Beardfish

This week prog fans, I was shocked to discover a band I overlooked in my youth...until I realized Beardfish was not formed until 2001...holy cosmic throwback!  I just looked out into the driveway to see if my 1973 Chevy Chevelle was parked there--because I have definitely traveled back a few decades.  Beardfish is all at once a great new sound and a fantastic stroll through progressive music past.

I start out my prog "feast for the ears" with a song entitled, "Akakabotu" from the band's 2011 release "Mammoth."  I immediately detect hints of Yes, Genesis, and vintage Frank Zappa from his jazz fusion days...talk about mentors!  If this is some of the talent Beardfish draws inspiration from, I believe I am making quite a few trips to the buffet tonight.  The keyboards and the horns on this track are absolutely amazing; all I need is a black light and an old sofa to sit up on the back of and my day is complete.

Moving to another track from the Mammoth album, I find "And the Stone Said: If I Could Speak."  Just the title alone is reason to check this tune out...and I am not disappointed.  The opening again takes me back to the classic prog days; I get a strong taste of Atomic Rooster with a hint of Deep Purple thrown in.  Beardfish is a band that can truly play.  Few bands can lay down a sound this smooth while drawing from so many influences.  After listening to the first two songs here I can no longer say "They don't make music like they used to."  They most certainly do--and I will happily keep looking for more.

OK; now the section I have decided to call "Liner Notes."  Beardfish formed in 2001, went through a few personnel and line-up changes, and the band currently consists of these very talented musicians...Rikard Sjoblom on vocals, guitars, and keyboards, David Zackrisson on guitars, Magnus Ostgren on drums, and Robert Hansen on bass.  The evolving membership occurred mainly in 2002 and 2003, and with the exception of Robert on bass, each current member of Beardfish was there in the beginning.  The band's website states they are fans of King Crimson and Gentle Giant; their homage to these two icons of the progressive world definitely comes through.

For my next helping, I chose the title cut from the 2006 album "The Sane Day."  The song opens somewhat jazzy/bluesy;  I am reminded of a smoky nightclub after hours when the musicians play what they want rather than what the crowd came to hear.  The keyboards here work slowly into your mind until you are mesmerized, almost forgetting the bass is pulling your frontal lobe towards the center of the musical universe. Beardfish plays songs you want on your iPod when taking a cross country bus ride at night--a great time to focus on nothing but beautiful music...

OK, now to find a great finish to what has become a fantastic prog meal.  For dessert I cheat just a little and take a double helping; "Sleeping In Traffic" and "Sunrise Again" from the 2009 release, "Sleeping In Traffic Part Two."  The music is as refreshing as the first strawberries of spring, and the vocals are just as smooth.

Beardfish is a band that does the prog genre proud--they play great music the way it was intended to be played and enjoy every minute of it.  It is as if four people share one  mind when it comes to music; each knowing what the others are trying to do and adding the necessary accompaniments.  It would be a wonderful thing if more airplay was given to bands like Beardfish...

The cut below is called "In Real Life There Is No Algebra."  Having a daughter currently studying algebra in high school, I couldn't resist--and the fact that the song is amazing didn't hurt.  Beardfish is an incredible band that does two things better than most; play music and come up with cool song titles...although Frank Zappa might argue the second point.  Either way there is no reason to get upset...just cue up the album and play on...

If you like Beardfish check out their website www.beardfishband.com, take a nice long listen, and enjoy...if you are unfamiliar, take two days off from work (or school) and set up camp in the YouTube library, 'cuz you got some catching up to do!  Just don't forget to come back here next week and check out another brave new entry in the wonderful world of prog.  So many great bands, so little time...

The Room

Good evening prog heads, and welcome to another installment of "What Shall I Try This Week?"  I admit that lately I have felt like a kid in a candy store with a pocketful of birthday money, trying to decide how to spend it.  The only difference is this is a virtual music library and I get to try it all...I just need to avoid the proverbial bellyache.  So let's take a walk down this aisle and see what awaits the curious...

