Boffoblog

Monday, April 26, 2010

Keith Emerson and Greg Lake At The Orpheum Theatre in Los Angeles 04/25/2010

In 1970 I bought the first Emerson, Lake & Palmer album and coupled with the previous
years, In The Court of The Crimson King, were the blueprints of the progressive rock
movement that had been instigated by the Beatles, orchestrated by the Moody Blues,
powered by the virtuoso power trio Cream, classicalized by the Nice and jazzed up by
Traffic and Jethro Tull. After a disastrous final 1978 album, Love Beach, ELP dissolved,
briefly appeared in the 80s as Emerson, Lake and (Cozy) Powell only to resurrect (with
Carl Palmer) in the 1990's and now Emerson and Lake are touring as a duo much in the
spirit of the later-day "VH1 Storytellers" show.

I expected a truly acoustic show, but upon entering the beautifully renovated 2000 seat
1920s movie house, the staging suggested a recording studio, with Emerson's electronic
(with an original Moog synthesizer) keyboards set up stage right and an Indian carpet,
stool and monitors for Lake on stage left.   The rapturous applause as they came on stage
was followed by a newly arranged "From the Beginning" from 1972's Trilogy. The first
real treat was a beautiful version of "I Talk To The Wind" from the first Crimson album
followed by a merging of "Take a Pebble" and "Tarkus". Synthesizers and samplers are
always being improved, but nothing has the warmth of a grand piano, so Emerson's
sampled piano sound was tinny at times, but the merge was wonderful and the sound of
the mighty Moog was awesome.   Throughout the two sets, a digital beat
accompanied certain faves of mine ("The Barbarian" and "Bitches Crystal") and Carl
Palmer's drumming was certainly missed, but the pieces were given new life, were
beautifully played by Emerson (albeit slower than his glory days) and Lake's voice
sounded closer to his glory days as opposed to the not so occasional vocal rasp of the
90s reunion.

The audience was made up of hard core progressives and when the duo opened up the
floor to questions, they were delivered eloquently and showed that this audience not only
knew their heroes collective musical catalog, but went out of their way to acknowledge
ELP's significance in their lives. The obvious question was asked first; what was the real
story of Jimi Hendrix forming a band with Emerson and Lake? The legend said that they
(along with Palmer) would call the band HELP and only Hendrix's death stopped the
union. Mr. Lake said that he and Keith were considering former Experience drummer
Mitch Mitchell and Hendrix was also interested. When the decision was made to go with
ex-Atomic Rooster/Crazy World of Arthur Brown drummer Palmer, the Mitchell/Hendrix
idea fizzled away.

E&L ended their set with "Pirates" from 1977's Works, Vol. 1. While never a favorite of
mine, the new version increased my appreciation.   As another reviewer recently
remarked, it's tough to rate a concert when you have expectations, especially about the
set list. The best show I ever saw was Yes In The Round 1978 and it was rated so high
because of seat location and overall performance and not because of their song choices.
While I had hoped to hear "The Endless Enigma" "Trilogy" or "Pictures At An Exhibition",
E&L obviously enjoyed playing in the unusual venue and their outstanding performance
seemed as enjoyable for the musicians as it did for the loyal and loving audience.

Sunday, April 11, 2010

The Comments We Receive

We have 40 video clips from our 1979-92 cable music shows loaded on YouTube for
over two years now and have almost 377,000 hits. The most popular interview is Robert
Fripp, founder of King Crimson, who most likely (up to that 1979 appearance) had never
had a sit-down interview on television at that time. This was our third show and the first
with such a legendary figure. We were novices at interviewing and it showed,
particularly with such a intimidating little man, who was pretty much responsible (along
with Ian McDonald) for creating of 70s progressive rock. He was rebelling against it at
the time, both in his choice of "New Wave" clothing, artful haircut and philosophical
obsession with the world ending from a great flood in 1981. He had little desire to
discuss his past and turned in a masterful monologue of his beliefs and motivations.

The comments we received run the gambit from making fun of how Aaron and I looked
(like "That 70s Show") to how inept we were, or how Fripp was this and that and
Wetton is bitter and Belew seems like such a nice guy! The entertaining part, of course,
is the infighting between commenter's who both insult and demean each others opinion.
The saddest comments seem to come from malcontents who just like to be nasty and
confrontational, thinking that they are "anonymous". If you read comments from any
reader on any site that encourages such participation know what I mean. Thankfully, the
positive compliments we get far outweigh the negative.

Among the best comments:

FRIPP Interview-: I like the way that the questions are actually meaningful and that
Robert Fripp actually contemplates them and then answers very appropriately. It's a
big difference from the interviews of today where it's like "So how does it feel to have
a number one album?" "oh it's great you know the fans have been a great support etc.

