New Asia Album Due In June - New Single is Shockingly Good (if you like Asia)

30 years after its incredible and never-matched-by-the-band debut album, Asia are set to release Asia XXX (pronounced "Triple X" but still connotating pornography) towards the end of June.

Usually I would not give a shit.

I am so fed up with the Yes camp, with its ever-changing Jon Anderson-less lineup, and I put Asia in the Yes camp because of Steve Howe - maybe unfairly but there it is. Also, Geoff Downes is in the current incarnation last time I checked.

I also caught Asia live a couple of years ago and was underwhelmed. It was pretty dull and rote.

But out of morbid curiosity I checked out the new single from XXX and damn if it sounds like good old classic Asia. Catchy tune, great energy and Steve Howe still has some magic left in those fingers. Soaring and magestic John Wetton vocal. Really classic Downes keys and Carl Palmer as solid as ever. I was impressed after two listens.

Very nice production too - it actually kind of sounds like the original album. Jury is out on the whole release of course but Asia fans might just dig this new tune! What do you think?

Rush "Headlong Flight" Posted Online

Rush made the full Headlong Flight song from its upcoming Clockwork Angels album available online this week. First posted, head-scratchingly, as an exclusive with Rolling Stone Magazine, who has always hated Rush, it's now on YouTube as an official video with lyrics.

So to not encourage clicks to Rolling Stone, below is the Headlong Flight video. I could use a little more of a catchy vocal melody but it's for sure pretty damn good and continues the string started with Caravan and BU2B, which have also been released from the new album - heavy, lots of riffs, complex playing.

They for sure have chucked the keyboards into the river. The drumming is fucking ridiculous. This is about as far away from Power Windows and Hold Your Fire as you could possible get.

What say you, good readers?

Thoughts On Levon Helm

Heard the sad news yesterday that Band drummer and vocalist Levon Helm is about to pass on, due to cancer.

I knew that Levon fought throat cancer in the 90s and it took him a long time to be able to sing again.

But in recent years he was back in form, hosting 'Midnight Rambles' in his Woodstock, New York barn.

All sorts of guests showed up to these gigs and they seemed like a cool throwback to the 40s when Levon snuck into similar gigs in the south where he grew up.

You'd have to go to Woodstock but otherwise the door was open. Great idea. Wish I'd have gone to one! I was surprised to see that he played as recently as April 1, according to his Facebook page. There was a post that he'd play on the lighter side to favor his back and neck but I think everyone thought it was just old age or the flu or something. Must have hit him super quick for him to be on his deathbed just two weeks later.

The Band was such a unique group. Three singers. Could go from the bouncy Stage Fright to the morose Tears of Rage on a dime. I remember my friend in college commenting he didn't like the Band because they were depressing!

I see where he was coming from but to me that was just proof that they were genuine. My friend didn't have to grok the meaning behind King Harvest to get the vibe.

A lot of that was due to the incredibly heartfelt vocals of the also late Rick Danko and Richard Manuel, but also to the sparse, behind the beat drumming of Levon Helm.

Vocally, Levon took more of the upbeat tunes that required a bit of a belter to deliver but dig any live version of The Night They Drove Old Dixie Down and you will hear 100 percent heart.

Levon's pending passing also makes me think of Band leader Robbie Robertson and how as far as I know Levon never made peace with him since the 1976 Last Waltz breakup.

I did see just today that Robertson visited Levon over the weekend but he doesn't say if Levon was even awake for it. Would have been cool if they had made peace but maybe cooler if Levon's last words were 'fuck off Robertson.'

But seeing Roger Waters and David Gilmour bury the hatchet in recent years gave me hope that maybe old Levon would find it in his heart to forgive Robbie and make peace with his old bandmate. Ah well...

So in all, bummer news but as usual it's as fine an excuse as any to pop on The Band. My choice tonight is the live Rock of Ages.

Rest easy Levon, and I hope you are soon harmonizing with Danko and Manuel in that great gig in the sky.

Rock and Roll Hall of Fame Rant

Reading reports of the Rock and Roll Hall of Fame event last weekend makes me think it was a big wet fart.

Now, I wasn't there and I have to say that the Guns and Roses semi-reunion sounded great on YouTube. But where were the reunions or even full attendance from inductees this year?

OK no one expected Axl Rose to perform with Slash but not even showing up? Come on dude. He even asked the Hall to not induct him. Ok I guess that is typical Axl but a great opportunity missed.

But what about The Faces? Why didn't Rod the Mod show up? Is he too big for his britches for Woody and company? That would have been a live reunion worth seeing. (Ooops - reports are that he had the flu. Hmmm...)

Only 2/3 of the Beasties showing up is excusable because one of them has cancer.

But how about this: induct bands who can actually show up, not in wheelchairs, but in the flesh to show why the fuck they are still vibrant and deserving to be chosen by Springsteen, Wenner and Van Zandt's boys club.

For example:

Rush. Still touring, putting out new material, selling out venues (and they are not casinos). Maybe on the top of their game after 35 years. A live performance by Rush at a RARHOF event would literally peel people's faces off.

KISS. Ok I get it. Shlock. Hype. Merchandising. But again, still touring and recording. Many millions sold. And that would be a reunion worth seeing just one last time for closure. Peter Criss is not getting any younger and Ace is sober at the moment.