I am proud to say that each week since I started this journey I have successfully found a shelf with new offerings unknown to me prior to this blog.  It has been fun, exciting, and dare I say educational to discover so much new progressive music filling the internet airwaves.  It is refreshing to find so many good options out there, especially with corporate radio clogged with the latest vanilla, tasteless, mundane, feces being thrown at our youth...ahhh, but I digress...only happy thoughts here...

Today I have stopped in front of the section labeled, "The Room."  They call themselves a "crossover prog band."  Hmmm...yet another progressive rock group I have not heard on the airwaves or my stereo.
Perhaps it is time for new addition to the menu...let's find out what "crossover" is prog lingo for...

I start out with a song called "Flesh and Bone."  After a quick flashback to Pink Floyd with the chopper sound effects, I get a sense of a strong first cut.  Once the drums start and the music begins, the sound is very bold and definite.  The bass line is strong and the keyboards have a prominent place in this tune.  Everything seems to mesh; these guys are feeding off each other and the result is a strong first taste.  However; if I didn't know better, I could mistake the sound for an early Fixx release...on to cut number two...

"A Casual Believer"  opens strong and definite just as "Flesh and Bone" did...The Room has dialed in a style and a sound that makes them recognizable once you get familiar.  The vocals are good,and the song is very clean.  Not sure who did the mixing on this song, but I can tell it wasn't his first time playing with the controls. The guitar work is excellent and carries through in respectable fashion.

OK...time for the obligatory "look backstage."  The Room is Martin Wilson on vocals, Andrew Rae on drums, Andy Rowe on bass, Steve Anderson on guitar, and Steve Checkley on keyboards.  Andrew is also credited as founding member of The Room and everyone has been in the prog music world for a while. Steve and Martin are former members of Grey Lady Down and the others have also played in various prog rock bands.  The Room formed in 2010 and hit the world hard in 2011.  The Room is five multi-talented musicians; each contributes to the songwriting and has an influence on the sound and musical direction.  

The songwriting has hints of late Genesis; post "And Then There Were Three" when Phil Collins began to steer the band away from the prog world toward the bright lights and big arenas.  Don't get wrong; I like the sound of this band, I just get the feeling "crossover prog" translates to a more mainstream sound than I am accustomed to...but I did set out to broaden my knowledge and expand my pallet, so let's keep going, shall we?  One thing I have learned about progressive music in recent months...the definition has evolved.  Most bands (with any talent and morals) today try hard to steer away from the "mainstream pop and rock" label with good reason.  I would sooner crawl naked doused in rubbing alcohol through broken glass than be associated in any way with Lady Gaga, Justin Bieber, et al...but again; I digress...

"The Spark" is a song that starts out slow and subtle...but listener beware; it may move over your ears like a ballad, but it breaks through with a steady thump, strong melodic vocals, and a marching band drum that leads the bass through a tight, well choreographed beat.  The song is good and The Room is definitely filled with talent.  So I like what I hear...but I am still looking for that one song able to kick my butt up and over my shoulders.  One more look around The Room and what do I see...

For my last song this week I find "Screaming Through The Noise."  This is what I was looking for when I walked in the library today...a song that opens with mystery and suspense, only to cut right through your ribs, kick your heart, and reverberate through your extremities.  This is crossover prog at its finest.  You can feel the emotion in Martin's voice; heck each note drips with blood.  Everything works here...the guitar, drums, keys, even the backing vocals are sung with a rawness that comes through like a meat cleaver.  It's official--I'm a fan.  When I went looking for new and unfamiliar prog, this is the type of sound I was hoping to find. Building from here there will be a house around The Room in no time...


The cut below is "Screaming Through The Noise."  Once again I go against my "different link than what was reviewed" rule but this song is so powerful, raw, and real I wanted you to have a taste of what I have quickly come to appreciate as "crossover prog." There is an intensity to this song that makes me want to dim the lights and sway in my chair slowly...

