I seem to have been waiting for ever to see Steve Hackett perform the Genesis Revisited II concerts. On Wednesday May 15th of May i headed North from Teesside to one of the best music venues in the North East, The Sage in Gateshead to bring my wait to an end. The atmosphere in the main hall at The Sage was palpable and looked to be packed to capacity. Whilst supporting artiste Anne Marie Helder sang her heart out i scanned the hardware on the more than ample stage only to realise the scale of the production. I was intrigued by the giant angle poise lamps stationed throughout the stage and the three huge screens standing proud at the rear. As the lights dimmed i took to my seat in the very front row and sat back with all senses on high alert.

As Steve Hackett strolled onto the stage his willing troops manned their stations for the evening and Roger King’s keyboards rang out the opening chords of Watcher Of The Skies. Strange isn’t it? how only a few nostalgic chords can make a grown man tingle. The tall willowy figure of Nad Sylvan clad in dark Gothic clothing inched his way onto the stage delivering the immortal lyrics of this timeless genesis classic. Throughout the whole of the show Nad Sylvan cut quite a figure on stage and had quite a presence. To his credit he did not attempt in anyway to sound or acttoo much like Peter Gabriel which may have drawn unnecessary criticism from the many Gabriel disciples. I would describe Nad’s performance as comfortably similar yet refreshingly dissimilar.

In the wake of such a traditional opening Mr Hackett announced a short pause whilst the myriad of digital hardware was re-booted in order to continue. Oh for the days of a swift kick or the application of electricians tape. When all was mended and good to go the audience were treated to The Chamber Of 32 Doors which taxed Nad Sylvan’s Swedish accent to the full before launching into Dancing With The Moonlit Knight which featured Rob Townsend on back up keyboards as well as his many woodwind instruments. By this time the mature and appreciative audience were wll warmed through as were the band. Broadway Melody of 1974 and Fly On A Windshield found drummer Gary O’Toole in full rhythmic command as well as contributing some powerful vocals. Concluding the songs from The Lamb Lies Down On Broadway, The Lamia was given the revisited treatment before launching into a song that would bring a smile to everyone’s face, The Musical Box. It was here it became evident just what a diamond that Steve Hackett had found in bass player Lee Pomeroy. Lee put down his bass to play the majority of the 12 string parts of The Musical Box whilst seated playing bass pedals.

Lee also played rhythm guitar via his huge twin neck guitar throughout she gig and as a consequence gets the man of the match title. The band then covered a fair chunk of the Wind A Wuthering album starting with the now standard Blood On The Rooftops. This continued with Silent Slumbers For The Sleepers, In That Quiet Earth and terminating with the beautiful Afterglow. It was here that the clarity and precision Of Roger King’s excellent keyboards lost out to the richer tones of the Mellotron and other analogue instruments of their day. Nad Sylvan found his niche with this song which terminated in quite an emotional crescendo.

A moment of levity was had in I Know What I Like In Your Wardrobe before Steve’s version of Dance On A Volcano. To slow the pace a little Gary O’Toole emerged from behind his kit to contribute some beautiful harmonies with Nad Sylvan during the gorgeous Entangled. Always a favourite with me, the boys made a fantastic job of this song further enhanced by the some interesting and atmospheric rear video projections. It was when Steve donned his acoustic guitar that the largest cheer of the evening took place. Yes Supper’s Ready saw the band all multi-tasking Lee Pomeroy again brandishing his twin necked guitar and Rob Townsend playing everything but the kitchen sink. It makes you wonder just how Genesis managed to play all those years ago? At the conclusion of Supper’s Ready I was proudly the first one in the hall to my feet leading the many hundreds of fans to do the same. I actually had tears in my eyes at this point as i suspect did many others.