This is a brilliant interview and to anyone who has grasped the genius and wisdom of
Fripp beginning in the 70's........this interview is neither complicated nor irrelevant to
the question posed.

Listening to Robert Fripp's guitar will make your babies smarter.

The smartest thing you did was to let him talk without interjecting. Today's TV talking
heads could learn from you.

WETTON Interview-: rp, this is fantastic stuff. JW is a great, intelligent interviewee, an
obviously very bright guy, and it's a pleasure to have a show hosted by two
interviewers who actually LISTEN to their guest. Excellent.

Thanks to RPCURTISS! Better info in this series than 10 books on "progressive" music
combined. The inner workings of several important bands and the keys to
understanding where it went from there.

That was incredible!! Thanks. I watched the whole thing and it was superb. You should
unearth this show again!

Thank you very much! great questions and you let him fully answer each question.
how many bands like u.k. are around now? not nearly enough, methinks... well done!

Thank you so much for these interviews. I've been gathering info of King Crimson for
years, but didn't know that this even existed. Informed interviewers who established a
"rapport"--> honest interviewees = excellent interviews.

Thanks so much Ron and Aaron for posting this, you two are as interesting to listen to
as Wetton is...I hope that you are both still active in the entertainment industry,
intelligent music consumers recognize quality !!!

DI MEOLA Interview: Too many interviewers ask stupid and meaningless questions
and are only there to try and satisfy their own glorification. This session is great and Di
Meola seems to be enjoying the line of questioning.

Too bad you didn't have this show in Cincy in the late 70s when I was a teen. I
would've been hooked on this show. You did a nice job, considering the time and
limitations of equipment, etc.

CARLTON Interview: These guys are the BEST interviewers I've ever seen, and have
left us with some absolutely priceless interviews with great artists. They're intelligent
and just funny enough to have the perfect blend.

The most critical comments were often the nastiest or were written by folks having no
clue about the music or that public access TV was primitive I honestly couldn't find any
reasoned criticisms that weren't just insults to Aaron and I personally or arguments
between commenter's who hated Asia and Wetton's commercial approach or thought
Fripp was a blowhard or bald comments about Phil Collins and Al Di Meola. It is
heartening that 90% of the posts were positive and from true fans that were as in awe of
these progrock heroes as we were.

The most frequently asked question of all was what the theme music of The Boffomundo
Show was. The answer is Italy's Arti e Mestieri, from the album Giro di Valzer per
Domani released in 1975.   The bottom line to all this is that we have the opportunity to
show these gems 30 years later. It is music history and an invaluable study of the end of
the progressive rock era commented on by the brilliant musicians who embraced and
nurtured it.

Wednesday, March 17, 2010

Genesis Inducted in the Rock And Roll Hall of Fame:

I am really on the fence on this one. As guitarist/bass player Michael Rutherford
remarked about "guitar-based American bands" having the edge in voting, he mentioned
"progressive-type" bands finally getting their due. I beg to differ. Would Genesis have
been inducted if they hadn't sold a ton of records that were so very commercial
compared to their 70s extended, virtuoso-based records? I think not. The list of
omissions is frightening: King Crimson, Yes, Emerson, Lake & Palmer, Jethro Tull and
everyone's favorite slight, Rush. Are not these bands less "rock" than either James
Taylor, Michael Jackson, Madonna or Run DMC, who have all been inducted? How can the
Hall claim any credibility at all when they have honored so many non-rock acts?
Strangely, Miles Davis is there. Miles was a jazz artist and an idol of mine, who created
jazz-rock fusion, which is a cousin of progressive rock. What's up with that? Maybe it's
because he died. Jeff Beck, who, despite participation in the Yardbird's, was recognized
for his fusion-based instrumental albums of the 70s. Perhaps the connection with Eric
Clapton and Jimmy Page? Also, Pink Floyd, perhaps more "art-rock" than progressive
with it's HUGE record sales has been lauded, not too mention Frank Zappa, who was as
un-commercial as you could get. Maybe he got in because he died. Inconsistent crazy
rules and voting. With these few exceptions, the HOF is like the Grammy's, where record
sales are the root of their evil. If the artist sells and their music is popular and not
"controversial" they get recognized. Yes, ELP and Tull sold millions in the 70s and 80s
and were once considered the "mainstream". Wasn't rap once considered too out of the
mainstream to be considered worthy, let alone "rock" in any way? What Madonna music
actually qualifies her induction? Can anyone tell me? If the music actually expanded the
boundaries of rock and is still "rocks", as prog does, why the continuous slights?
Perhaps the induction of Genesis will open the eyes of voters, who have for too long had
their head up their collective asses. I'm just sayin'...

