Music Is A Journey Video Series a Success!

Music Is A Journey is posting its seventh episode this week. Each episode so far has featured different music artists and some of the albums on which they have played. Episode One was entirely dedicated to the late Colin Tench, and Episode Four was all about Oliver Rusing’s band, KariBow.

For Episode Seven, the video series turns its spyglass toward five albums – most of them recent releases – that have captured my aural heart, albums by Forever Twelve, Evolve IV, Colouratura, Fabulae Dramatis, and Babal. Clips from five songs from each of the five albums are included in the latest video.

Episode Eight won’t be recorded and prepared until late July or even early August, but that episode will be about the bands 3rDegree and Cell15.

Future episodes will first feature more artists and bands at first and then move on to specific genres and periods in the history of progressive rock and heavy metal.

Comments about the video series’ individual episodes have been very positive!

Episode One: Colin Tench

“Thank you so much for this, Peter! Very well done, natural flair, and a nice overview of the brilliant work of Colin Tench.” – Murky Red

“It’s good – it’s almost too good! You’re very good and not scared of cameras at all! You explain it all so well, and Colin must be smiling now! I’m deeply impressed and touched. Thank you, Peter!” – Pasi Koivu (Corvus Stone, Wolmari)

Episode Two: Petri Lindstrom, Blake Carpenter, Andres Guazzelli, Stef Flaming, Gordo Bennett

“Peter Skov’s videos are of such an added value to the music that I have the feeling that they will become iconic!” – Yolanda Flaming (Murky Red)

Episode Three: Steve Gresswell, Marco Ragni, Peter Matuchniak, Hamlet

“It’s Wonderful! Thanks a lot, Peter. Really appreciate it” – Marco Ragni

“A nice review of my musical past and present by Peter Skov – thank you, sir!” – Peter Matuchniak (Evolve IV, Gekko Projekt, Bomber Goggles, solo)

“Thanks for highlighting so many amazing projects (including mine!). – Hamlet (Transport Aerian, Fabulae Dramatis)

“Thank you for doing this. I love your videos and the way you promote the bands. The perfect pronoun of MRR. Much love and respect.” – Nick Katona of Melodic Revolution Records

“Another awesome job, Peter. Brilliant! You’ve got the knack, eh!” – Gordo Bennett (GorMusik, GorFusion, GorAcoustic)

“I’m truly fascinated at how it isn’t just an appreciation of the music, but how personal it actually is. You get to know the artists and dive into the micro universes of each one that many may never get to know.” – Jason Johannson (Theoretica)

Episode Four: Oliver Rusing and KariBow

“Peter Skov did it again and all I can say is ‘Chapeau’. Please take your time and watch this wonderful video. I highly recommend it to everybody who appreciates ambitious music projects, witty eloquence and charming presenters with a sense of subtle pronunciation issues. Thank you, Peter, for all your effort…” – Oliver Rusing (KariBow)

Episode Five: Phil Naro, Pete Jones, Grandval

“Peter was kind to talk about Grandval and the four fantastic guitarists!” – Henri Vaugrand (Grandval)

Episode Six: Sean Timms, Marek ArnoldChris Gill

“I had a blast watching this last night… even showed it to my wife… she was very proud. It’s a bit surreal when people such as yourself really enjoy what I do. Thanks for the kind words. I’m thankful, humbled, and honoured.” – Sean Timms (Southern Empire, Unitopia)

“Peter made 2 nice and funny videos about my releases with my prog bands… Thanks, Peter Skov – for your support. I really had much fun watching it.” – Marek Arnold (Seven Steps to the Green Door, Toxic Smile, Flaming Row, Damanek, etc.)

“Thank you so much for doing the video… Makes me feel like a rock star…” – Chris Gill (Band of Rain, The Nonexistent)

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Explosion of Metal Subgenres in the 80’s

I entered my teens when heavy metal became a household word. Back in 1983/84, heavy metal was the music of choice among my friends. We had such a choice, too. There were Judas Priest, Iron Maiden, and the old boys, Black Sabbath. Then there were the hits bands like Quiet Riot, Def Leppard, Twisted Sister, and Motley Crue. There were the German bands: Scorpions and Accept. And then there were all the bands who managed to squeak a video on the late night video programs, bands such as Killer Dwarfs, Krokus, Kick Axe, and so on.

Helix

Helix

Back in those days, heavy metal was not neatly divided into various sub-genres as it is today. Van Halen, Blue Oyster Cult, Motorhead, Venom, Saxon, Helix, and even AC/DC all fell under the metal banner. If your music was loud, hard, heavy, pounding, fist-pumping, head-banging rock, that was enough. Headpins “Turn It Loud” was metal enough. Santers made it in the heavy metal pages. Aerosmith, Ted Nugent, KISS, and the list goes on. These days metal scholars and fans are much more critical and discerning about what gets called metal and what is hard rock. Metal itself has splintered into so many subgenres, and I would say that the 1980’s were responsible for this rapid branching of the metal tree.

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Exodus (photo from Full In Bloom Music)

The first subgenre I heard about was thrash metal. While the Los Angeles metal scene (which gave us what is now referred to as glam metal or hair metal) was producing wild and colourful bands like Ratt, Poison, Cinderella, and so on), metal purists who loved Judas Priest, Motorhead, and Venom and who also liked hardcore punk, decided to go against the grain and emphasis speed and aggression over party rock and cosmetics. The leaders here in the 1983 to 1987 period were Metallica, Megadeth, Anthrax, Slayer, Testament, Exodus, Death Angel, Violence, and a host of others. The music became not only faster but, as in the case of some bands, it also became more technical.

