Quinn from a riptide near his mother’s home in Hawaii, Quinn Survived by sadly Randy did not and passed away at the age of 45.
Randy lived a very eventful and colourful life and he left a wealth of recordings, many of which are only now seeing the light of day thanks to the incredible efforts of Mick Skidmore, who painstakingly strives to keep Randy’s memory and legacy alive through the work of the The Randy Craig Wolfe Trust. Mick has gone to extraordinary lengths to bring several albums up to a good level of fidelity.
These include ‘Spirit – Live From The Time Coast’, ‘Spirit – Two Side Of A Rainbow – Live At The Rainbow’ and ‘Spirit – Tent of Miracles’, all of which have surfaced in the past few years, massively overhauled and much expanded with unreleased and live cuts (often in the form of complete shows). Take the extensive booklets and photographs, all of which add to this latest collection of 6 CDs (including almost 3 discs of previously unavailable / unheard live recordings of both Spirit and the Randy California Band recorded between the years 1979 to 1983) and make it a most welcome addition to that growing vault of releases.
The thing that becomes clear very rapidly is that this was a difficult time for Randy, and he struggled to find his niche and a genre in which his undeniable talents could be best shown. This fascinating set includes early demos from 1979 in London, the whole ‘Euro-American’ album and ‘Shattered Dreams’ live EP and tracks from the Potato Land project, portrayed through live recordings made in both the UK, Europe and the USA. This material is often excellent, sometimes patchy but always worth a listen and this comprehensive set is an excellent and accessible way in which to trawl through this particular period of Randy’s Career.
The sound is generally particularly good, there are occasional lapses but, generally, this is all perfectly listenable, you can certainly hear significant snatches of Randy’s brilliance when he gets to stretch out or really let fly. You hear this especially on the longer live tracks where he can really play to his strengths, confident in the backing his fellow musicians create for him to work from.
The sets fall as such, Disc 1 and 2 –The Euro American album, Demos and Shattered Dream EP and Unreleased Tracks. Disc 3 is Spirit Live in 1980/1981 at various venues in both Europe and the US on what were essentially Promo tours for the Potato Land album that had been released by Beggars Banquet.
Disc 4 is more demos and also soundboard recordings of a festival show at Ayr in Scotland from October 1979 supporting Ian Gillan of Deep Purple fame. This show is an attempt at a harder sound that works very well. Disc 5 is a show from Spirit taken from Greensboro North Carolina in 1981 and this is the 3 piece version really giving a fantastic performance with three lengthier tracks at the end really giving them a chance to shine.
The Final disc (disc 6) is The Randy California Band live at the Reading Festival in 1982 and from the Glastonbury Festival in 1982, both being soundboard recordings
This set is very extensive and will keep you happy for many hours, as the entire set lasts for just short of 9 hours, with each disc coming out at 79 plus minutes per disc, so it is a value packed set and, although there is some duplication, there is enough variation to still make this set worthwhile.
Personally I applaud the efforts of both Mick Skidmore and Mark and Vicky Powell of Esoteric for bringing this remarkable time capsule to the table. I just hope that they have a reissue for the fabulous ‘Restless’ album (that has been out of print for many years) lined up, for that was another remarkable album that was widely ignored by the record buying public and is surely due for re-evaluation once again.
This a reissue that I can certainly recommend to fans of Spirit, psychedelic rock or simply good, strong music with some fabulous playing, Randy was truly a unique musician as this excellent boxset testifies wonderfully.
Disc 1Kingsway Demos 1979, You stole my Heart 4:43,California Man 4:12, Thinking Of You 2:58, Song For Laura 5:05, Magic Wand LA Sessions 1981 Reeling IN The Night3:33,Lani By The Sea3:43,Shattered Dream Long 45 Mix 5:38,Rock Of Ages 2:13, Magic Wand 3:32.Original Euro American Album 1982 Toy Guns 2:56, This Is The End (Unedited)2:57, Mon Ami (Unedited) 2:44, Rude Reaction 3:22,Calling You 3:11,Wild Thing 4:02,Easy Love (12@ Mix)3:39, Fearless Leader 4:24,Five In The Morning 3:01 Skull And Crossbones 5:31, Breakout 2:28 Post Euro American Track recorded Abbey Road 1982 Man At War 2:13, Write You A Letter 3:10.
Disc 2 Hand Guns 2:44,Come On Woman 3:18,Trouble In Mind 6:54, Cabin De Telephone5:51, Shane 3:56, All along The Watchtower 2:57 (UK EP Release),Don’t Bother Me 5:02,Brittany 3:47, Downer 3:19, Second Child 4:57,Man At War 4:29.Killer Weed 4:27,Radio Man AKA Same Old Naturally 2:56, Superchild 4:23 Run To Your Lover 3:42, Love’s Not A Game 4:41, Love Is War 2:31,Childhoods End 6:01,Ove3rloaded Ships Sink 4:06.