Iron Maiden. I know. Never going to happen. But you don't have Metallica and probably GNR without Maiden. And again, a band still touring amphitheaters, huge around the world, all members currently living. Bruce Dickinson's acceptance speech would be a real keeper, laden with F words and digs at the Hall. Great PR!

OK rant over but a guy can dream, right?

Who do you think ought to be in the Hall? Living or dead?

Rush Post Clip Of "Headlong Flight" from Upcoming Album

Here is another quick thing from the last couple of weeks.

Rush's new album, Clockwork Angels, is going to be out June 12, but the band posted a short audio clip of one of the songs, the 7:20 cut Headlong Flight.

This song is scheduled to be released as a single this Thursday (single art posted here).

After hearing this clip, I am really looking forward to the full release. Word is that Rush has gone back to its prog roots for this album, and the clip sure reminds me of Bastille Day. What do you think?

Listen to it here.

Jim Marshall - the Father of Loud

Gawd has it been a whole month since my last post? Life has been really busy - apologies! Thinking about what happened in the last month, there have indeed been a few things going on in the world of music.

Maybe the one thing that is way overdue for a post is something about the passing of Jim Marshall earlier this month. Obviously a huge, huge name in rock and roll. Things would not be the same without his heeding the numerous calls from Pete Townshend to make a louder amplifier!

One of my all time favorite live Who performances, from the Isle of Wight in 1970, suddenly becomes more potent. I think I have posted this in the past, but scroll to 3:45 to see what Mr. Marshall's invention enabled Mr. Peter Townshend to accomplish. True sonic bliss!



Damn, that whole video gets my blood pumping.

Jim Marshall - the Father of Loud indeed

Rolling Stones Postpone 50th Anniv Tour

According to Rolling Stone Magazine, Keith Richards says the band is not ready to do a tour in 2012.

An article in the magazine reads: "Basically, we're just not ready," says Keith. Instead, 2013 is the new goal. "I have a feeling that's more realistic.”

The article continues:

But Stones insiders say that one reason for the delay is Richards' health, which has raised questions about his ability to make it through a worldwide tour. The quality of the guitarist's performances declined after he suffered a head injury on vacation in Fiji in April 2006, midway through the Bigger Bang tour.

The Stones gathered in a London studio in December and played together for the first time since the final night of the two-year Bigger Bang tour in August 2007. Making the occasion even more special, former bassist Bill Wyman sat in for the first time since he left in 1992. "We played a lot of blues and outtakes of 'Some Girls' and things like that," says Mick Jagger. "It went very well."

Adds Richards, "It was a very back-to-basics sort of session. There was a lot of jamming. On the third day, Mick turned up, which was a real joy. Because I set it up really as a magnet, you know."

Despite holding off on touring this year, the band is still buzzing from reuniting with Wyman. "We're back in touch, which is great, because I hadn't really spoken to him for years," says Richards. Will Wyman rejoin the group on the road in 2013? "I think he's up for it," Richards says. "We talked about it. I'll let you know when I can."

It would be cool to see the band with Wyman again. The article talks about the notion of the band setting up for 10 shows in New York, LA, London etc, to take the touring pressure off. Despite the fact that many fans would have to travel to shows, honestly the idea of them setting up camp in one town and playing a string of shows just makes sense. These guys have earned it.

Personally, I'd love to see the guys with Mick Taylor again, which has also been talked but but not in these recent reports. I have seen the Stones a few times and they are still solid live but for sure jumped the shark ages ago. Seeing Wyman back or Mick Taylor would juice it up for me. I guess we'll see.

Hopefully Keith is going to hang in there. When did the Stones jump the shark? For me it was after Tattoo You. How about you? Here is the band in its prime IMO:

Good Rush - Bad Rush: The Lawsuit

As reported on Classic Rock this morning, the band Rush is suing the conservative asshole Rush Limbaugh.

Seems that the latter is playing the former's The Spirit of Radio on his own radio show and the Canadian trio is not pleased.

In a letter published to the Internet today and delivered to Rushhole via mail, "the use of Rush’s music in this manner implies an endorsement of the views expressed and products advertised on the show, and is in breach of not only copyright and trademark rights, but also, of section 51 of the New York Civil Rights Law..."

Radio Rush has had a trove of advertisers bail on this show and two of his 600 markets cancel his program due to comments I am starting to call Slut-Gate. From The Week:

On Saturday, after days of being hammered by the media and abandoned by several longtime national sponsors, radio host Rush Limbaugh issued an apology to Sandra Fluke. The Georgetown law student had testified in favor of President Obama's birth control insurance mandate at a congressional hearing last week, prompting Limbaugh to call her a "slut" and "prostitute," saying that if taxpayers have to pay for birth control pills for Fluke and her fellow "feminazis," then the government was essentially subsidizing sex, and "we want you to post the [sex] videos online so we can all watch." In apologizing, Limbaugh said he regretted the "insulting word choices" in his "attempt to be humorous."

Anyway, I am sure Geddy, Alex and Neil want nothing to do with this. Usually I hate lawyers but in this case, sue on!