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Anvil

Around this same period, specifically 1982 to 1984, three other countries also saw movements toward extreme metal. In Toronto, Canada there was a concurrent metal movement that was initiated by the band Anvil. Anvil are often seen as the link between traditional heavy metal (Judas Priest, etc.) and thrash metal. But Anvil were not alone. Sacrifice, Slaughter, Razor, and Exciter were also part of this speedier and more aggressive scene. The Canadian label Banzai began stamping albums with a speed metal logo. Quebecers, Voivod, also earned this label, as did some European bands like Destruction. Speed metal today is recognized as being different from thrash metal and also power metal in that it is a little looser, and bit more biker-ish. As it was described on Banger Lock Horns (44:55 to 45:15 in the video), it’s like power metal but with a five-o’clock shadow.

Meanwhile, across the pond in England, the hardcore punk scene was taking an interest in metal. Going the opposite route from American thrash metal bands, who added hardcore to metal, British grindcore bands added metal to hardcore. By the latter half of the 80’s, you had two similar metal scenes with different roots.

Then there was Germany, Switzerland, and Sweden. Inspired by the music of Judas Priest, Motorhead, Black Sabbath, and Venom, new bands emerged in these three countries that would prove to be very influential in the development of new emerging subgenres. In Germany, Kreator focused on violence and aggressive, heavy music. Though similar to thrash metal music, Kreator’s sound was more evilly intense, more threatening, the vocals gruffer and growlier. Switzerland produced first Hellhammer which evolved into Celtic Frost. Here was a band that combined the speed of thrash metal with the slow and heavy riffs of doom metal and featured a vocalist who could growl and roar even lower and more ominously than Motorhead’s Lemmy or Venom’s Chronos. Finally, up in Sweden, a young Tomas Forsberg created Bathory, a band which focused on Satanic lyrical themes and, like others, combined speed and heaviness. Most outstanding was Forsberg’s vocal style: a back-of-the-throat, rattling, croak that could resemble a wicked witch singing. Though they were not yet fully developed, the subgenres of death and black metal were gestating amid the sounds of these bands.

Back in the U.S.A., two important bands were taking thrash metal in a new direction. Possessed from California released “Seven Churches” in 1985. The music was thrash-based, but Jeff Becerra’s deep, roaring, guttural vocals and the band’s Satanic themes took thrash metal as Slayer had conceived it into darker territory, if that were possible. Across the continent in Florida, Chuck Schuldiner was putting together Death and the first album, “Scream Bloody Gore” was released in 1987. While thrash metal lyrics were more about violence and war, death metal focused on gore and the occult. The American death metal scene produced bands like Morbid Angel, Obituary, and Autopsy in the late eighties, and by the early nineties the scene had fully grown, particularly along the East Coast and up into Quebec with bands like Cannibal Corpse, Immolation, Malevolent Creation, and Gorguts.

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Darkthrone – Black metal from Norway

By the late eighties, both Norway and Sweden had picked up on the sounds of black metal and a second generation was born. Though both countries would contribute, it was basically Norwegian bands that moved from death metal over to the black metal scene, while in Sweden death metal became the more popular.

Taking a cue from as far back as Ritchie Blackmore’s Rainbow, power metal was yet another subgenre to emerge from the eighties metal scene. Ronnie James Dio, who had sung with Rainbow in the seventies, took the knights and dragons theme further in the mid-eighties on his “Sacred Heart” album (the tour featured a towering dragon on stage).

Virgin Steele

Virgin Steele

Virgin Steele in New York also moved from a trad metal approach into power metal. As someone on Banger TV said, power metal is trad metal but with louder, bigger, more over-the-top, with bolder melodies and an almost symphonic approach to music themes. It’s totally conceivable that symphonic metal developed from a combination of power metal and prog metal. The vocal style is usually more operatic, and Judas Priest’s Rob Halford can be seen as creating the blueprint. Manowar, Helloween, and Blind Guardian are recognized as early true power metal bands; however, elements of power metal can be found in the music and also the lyrical themes of bands like Iron Maiden, Queensryche, Uli Jon Roth era Scorpions, and Accept.

While it seems a natural course for heavy metal music to become more aggressive, more technical, darker, faster, and heavier, two other subgenres that emerged from in the eighties were looking to travel with their guitars down slightly different paths. Perhaps the older of the two would be progressive metal. The instigator would likely be Iron Maiden. Bassist and founding member Steve Harris was a fan of progressive rock bands of the seventies and right from the debut album in 1980, Iron Maiden proved there were more than just a band of three to four minute songs. They included instrumental sections that were not just dedicated to guitar pyrotechnics and even instrumental tracks. Iron Maiden was clearly an influence on two important American bands now associated with the development of progressive metal: Fates Warning and Queensryche. Add to that Crimson Glory and Watchtower and you have four of the earliest prog metal bands.

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Queensryche

Following the lead of Iron Maiden, these bands endeavored to write music that had complex instrumental parts, or danced around odd time signatures. Lyrics were often more intellectual and socio/political. The star child of progressive metal would be born in the eighties but not stamp its mark on the subgenre until 1992. Dream Theater was the band that seemed to define what progressive metal should be about, and yet the desire to take metal into more progressive territory was already spreading to the thrash and speed metal scene in 1986/87 as Metallica introduced longer songs with multi-part musical themes on “Master of Puppets” and “…And Justice for All” and Voivod created their own form of space sci-fi prog metal, culminating in the classic album “Nothingface” in 1989.

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Godflesh

The other new and also more experimental subgenre of metal was industrial metal. Musicians combined metal’s heaviness and aggression with techno and electronica, giving birth to a new underground movement. Ministry, Godflesh and others both in the U.S. and overseas in Europe (Germany’s KMFDM) kicked off the first generation of industrial metal in the latter half of the eighties and the movement continued into the nineties, gaining a second momentum by the middle of the decade.

One other important subgenre that came into its own in the eighties would be doom metal. Originally born in the sound of Black Sabbath in late 1969, bands such as Saint Vitus and Pentagram (who were actually active concurrently with Sabbath in their heyday) emphasized slow and heavy riffs and particularly Saint Vitus sought to recreate that early seventies sound. As the eighties progressed, some bands combined the speed and deep guttural vocals of death metal with the slow and heavy riffs of doom metal, and thus the death/doom subgenre was also born. Autopsy were one band that emerged from the Florida death metal scene who liked to slow down at times and get heavy. Meanwhile back in England, My Dying Bride and Paradise Lost also emphasized deep, growling vocals and slow heavy riffs. Interestingly enough, the European bands would go on into new directions now labeled gothic metal and post metal, as would many bands from the black metal scene.