You can get a better view of The Room by visiting their website at theroom.eu including additional links to more music.

So far so good...my prog playlist has grown quite a bit in five weeks and I have only scratched the surface. Next week I will force myself to venture down yet another untrodden aisle in my never ending search for all things prog.  Now where did I put that candelabra?  Until next week...

Fire Garden

As promised, I am  standing in a section of the prog library where the floor is beautifully polished...because my size 10's have yet to scratch the surface. I am really enjoying this journey and I hope you are as well...so let's take a look at what musical indulgence awaits us this week...

Checking the shelves of the unknown, I see Fire Garden, a prog band from Chicago.  In the spirit of full disclosure I will say up front that direct contact from the band via Twitter led me to this corner of the library. Fire Garden is a band I was absolutely unfamiliar with prior to this...and so far I like what I hear.  Although it is a much overused "mantra"--to the point of being cliche--I like the expression, "Go big or go home."  This fits perfectly with the start of my listening adventure, the song "Forsaken." True to the band's website, Fire Garden is reminiscent of Dream Theater and that is not a bad way to start the morning...caffeine without the coffee.  "Forsaken" opens real strong with the drums leading the guitar down a path heavy laden with a full sound that smacks you in the face but does not make you mad...rather it energizes you.

OK, let's take a quick look behind the curtain.  Fire Garden is Chase Carter on vocals, Zeeshan Baig (Zee) on guitar, Frank Lucas playing keyboards, Barry Kleiber on bass, and Chuck White on drums.  Zee is credited on the band's website as founder, lyricist, and songwriter, as well as the "mastermind" of the band...but after listening I prefer the term "evil genius."  These are five musicians who truly complement each other.  While I do detect tastes of Dream Theater, Porcupine Tree, and even a hint of Uriah Heep, Fire Garden has created a sound that is uniquely their own.

Fire Garden released their first EP, "The Prelude," in December 2012 and are currently putting together a full length album due out this fall.  If the "The Prelude" was designed to whet the appetite, it worked with me...my pallet is awake and I am ready for a full serving.  Zee's guitar work is hard to pin down...I sense a man pulled in many directions while mastering his craft and allowing those influences to morph into a sound that pays tribute to classic prog while blazing a metal path all his own.  Kleiber's bass is not what I expect in a prog metal band.  He hammers you in the head one minute and then takes a backseat the next...this shows me a trust and confidence among the players in the band that usually takes years to build.  Chuck plays drums the way they should be played; hard fast, and loud enough to be heard but not so much that the rest of the music is an afterthought.

The second cut I listen to is "Far From Grace."  This one starts out more on the mellow side of "Forsaken" but don't be fooled; it comes right back at you in short time.  Zee once again works guitar magic with the opening riff--not too hard and not so long that you forget there is a song here...just enough to keep you focused.  Chase's vocals are very good, he hits the bell with one swing of the hammer.  I like that he is able to put emotion into the song without coming off like someone who doesn't know what his range is or even what that means...he takes immediate control and never lets it go.

"Time Machine" is the final cut from the three song EP I get to sample here.  This one drives out of the gate fast and holds steady throughout. Frank gets a chance to show his keyboard presence on this track, and I am impressed at how he is able to show-off without drowning out or overpowering the rest of the band.  If I have one regret it's that I am out of music to play here...

Hard to believe this is the debut from Fire Garden; it sounds more like their third or fourth release.  I know the members of Fire Garden have side projects and other things going on professionally--which has helped sharpen their abilities--but this first output is very good.  I am eager and excited to get a listen on their full length LP when it comes out (not so subtle hint inserted here).

I posted the video below for two reasons...first, (if you have noticed) I prefer to post a song not among the specific ones I reviewed.  However; there is only so much out from Fire Garden as of this post, and I wanted to get all three songs covered here.  The second (and biggest reason) is "Far From Grace" is the only song I found in the YouTube wing of my vast and expansive library...but I am quite confident you will be pleased...and just like me, hungry for more.