After the obligatory hand clapping and shouting Steve and his seasoned employees returned to the stage to play a rousing version of Firth Of Fith. Yet another victory for Nad Sylvan and a reminder of Steve Hackett’s genius. The evening concluded with  Steve’s take on Los Endos which included a foray into Steve’s Defector album, namely Slogans.  Steve’s playing seemed to take on another dimention during this all too short burst of his solo classic indicating that he misses playing the music that is closer to his heart. All in all a very special evening indeed. It was great to see Steve Hackett and his band playing on a larger scale and back where he deserves to be. It was this that really took me back to better days when such events excited and stimulated the senses. Fitting i think that a legend such as Steve Hackett has seen his vision of Genesis revisited represented in such a way whilst thinking it is a crying shame that other members of Genesis failed to become involved. I am so pleased that i managed to get a ticket for the Newcastle City Hall gig in October. Steve Hackett’s Genesis Revisited II show at The Sage was one of the most special shows i have seen for a while and one that i will remember for many years to come.

Thanks to Brendan Eyre for pictures.

What sets Xenolith apart from other Prog covers band in my opinion is their choice of music. Many covers bands will either base their whole set on the music of one band or the most popular pieces of prog’s finest. Not so with Xenolith. Starting their set with Deodato’s 2001 Space Odyssey the band then won me over straight away by playing Tommy by Focus. However, the best was yet to come, starting with Gluttony taken from the album Seven by one of my favourite modern Prog bands Magenta. Other songs from the Seven album were Lust and Anger as well as early Magenta songs like The White Witch from their revolutions album. The passion with which the band played the Magenta pieces made the performance very special indeed. The band seem to relish the complexities of these Magenta pieces demonstrated by Phil King’s use of Roland guitar synth and David Smerdon’s metronomic timing in the lower frequencies.

The band played three sets which allowed time to consume pizza and replenish the Cabernet Sauvignon from the bar. Opening the last set, boards man Neil Craig played a rather splendid rendition of Over The Rainbow which i thought was a shear delight. The set list was rich with some great pieces which i have yet to hear many cover bands play. Playing Focus II and III was in my opinion was very brave as was Edgar Winter’s Frankenstien and Sky’s ubiquitous little ditty Dance Of The Little Fairy’s. There were minor observations that struck me, like Rob Bailey’s use of V-drums instead of his acoustic ones, something i feel would have sharpened up the bands sound. When considering that the Stokesley town hall gig is only the bands second outing it is incredible just how together they are.

Anyone who brings culture and different musical genre to the attention of the public have my upmost respect and admiration and that is exactly what Xenolith did on a chilly Friday evening in May. The use of back projection i thought a nice touch too, especially when one of the screens gave a synopsis of the pieces as they were being played and crediting their writer. David Smerdon did a sterling job of explaining to the audience the history of the music and how it was being played. david did so with the precision and eloquence of Peter Gabriel in those very early days of Genesis.

Should Xenolith play in a town near you i would thoroughly recommend you check them out. As far as playing progressive music at an accessible level is concerned i think the band are a breath of fresh air.

www.xenolith.info

Spock’s beard have always been somewhat of an enigma to me. As a band they have always impressed me by keeping well within the prog idiom without attempting to be British as some American prog bands do and suffer as a consequence. spock’s Beard are a band rich in their own heritage and have an great identity no matter who is at the wheel. Brief Nocturnes And Dreamless Sleep is the bands eleventh studio album and follow’s the aptly titles X. As much as i enjoyed their previous work and personnel changes i have to inform all that in my view the present incarnation is without doubt my favourite. Whilst i fully appreciate the genius of Neil l Morse and Nick De Vigilio i simply love what Ted Leonard has brought to the table. It’s always good to have a fresh dynamic brought to a bands flavour and brand and i think Spock’s have played their joker with this album.

The artwork and booklet are to Spock’s usual very high standard. Though i have to admit that resolution of the front cover isn’t as sharp as it could be. Putting the disc into the player felt like it should suck me into the machine such was the energy demonstrated at their most recent gig that i attended. As the first few bars of Hiding Out rang out across the room i knew that i was in for a treat. I wasn’t disappointed. Ryo Okumoto’s piano soon gives way to a powerhouse of a soundstage filled with high octave and driving guitar and bass. It must be said that from the outset Jimmy Keegan’s drums are nothing short of inspirational. In fact Dave Meros and Jimmy Keegan have my vote as one of the best rhythm sections in Prog. The seat of the pants ride through this song continues into rollercoaster I Know Your Secret which gets dangerously close to a metal sound ( a phrase i despise) though i would much prefer to call adrenaline driven prog. Dave Meros bass gives this song a wonderful growl and showcases Ted Leonard’s voice both bitter and sweet, stirring stuff!