It’s not uncommon to hear people criticize the 80’s for a lot of crimes against pop music and rock. However, I find it really interesting to see how heavy metal experienced an explosion of growth in subgenre branches. We saw thrash metal, speed metal, grindcore, black metal, death metal, progressive metal, industrial metal, doom metal, and death doom all emerge from the heavy metal tree. Now we recognize traditional metal, hair or glam metal, and hard rock as the three most popular forms of heavy music in the eighties. But in the underground, so much more was happening.

Canadian Hard Rock Invasion

The British Invasion of the sixties is well documented and regarded as a pivotal and defining moment in pop music history. The music of The Beatles, The Rolling Stones, The Kinks, The Who, The Animals, and several others reached the American airwaves and music stores and had a tremendous influence on the development of Rock and Roll not only in the United States but across the world.

Much less documented and by no means famous or even well-known was the so-called Canadian Invasion of the 1970’s. Several Canadian rock bands found audiences south of the border and were supported and promoted in the States. Other bands were less successful southward but nevertheless a part of the burgeoning rock music scene in Canada.

Naturally, Rock and Roll became popular in Canada almost simultaneously with the U.S., and a few Canadians, most famously Paul Anka, found success in the American market. But there was a real struggle back home for bands to get noticed. Canadian radio stations favoured American or British artists and local promotion on the air was not always easy to come by. Furthermore, there were few record companies in Canada and they were much more cautious about what bands they signed. A lot of great Canadian talent went south where there was a better chance of finding stardom.

The Guess Who was probably the first Canadian-based band to hit the American charts big time. Their 1970 #9 hit “American Woman” opened doors for them both stateside and at home in Canada. With proof that home grown talent could be successful, Canadian bands became regarded with less scepticism at home.

Two important developments were to take place in the early 1970’s. One was the establishment of CanCon (Canadian Content), which refers to the Canadian Radio-television and Telecommunications Commission requirements that radio and television broadcasters include a specified amount of Canadian material (content that was at least partly written, produced, presented or contributed to by Canadians). In 1971, this percentage was set at 25%. To acknowledge and celebrate the achievements of Canadian artists, the Juno Award was created by Stan Klees. Thus by the early seventies, Canadian music was on the rise at home, and with more bands getting their music on disc there was material to promote down south.

As the hard rock scene flourished in the nineteen seventies, so did many bands from the Great White North. Here are some of the (mostly) hard rock outfits that hit the charts at home and to varying degrees made themselves known stateside.

april wineApril Wine formed in Nova Scotia in 1969 but soon relocated to Montreal. Their eponymous debut album in 1971 scored a domestic hit for the band. Over the next two albums, the brothers Henman and their cousin would depart as the band’s sound moved toward the arena rock style that they became famous for. Their success mounted in the mid-seventies and by the end of the decade, their album “Harder… Faster…” had peaked at spot #64 in the Billboard charts and reached Gold in the U.S. Back home in Canada, however, they had three Platinum albums and two Gold, plus a string of hits. Their international success continued into the early 80’s.

btoBachman Turner Overdrive was Canada’s biggest success story in the 70’s. It has been said that if The Guess Who had introduced Canadian rock to the States, then BTO had introduced it to the world. Formed by former Guess Who guitarist Randy Bachman, the band emerged from the collapse of Bachman’s first project, a country rock band named Brave Belt. Encouraged to play more of a heavy rock style, Bachman’s new band with Fred Turner (bass/vocals) spent a few years on the top of the charts, hitting the number one spot with “You Ain’t Seen Nothing Yet” on November 9, 1974. The song went to number 1 in 21 countries! During their run of hits, BTO had 10 singles reach the Billboard Top 100.

chilliwackChilliwack’s success south of the border actually came in the early 80’s, even though they raked up six songs in the charts in Canada. Part of the problem was that the band kept changing labels, their first five albums being released by four different labels. When they finally found some stability with Mushroom Records and released three albums, the label went bankrupt. By the end of the seventies, only Bill Henderson from the original line-up remained, but with the addition of Brian McLeod (who would later form Headpins) the band’s chart fortunes began to look up. Their music throughout the seventies was an array of styles including country rock, progressive rock, experimental music, hard rock, and lighter pop rock.

A Foot in ColdwaterA Foot in Cold Water are perhaps known for their Canadian classic rock radio staple “(Make Me Do) Anything You Want)“, a sweet ballad with strings that was later covered by the Canadian hard rock/glam metal band Helix in the 80’s. The band released four albums in the 70’s, starting out with a very hard, heavy and gritty sound on their debut, and then gradually spreading out to include a more mainstream sound, light rock, and somewhat progressive directions. Though the debut is an excellent heavy rock album and the band continued to write quality material, they weren’t able to reach the heights of some of their contemporaries.

mahogany-rush-20150527024849Mahogany Rush was a trio led by guitarist Frank Marino. The band name later changed to Frank Marino and Mahogany Rush and then just Frank Marino. Their style was like a heavy rock version of The Jimi Hendrix Experience, especially thanks to Marino’s guitar playing style which on early albums had an uncanny similarity to the famous deceased musician’s, so much in fact that there were rumours that Marino’s body had become occupied by the sprit of Hendrix. The band’s albums “Child of the Novelty” and “Strange Universe” made it to the Billboard Top 100 and “IV” to the top 200.

max websterMax Webster was a hard rock/rock outfit that added some progressive flourishes. They were well known in Canada for touring with Rush and had a few singles in the charts in the seventies. “Paradise Skies” from their fourth album became a hit in the U.K. reaching the #43 spot. After five albums, the band’s guitarist/vocalist Kim Mitchell established a solo career and scored international hits in the eighties with “Go For Soda” and “Patio Lanterns”.