Sammy Hagar Remembers Ronnie Montrose

Sammy Hagar put out one of the best remembrances of super-guitarist Ronnie Montrose this week (Ronnie passed away from cancer on March 3), speaking to Rolling Stone Magazine. Here is the whole thing:

I've got to tell you, for [1973's Montrose] being my first album I had ever been involved with my life, to have something that's that classic to still stand up, and it's still in my opinion one of the best recording projects I've ever been involved in - that's all due to Ronnie. I wrote songs with him, but it was his trip. He's the guy that got me to sing with him. I had no experience whatsoever; I just wrote the first four songs in my life, which were "Bad Motor Scooter," "Make It Last," "One Thing on My Mind," and "I Don't Want It," played them for Ronnie upon first meeting, shook my hand, and said, "Let's start a band." I went from zero to a hundred.

 I saw him at Winterland with the Edgar Winter Group, [touring in support of] They Only Come Out at Night, with "Free Ride" and "Frankenstein." And I didn't know who he was; I didn't know anything about him. I had a band that was a soul band – we were playing Tower of Power and James Brown – and we sat there and watched Edgar Winter. I just told my guitar player, "I want you to be like that" – like Ronnie Montrose. And he's going, "I don't want to play that kind of music," and I'm going, "Well, I do." We got into it. It broke my band up, by seeing Ronnie for the first time. I said, "I'm going to be like that guy. I'm going to play guitar like that and I'm going to sing like…the way I sing." [Laughs]

I was talking to a guy a couple of days after the show, and he was saying, "That's Ronnie Montrose, and that was his last show. He lives in Sausalito." I lived in San Francisco, and I said, "Do you have his address?" because I didn't even have a phone. He gave it to me, and I went and knocked on his door, dressed like David Bowie – big old high heel platform shoes, satin pants, probably had make-up on, with a Les Paul and a notebook pad with all kinds of lyrics in it. I said, "I'm Sammy Hagar. I heard you're looking for a singer." He said, "Come on in. You got any songs?" I played him my four songs, we shook hands, and he said, "Let's start a band. Do you know any drummers? I've got a bass player, Bill Church." I had a drummer, Denny Carmassi – wasn't in my band, but he was my favorite drummer around town.

Within a month we were signed to Warner Bros. Records, Ted Templeman producing, and the first Montrose album was born a month after that. It was the fastest thing I've ever done in my life. Like I said, I went from zero to a hundred in the blink of an eye – all because of Ronnie.

My opinion of him? The most high-energy guy on stage I've ever seen. At that time, he was completely running in circles, jumping in the air. I mean, he was just intense. And I loved it. I hadn't come out yet, and that's what I really wanted to be – but I didn't have the balls. And the band I was in, we were a soul band. I couldn't act like that in a soul band. They wanted me to dance. Honestly, huge influence on me.

He was a changeling. Ronnie never liked to stick with anything. We made one of the greatest hard rock/heavy metal albums of all time with that first Montrose album, and then he didn't want to do that any more. "Nah, nah, we've got to have better songs, we've got to change our image, that kind of music is out." Boy, he was just laying it on us. Ronnie really liked to change – immediately. Like, before it was really established, he wanted to change. We butted heads and I got thrown out of the band [after one more album, 1974's Paper Money], but I carried on with that "first Ronnie Montrose" I saw. The first guy that came out in Montrose – '73, that year, what I learned from Ronnie Montrose, I still utilize today when I step on a stage. I try to keep the energy up and the entertainment high.

The first time Eddie Van Halen and I met, it was around 1977. We were on a stadium show with Boston, Black Sabbath, myself, Van Halen. He came to my dressing room, and said, "I'm a Montrose freak, I love the band!" And Ted Templeman told me, when he signed Van Halen, they were called something else, and he wanted to name them after the guitar player. He said on the first Van Halen record, he took the first Montrose record in there and said, "Boom. We're going to have eight great songs, they're going to be this long, they're going to be this tempo." And pretty much patterned the whole thing after it – right down to saying, "Why don't you guys get Sammy Hagar to sing in this band? He's been thrown out of Montrose." That's a true story!

Eddie had a totally new twist on the whole guitar style thing, but as far as the chording goes – not his soloing as much as the chording – yeah, he took some of that big open chord thing [from Montrose]. The big open A, the big open D, the big open E. Everything as open as you could make it, to make it as heavy as possible with one guitar. And that was pretty much Ronnie's style, too. And of course the fire, too – Van Halen came out with all that fire, which is Ronnie. Ronnie was full of fire, man.

A couple of weeks ago [was the last time I spoke to Montrose], and about a week before that, and then four or five days before that. We were talking a lot, because we were planning a Montrose reunion for my birthday in Cabo this year. Montrose, the whole band, has not been there. Denny's been there, Bill's been there, Ronnie's been there – but [the whole band together] has never been there. I said to Ronnie, "Come on, man. We're all getting old. Let's do this again while we can." And he was in, we were all in. On my 65th, on October 13th, I was planning on coming out with Montrose, doing the whole first album, then going in with my other band, and then bringing Chickenfoot out. I was going to try to [cover] my whole four decades for the fans that night, without nobody knowing. The fans don't ever know what I'm going to do down there. And Ronnie was in. It's crazy. I even played back on my message box, February 10th – "Hagar, Ronzo…call me back!" It was all good. It's fucked up that those songs will never be played by those four members again. That's so weird to me. It's like the end of an era. Songs can go forever, but we can't. It's trippy.