Check out the Fire Garden official website at firegardenmusic.com for more info...you won't be disappointed!

Once again I am pleased to find such great new music lurking in the progressive wing...I may have to start an addition to the library soon.  If any other prog bands care to tweet me, I am happy to oblige with a review.
I really am a cheap date...see you next week.

Eden's Curse

This week I thought I would shake the Etch-a-Sketch a little more and check out a different section of the prog library...progressive metal.  I have long been a fan of Dream Theater and Liquid Tension Experiment, but I know there are many other flavors out there; newer ones that have not yet achieved the rank in the prog metal world of DT and others...perhaps hungrier and more willing to push the envelope some. They say the view can be better from the edge...

So I took a risk and strolled down a dark hall, lighting an eerie candle in my search for something entirely different...welcome to Eden's Curse.  This is a band I am not at all familiar with going in, so please indulge me while I learn along with you about an up and coming prog metal band.

Eden's Curse...just the name tells me we are walking on the dark side this week...so far so good.  The band formed in 2006 and released their first album in August 2007.  The original line-up consisted of  Michael Eden on lead vocals, Paul Logue on bass, Thorsten Koehne on guitar, Pete Newdeck on drums, and Ferdy Doernberg on keyboards.  Eden's Curse started out by reaching to four countries on two continents to find five musicians...crazy beginning which makes me even more curious...so I think I need a listen before I commit either way on this band...

My first taste of Eden's Curse is a cut from their self-titled debut album called "We All Die Young." This is actually a cover, and it is quite good.  This is a song I probably would have avoided 15 years ago when I was turning my nose up to anything metal...stubbornly clinging to my "classic prog is better" beliefs. Lucky for me age brings wisdom.  For a debut the piece is crisp and clean, the guitars polished, and the vocals hit you square without making your eyes bleed...a good start.  The tempo is definitely fast and my adrenaline is pumping.

Eden's Curse is not for the faint of heart...one more cut from their first album, "Judgement Day" continues in the heavier prog tradition that metal thrives on. Eden's Curse seems to enjoy punching you in the gut right from the start.

A little more background reveals the band has gone through a few personnel changes in its short existence. Michael Eden and Ferdy Doernberg are both out and the current line-up is Paul, Pete, and Thorsten joined by Steve Williams on keyboards...he replaces Alessandro Del Vecchio who replaced Ferdy, and Nikola Mijic handling lead vocals.  EC still seems to enjoy globe hopping to recruit members...

Looking at their more recent output I find a cut from their latest album, Trinity, called "No Holy Man."  The album is a dark look not so much at religion but rather at the people behind the curtain.  It exposes the human weakness in those who consider themselves religiously superior.  But this is a music blog--not a forum for religious debate--so please hold your arguments and rebuttals for the band.  As for the song, it starts out solid and builds from there.  It has a polish to it that tends to defy the song itself...if that makes sense.  The drumming is a bit lacking at times, but Koehne's guitar keeps the band tight.  Vocals are good and stay hard throughout. The live version I listened to featured James LaBrie from Dream Theater--which should have been enough to carry the song. Unfortunately he seemed a bit too subdued for my liking on this cut.

I really want to like this band, so I decide to try one more track, "Jerusalem Sleeps."  This song seems to cut a little deeper and have a bit more precision.  When I hear the words "Prog Metal," this is more what I am thinking. The drums are very definite and solid, and a great lead for the rest of the band to follow.

I am trying hard to break out of my comfort zone with prog, and Eden's Curse is definitely a step in that direction--more like a catapult for me.  Progressive music has changed a lot since Robert Fripp first graced my ears, and I can accept that...but I still want more than just loud and fast metal for the sake of pissing off the neighbors.  Music needs substance, and on some cuts Eden's Curse is dead-on...no pun intended. Other times, however,the band seems to miss the mark.  Eden's Curse are relative new comers to the prog scene, having released their first album only six years ago, and their fourth studio album is not due out until the fall. They have time to mature and come together not so much like a fine wine; but rather like a kick-your-ass single malt...that would be nice...