moxyMoxy was a solid hard rock band from Toronto that formed in 1974. Thanks to support from KISS-FM in San Antonio, the band received American airplay early in their career. They toured frequently in the U.S. and opened for AC/DC in 1977. Due to disagreements between the producer and guitarist Earl Johnson, Johnson was kicked out of the studio and American guitarist Tommy Bolin, who was about to embark on a solo career and eventually take over for Ritchie Blackmore in Deep Purple, was in the studio next door and asked to play the solos on the debut album. By their second album, the band were getting comparisons to Aerosmith, Rush, and Deep Purple, and U.K. music journalist Geoff Barton would call Moxy the Canadian Led Zeppelin.

prismphotoPrism was meant to be a vehicle for the music of Bruce Fairbairn. He put together a band comprising members of two other Vancouver bands and called it Sunshyne. Jim Vallance wrote some of the songs and a recording contract was pursued. The debut album was released in 1977 and produced the Canadian hit “Spaceship Superstar”. Two more albums were released in the seventies and were successful in Canada, but it was not until 1981 that Prism would get a hit in America. The band split up in 1984 but later re-formed with some new members. On March 6, 2011, “Spaceship Superstar” was the wake-up song for the crew members of the International Space Station.

rushRush probably needs no introduction but no list of Canadian music from the seventies would be complete without mentioning the band. Their fourth album “2112” was revolutionary for some and how they blended heavy rock with progressive rock has sometimes earned them the title of fathers of prog metal. Their biggest success was still ahead in 1981, but before then, Rush was already touring the U.S. and Europe.

thundermugThundermug shares a similar history to A Foot in Cold Water. A hard rock outfit from Ontario, they scored a couple of hits with their debut in 1971, “Africa” and a cover of The Kinks’ “You Really Got Me”. They released two more albums, each one less heavy and more commercial than the previous, before finally coming to an end. Their first two albums were released in the U.S. as a single compilation album and their third Canadian album was released with a different cover in the U.S. as their second album. An excellent hard rock act in the beginning, it’s a wonder they never had more success.

triumphTriumph is, after The Guess Who, BTO, and Rush, perhaps one of the most successful Canadian hard rock acts to tour the States. Three albums were released in Canada in the seventies, their debut and sophomore made into a single compilation album for the American market. Rik Emmett’s classical and electric guitar abilities gave the band both hard rock cred and a twist of prog. Their third album “Just a Game” scored two hits, “Lay It on the Line” and “Hold On” where the latter reached spot #40 in the U.S. charts. The album peaked on Billboard at #38, while “Hold On” reached number #1 in St. Louis. The band found even greater success in the early eighties and did a commercial for Pepsi.

Trooper-Harry-KalenskyTrooper is Canada’s band, so it has been said. Always drawing crowds at home but never really breaking the U.S., Trooper continues to perform today. Their big Canadian hits include “Raise a Little Hell“, “We’re Here for a Good Time (Not a Long Time)”, “The Boys in the Bright White Sports Car”, “General Hand Grenade”, “3 Dressed Up as a 9”, “Janine”, “Two for the Show”, “Oh, Pretty Lady”, and “Santa Maria”. From the release of their debut in 1975, Trooper began touring in the U.S. Though their albums second through fifth went gold, platinum, double-platinum, and quadruple platinum (a compilation album) in Canada, they only achieved one hit single in the U.S. with “Raise a Little Hell” which reached #59 in 1978.

There are plenty of other exciting bands from Canada who produced quality music in the 1970’s and we will take a look a little later on at the Canadian progressive rock scene during this incredible decade.

For more reading check out this site and this one.

The Tench Connection

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In the summer of this year, Corvus Stone received a wave of praise from critics and also reviewers on Prog Archives for their download only release, Corvus Stone Unscrewed. The album was made available for free to people who had previously purchased the band’s albums (Corvus Stone, Corvus Stone II) and it included a menu of remixed songs and new material. Corvus Stone had already attracted much attention for their 2012 debut and won even more fans with last year’s sophomore album.

A multi-national band, Corvus Stone is comprised of Colin Tench – guitars, Pasi Koivu – keyboards, Petri “Lemmy” Lindstrom – bass, and Robert Wolff – drums and percussion, and is based in Sweden. Each member has his background and involvement with projects past and present, but of the four, one member’s history stands out as rather unexpected for a recording musician, one who jests that he’s not a professional even though he bloody well works like one.

The Long Road to London

Colin_TenchColin Tench had been an avid listener to music since a very young age; however, the thought of becoming a professional musician was not something he dwelled on with any degree of seriousness. Originally from England, Colin went to live in Sydney for three years and spent 11 months backpacking across Asia. During his stay in Sydney he began learning to play the guitar. He joined a band alongside some other blokes who were either from England or who had English parents, and they called themselves The Pommie Gentlemen. This humorous appellation would presage Colin’s approach to music in the distant future. The band played parties and joined Battle of the Bands, but by Colin’s own admission they were not particularly good. (An interesting footnote is that the drummer ended up playing on two tracks of Corvus Stone’s debut three decades later!) His band did, however, discover AC/DC’s original vocalist, Bon Scott in the audience one night.

Eventually, Colin made his way back to London via a six and a half month journey across Asia. The guitar was temporarily forgotten until Colin decided to audition for a new band called Odin of London. Both he and another guitarist, John Culley, passed the audition. It was only after the band got going that Culley revealed to the other members that he had been a member of Black Widow and Cressida – a professional with some serious seventies cred. Thus Odin was born there in London in 1981.

Odin of London performed in pubs but gradually grew tired of playing for small audiences. They hoped that by recording some of their material they might release a record and move up to bigger crowds. Unfortunately for them, every record company door they entered became a swift exit. The band folded, but not without three of the members putting their musical heads together to come up with a cunning plan for a new band project.