[I would like Montrose to be remembered] as one of the pioneers of American heavy/hard rock. And certainly, one of the great hard rock guitar players. But he was more than that – he was really versatile. But if you're going to remember him for anything, put on that first Montrose record.

For me Ronnie's passing is the end of an era. Ronnie Montrose gave me my first break as a songwriter, as a front man, as a recording artist and as a touring artist, and for that I will always be grateful. The first Montrose album was the first album I ever recorded and it still stands as one of the best recordings I have ever been a part of.

The only positive I can grab onto is the fact that the music will live on. It's a shame to lose Ronnie and I'm so sorry for his loved ones. Rest in peace.

----- Nice, Sammy. And here is a pretty sweet video I found the other night:


Ronnie Montrose - Night of the Guitars by alexandru2006

CD Review - Van Halen - A Different Kind of Truth

I meant to post a review of Van Halen’s A Different Kind of Truth earlier, but I have been busy at work and as importantly, I have been really soaking up this album, trying to figure out how I really felt about it. It took a few listens to get used to what isn’t there – Michael Anthony vocals, David Lee Roth’s upper end, a little reverb on the vocals, which works so well with Roth’s voice, the ultra-crisp Alex Van Halen snare tone, and super duper catchy songs like Dance The Night Away.

But after I set that baggage aside, I began to see this album for what it really is – a kick ass Van Halen album. Eddie’s guitar is front, center, loud and pummeling. Much how I felt about David Gilmour’s playing on The Division Bell, I think Eddie’s been woodshedding, because well, he is wood SHREDDING on this album. No bones about it, EVH is back, baby, and he is taking names.

Alex Van Halen never lost his touch even on the crappiest of the VH releases, but he is incredibly solid on A Different Kind of Truth. For example, skip up to track four (China Town) and eight (Honeybabysweetiedoll) to get that Hot For Teacher insane Alex Van Halen energy. One talented mo-fo.

The songs are well-written. Not very much dross, which is very refreshing for these boys. I felt on many of their past albums they were shooting for two or three singles (best example is Fair Warning) and the rest is filler. Not here – every song is solid.

And it’s almost like they took songs like Outa Love Again from VH2 as their model. There are no ballads. Only two semi-commercial songs and only one of those has a keyboard part on it that is barely audible. There are two songs where the band slowed down the tape (if they used tape) to get some crazy deep guitar tones. Best example = the album’s final track, Beats Workin’. Eddie also uses an E-Bow (pretty sure) in a couple of places.

I realize that Tattoo was supposed to be the catchy commercial single, but I found myself singing track five (Blood and Fire – no, not a cover of the Indigo Girls) when I woke up in the morning. What a great song. This one also has one of those weird syncopated drums parts that make you wonder where the hell the ‘one’ is.

Stay Frosty is a new classic, in the same vein as Ice Cream Man. The tune starts off with a bluesy acoustic and gruff Roth vox, but soon branches into high octane rock and roll.

I understand a number of these tunes were re-worked from the Roth-era cutting room floor. But I have to say – who the hell cares? Pete Townshend right now is probably figuring out how to re-use the Baba O’Reilly loop for a hockey game. These ‘old’ songs sound fresher than anything from Balance or VH3 (an album I really liked, by the way).

The best ‘old’ songs include track two, She’s The Woman, which was on the original Gene Simmons-produced demo before VH1 (oops, now I owe Gene 25 cents). I first saw this in one of the fan videos for the secret New York club gig last month and immediately thought it was a smoker. The two final songs on the album (Big River and Beats Workin’) deserve to be earlier in the lineup. In fact, I would have led this album with Big River, but after putting some flipping reverb on Roth’s vocals!

And I have to quote from fellow blogger pod who in his review listed some things thankfully NOT on this album.

1) David Lee Roth rapping
2) A-list, hip-hop artists talking over tracks
3) Ugly sounding, auto-tuned vocals
4) Crappy, synthetic noises standing in for the musicians
5) Pretentious, angst ridden lyrics
6) Four guys phoning it in

Amen to that, brother.

The deluxe iTunes version of the album has video of some acoustic performances and they are worth getting just to see Eddie rip it up with no effects or amp.

So overall, a very kick-ass, raw, rocking addition to the Van Halen discography and more than enough new stuff to weave into the live set on the upcoming tour. And best of all, Eddie is back.

Firth of Fifth Steve Hackett Solo - Me

Have been pretty slammed at work so not much blog time. But I did get the chance to learn one of my all-time favorite solos, the end solo to Genesis Firth of Fifth. Steve Hackett's finest moment. While I get a proper blog post together, enjoy this:

 

Geddy Lee Talks Taurus Pedals

For those who are not aware, Rush started out as a three-piece rock trio but after a few albums wanted to add some other sounds to its pallet. Enter Neil Peart's insane array of bell chimes, wind chimes, blocks, etc.

Not to be outdone, Geddy lee added assloads of keyboards to the mix, but how do you play these while also playing bass?

Well, in fact you don't. In some parts of Rush's tunes, the bass drops out and the keyboards come in - think Subdivisions, or Tom Sawyer.