I chose the cut below, "What Are You Waiting For," because it encompasses everything I believe Eden's Curse imagined when they first thrust themselves on the planet--a great sound; solid contributions from each member of the band that makes the whole better than the sum of its parts.  This cut is from their first album...let's hope they stay true to their roots.

Not sure which direction I will head next week...but rest assured I will be leaving footprints in a yet another section of the prog library yet to be trod by yours truly...

Spock's Beard

As I travel the road of progressive music, I am amazed, impressed, surprised, and even a little shocked by it all.  Perhaps I was living in a time warp where progressive music consisted of King Crimson, Pink Floyd, Atomic Rooster, Yes, Genesis, ELP, and other "intellectually superior" bands from an era long ago...my how refreshing the face slap of humility can be...

One of the more recent bands I have listened to (albeit very occasionally) is Spock's Beard.  This is another one of those bands I find hard to nail down and quite honestly that is what brought them into my sights this week...a band that just looks to mimic the sound of another does an injustice to both the flatterer and the flatteree.   Besides; if I want to hear Pink Floyd I will play Pink Floyd.  I prefer to try out a band not afraid to leave their own stain on the ears of the listening public...and that is Spock's Beard.

Although there are hints of Yes, Genesis, and Gentle Giant, when I am listening to Spock's Beard I get a sense of being tossed into a time machine and coming out at different times in the past and other times in the future...a la "Time Bandits" if you will; hopping through holes in space to steal the best the era had to offer. Spock's Beard has a unique sound that is at once soothing, stimulating, shocking, and easy to get lost in.

Started in  Los Angeles in 1992 by brothers Alan and Neal Morse, Spock's Beard current line-up consists of the aforementioned Alan Morse on guitar, Dave Meros on bass, Ryo Okumoto on keyboards, Ted Leonard on lead vocals, and Jimmy Keegan on drums.  Neal Morse, the original keyboard player and primary lead vocalist, left the band in 2002 to pursue a solo career; original drummer Nick D'Virgilio left in 2011.  Not wanting to get too caught up in the line-up and personnel changes the group has dealt with, suffice to say the current five members of Spock's Beard have quite a good thing going.

Each current  member of the band is listed on their website with vocal credits and the lead vocals are often shared on different songs...making SB a very versatile band. The layers of guitar, percussion, and keyboards work extremely well and the lyrics are well written.  Listening to "The Healing Colors of Sound" I am transfixed by the complexity of the  intro as it leads to 21 minutes plus of a walk through history as seen through the bible, family, politics, life in general, and a bong...very impressive.  Get too lost in this song and you can easily forget you have an alternate life with responsibilities...

"The Doorway" is another song that opens with an impressive instrumental piece, this time it is keyboards that take you in gently and prepare you for the 'E' ticket ride.  Released in 1996 on the band's second album "Beware of Darkness," this is the kind of song that helps lift progressive music to the upper class of rock 'n' roll where it belongs.  The guitar layers flow beautifully with the percussion and keyboards, and the vocals--while fantastic--bring the sound around to its completeness without fading into obscurity or overpowering the listener.

"Gibberish" is another earlier release from SB, coming out in 1999 on the "Day For Night" album.  Spock's Beard truly is a band that understands the complexity that is prog music; layering the vocals between guitar, keyboards, and drums like a well made sandwich.  It comes at you simultaneously from all sides...slapping you in the face one minute and tapping you on the shoulder the  next.

For those unfamiliar I strongly urge you to dive into Spock's Beard music full on.  Do yourself a favor and start with the early stuff--but don't stick to any chronological order...better to play it like Monty Python and go the time bandits route...and believe me there is plenty of good stuff at each stop.