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The end of Odin and the beginning of…

A Bunch of Keys

It was 1985 and Colin Tench, Gary Derrick and Cliff Deighton decided to put together an album of songs that would have absolutely no popularity whatsoever in the mid-eighties. With the discovery of the elusive fourth chord, they deigned to record an album of crossover prog (as those in the know might call it), something that they wanted to create for themselves – a notion that seems decades ahead of its time. Songs they could come up with, but money for studio time was another problem. A game of poker led the lads to the fortuitous encounter with a gentleman who was planning to build a recording studio. Before the evening was out, the three musicians had agreed to help build the studio in exchange for recording time (one wonders if any bets were lost). Thus began the music of Bun Chakeze and what was to be the seed from which would sprout the trunk bearing all of Colin’s musical projects 25 years later.

As the band’s music came together, lyrics were written for some songs. But who would sing them? At last, the band got a hold of a singer, Joey Lugassy, from California. The music had a strong progressive rock sway to it, and Joey did his best to deliver vocals for the songs. The resulting product was rather bold for the year of 1985 – a melange of styles including Pink Floyd, Yes, Genesis, and other classic sounds of the 70’s – but as one could expect, no record companies were interested. Bun Chakeze packed up their instruments, and Colin packed his travel bags and went off in search of adventure in foreign lands… for 24 years!

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The album that would change the world!

Chance Encounters

In 2010, Colin came in to roost and had John Culley on his mind (remember him from Odin of London?). They had been out of touch since 1985, and Colin decided to search for him on the Internet. As Culley had once been a member of Black Widow, Colin tried to get a hold of the fellow in charge of running the Black Widow web site, Pasi Koivu (this guy is instrumental, so to speak). The contact between these two men led to some important things happening in Colin’s life. First, Pasi got to hear some of Colin’s recordings from the 80’s and encouraged him to release the music. Odin of London became available as a download only but BunChakeze was released on CD. Colin began connecting with musicians and other interesting people on Facebook and came in contact with several who liked what they heard. Among them were artist Sonia Mota, singer Blake Carpenter, and musicians Stef and Yolanda Flaming. Then Pasi asked Colin to contribute some guitar to a piece he was working on. And that was where it started.

Over the next two years, remarkable things began happening for Colin and he found himself hauled fret board first into the world of a professional musician. Between 2011 and 2012, Colin formed Corvus Stone with Pasi Koivu, Petri Lindstrom, and Robert Wolff with Sonia Mota contributing artwork and opinions, and Blake Carpenter doing a bit of vocals. They released their debut album in 2012. Colin was also asked to play guitar for Blake Carpenter’s band The Minstrel’s Ghost and his album “The Road to Avalon”. Colin became an integral part of Andy John Bradford’s Oceans 5 and helped create the music for and played guitar on the album “Return to Mingulay”. In addition, Colin re-formed BunChakeze and also began working with other musicians and singers on his own Colin Tench Project. And as if playing in bands was not enough, Colin learned about mixing and mastering and mixed and mastered the debut album “Time Doesn’t Matter” by Stef and Yolanda Flaming’s band Murky Red. Not bad for a guy who hadn’t played guitar since Culture Club was popular!

A Modern Minstrel

Over the last few years, Colin has found himself keeping very busy. Aside from recording Corvus Stone II and the special follow up “Unscrewed”, Colin has been working on a few other projects such as the bands Coalition and Transmission Rails. As well, CTP is coming together, soon to be ready to release a full first album. Colin also played guitar for Andres E. Guazzelli’s symphonic rock peace “Wish You Could Hear” and mixed Murky Red’s second album “No Pocus Without Hocus” and squeezed in some lead guitar on one track. Finally, the project United Progressive Fraternity featuring many musicians and including legends Jon Anderson and Steve Hackett, includes Colin and his music.

colin double neckIt’s hard to imagine a musician with more irons in the fire than Colin. In addition to playing guitar and writing music, Colin also mixes, something he learned to do after he was not happy with the engineer’s job on an Oceans 5 recording, and has learned web page design. Once there was a time when bands had money and hired people to do these things. Now Colin, along with support from his trusted musician friends in Murky Red and painter Sonia, does a lot of different things for maintaining his band projects.

Colin’s playing style is at once easily identifiable with Corvus Stone and impressively diverse in his other projects. Often playing staccato notes reminiscent of Ritchie Blackmore, Colin has a chameleonic ability to adapt his playing suitably to different styles of music. He can adopt an almost flamenco style to his playing and add folk influences or go with a seventies rock groove or switch to symphonic prog guitar. One has to wonder though, after not having played for a quarter century, how does he do it? Colin admits that it is not easy – fingers and memory don’t work like they used to – though he says he can avoid making the same mistakes he did in the 80’s. Some other important points are that:

– He doesn’t take himself seriously though he certainly takes playing and recording seriously.
– He tries to make the most out of each note because he doesn’t play that many in a minute.
– He believes that more than shredding, making a guitar solo work with the melody of the music makes for a good guitar solo.
– He thinks of how to add a different twist to his music, go the opposite way from what might be expected..
– He has fun playing.
– His band Corvus Stone don’t try to sound like anybody and they don’t try NOT to sound like anybody.

Connections

Colin Tench has worked regularly with quite a few people. Here are some.

Blake Carpenter – Colin plays guitar on the album The Road to Avalon by Blake Carpenter’s band project The Minstrel’s Ghost. Blake sings on the Corvus Stone albums and is part of the band project, Coalition.

Sonia Mota – The painter who provides Corvus Stone with stunning artwork, she is also an ideas person who came up with the name for the band. She did the artwork for Oceans 5 and for Progeland, a band that includes Corvus Stone bassist Petri Lindstrom.

Stef Flaming – Colin’s good friend, Stef is involved in Transmission Rails with Colin, played bass in Oceans 5, and appears on Corvus Stone’s cover of Murky Red’s song “Boots for Hire”. Stef is the song-writer, artist, and vocalist for Murky Red and plays guitar as well. Colin mixed and mastered both Murky Red albums and plays lead on one song.