Tuesday, March 03, 2010

Some random concert notes from this and last year:

I saw Al Di Meola last Friday at the Coach House in San Juan Capistrano, CA. I was
expecting great things, as the 2008 Return to Forever show is in my permanent top five
concerts list of all time (I've seen 400 shows in over 40 years). I mistakenly assumed
that this was to be all-electric show, but it was primarily acoustic, with three electric
numbers. Al's playing was exemplary. Never better. Perhaps the finest guitarist on the
planet. However, he delved into World Music twenty years ago and IMHO, he lost his
way. He adopted a one of the styles that rival Pat Metheny indulges in and spent the two
decades in that style with mixed results. No sooner did I see the presence of an
accordion player than I knew we were in trouble. Suffice it to say, I am not fan of the
sound of the accordion. Oh well. A few select solos and we'll be done with it. Not for
this performance. 98% of ALL the numbers featured duets between he and the accordion
player, who crooned with many of the tunes in an absolutely identical style to past and
present members of Metheny's group and was almost blatant. The other issues I had
were the saminess of these Latin tinged tunes, the distracting video films of Whirling
Dervishes and Tango dancers, not to mention the video shots of the band were at least a
second delayed.   The best tune was from the 1977 "Elegant Gypsy" album, where Al's
mighty electric drowned out any participation from his accordion pal. The poorly miked
backing band was a disappointment as well. As amazingly Godhead as the RTF show
was, this is the most flawed show I have seen in many years. A shame.

With limited expectations I attended the Yes/Asia concert at Gibson (Universal)
Amphitheatre on 07/07/09. The interesting part was that guitarist Steve Howe, who is
a member of both bands, played both sets and he performed admirably, but certainly
(since ABWH in 1989) in a more subdued and methodical way. The recent history of Yes
defections and illness is laid out in past blog entries. Jon Anderson's replacement Benoit
David (from a Canadian Yes tribute band) not only sounds like Jon, but resembles him at
age 30. Former keyboard play Rick Wakeman recently remarked that Yes is not a
"gigging" band and he fears that that's what they have become. He isn't far from the
truth. While it's always lovely to hear respectable renditions of my favorite music played
by my aging heroes, the show had the feel of a nostalgia show, so far removed from the
near-religious experience of Yes 1972-78 that it was a bit sad. They played well
enough, but tempered and unremarkable. Hearing "Machine Messiah" after 30 years was
a treat, but is difficult to play and wasn't always together. Benoit did a good job, but is
obviously not Jon Anderson, who is of course in poor health and estranged from his
former mates. Wakeman's son Oliver, played as the hired hand he is and has nowhere
the talent or dexterity of his father at that age. The Asia set was also not on par with it's
2006 reunion tour. Since that time, both singer John Wetton and drummer Carl Palmer
had heart issues, and it showed in the low energy the band projected. It was a must to
see this show given the setlist and new members. I've always said that Yes should have
retired after the 2004 40th anniversary tour. This show hasn't changed my opinion.

Next up is Keith Emerson and Greg Lake, who perform an acoustic duet show in LA in
April. Keith was sidelined for a year or more with a nerve injury in his hand, not unlike
old friend Phil Collins, who essentially cannot play drums anymore. As the Stones once
sang, "what a drag it is to be old."

Monday, December 21, 2009

Whilst this blog had been inactive for most of the year, I want to take this timely
opportunity to thank all those who purchased product from Boffomundo Music and
(hopefully) enjoyed our collection of progrock videos over the last year Also, a HUGE
thanks to friends and family, who, as usual, have been loving and supportive in a
sometimes difficult year.

Hail 2010, the beginning of the 2nd decade of the 21st century!

2 Deaths in the Boffomundo Family- Thursday, March 5, 2009

I woke up this morning to find an email from a fan who thanked me for posting videos of
Fumio Miyashta and wrote that "he was my uncle." Sadly, the leader of Japan's "answer
to Pink Floyd", the Far East Family Band passed away in 2003 of lung cancer. Fumio
became part of the Boffomundo family through our guru, Tony Harrington, (who also
passed away in 2001 of prostate cancer). Tony was A&R man for Atlantic Records in the
70s and had an import/export business that dealt with Japan extensively.

When Aaron and I met Tony Harrington in 1979, he was owner and operator of All Ears
Records, a small record label that pressed US versions of Japanese prog LPs and was
creator of the "Manifestival of Progressive Music", the template for the various prog
festivals around the world. Tony thought the idea of a TV show that interviewed
progressive rock musicians was a good one and had many friends who appeared on the
show. Tony also lent his "All Ears" name to the Boffomundo Show and we had a
wonderful year interviewing many of our heroes, all of which are now seen on YouTube.