A Treasure Abandoned finds Ryo in Mellotron mode. Great strawberry fields flute, strings and chorale, absolutely wonderful. This song is on a grander scale than some of the others, though it doesen’t slow down for a second. I was asked what Spock’s Beard sounded like recently and my reply was many fold, however, my view and description i gave of the present Spock’s Beard was The Eagles meet Led Zeppelin with a nuclear powered keyboard player and this track demonstrates all of those elements. Coming further earthward is Submerged taking on a more soft rock mantel. written by newbie Ted Leonard this rearranged Enchant composition has some very interesting synth-guitar by Alan Morse here as there is elsewhere throughout the album. I think that alan Morse really has come into his own on this album and seems to have been unleashed. This traditional Prog approach is followed by yet another Led Zep-like stomp with some Gentle Giant vocal arrangements in Aftrthoughts which bops along quite nicely. Co-written with ex band mate Neal Morse it does lend more to the bands older sound.

For me though, the best song on the album by a th0usand miles is Something Very Strange. It is no wonder that the band have decided to use this as their opener on the Nocturnes tour.b This really is what modern Prog is about. dave Meros bass guitar can pin your feet to the floor and Ryo’s keyboards are to die for. Yes folks has been nominated the Progmeister’s favourite Spock’s track! Rousing, action packed adrenaline Prog at it’s best. It would be worth buying this album for this track alone. A very hard act t follow, though the grand finale is just that in the excellent Waiting For Me. This see’s the band in a more Yes influanced mood though i would have to admit that i actually prefer the depth of Dave Meros bass than the the treble edged Rick sound of Mr Squire. alan Morses blues offering superbly backed by a solid Hammond sound is absolutely wicked.

Of the songs on the bonus disk Down a Burning Road stands out from the others by a mile. yet again, i keep getting flavours of The Eagles. Whilst i found songs like Wish I Were Here sounded very experimental. It did include some fabulous analogue keyboard sounds (Mellotron, ARP Pro-Soloist) and a striking resembelance to the Beatles Tomorrow Never Knows. Strange because i honestly feel that the band shed their Beatles pastiche penchant on the main body of the album. Good fun though.The remix of Something Very Strange is most enjoyable though not as awe inspiring as the version on the actual album. Postcards From Perdition rounds off a very worthy bonus disc indeed.

I am more than pleased with my personal copy as it was given to me by Ryo Okumoto himself and now a coveted possession. However, i think a copy on vinyl is a must! This is for me the best post Neal Morse spock’s album yet and fast becoming my all time favourite Spock’s Beard venture. Miss this one at your peril.

MY DAY WITH SPOCKS BEARD – THE GARAGE – LONDON 07/05/13

Having been a fan of SB since the early 2000’s, I had the pleasure of meeting Ryo last year with K2 where we cemented a friendship that has grown over the last few months with the release of their 11^th studio album to this coming tour of Brief Nocturnes and Dreamless Sleep… I showed a passion in promoting them and their music that to my surprise hadn’t gone unnoticed by the band and their publicist Sonya, so to be added to the guest list for me was an honour and a privilege…

Arriving mid-afternoon with my best friend who is also a musician we came across their huge tour bus and were greeted by Dave Meros, Ted Leonard and the tour photographer Andy, introductions were made, some unnecessary as it was apparent they knew who we were, Ryo was nowhere to be seen, he was due back at 3pm… we hung around for a little longer and re-acquainted ourselves with the great Beardfish, who we had met on the Flying Colors tour… Nearing 3pm I called Ryo who was trying to find his way out of the tube and round to the gig, we found him wondering the streets, I jumped into his arms, and he looked the typical tourist taking photographs of red telephone boxes! We then met up with Rob Aubrey, the tour manager who being slightly stressed invited us into the gig where load in and set up was vastly underway… I took up my position on a stool armed with my camera and just watched, trying to soak up what I was actually witnessing, we greeted the rest of Beardfish, David and Robert (who remembered us) and I continued mentally putting names to the faces that were walking around me, being familiar with load in, set up and sound checks and understanding that this is a major part of their day that needs their utmost attention, it was an honour to witness this.  After the sound check the guys were able to relax a little more and took the time to come over chat, have photographs taken and sign autographs, I felt like I got to know them more in this brief period of time, I had taken Ryo a t-shirt and he made it a priority that I received one too…My friend John Young arrived, his band had supported K2 previously.  I chatted with Simon Collins (SoC) so much like his dad it was uncanny, except for the accent! John Wesley was 5ft away putting his guitars onto his rack, gave me a smile and at that point the penny hadn’t dropped that he was also the guitarist of Porcupine Tree!