But there are also songs like Xanadu, that have keyboard padding underneath the rest of the song. In the old days when I was young and dumb I used to think they were pre-recorded, triggered by the sound guy somehow. But it turns out that Geddy and soon guitarist Alex Lifeson were actually playing these sounds with their feet, using a product from Moog caled Taurus Pedals.

These allowed the band to play basic keyboard parts with their feet while their hands were busy earning them guitarist and bassist of the year awards from various magazines. Pretty cool.

Later (and to this day), these pedals also trigger sounds. Some of them are short bursts of sound like the intro synth that accompanies Tom Sawyer. In fact, listen to that song and catch how many times that synth patch triggers throughout the song. It's a lot.

But there is no tempo to it - it's just a whoosh of sound. Rush also triggers sounds that they have to actually play along to, and that's where things can get weird.

Anyway, Moog posted three great interviews with Geddy where he talks about the use of the pedals and their evolution in Rush's sound. It's pretty interesting. Dig it!

Geddy Lee on the Moog Taurus Pedals, Pt. 2 from Moog Music on Vimeo.

Geddy Lee on the Moog Taurus Pedals, Pt. 3 from Moog Music on Vimeo.

Iron Maiden to Revisit Seventh Son Setlist on Summer U.S. Tour

I love Iron Maiden, no matter what they choose to play live. The last tour, they did mostly stuff I had never heard before, from their last few albums. And I loved it.

Today the band has announced a Summer 2012 tour where they will dip back into the classic era and play much of the material they did on the 1988 tour for Seventh Son of a Seventh Son.

On the Maiden website, singer Bruce Dickinson said:

We have great fun playing the History of Maiden Tours because it gives us an opportunity between new albums to go out and play songs from our earlier catalogue. It’s always fantastic seeing the crowd reaction from a new generation of fans who have never experienced some of these tracks performed live before, and of course we know our longstanding fans will enjoy seeing the original Seventh Son Tour re-visited - with many other surprises! Our intention is to play about two thirds of the original track list of Maiden England, including some songs we have not played live in a very, very long time, plus other favourites we just know the fans are going to want to hear.

For the record, the Seventh Son setlist was:
1. Moonchild
2. The Evil That Men Do
3. The Prisoner
4. Still Life
5. Die With Your Boots On
6. Infinite Dreams
7. Killers
8. Can I Play With Madness
9. Heaven Can Wait
10. Wasted Years
11. The Clairvoyant
12. Seventh Son Of A Seventh Son
13. The Number Of The Beast
14. Hallowed Be Thy Name
15. Iron Maiden

I saw this tour in 1988. It was the last Maiden show for me for many years, as I lost interest in them until about 6 or 7 years ago when they started coming back around and kicking ass again with great new material.

You can read reviews of some of the band's recent shows here, here and here.

In 1988 the opener was Guns and Roses and frankly I thought they sucked. They were all wasted and I just didn't get into it at all. This time around Alice Cooper opens. How cool is that?

They come to the White River in Washington on July 30 - my wife's birthday, so not toooo sure if I will be making this gig. :) But you sure as hell should. Full tour is here:

New Rush Release Clockwork Angels will Have Accompanying Novel

Most life-long Rush fans will agree that the band's most revered work is its album-side-length concept pieces, 2112 and Hemispheres. The band gave up long-form song storytelling after the 1981 Moving Pictures album with The Camera Eye and worked on getting to the point quicker.

You now, cramming 10 minutes worth of musical changes and ideas into a 5 or 6 minute song. And for the most part succeeding, IMO.

But now the band is about to release another long-form album based around a story. And news today is that they are working with sci-fi author Kevin J. Anderson to turn the story into a book as well. Anderson posted to his site:

After dropping hints for a while, finally the big announcement, a new project unlike any other I've ever done...and something that I consider very cool.

Most of you are aware of my long-standing friendship with Neil Peart, the drummer and lyricist from the legendary rock band Rush, as well as how much Rush has influenced my work. My first novel Resurrection, Inc. was closely inspired by the Rush album "Grace Under Pressure," and I can point to dozens of other novels and stories that bear a clear Rush influence.

For more than twenty years, Neil and I have wanted to collaborate on something MAJOR, a way we could tie together our imaginations, and at last that's happening.

I'm writing the novelization of Rush's forthcoming album Clockwork Angels, their first new CD in five years. Imagine if someone had written the novel of The Wall, Tommy, or Sgt. Pepper's Lonely Hearts Club Band when those classic albums were released. For Rush fans, CLOCKWORK ANGELS is that project.

I worked together with Neil to flesh out the epic story told over the course of the music, as well as the artist Hugh Syme whose paintings fill the CD booklet. In a young man's quest to follow his dreams, he is caught between the grandiose forces of order and chaos. He travels across a lavish and colorful world of steampunk and alchemy, with lost cities, pirates, anarchists, exotic carnivals, and a rigid Watchmaker who imposes precision on every aspect of daily life. To whet your appetite, Rush released the first two tracks, "Caravan" and "BU2B"-listen to those songs to get an idea of the story's beginning.

I'm writing the chapters now, incorporating the lyrics into the narrative, and having a fantastic time. More details to come, but for now-to quote a line from Caravan: "I can't stop thinking big."

Now I'm truly geeked up about this album. The title track, according to Alex Lifeson, is an "epic song" and a "multi-parted piece."