Disc 3 Spirit Live Various Venues 1980 and 1981, 1984 3:29,Turn To The Right 3:53,Five In The Morning 3;59,Hungry Driver 8:19, I Want Somebody 2:12, Give A Life Take A Life 3:40,Hey Joe 6:45 German 12 Inch Single, Shattered Dreams 9:19, So Little Time To Fly 3:33,Fish Fry Road 4:07, Magic Wand 10:31,Come On Woman 4:02, Breakout 5:02,Downer 3:37, Song For Laura 4:21, Wild Thing 3:53.
Disc 4 Grossscher Herrscher (German Language version Of Fearless Leader 4:27, His Spirit Is Travelling On 3:53, PT 109 1:26,Whispers From Heaven 3:35, Trying To Get Closer To You 3:26, Since She’s Gone 2:51, Past Love 4:07,Stepping Son 3:30,Otter In The Sea 3:56, California Man 3:10, Childhoods End 3:39, Randy California Band Soundboard Tape Ayr Scotland October 22nd 1979 Downer 6:32,You Stole My Heart 5:41, Move On Up 5:10, California Man 5:06, Rebels Flight 6:30, Breakout $:10,Song For Laura 6 55.
Disc 5 Spirit Louis Rock City South, Greensboro April 3rd 1981 1984 4:00, Turn To The Right 3:43, Animal Zoo 3:15,Magic Wand 7:16,Nature’s Way 3:20, Five In The Morning 3:05 So Little Time To Fly 3:35, Mr. Skin 3:00, Come On Woman3:53,All The Same 10:35, I Got A Line On You 2:45, Fish Fry Road 4:07,Wild Thing 7:09, Like A Rolling Stone 8:55, Come And Get It (Magic Spirit) 6:22.
Disc 6 Randy California Band Reading Festival Board Tape 1982 Second Child 5:55,Downer 3:25 Man At War 4:24, Like A Rolling Stone 6:26, All Along The Watchtower 3:31, Come On Woman 3:58, Natures Way 3:16,Killer Weed 6:36, Run To Your Lover 3:14,I Got A Line On You 2:42, Song For Laura 5:13<Wild Thing 5:10 Glastonbury Festival 1982 Partial Soundboard Tape Hand Guns 2:57,Lisa 5:24,Don’t Bother Me 5:47,Rebel On Attack 3:12, Killer Weed 8:25.
This latest Release from US Prog supergroup Flying Colors chronicles the final date of the ‘Third Stage’ tour that was wound up at Shepherd’s Bush Empire last December. This is a 2 CD and DVD package which really brings to life the spectacle and musicianship the band offer live with both audio and visual recordings of the evening presented.
Unsurprisingly, the set is heavily focused on the then current ‘Third Degree’ album but with enough familiar favourites to create a dynamic balanced show, although sadly no version of that album’s epic Last Train Home was performed (I would gladly have traded Mask Machine for that song) but, even so, what is really apparent is the definitive bass playing of Dave La Rue who anchors the material along with the driving drumbeat from Mike Portnoy. Together, these two offer a fabulous launch pad from which the others can fly their colors, as it were.
Steve Morse is on exceptional form throughout, he is all over these songs with riffs, solos and fills abounding. He also appears to be really enjoying himself, as do the others, the mix and sound is superb with great separation throughout making this a rocking and enjoyable listen. Certainly, those who were there that night sure witnessed something incredibly special indeed. Flying Colors aim of blending musicianship with great songs was realised that night as captured here on these discs and in the excellent DVD of the show.
Especially fine are the versions of Geronimo (which features some excellent bass riffs and a distinctively fine groove from La Rue), the beautiful and emotionally laden epic that is Peaceful Harbour (with an awesome guitar solo from Steve Morse and a fabulous vocal scat from Casey McPherson that leads the song in), this song really shows the marriage of styles that combine to make Flying Colors such a wonderful musical proposition. Songs with emotional depth, musically strong and yet whilst interesting, they really display the talents each member brings to the band. Considering that the band is supplementary to their main day jobs, this is all the more remarkable and is very rewarding indeed.
The fluidity of Steve Morse’s epic guitar playing really shines out on this song backed with real groove and drive from the others, creating a really special version of an exceptional song. This allows for some good audience participation, encouraged by Mike Portnoy acting as unofficial choir master. This joyful song really impresses greatly and is a defining moment of an excellent show.
The second half of the show on disc two contains mainly the longer songs, the band keeping the energy levels high throughout. Crawl is also another epic number, clocking in at 11 Minutes 48 seconds, opening gently and delicately before the chorus is played and a faster more intense pace is picked up. After the initial section, Neal Morse’s keyboards come to the fore, along with a great guitar line from Steve Morse offset against fine keyboards before the guitar snakes the piece away, backed by more great bass work. A seriously good grower of a song ensues here.