Whilst I am soaking all this up my friend Tony is having a blast talking shop and gear to all and sundry.. Oh and Steve Rothery popped in too..

I think it’s fair to say that I was in a room with some very great and brilliant musicians.

The gig itself lived up to all my expectations, I think Ted Leonard brings something very special to SB, as a singer and also as a songwriter, the highlights for me were Submerged, Distance to the Sun, Afterthoughts, Waiting For Me and Go the Way You Go!

I really won’t forget their generosity, warmth and kindness they showed to me on this tour, I will continue to support them and promote them in every way possible.

SPOCKS BEARD RULE… <3

By Helen Spooner

Chucky says, get your ass to NEBO or i'll come and get yer!!

As many of you know, i am of the opinion that music is best appreciated via a good hi-fi. Owning such toys has been an obsession of mine from being 12 years old along with many others of my generation. a i steam towards my wooded over coat the love and passion for such things will be to a larger extent dying out with me and my kind. In a bid to celebrate such things i have arranged the second part of the great North East Bake Off (NEBO). what the bloomin heck is a bake off i ask you say? Well, unlike the ladies from the womens institute who compare, grade and appoint a winner of their cake baking prowes, audiophiles assemble their wares to appreciate each others toys and generally have some nerdy banter. Usuallyb augmented by drink, curry and male bonding.

So, if you live in or near the North East of England, love music and hi-fi, why not come along and hang with the Progmeister for an evening. Listen to some great music being played at it’s best. See details below.

I acquired this album on the strength of a a blind listening to the first song.  I was asked who i thought it was that was playing. Of course i did’t have a clue, though i knew that i liked it a lot. Once i that was put out of my misery i was smitten. I have to admit that much of Oliver Wakeman’s work has passed me by. Having experienced Hound Of The Baskervilles and Jabberwocky i decided that Oliver’s work just simply wasn’t for me. The collaboration with understated  guitar legend like Gordon Giltrap has proved to be a master stroke. Giltrap’s contribution is best appreciated on the double disc version of the album  which includes some live pieces as well as some acoustic based studio track. Oliver Wakeman’s playing throughout the album is exemplary and exudes a rich heritage complete with the flourishes passed down from father to son.

Moneyfacturing couldn’t have been a better opener if it tried. Gordon Giltrap’s crisp acoustic guitar starts off the proceedings which soon gives way to Oliver Wakeman’s deft touch with classic synth lead. I was quite taken by the message of this song especially in the present economic climate. I was surprised to read in the rather swish booklet that Oliver is credited with the lyrics which are nicely sung by OW band member Paul Manzi. Paul’s voice reminded me of Lenny Zakatek (Alan Parsons Project) on occasions throughout the album and seemed to fit like a glove with Gordon Giltrap’s subtle electric guitar playing and Oliver Wakeman’s choice of keyboard textures and technique.

This is demonstrated perfectly in the beautiful Fiona’s Smile where the sound-stage is pared down to piano and acoustic guitar. the subtle and delicate nature of this piece allows both musicians to be heard with vivid clarity and contrasts well with the electronic laden songs elsewhere throughout the album. Modern day YES front man Benoit David makes a brief guest appearance singing From The Turn Of A Card which. A damned fine job he makes of it too. Reminiscent of The Doors this chirpy little ditty is too short by far and helps fuse a fun element with the next rather serious piano and guitar piece LJW to flow and maintain the wonderful contrast throughout the whole journey.