I chose the cut below, "Into the Mouth of Madness" because it sums up Spock's Beard and proves my point; they are the square peg that you can't hammer into the round hole.

So far I like the journey we are on and I hope you are enjoying the ride as well.  I can't wait to see where this train stops next...

Marillion

I am sure you noticed the new background...I thought since I was taking the blog in a new direction I would start with new artwork...pretty snappy, eh?  My kids tell me I am just full of...new ideas...so on we go...

I mentioned in my previous post that I was taking a new journey with this blog to educate both you and me...and I am staying true to my word.  I deliberately chose a band I was unfamiliar with--and one that is "cool" enough to follow me on Twitter.  I figure if they are willing to give me a shot the least I can do is return the favor.  So if you will indulge me as we take this new road together I will attempt to give a little insight into what has been described as a neo-progressive rock band from the UK.

Marillion formed in 1979...which on the one hand makes me feel old and on the other hand makes me a bit embarrassed.  Old because '79 was the year I said good-bye to high school and hello to culinary school...seems like a lifetime ago.  Embarrassed because I have not heard their music in all these years.  Makes me think that despite believing I am more broad minded, worldly, and musically savvy than the average Top-40 fan, perhaps I am just caught in a different paradigm where I too stay close to the center hanging onto the familiar, away from the outer edges...wow; I actually wrote that without the aid of a black light or a bong...

First let me say this is one cool band and their sound is very hard to nail down.  I have been listening to some different cuts via their website--where they are giving away a demo CD or download if you request it (take that "Big Record Label elitists") as well as in my favorite music library known as YouTube.  Their current line-up consists of Steve Hogarth on vocals, Steve Rothery on guitar, Ian Mosley on drums, Pete Trewavas on bass, and Mark Kelly on keyboards.  Their original singer, Fish (aka Derek William Dick) left the band in 1988 amid tensions and disagreements about excessive touring.  The band sans Hogarth has pretty much been in tact since 1984; Hogarth joined in 1989 to assume front man duties.  OK enough back story...about the music...

Listening to the sampler "Crash Course" gives me some insight into the band's sound, although I must also gather more evidence as time allows.  The sampler is a polished listen to what the band is about as defined by the band.  That is all well and good...but I need to decide for myself...

The first song I am exposed to is "The Sky Above the Rain."  The sound is clean and the vocals strong, a good start.  But I want more from a prog band.  Less of the studio sound and more of an improvised movement that flows from each member as if they all knew what the other was thinking.  "Power"  has a solid groove and a good bass line, but again it reminds me more of The Alan Parsons Project (not a bad thing) and even Radiohead than early Genesis or Porcupine Tree...perhaps I need to dig deeper...

"Script for a Jester's Tear" is much closer to what I am looking for in a prog band...and evokes some of the early Genesis I have heard so much about.  The song moves through many mood swings and drags the listener through the depressing life of someone who continually falls short of his own expectations.  Musically it is excellent; the layers of guitar and the percussion work together flawlessly; this song really flows.  "Market Square Heroes" is another early release that takes me back to the better days of the progressive sound.  Fish has a voice that really resonates, and the whole sound on this cut reminds me of Uriah Heep.  Marillion seems to be a band that picks up steam as it goes and rides that adrenaline rush all the way to an amazing climax.

Before I am accused of being strictly a fan of Marillion during the Fish era,  I also greatly enjoyed the song "Dry Land" from the band's first LP with Steve Hogarth on lead vocals.  The sound is definitely different--I understand why people say the band keeps re-inventing itself--and this song really reaches into your emotions.  The knife twists slowly yet is able to allow the listener to enjoy the pain; not overly sharp nor numbingly smooth...just the right amount of "stab" if you will.

Moving through the Marillion library, I am trying to avoid the continual comparison to other bands as I believe this ultimately diminishes the members here and their music.  Originally I made mention of sounds and bands I was reminded of to give you the reader a base from which to leap when diving into Marillion for the first time, just as I have done.  However; I believe that a week of listening to this band over and over has given me what I need to judge the band and its music on its own merits.