The Far East Family Band played the Troubadour in 1979 and Tony asked us if wanted
multi-instrumentalist and leader, Fumio Miyashta to perform live on our show. "Live?"
we asked? Public Access cable was in it's infancy and we produced our show in a room
no bigger than a 2nd bedroom in a small apartment. Fumio came to the studio on October
30, 1979 with a dozen or more instruments! Our three chairs, All Ears Boffomundo
poster and coffee table set would never suffice! We had him set up the many keyboards
and gongs in a way that he could play comfortably and simply routed all the sound
through one bookshelf speaker, which we placed on a chair with one microphone in front
of it! All we had was mono and mono it was!   We miraculously managed to get a decent
mix and away we went! Remember, we had one hour to produce a half an hour show.
No editing, no inserts, live as can be and whatever happened happened. Like the 50s
Milton Berle television shows!

With the latest "Yes" cancellation, Bill Bruford's retirement from public performances
and the deaths of two Boffomundo alumni, my previous postings about the sicknesses and
deaths of many of my heroes is amplified. As Dr. Ron said, eat yer veggies, take a walk
and lose the cigarettes!

February 19, 2009 - In the Present Tour Cancelled
The “In The Present Tour,” featuring Yes’ Steve Howe, Chris Squire, and Alan White, is
cancelling the remaining scheduled shows. Click here to read a note from Alan to the fans.

Chris underwent surgery on his leg on February 11, 2009. The operation was successful
and Chris is on his way to a full recovery. However, Chris has been advised by his
physician that he needs a one month rest period, hence the reason for the cancellation of
the rest of the tour dates.

As previously stated, Chris and the rest of the band wishes to apologize for any
inconvenience that this might have caused to their fans and hopes to see them again soon.

Tuesday, January 20, 2009

Happy New Year to all. I have been watching Barack Obama being inaugurated the 44th
president of the United States. It's a new world everyone, so hang on to your hats. A
new sheriff is in town and that town is bigger than ever. Good luck to us!

ALSO: Bill Bruford retires from public performance
Posted by Sid: Monday, 26th January,2009

After 41 years of moving the percussive pulse in music and raising people's pulses in
general, Bill Bruford has announced his retirement from public performance, effective
from January 1st 2009.

FOR IMMEDIATE RELEASE

STEVE HOWE, CHRIS SQUIRE AND ALAN WHITE OF GROUNDBREAKING ROCK GROUP
YES UNITE FOR “IN THE PRESENT” U.S. TOUR
Members will be joined by Oliver Wakeman on keyboards and vocalist Benoit David to
perform the group’s classic repertoire in live spectacular

LOS ANGELES, Sept. 10, 2008—Albums like Fragile, Close to the Edge Tales from
Topographic Oceans and 90125 and singles such as “Roundabout,” “Owner of a Lonely
Heart” and “I’ve Seen All Good People” are just some of the enduring classics that have
made YES one of the most influential and groundbreaking groups in rock & roll. Now, the
classic YES line-up of guitarist Steve Howe, bassist Chris Squire and drummer Alan
White will launch the "In The Present" tour starting November 4th in Hamilton, Ontario,
marking yet another chapter in the art-rockers’ amazing, 40-year career of legendary
live performances. The three will be joined by keyboardist Oliver Wakeman, the son of
YES’ Rick Wakeman, and vocalist Benoit David, a Montreal, Quebec, native and vocalist
in several YES tribute groups, who was discovered by the band on the Internet.

With a remarkable 40-year career that has time and again redefined the boundaries of
rock, YES was formed in 1968 by Chris Squire and Jon Anderson, who shared a mutual
interest in vocal harmonies and classical music. With drummer Bill Bruford, guitarist
Peter Banks and keyboardist Tony Kaye, they became YES, earning a residency at the
famed London venue The Marquee Club, where they played with the likes of Jimi Hendrix
and Pink Floyd, releasing their self-titled debut album in July 1969.

Guitarist Steve Howe, who went on to play in the popular prog-rock groups Asia and GTR
and continues releasing acclaimed solo albums and touring, brought an experimental
cutting edge to YES for their 1970’s The Yes Album, their first number one album in the
UK. Drummer Alan White, who had been hand-picked to play on John Lennon’s Imagine
and George Harrison’s All Things Must Pass, came aboard in 1972. YES then went on to
conquer America and played at some of the largest paid attendance concerts of all time
including the JFK Stadium in Philadelphia in 1976 to a crowd of over 130,000 people.