Phil Naro – Phil can be heard singing on some Corvus Stone songs, contributed vocals to the Coalition band project and sings on some tracks of the Colin Tench Project. Phil’s career goes back to the eighties when he played in TALLAS with Billy Sheehan. He currently sings with Unified Past.

Andres Guazzelli – Andres wrote and arranged some of the music on the Oceans 5 album and wrote his own 12-minute symphonic prog piece called “Wish You Could Hear” with Colin playing guitar.

With several band projects on the go at once, it’s difficult to guess where Colin’s machine heads will turn up next. His most recently released appearances are on the forthcoming United Progressive Fraternity album and a CTP release for Christmas called, “Natal”.

In just a few short years, Colin Tench is branching tendril-like into the prog scene. It must be all thanks to him discovering that fourth chord!

Corvus Stone home page

 

 

 

 

 

ron_-bon-scott-24169361-627-476

The Pommie who? No, I don’t ever remember seeing them.

No Pocus without Hocus – A Review

Over the last decade or so, there has has been a revival in the heavy psychedelic acid rock scene with many new bands adding a modern and updated twist, creating a heavy stoner crunch with occasional aggressive leaps. Bands such as Uncle Acid & the Deadbeats, Kadavar, Admiral Sir Cloudesley Shovell, and Demon Eye have taken the bridging elements between late sixties heavy psych and early seventies downer rock and recreated them in an up to date sound scope.

One band who have very successfully encapsulated that sound in their music,  enhancing it with an underlying flow of Pink Floydian tones and applying a progressive approach, is Belgium’s Murky Red. Their debut Time Doesn’t Matter was released in 2012 and has been described as Black Sabbath meets Pink Floyd. By the band’s own admission though, the first album didn’t truly capture the sound they were going for. Keyboardist Yolanda Flaming goes as far as to say three of the tracks are today not even fit to be called Murky Red music.

NPWH-album-coverTheir new album No Pocus without Hocus, released just recently as a digital download for now (CD to come once sales of the digital album reach the goal), sees the band developing their sound more in the intended direction with vocalist/guitarist Stef Flaming stating that the final track Elena is where the band has really managed to flesh out the direction of its sound.

The music on this 11-track offering is quite a treat for anyone who loves music as described in the opening paragraph. Wonderful modern day heavy psych guitars abound with heavy prog tendencies. The rhythm section provides a solid pounding when required with drummer René Marteaux doing an excellent job of driving the heaviness and aggressive edges home as well as appropriately handling the trippier and more melancholy parts with Marie Vancamp augmenting the percussion . However, unlike a lot of bands who concentrate on the heavy stoner side, Murky Red deliver lighter songs as well such as She’s Crying Diamonds, Bad Wolf of the Pack (a kind of Pink Floyd meets Planet Caravan and Green Grass and High Tides Forever number) and Wild Flower. In a way, the concept behind the name Iron Butterfly is quite suitable here with Murky Red showing their lighter Butterfly side against the heavy Iron side. It’s my impression though that the heavy side wins out with some excellent guitar riffs of the stoner rock variety showing up in Pixilated Friends, Stoned and Horny and Collateral Damage, as well as in many of the other tracks. You can also look forward to some note and mind bending guitar solos courtesy of Patrick Dujardin.

Special mention must go to Stef Flaming’s voice. Though he aspired not to be the band’s vocalist, his deep, almost Johnny-Cash-goes-ominous-elder-hippy quality suits the sound of the band just perfectly. Flaming guested as vocalist on Corvus Stone’s cover of Murky Red’s song Boots for Hire and in turn, Corvus Stone guitarist Colin Tench plays lead on this album’s track Collateral Damage. In fact, Tench was responsible for the mixing of both Murky Red albums, and I believe he’s done a stellar job of rendering their sound.

A review of this album album would not be complete with saying a few words about the lyrics. Though I honestly haven’t listened carefully to each song’s lyrics, the humorous and quirky ones do tend to stand out. “I smoked all my hashtags with some pixilated friends,” from Pixilated Friends is the first to have arrested my ears. As the amusingly titled Stoned and Horny floats through a spacey segment, Flaming utters, “For those who don’t understand this song, this is the stoned part, yeah”. “The trick is to get back to the horny,” he muses. A Wooden Groove begins as a song with lyrics but soon Flaming tells us that, “from now on, this song will be strictly instrumental”. Indeed it is with a thundering, cantering thrash conclusion. I have to say that Mermaids is also an excellent tune combining the lighter side with the rockier and including the image-conjuring lines, “Mermaids, m-m-m mermaids / fish tails everywhere / mermaids, m-m-m mermaids / fish sticks in the air”.

The album No Pocus without Hocus is an excellent piece of work and fans of heavy guitar rock with a thick stoner crust and a Floydian mantle will surely enjoy this. However, those who prefer a more progressive aspiration will not be disappointed, particularly with the closing track, Elena.

Murky Red is:
Stef Flaming: Vocals & Guitars
Patrick Dujardin: Guitars
Luk Lantin: Bass Guitar
René Marteaux: Drums
Marie Vancamp: Percussion
Yolanda Flaming: Keys

Artwork by Stef Flaming
Mascot: Maurice le Murk

Links

Murky Red web site

Reverb Nation records

Good and Bad Years of Modern Prog

One day while checking out a band on the Prog Archives web site, I noticed that their top-rated album was from the year 2000. “That’s the same year as Spock’s Beard’s V and Symphony X’s V: the New Mythology Suite,” I thought. Both those albums have very high ratings. The next two bands I checked out after that also had very highly rated albums in the year 2000. Was there something about that year that was special for prog bands? I decided to make a list of bands and check out how their ratings matched up over the course of the last 25 years.