Maybe Tomorrow may well be my favourite song on the whole album. Paul Manzi’s voice taking on a more melancholy inflection sounding more like Colin James Hay (whom i absolutely love). Giltrap’s sumptuous acoustic guitar augmented by a wonderful Moog Voyager though once again, far too short for my liking. Speaking of sumptuous, the next piece so aptly titled is just what it says it is Wherever There Was Beauty, it is just that beautiful. This is a piece of music that you would expect to find on a Steve Hackett album. Oliver Wakeman orchestrates Giltrap’s steely metallic acoustic guitar allowing in to stand proud of grand foundation of string accompaniment. A Mayfair Kiss finds oliver on his own at the piano. It is when you get a musician playing one unaccompanied instrument like this you can hear their most basic talent. Oliver Wakeman’s touch here fair near left a lump in my throat. oddly enough with certain chord structures i could hear influences of journey To The Centre Of The Earth. Though i have to say, i prefer Oliver’s lack of pomposity to Wakeman senior’s gattling gun piano outings.

Credit Carnival really hits home the message of our present buy now pay later culture and really is a balls to the wall Prog outing. Johanne James drumming gets him well noticed as does Steve Amedeo’s bass playing, adding weight and dynamics to the serious message. Keyboards take on a truly retro feel to them here and Giltrap’s gritty guitar help to further capture the mood. To bring things back down to Earth before the title song One For Billie a short acoustic guitar piece by Mr Giltrap allows you to hear just how spacious his playing is compared to fellow guitarist messres Howe et al. The concluding song Ravens Will Fly Away is as much of a joy as the rest of the album and when it’s finished you simply want to press the start button and listen to the whole thing again.

The album is available in both CD and Mp3 format though a two disc special edition is available that i thoroughly recommend. The second disc contains five live pieces recorded during the Ravens & Lullabies tour in October 2012. In addition to this there are a further three new studio recordings Prelude (From The Well Tempered Clavier), The Forgotten King and Roots. The latter being of the old fear Of The Dark Giltrap era that we all know and love him for ith some serious Wakeman synth. The special edition version also contains an autographed insert to further enhance pride of ownership. Artwork by Liliana Sanches and presentation are both first class. I have no idea if Oliver Wakeman and Gordon Giltrap have any plans to repeat this amazing collaboration, i can only hope they do. If not this capsule of their collaborative work will be a fitting archive of shear genius.

CD £12

Special Edition double CD with autographed insert £14:25

Mp3 £7:49.                                                                                                                                                               Prices correct at time of posting

www.giltrap.co.uk

www.oliver-wakeman.co.uk

When i was asked if i fancied going to see Spocks Beard at Newcastle’s 02 academy it was a bit of a no brainer. Having seen The Spocks before at the CRS i simply couldn’t wait to get there. Imagine my surprise when my co-pilot casually announced the “oh yes, there are two support bands on too”. The evening was simply getting better. To my further joy i was then told that supporting Spock’s Beard would be Beardfish and Simon Collins band Sound Contact. I was on a high before the first note rang out.The music of both supporting acts was something i was totally unaware of as indeed was the new Spock’s Beard album. What i can confirm was the shear enjoyment and musicality of both bands. Beardfish seemed fresh and tight as a nut. A band i will definitely be exploring very soon. Simon Collins band too were totally cohesive the boy looking every bit the Flaming Youth version of his father Phil. Simon’s voice and solid drum technique echoed is striking resemblance too. Both bands had a slightly heavy feel than i am used too but i loved it nevertheless.

Beardfish a breath of fresh air

By the time Spock’s Beard hit the stage the crowd were well and truly warmed through and treated to a high octane performance by these seasoned Prog warriors. Together with their new homie Ted Leonard who first struck me as a Henry Rollins figure they wasted no time at all playing music from their latest album Brief Nocturnes And Dreamless Sleep. Something Very Strange was the first up and it was launched into like a rugby match following an all blacks type mid stage meeting and war cry. Having heard nothing from the new album this song was new territory for me as were the rest of the songs from the new album. Ryo Okumoto’s effortless keyboard playing was a joy throughout the whole evening and he also took on the mantle of cheerleader and master of ceremonies too. Without stopping for breath the second helping of the album was executed with gusto. I Know Your Secret really caught my attention and just like Ryo’s keys echoed in my head all the way home.