The dynamics of this song are truly awesome and highly impressive, really creating the mood. Casey is on particularly good form on this song and, indeed, on the whole set. In fact it is fair to say that each of these musicians are really playing excellently. You can tell just how much they enjoy being together playing together to make this music full of passion and emotion.
Next we have two lengthy tracks, Infinite Fire and Cosmic Symphony, back to back. An exceptionally fine progressive section lasting about 24 minutes in all and full of stellar musical moments from everyone. There’s great interplay, between Neal and Steve especially, backed with strong support from Dave and Mike. This section is followed, and concluded, by strong versions of The Storm and Mask Machine.
This set is really an excellent one and proves that Flying Colors have significant worth and bring a lot of value to the party. If only they could allocate more working time and tour properly so that folks could really begin to appreciate them more, they could be even more successful and reach a far bigger audience and market rather than being Prog’s greatest secret or guilty pleasure.
For me, this a most worthy release and consolidates the strength and value this this excellent band offer to progressive music or to folks who appreciate fine music and great songs. I have no hesitation in recommending this highly to all, seriously great release.
This 2 CD / Blu Ray package is the latest release from the former Genesis guitarist who has, for the last 8 years, been repackaging and marketing his own version of his Genesis era history. Quite rightly so, when the rest of the original band are all doing decidedly different music these days.
This nostalgic revue is both commercially and musically viable and valid, people love these songs and Steve has both compiled a top notch supporting band and also tweaked the songs enough to bring their subtle tones and deep emotions to life. Steve’s tours invariably sell out and he has kept ticket prices to an affordable level thus making his shows accessible to many fans who may never have seen the original band. This latest release sees a return to Hammersmith after last year’s successful run of shows under the ‘Selling EnglandBy The Pound‘ and ‘Spectral Mornings‘ banner.
What’s different this time is that Steve has a new drummer who has replaced the departing long term member Gary O’Toole. He had occupied the drum stool for nearly 20 years and, whilst this hasn’t changed the sound, it has brought a fresh power to proceedings. Craig Blundell is the new man behind the kit and he certainly makes his presence felt on this album, adding new flourishes and also forming a solid, reliable rhythm section with bassist JonasReingold and, in doing so, creating a platform for Steve’s guitar to soar freely.
The show is divided into two separate parts, part one being a mix of ‘Spectral Mornings’ tracks and including three tracks from Steve’s latest album, ‘At The Edge Of Light’, these being Under The Eye Of The Sun, Fallen WallsandPedestals, and Beasts in Our Time. These add to the dynamics of the first half well, ‘Spectral Mornings’ being considered by many to be a crowning glory in Steve’s musical legacy or canon of recordings.
It’s an album that is certainly warmly received here at Hammersmith, the songs will be familiar to most so I don’t really need to comment on them to much except to state that all receive sterling performances here with contributions from both John Hackett on flute and Amanda Lehmann on guitar and vocals.
This section of the show is bookended with two of the tracks from ‘Selling England By the Pound’, namely, Dancing with The Moonlit Knight and an extended take on I Know What I Like, both of which are superb renditions, the latter giving Steve a chance to stretch out on the guitar.
The second part contains the remainder of SEBTP including an unreleased track, Déjà Vu, that was co-written by Peter Gabriel. Steve consulted with Peter who then gave his consent to a reworked, finished version and split the writing credits with Steve. As the track was omitted from the original album, its appearance here is most welcome indeed, it is a feisty and strong number that fits in well with the remaining tracks on SEBTP.
Also of note is the simply magnificent version of Firth of Fifth, a song that is as much about Steve as any other Genesis song. This is probably the best of the many live versions of this song that exist, somehow surpassing all the other versions including the orchestral version from last year’s Festival Hall recording, whilst that was great, somehow this is even better. I think that Craig Blundell’s drumming throughout gives the piece hitherto uncovered power, kick and bite and that elevates it above all the other takes released previously.
You could argue that every year brings a new release of old material and do we really need this one? My answer to that is a definitive Yes! These performances are from the heart and certainly satisfy demand and, whilst the original band are reluctant to perform these, Steve’s troop can certainly do so more than adequately and with conviction, power, dignity and grace. This set does that on every count, the blu-ray is a lovely addition and supplements the recordings with a crisp sound and sharp picture. The lighting used throughput the show is stunning and lighting operator Chris Curran certainly adds emphasis and dynamics in bringing his flair in making this a great visual show. This is made all the better with the sharpness that the blu-ray version delivers and the option of the 5.1 surround version that has been sympathetically mixed by Steven Wilson.
If you have enjoyed any of Steve’s previous live sets, then I certainly recommend this one to you there is so much to enjoy and relive here.