First, I established some criteria for who and what would be on the list. The bands I had noticed with high ratings in the year 2000 had all begun their recording career in the 90’s. So I decided to limit my list to bands that had released albums from the 90’s and onward. There are two exceptions: Dream Theater, whose second album was their first release of the 90’s; and Pendragon, who are actually a much older band but whose third release was their first of the 90’s. I was tempted to include other bands like Fates Warning, IQ, and Ozric Tentacles; however, all those bands had already released at least a few albums in the 80’s. I wanted to focus mostly on bands that had emerged in the early 90’s in time for the prog revival.

I made a list of over 25 bands and for the graph I prepared, I trimmed the list down to 20. Here are the bands included:

Anekdoten, Dream Theater, Pain of Salvation, The Flower Kings, Spock’s Beard, Arena, Jadis, Pendragon, Enchant, Echolyn, Threshold, White Willow, Opeth, Evergrey, Porcupine Tree, Symphony X, Ayreon, Galahad, Anathema, Glass Hammer

For the graph, I used the ratings from Prog Archives. The Y axis begins at ratings of 1.00 and goes to 5.00, which is the highest possible rating. Each square represents a rating value of 0.2. Although in any one year albums received a range of rating scores, in some cases two albums scored the same or very near the same score. In such cases I squeezed two black dots close together. Lines were drawn from the band name to their oldest album and then the rating dots of each subsequent album’s score were connected by the same line. Lines between different bands’ trajectories often intersect.

As I prepared the graph, a very clear wave began to emerge. But as later bands were added, some of the troughs were covered as one band achieved a highly-rated album in an otherwise slump year. Conversely, during some peak years, other bands managed to score very poorly on their release. At the end, in 2014, we see Evergrey achieving a very high rating for their latest release. Since gathering the ratings, this score has come down as more people gave scores of 4 stars instead of five.

My graph of ratings of albums between 1990 and 2014 on the Prog Archives web site.

My graph of ratings of albums between 1990 and 2014 on the Prog Archives web site.

What we can see is that Echolyn and Dream Theater scored very highly in 1992. The scores then drop a little until we reach the period from 1999 to 2002, where 12 albums scored over 4.10, the most albums to score this high in such a short time frame. After that, 2003 sees no band scoring over 4.00, 2004 goes up again but then the scores drop except for an album in 2005 and one in 2007 that scored well. The year 2006 saw only 6 albums released and none scoring over 4.00. Eight albums were released in 2007 but only three in 2008 and three in 2009 and four in 2010. These three years seem to have been difficult years for our 20 bands. Indeed in the latter half of the 2000’s several bands released no album for a space of three to five years, and some even longer. But from 2012 and on we see more albums over a rating of 4.00.

Coloured to better illustrate the wave effect

Coloured to better illustrate the wave effect

I decided to colour in the general flow, omitting any albums whose rating was more than 0.10 lower than the next score above (I missed one in 2009, accidentally including the lowest rated album). The light green makes it easier to see the flow, the rise and fall of album ratings.

Does this suggest that some years were better for progressive rock than others? Is this just the result from Prog Archives? Would other sites for rating albums produce a similar or different result? Is this an indication that progressive rock was more “progressive” during the 1999 to 2002 period than in other years and has recently become more progressive again, or was there some other reason that influenced the ratings?

Is It Yes, or No?

yes heavenIn this month of July 2014, Yes have released their 21st studio album. (Or is it their 20th? I’m not sure how to count Yes albums. Is ABWH considered Yes? Are the two Keys to Ascension albums considered one or two studio releases?)

The new album, Heaven and Earth, was greatly anticipated by fans. However, even before its official release dates (Japan – 16th, Europe – 18th, North America – 22nd) reviews completely panning the album were appearing on the Prog Archives web site and other music review sites. Some reviewers took a sympathetic view: “This is the kind of music Yes wants to write and play now”. Some took a mildly appreciative view: “It’s not really prog, more pop actually, but it’s not that bad”. But the majority took a hatchet to the album, slashing it for being too soft, too pop, and not enough prog or rock. The most amusing description was someone calling it an “intergalactic explosive turd”!

Among the complaints that bassist Chris Squire and drummer Alan White were not really doing much of interest on most of the album, equal disapproval was heaped upon new singer Jon Davison’s song-writing efforts, with some claiming it was asking for trouble to give him so much opportunity to write for a Yes album (“You’re cooking at home”) being that he had only been a member for 2 years and that it was his first album with the band. Hey, at least Benoit David, the previous vocalist for Yes, had not been asked to write anything for the band, just sing the songs. And in a fairly recent interview with Yes founding member and beloved vocalist (and the genius ideas man behind so much of Yes’ classic works), Jon Anderson said it wasn’t right to call the band Yes because what they were writing was not Yes music. Anderson had recently composed an epic song in four parts entitled “Open” which he wrote in the style of Yes’ traditional epic songs. This, in his heart, was what Yes music should be like.

So is the new album Yes? Well, how much in Yes’ back catalogue can be called Yes music? Let’s take a look back and see when Yes music wasn’t what some would have called it.

Case One – The Early Yes

Yes-8001In the early days, Yes were a covers band. But, according to founding guitarist, the late Peter Banks, “(the covered songs) were given the full Yes treatment” (Close to the Edge: The Story of Yes by Chris Welch). Indeed, even when Yes began recording music for their first two albums they included a version of the Beatles’ “Every Little Thing” on their debut and Leonard Bernstein’s “Something’s Coming” from West Side Story on a single b-side. They also added music from the theme to a TV program called The Big Country on a song on their second album, Time and a Word.

When Steve Howe joined Yes in 1970 the picture changed. Although Yes worked toward maintaining a democracy when it came to putting together a song, Jon Anderson and Steve Howe formed a tight relationship coming up with ideas and writing songs for the band. Some of their greatest creations, Close to the Edge and Tales from Topographic Oceans resulted from their collaboration, and over the course of the next several albums, Yes were superstars of progressive rock.