And Neil Peart posted to his website that he has recorded the drums in a way completely new to him as well - by mostly improvising the parts! Shock! Dig it:

I played through each song just a few times on my own, checking out patterns and fills that might work, then called in Booujzhe [producer Nick Raskulinecz]. He stood in the room with me, facing my drums, with a music stand and a single drumstick—he was my conductor, and I was his orchestra... I would attack the drums, responding to his enthusiasm, and his suggestions between takes, and together we would hammer out the basic architecture of the part. His baton would conduct me into choruses, half-time bridges, and double-time outros and so on—so I didn’t have to worry about their durations. No counting, and no endless repetition.

The band has said that the two songs they already released (Caravan and BU2B) were a blueprint for the rest of the album. So with that in mind, enjoy again Caravan live while we wait for the rest of this likely epic album to drop:

Yes Signs Up Another New Singer - Jon Davison from Glass Hammer

Word buzzing around the Yes camp was that Jon Anderson's replacement Benoit David was ill, the band had to cancel a few shows, and there was going to be a temporary replacement for an upcoming tour of Australia -- another Yes tribute band singer, Jon Davison

But now Chris Squire has broken the news to Noise11 that Benoit is out for good. I am sure Yes' PR people are going apeshit with this:

“Jon Davison is coming in because of Benoit’s departure. I always hope that when there is a member change in the band that it will be a permanent thing. Only time will tell really”, founding member Chris Squire told Noise11.com this morning.

“I don’t know if I’m meant to be telling you this yet, so I guess you’ve got a scoop.”

Like Benoit David, Jon Davison was discovered fronting a Yes covers band. Benoit had joined Yes after the departure of original singer Jon Anderson. He has been suffering from respiratory failure this year and could not continue on for the Australia tour in April. However, his departure is permanent.

“Yes, he has officially left Yes,” Chris says.

Benoit David joined Yes in 2008. He sings lead on the latest yes album ‘Fly From Here’.

“People have left to go off to do various projects and solo projects over the years,” Chris says. “Some like Jon Anderson and Rick Wakeman have left and come back. In Rick’s case, four times. It’s always been a fairly flexible in and out door for some members of the band. At the last count, including Jon Davison, he is the 18th member of the band. It has never been personal problems. It’s just things that happen at certain times”.

Ugh - this is really too bad. I mean, I hate to say this but I have been listening to Fly From Here a lot and started to really enjoy Benoit David's vocals! If you forget that it is supposed to be a Yes album, it helps. It's just mostly very good music - heavily influenced by Trevor Horn and Geoff Downes. Now that lineup is ditched. Whatever!

But for the record, Davison sounds pretty damn good in the below video, and his other band Glass Hammer is a true prog outfit. I always thought Benoit David was fairly passionless and didn't seem to be a big Yes fan - until I got into Fly From Here of course. So, who knows, maybe this will be a good pairing overall. I'll be watching YouTube for fan videos from Australia in April.

Bill Ward Rants About Sabbath Contract, May Not Be Involved With Reunion

As Shakespeare wrote, first thing, let's kill all the lawyers. Ha ha ha. But not so fast.

Sabbath drummer Bill Ward has posted a very public decree on his website that he is not going to be part of the Sabbath reunion until he gets a good deal.

At first it seems petty but who knows what Sharon Osbourne has put under his nose? Remember how Michael Anthony had to sign his rights away to all future Van Halen royalties when he signed up to do the Van Hagar tour?

For all we know, Ward is being presented with something equally bogus. Or he just isn't going to get paid enough, or as much as the other guys. We don't know.

What I do know is, they better sort it out. Iommi has cancer for God's sake. Bury the hatchet here, get Ward some reasonable deal and get on with it while you can.

Here is some of Ward's post:

At this time, I would love nothing more than to be able to proceed with the Black Sabbath album and tour. However, I am unable to continue unless a “signable” contract is drawn up; a contract that reflects some dignity and respect toward me as an original member of the band.

...Let me say that although this has put me in some kind of holding pattern, I am packed and ready to leave the U.S. for England. More importantly, I definitely want to play on the album, and I definitely want to tour with Black Sabbath.

...The place I’m in feels lousy and lonely because as much as I want to play and participate, I also have to stand for something and not sign on. If I sign as-is, I stand to lose my rights, dignity and respectability as a rock musician.

...If I’m replaced, I have to face you, the beloved Sabbath fans. I hope you will not hold me responsible for the failure of an original Black Sabbath lineup as promoted. Without fault finding, I want to assure everyone that my loyalty to Sabbath is intact.

...My position is not greed-driven. I’m not holding out for a “big piece” of the action (money) like some kind of blackmail deal. I’d like something that recognizes and is reflective of my contributions to the band, including the reunions that started fourteen years ago. After the last tour I vowed to never again sign on to an unreasonable contract. I want a contract that shows some respect to me and my family, a contract that will honor all that I’ve brought to Black Sabbath since its beginning.

Dang - OK now let's get this sorted out, people...

Van Halen Play Hollywood Surprise Gig

Noisecreep is reporting on another small Van Halen surprise gig, which happened in Hollywood last night at Henson Studios. Formerly A&M Studios, the complex was originally built by Charlie Chaplin, the silent film legend, in 1917.

The band showed off some new gear from the upcoming tour, including some large sized video screens behind the band.