Marillion is a band I have come to enjoy listening to and I can honestly say this past week has been a musical pleasure for both me and my ears.  Checking out their website I see they have quite a few solo and other projects going as well.  I like that because I believe it keeps the members fresh and open to new ideas. Touring is still something they keep up at a heavy pace as well...but this band seems to have gotten in early on getting the audience involved and staying true to the people that got 'em to where they are.  You don't release 17 studio albums by chance...

The track below is "Misplaced Childhood."  I chose this song because it reminds me of what makes progressive music special...break the parts into their separate selves and they are just ordinary--but take them as a whole and you have an entirely different entity...one that barely resembles the parts from which it was constructed.

So I guess change and an open mind can be good.  Hey; I twice saw Robert Fripp play guitar while standing up--once live in Boston and once in a video--so you can teach an old dog new tricks...see you next week with another new serving from the progressive buffet...

Making Change is Making Progress...I Think...

I started this blog back in February of this year mainly as way to  post in the black hole of space what I believe and feel about music.  Now that the seasons have changed (twice), the nest is emptier by one, Detroit has gone bankrupt, and the government is probably reading this as I type, I feel like it is time to change direction with my "hobby."  My wife, who for some reason has stuck by me for almost 25 years and counting, has encouraged me to continue this blog every time I sit in front of my laptop...and my kids have also been an inspiration as I realize the influence (positive I stubbornly believe) I have had on their musical tastes and choices.  So today I take my writing in a different direction...

Anyone who has been following this blog can (or should be able to) tell that while I have a fairly wide range of likes in the music world my preference is for the progressive genre.  So moving forward I will attempt to review different bands, albums, and shows by progressive artists.  King Crimson will always be the gold standard for me; they still put out music that is light years ahead of what others are doing.  Robert Fripp seems to have an amazing ability to approach music the way  Bobby Fischer used to approach a chess match--six moves ahead of the competition.  However; old and new progressive artists other than King Crimson are out there and I believe it is time I broadened my horizons.  So if you, kind reader/listener will indulge me, I will begin a new journey that will enlighten, educate, and entertain us both.  Here we go...

Progressive music seems to fall into several subcategories; rock, metal, art, jazz, and bluegrass among them. The "progressive" label  has also been attached to any band releasing a song that lasts more than seven minutes...and like most things subjective and heavily laden with opinion, there are many bands listed in the annals of music as progressive that I do not necessarily agree with...and others that are not and I cannot understand why.

Talking to some people recently about music in general, I have discovered that what is considered progressive rock, or more specifically progressive metal, was called heavy metal or acid rock when I was a kid.  To clarify; I like Tony Iommi and Ritchie Blackmore, but I do not consider them progressive artists. They are what I would consider heavy metal rockers--and there is nothing wrong with that.  They are good at their craft but I would never put them in a class with Fripp, Belew, Hackett, Wilson, Satriani, or Petrucci.

There are many new and exciting bands that travel in the progressive lane and many mainstays that have been around awhile...some with large loyal followings and others with a fiercely loyal yet (relatively) small fan base.
This is the circle I want to cross into with this blog; re-visiting older and perhaps less "popular" bands and discovering new ones.  I think I have spent too much time in my comfort zone and now is the time to venture into the new world a bit.  I am hoping to awaken my senses and broaden my horizons, as well as grow a new appreciation for a style of music that for the most part has been ignored by corporate radio--which may not be  a bad thing.

So please keep tuning in...my goal is at least one post per week...more if I get the itch and the time.  In the meantime, enjoy the clip below.  I found a slew of these "Hitler Gets Angry" parodies on YouTube and they and they are extremely hilarious and well done.  But rest assured music is not dead...it just lies dormant waiting for the tranquilizers to run their course. I am hopeful that eventually the beauty that is progressive music will be appreciated by a better educated listener.  

Thanks for staying tuned and I hope you enjoy the ride.