Ryo Okumoto a true legend

Ted Leonard and Alan Morse

Dave Meros bass growled the whole evening too, it caused me to check my phone a couple of times thinking it was vibrating in my pocket such was it’s low frequency powerhouse grip. The band as a whole are without doubt one of the most together live bands i have yet to see. Dave Meros and Jimmy Keegan make for an exceptionally powerful and cohesive rhythm section whilst Alan Morse pitched up to be every bit Ryo’s musical nemesis when trading solo’s and stage antics. All of the pieces from the bands new album went down very well with the crowd namely Hiding Out, Submerged and Afterthoughts which i particularly enjoyed. Some of the old faves were played too, the most memorable being Distance From The Sun when Jimmy Keegan emerged from behind his drum kit to assume Dave Meros stage position whilst Dave replenished his stock of Budweiser. The harmonies throughout this song were every bit as good as anything i have heard at a Yes gig.  Jimmy Keegan proved himself to be as good a choir boy as he was a drummer. He returned to his kit to assist with the final song of the set, Waiting For You, again from the new album. Absolutely staggering.

During the set Ryo handed out some free gifts to unsuspecting members of the audience, myself being one of them. So, despite not hearing the new album i ended up hearing most of the songs played live and going home with a special edition double disc which i managed to get signed afterwards. After some power clapping the band returned to the stage and finished the night off with Go The Way You Go. Ryo’s amazing keyboard playing and aerobatics drove the crowd mad which in my own opinion elevated him to legend status. Alan Morse too just seemed to be on fire and i much prefered the band in this incarnation than the last. Ted Leonard had all the hallmarks of Brian Adams and from time to time sounded a little like Chris Thompson too. Ted’s guitar playing wasn’t too shabby either. My only negative observation of the event is that such a band as Spock’s Beard deseves a larger stage to play on and a larger crowd to enjoy them. However, the audience they had could not be bettered. I managed to have a chat with the band at the meet and greet afterwards and complimented each one of then on their performance. However, it was meeting and chatting with Ryo Okumoto that thrilled me the most. The man has energy and spirit that is simply enchanting and i would urge you to bask in his genius whenever you can. What a great start to what i have designated the year of Prog!

Well, 2013 is promising to be a great year in Progworld. There are so many positive things to look forward to. The thing that is thrilling me the most is seeing Camel live on stage again. I can’t thank my good friend Steve Tyson for obtaining the tickets direct from the box office and bringing a lot of joy to my life in doing so. I simply can’t wait. earlier in the year tragedy struck Progmeister towers when the the Steven Wilson gigs became sold out and i couldn’t make it to the ones that weren’t. Imagine my delight when they announced more UK dates later this year and i managed to get tickets? The footprints are still on my lounge ceiling where i walked on it during a further display of overwelming joy. As if this wasn’t enough i have tickets for two performances of Steve Hackett’s Genesis revisited II shows. This weekend i will be catching Spock’s Beard in Newcastle and hoping to catch up with reviews i haven’t yet managed to write.

Phew, if that is not a sure sign that prog is alive and absolutely kicking what the hell is? In the year that Dark Side Of The Moon turns forty i think it only fitting that 2013 is designated year of Prog in much the same way as 1977 was year of the cat. As far as music goes albums like Big Big Train’s English Electric part II, Steven Wilson’s The Raven That Refused To Sing and another album with Raven in the title, Oliver Wakeman & Gordon Giltrap’s Ravens & Lullabies( review pending ) are simply setting the bar very high and making 2013 a very special year indeed. who said that 13 is an unlucky number? All this and still more tantalizing music in the pipeline from bands like the mighty Tangent for which i simply can’t wait, Nick Magnus whom i consider to be a bloomin genius and lesser known artists like personal favourites of mine Combination Head and of course my good friends Brendan Eyre & Tony Patterson who are hard at work on Northlands.

All this on top of some great Progfests such as celebr8 and the Cambridge Rock Festival et al are making this year a real celebration of well established old school artists as well as those who simply deserve to be well established artists. I am really excited to be supporting local and lesser known artists as i feel is my remit. On 17th of May i will be attending a gig at Stokesley town hall by an as yet unknown band under the name of Xenolith. Xenolith cover music by bands like Magenta and Focus this in itself is a breath of fresh air. So many bands choose the obvious roote of playing Prog classics by the big five. I await with bated breath to see what this band will pull out of the hat.