Noisecreep wrote: As for Eddie Van Halen, wearing torn jeans and a weathered pink t-shirt, he was masterful. His trademark, youthful grin intact, he effortlessly recreated solos that have become so much a part of our consciousness that you hear them coming from miles away. His recent personal struggles seem to have been dealt with. He looks a little heavier, but a lot healthier, and he played with the joy of a teenager, losing himself in the music while ripping off one ferocious solo after another. His trademark red and white guitar elicited all sorts of spacey moans, shrieks and rumbles. It was like seeing Eddie in one of those Van Halen's classic '80s videos all over again.

And course here is the obligatory YouTube video. Dave has foregone his conductor outfit from New York with something a little shinier. But the real star of this video is Eddie, who still has the chops it appears!

Ghost Interviews Shed Light on Band Mission

OK yes I am still obsessed with Ghost. The combination of a KISS-like mystique and damn it a bunch of great songs is still totally turning my crank, and driving my wife and kids crazy as I stroll around the house singing "Death Knell!!!" Ha ha ha.

And this drives me to the Web where I am trying to learn more about this band.

In recent interviews I find some of the answers and as expected, this group is about putting on a great show, not selling your soul to the Devil. These guys are smart and know exactly what they are doing.

One of the guitarists was interviewed by the SF Weekly. I encourage you to read the whole article, called Swedish Metal Sensation Ghost on Anonymity, the Coming Apocalypse, and Sounding Like a Million Bucks in 1978 but here are the parts that grabbed me:

What Ghost has in common with that old black metal scene beyond the imagery and message, it goes back to the fact that when you read about bands like Mayhem, or Emperor, or Marduk, or whatever band from that time, there was no Internet. There wasn't anything except fanzines. Obviously when the shit hit the fan, the bigger magazines wrote about these things. But there weren't a lot of pictures. There were a lot of rumors. And that lack of access made things much more mystical and interesting. I think that has played a major role in what we're trying to achieve...

Where most bands nowadays try to raise their profile and their band's as much as possible because they don't want to miss out on anything, we're trying to do the opposite. Meanwhile, we're still trying to go forward in terms of getting better known. I know it's a bit of a paradox...But that's why we're trying to have Papa Emeritus be the star. Him. The old codger. The old pope. He's supposed to be the star. Not us as individuals. It's sort of like Eddie for Iron Maiden, except we have our Eddie singing.

...a lot of doom and bands that are in the scene that we're usually connected with are probably a bit more influenced by the harder stuff of Black Sabbath. Usually they sound like "Symptom of the Universe" or "Children of the Grave." That's all they wanted to sound like. And most doom bands are trying to sound like a less-produced version of the '70s, whereas I think in connection with Black Sabbath, we try to be as bold as they were when they did their ballads or their orchestral songs. We want our record to sound like a million-dollar production, but from 1978.

It's weird, because a lot of these really hardcore metal guys always refer to Sabbath Bloody Sabbath as being a miracle, groundbreaking proto-black metal album, where it's actually one of the softest Black Sabbath records. [It's] very mournful and openhearted. That same boldness is something we try to ... I'm not saying mimic, but we encourage ourselves to be very playful in the music that we're doing. We're not trying to fit in or think too much about what's cool or not. It's supposed to be passionate. I think you are really dead on that Black Sabbath and Mercyful Fate are necessary bands to have a band like Ghost.

As of right now, the next album is so far ahead in time. I mean, it's going to be out this year, but later this year. Nowadays you can't really play new material before the promotional period starts for the album, because once you play a song, it's on YouTube. It's everywhere. With the new album comes, not a new image, but a new show. Sort of like the next film [laughs]. So we're not going to incorporate any new material until the next album cycle starts. There's going to be a lot of changes, and the show is going to evolve drastically at that point. We're saving those goodies.

And from Portland's Willamette Week, we have Giving Up the Ghost: Don’t fear the Reaper—even if it’s a really convincing-looking Reaper. Some good stuff here:

“A lot of black-metal bands have an agenda where they actually say, ‘We want you to kill yourself,’” bemoans Ghost’s frontman. “We don’t have an agenda. Our uppermost goal is not to make people change anything. We want to change people into attenders of our concerts.” For an anonymous Swedish rock frontman who goes by the cryptic nomer “A Ghoul With No Name,” he’s pretty sincere.

“We as a group, we don’t have a militant agenda,” says the Ghoul, via telephone, when asked how serious his band is about the Devil. “We are entertainers. We are here to entertain everybody with a very horrid mind. Obviously, we’re six dudes playing in unison. So we’re a rock band. But we are drawn to create something that has more in common with theater or going to see The Omen at the cinema. Traditionally everything that’s remotely rock is devilish, and basically the first transparently really blasphemous artist was probably Elvis, with his sexually pulsating rock.”

I am trying to work out how to see the band when they open for Mastadon and Opeth this Spring, as they are skipping Portland. Maybe by then I'll have moved on to some other obsession, but I doubt it!

Concert Review - Ghost

So, I made it back alive. And it's only 11:30 PM.

Caught Ghost tonight on the 11th show of its 13 Dates of Doom tour, the Swedish band's first ever tour of the U.S.

As I said in my CD review yesterday, I was turned on to this band by a colleague who loves the darkest crevices of metal.