Case Two – The Buggles Collaboration

Yes_DramaIn 1979, after the disappointing album, Tormato and some abandoned recording sessions, Jon Anderson left the band, along with star keyboard player, Rick Wakeman. What were the remaining members to do? There was some partly worked material from the Paris sessions, as they came to be known, but Squire, Howe, and White were looking for direction. They wanted a full five-piece band and with a rehearsal room booked said, “Well, whoever turns up is in the band!” (Close to the Edge: the Story of Yes).

Cue the song “Video Killed the Radio Star” and enter the Buggles, a band comprised of Trevor Horn and Geoff Downes, who were together responsible for the worldwide hit that would later kick off MTV’s first ever airing. Working under the same management as Yes, the two approached Yes with some music they had composed for the band, a song called “We Can Fly from Here”. Chris Squire was familiar with the Buggles and they were invited to join Yes. The new album – the first without Jon Anderson – was called Drama, and it included some material begun by Squire, Howe, and White. But the two new members put forward two songs and then, in true Yes tradition, each member contributed and song-writing credits for all songs were attributed to all five members. Many fans and critics were up in arms about the Buggles joining Yes and many were not pleased with these two “purveyors of ear-candy” becoming involved in writing Yes music. However, over time the album Drama has won much favour among fans.

Case Three – The Jimmy Page Connection and Trevor Rabin

yes xyzAnd then Yes fell apart. The band dissolved with Howe and Downes going off to form Asia, Horn becoming a producer, and Squire and White teaming up with Jimmy Page to form the short-lived band, XYZ (eX-Yes and Zeppelin). From their sessions came a song called “Mind Drive” and other music that was only recorded as a rough demo. Squire and White then teamed up with South African rocker, Trevor Rabin. Using a few ideas from the aborted XYZ and some of Rabin’s ideas, the three hired former Yes Hammond organ player, Tony Kaye and formed the band, Cinema. Cinema were never intended to become Yes, but once Jon Anderson expressed interest in singing on the album, it became clear that this was going to sound like Yes and so the band that was supposed to be Cinema became the Yes for the 80’s.

Many fans of the classic Yes of the seventies were outraged at this new arena rock band that called themselves Yes. Well, they were 80% Yes alumni with the two “pillars” of the band, Chris Squire and Jon Anderson. And the band recorded their biggest selling album ever with 90125 and its chart-topper “Owner of a Lonely Heart” (a Trevor Rabin-penned tune for Cinema). However, for many fans, 90125 was even more a gob of saliva on the name of Yes than what the Buggles collaboration had been.

Case Four – ABWH’s Second Album Becomes Yes

yes unionFans of classic Yes only had to wait a few more years. Anderson, discontent with the direction of the band in 1987, once again left, only this time he called up old members Howe, Wakeman, and drummer Bill Bruford and together they put together something less pop and more prog under the name of Anderson Bruford Wakeman and Howe (or ABWH for short). Law suits were filed from the side that still had legal right to call themselves Yes, in order to make sure that Anderson and Co. were not trying to re-start classic Yes while the 80’s Yes still existed. Things got nasty, but while Yes West (Rabin, Squire, Kaye, and White) were plotting their next move, ABWH were enjoying the results of their first album and recorded a live album to follow up.

Then a strange thing happened. While working on material for their second album, ABWH suddenly found themselves in Yes again. Record company execs had come up with the brilliant idea of combining the new ABWH songs on an album with some new songs by Rabin and Co. Collectively, the new material would be called Yes and the album would be promisingly called Union. And so an album was released for the second time under the proud Yes name bearing music that was originally not intended to be on a Yes album.

Case Five – More XYZ and Some Conspiracy

yes keysAfter a successful tour with eight Yes musicians, the Rabin-led Yes managed one more album that was said to be pretty much Trevor Rabin’s baby. Though Rabin had now been a member of Yes for ten years, many fans still saw him as an outsider and this notion was exacerbated after Howe and Wakeman had temporarily been back in Yes and were summarily told they were no longer needed once the Union tour wrapped up. Kaye and Rabin then left, and Anderson, Squire, and White called up Howe and Wakeman and one of the classic line-ups reconvened for a few live shows and some new studio material that included something dredged up from the XYZ days. “Mind Drive” was reworked and became one of the two new 18-minute plus Yes epics.

The release of the song and other new works was, however, withheld by the record company who held on to the double live/studio album, Keys to Ascension 2 wondering if Yes were going to tour it. Wakeman left again, and Yes not only recruited a new keyboard player, but they (Squire mostly, perhaps?) decided to use material that he and song-writer / guitarist Billy Sherwood had been writing for a collaboration album together under the name Conspiracy. Sherwood became a member of Yes, and Anderson and Howe were brought in at the last moment to add their thoughts. “The only contribution Jon and I were able to make,” says Howe in Close to the Edge: the Story of Yes, “was ‘From the Balcony’”. And so with Open Your Eyes, the third Yes album that was mostly not meant to be a Yes album was released. Fans hated it.

Case Six – The Return of Fly from Here and the Buggles

Yes Fly_from_HereYes released two albums after that which did contain music written for Yes, mostly (word has it another XYZ song showed up on Magnification). Then they did some touring and then everyone went off to do other things. Anderson became ill but Squire wanted Yes to start working on a new album. Wakeman refused to be in the band without Anderson and so… Drama-era Yes members Trevor Horn and Geoff Downes were called in with Horn writing and producing and Downes writing and playing keyboards. Their old song written for Yes but only ever played live, “We Can Fly from Here”, was turned into a 22-minute, multi-part song and was sung by Anderson replacement, Benoit David. Many fans didn’t like David singing instead of Anderson and many complained about the 30-year-old song being exhumed for a new Yes album.

So, as we can see, Yes music is not always written by the classic Yes members or for Yes albums. But over the decades of its bizarre history, Yes has sometimes gobbled up outside music in order to keep that giant, lumbering beast that is Yes plodding along. Having a new singer write most of the songs for the latest album is only the latest chapter in the history of Yes, though it is interesting to note that on Heaven and Earth the song writing credits are not attributed to all five members but only two or three members with Davison getting partial credit for seven of the eight tracks.