I am still in two minds about Progmeister III. One thing is for sure it won’t be this year as with so many other brilliant things to see and hear it would be suicide for me as an independent body to stage such an event. I will regroup with team Progmeister later in the year to discuss plans for next year. I have the basis for some ideas for smaller events which i intend to share very soon. As some of you know i am not only a Prog fan i am also a passionate audiophile so i am also planning events and a business venture based around that. If there is anyone out there interested in such matters please get in touch. So, there we have it, 2013 is the year of Prog. I hope that should any of you attending any of the gigs above and see me milling around please say hello and let me know what you think of all matters Prog. Have a great year.

For more information about Xenolith go to www.xenolith.info

I have always been of the opinion that John Young is one of the nicest guys in the music biz and followed his career avidly since meeting him whilst he was on tour with Greenslade many years ago. The John Young band are always a popular attraction and his style is instantly likable so when i heard about his collaboration with bass/Stick supremo Nick Beggs and and Cutting Crew tub thumper Frosty Beedle i was intrigued to say the least. From the very first tasters with the fasinating artwork to the final launch i pinned large hopes on this project and i wasn’t to be disapponted. The album also presented with a strange phenomenen when i eventially sat down to write my review and was listening to it whist doing so. A little more on that later.

With only five songs and some of Prog’s royalty involved, Lifesigns sets out it’s stall from the outset as being an all out Progressive album and in some ways it is though ultimately i have to confess that it does melt into what would be expected from a John Young album. Lighthouse is a great opener and in the company of  two eighties muso’s actually has a somewhat eighties feel. All throughout the album JY’s keyboard textures are soft and seem to put some of the songs into a soft tinted soundstage. However, the song benefits from John’s great voice and excellent keyboard playing with some really nice synth fills.

Telephone, which on the day of writing this review was released as a single moves slightly left of Prog and more towards the eighties pop sound in some ways. Nick Beggs sumptuous bass and Chapman Stick has a rather nice growl to it and drives the song beautifully in a way that makes it  joyful to listen to though a little lacklustre in grip and overall excitement. This song could well do what all of the efforts that Genesis employed in drawing a female audience into the Prog arena. This continued with the next song Fridge Full Of Stars which is tinged with many Yes traits. Electric and acoustic guitar throughout the album are courtesy of stalwart Jakko Jakszyk and JY band member Robin Boult as well as a camio my the now legendary Steve Hackett. Messrs Jakszyk and Boult contribute admirably preventing the album being a totally keyboard dominated event though often giving the impression of being reined in from time to time.

The beautiful vocal harmonies that ring out on the penultimate track At The End Of The World are really quite uplifting with some nice splashes of acoustic guitar backing.  John Young’s peaceful vocal beginnings carry the song in a lilting way to a thrashing crecendo aided by some powerful drum exploits by Frosty Beedle who for some reason seemed somewhat muted until i discovered the fore mentioned phenomenen. This is the very bizarre production quality of the album which fails to impress util the volume is turned up a few notches. After i had done so it was as if i was listening to a different album. I am not talking ear splitting levels here, it is very subtle indeed and i would advise anyone listening to the album should you feel it lacks depth. I felt as if Nick Beggs and Frosty Beedle had actually come back into the same room as JY.

Carousel finds Steve Hackett’s crazed guitar sound giving a pinch of the old magic to the proceedings as does Thijs Van Leer’s Tull-like flute chops. however, it is the main nucleus of the band that take the album out in style completing the five momorable songs. Songs that do manifest themselves and are likeable too. There are so many good things about Lifesigns and it deserves to sell well. I think it will appeal to a wider audience than just the lentle munching, real ale swilling Prog fan to whom it will be more than acceptable and may even capture the ears of a few ladies.  For myself however i would have liked a little more grip and grit and a few less keyboard pads. The booklet artwork is very good and the album comes nicely packaged. Well worth a punt!

Lifesigns is available from amazon pice £9

http://www.facebook.com/Signslife?fref=ts