But in this case his advice to check the band out was right on. I got the band's CD Opus Eponymous and was hooked right away. The fact that they had a super theatrical show complete with Peter Gabriel-esque singer in full costume and makeup just sort of shoved it over the cliff for me.

The band packed the Hawthorne Theater in Portland on a Tuesday night no less, and like with seeing Them Crooked Vultures at the Roseland, I imagine this is the smallest venue where I will ever see this band. They are on their way to big things.

Maybe it's the KISS-like mystique, or the catchy music or the Sabbath meets Genesis tunes, but this band has something special. They only played about 50 minutes - their whole CD plus an oddly gorgeous cover of Here Comes The Sun. And no encore. Certainly left us wanting more.

Part of the fun was bringing my friend Dave to the show and not telling him what he was going to see. I broke out the CD in the car on the way there and as expected he dug the music. But as the smoke filled the Theater, I turned to him and said, "Oh by the way, these guys are kind of theatrical."

Turned out to be the understatement of the year.

The band as expected was completely shrouded. There was a notable absence of front lights and no spotlights so for much of the show the band was backlit, meaning you could see their silhouettes but not their fronts. The amount of fog would have made Pink Floyd envious.

Interesting musical notes - there was for sure a backing vocal track a la Rush, because the singer was the only guy with a mic, yet the backing vocals from the CD were very present. Also, the whole band used Orange amps (see photos), which is a very cool deal. They also had a sweet tour bus - I mean nicer than I have seen at shows a couple of levels above this one. Someone is funding these guys to tour in comfort or they made a deal with...oh wait...

Anyway, it was certainly a show I will remember for a very long time, and was pretty much exactly as exciting as I expected. They head to San Francisco tomorrow and I wish I could see them again.

And actually, just today a U.S. tour was announced with Ghost, Mastondon and Opeth, so there will be another chance for you all to see these guys. Like KISS opening for Fleetwood Mac, I expect Ghost will steal the show on this tour.

The merch guy said this tour had exceeded everyone's expectations across the board and I think they can log the Portland show in with this assessment. The show was epic.

Sorry for the disjointed review - I am still buzzing from the show. Below are some of my terrible iPhone photos, plus a YouTube of Here Comes The Sun. Wow.

CD Review - Ghost - Opus Eponymous

Now and again a band comes around that truly defies classification. Or at least goes so counter to what you expect that you are taken for a loop.

The Swedish group Ghost is one of those bands.

A colleague at work tried for literally weeks to get me to buy the band’s first (and only) album, Opus Eponymous and I resisted.

While I love this guy, his taste in music is far more hardcore than mine. Put it this way – I don’t have the new Disfigured Prostitute album but I am pretty sure he does.

I have told him a million times that I like melody with my metal. No screamo cookie monster stuff for me. Well, he must have been paying attention because Ghost is the most catchy devil music I have ever heard.

Yes – the band promotes itself as devil music, a la Mercyful Fate and the like. But I have to think it’s a ruse. The five-piece band dresses in black capes and cowls, with their faces obscured so you can’t see them. They don’t even have names – they are all called Faceless Ghouls in interviews and on promotional material.

The lead singer, Papa Emeritus, is like 70s-era Peter Gabriel from Hell. He wears religious vestments complete with huge bishop hat and his face painted with a black and white skull.

All of this raised the chuckle factor for me, but then I got a free offer for Spotify and really had no excuse but to stream up the Ghost album to pacify my friend. That was about a month and a half ago and now I own the album and will see the band tomorrow evening in Portland on its first ever U.S. tour.

If I were to publish a recipe for this band, I’d say blend 50 percent pure Black Sabbath with 25 percent Metallica, 15 percent Genesis, 5 percent Blue Oyster Cult and 5 percent Randy Rhodes-era Ozzy. Does that equal 100 percent? I dunno - math sucks.

The Sabbath and Metallica-infused dark riffage and speedy moments permeate the music, but it’s when they hit that prog-rock percentage that my ears really perk up.

The fifth track, Stand By Him, is a great example of this. Part-way through this very catchy rock song, the band busts into weird time signatures with spooky organ and Steve Hackett-esque hammer-ons and then goes into some very Metallica-inspired heaviness. The song winds its way back to the catchy chorus that sounds like a BOC outtake and ends with some great melodic guitar a la 70s Maiden. What the hell…

The closing instrumental number, Genesis (aptly named) sounds like an outtake from that band’s Foxtrot album. Ending a dark-assed CD like this with a gorgeous dual-acoustic passage is flipping genius.

Or take track two, Con Clavi Con Dio, which is pretty heavy overall but ends with dark-sounding Gregorian chants. Still, you feel like you know where the album is going at this point. Until track three, Ritual, starts up and sounds like 70s radio rock with chunky guitars and tasty arpeggios, giving way to the catchiest chorus I have ever heard promoting human sacrifice. I could not get it out of my head and had to look up the lyrics, which are “This chapel of ritual smells of dead human sacrifices from the altar bed.” Not Katy Perry-level pop but damn it’s just as catchy!

So – catchy music, kooky Devil lyrics, mysterious image, chameleon-like musical style. What’s not to like about Ghost? I will drop a full concert review if I make it back alive. Until then, here is a live version of Ritual from some sludge rock show in Europe. Enjoy!