YES postponed plans for a 40th anniversary Close to the Edge and Back tour in June,
when vocalist Jon Anderson suffered a severe asthma attack and was diagnosed with
acute respiratory failure. Commented Squire: "This isn't an attempt to replace Jon
Anderson, because as we all know, that would be impossible. With Benoit, we are
bringing in a talented singer so that we can go out and honor the music of YES for the
fans who have waited for the past four years to see us perform."

A dominant force in rock music for more than four decades, YES has created some of rock’
s most enduring and compelling hits, selling more than 30 million albums worldwide. The
group has defined music history with their dynamic instrumental contrasts and abstract
lyrics. Their symphonic use of sound and innovative musical styles continues to make
them the most successful progressive rock band in history and their amazing career
continues to defy many of their rock counterparts.

Return To Forever- Gibson Amphitheater, Friday, June 13, 2008

Unbelievable. Immaculate. Inspirational. These words are not strong enough to
describe the RTF show I saw last Friday. I have attended almost 400 shows in my time
and this rates near the top. Beginning with a pictorial tribute to Miles Davis and Joe
Zawinul, the architects of fusion jazz, to the intro of the band by Kareem Abdul Jabbar to
the two sets of sublime instrumental music, this is one of the concert high points of my
life. The choice of material, the execution, the seats and the sound were virtually
flawless. Chick Corea, Stanley Clarke, Al Di Meola and Lenny White may be the greatest
touring group of instrumental musicians on the planet.

The band performed two sets that featured RTF classics, "Hymn of the Seventh Galaxy",
"Senor Mouse", "No Mystery", and Romantic Warriors "Sorceress", the title track, "Duel
Of The Jester And The Tyrant" and "Medieval Overture". The interplay of the musicians,
which in a jazz context reminds me of a Bill Bruford quote, "Everyone hates 'jazz' but it's
the only word to describe a musician who wants to say something fresh and react to
what others are doing around him." was telepathic. The staging allowed the musicians to
feed off each other, both in electric (the first set) and acoustic (most of the second set).

If I had to criticize anything it would be the length of the solo's, particularly Lenny
White's drum clinic, which seemed more like a drum lesson than an orchestrated solo
(think Neil Peart). No one can play the bass (either electric or acoustic) with more
authority than Stanley Clarke and his solo was masterful and while a bit too long was the
highlight of the solo sets. Guitarist Al Di Meola is transcendent. In other blog entries,
I've bitched about "older" musicians (particularly in Yes) being too slow and arranging
the music an octave or two lower for the vocalists (Phil Collins), as well as guitarists
being more true to the original recording (slower and controlled, particularly during
solos), but Al is at the top of his game. The baby of the band at 53, he can shred the
electric fretboard or make love to the acoustic. Keyboardist and leader Chick Corea,
though, is the lord of the castle. Acoustic piano playing like a waterfall, synthesizers that
layer, color and bleep, the man creates a musical environment for the other players that
is both open and controlled, the goal of the movement that still lives and thrives through
these four men: jazz rock fusion.

There is hope for music and may the youngies that attended the show be willing and able
to bring it to a NEW level in the future.

What's Not New- June 11, 2008

With the cancellation of the Yes tour (due to lead singer Jon Anderson having suffered
respiratory failure) and the other health/death issues I have written about in the last
few months, everyday brings more evidence of my (and other late boomers) mortality.
It's sad, yet uplifting in a certain way to experience the passage of time through the
demise of our heroes.   As the old rock warriors retire and die, I wish there was more
NEW music by younger folks, who didn't insist on simply copying their influences and not
adding something fresh to it, in order to create something NEW. Much of the music of the
sixties and seventies was NEW and never done before- even if they, at their own
admission- mixed up the styles they were listening to: The Beatles, The Kinks, The Who,
Bob Dylan, David Bowie, Black Sabbath, Yes, Roxy Music and so many more that were so
original, so individual, so non-corporate, and so very missing in today's culture. So what
if we dressed funny. That was new too. No one had dressed liked that and no
mainstream citizen had sported long hair for several centuries. Again, completely
original. I love that today's
guys have long hair. I have none, but loved it when I did. But it's a style, not a
revolution. I love that they start bands, but why do they all sound like Nirvana...still?
Wake up, it's not 1991 anymore. We need more Bjorks and less Nickleback's.

New ideas and energy in rock music is required and it doesn't have to be progressive,
just good. I love that there are lot's of
women in pop music these days. I like Duffy, but isn't she a blond, non-alcoholic Amy
Winehouse? I like the group, Of
Montreal, because they sound like the Spiders from Mars. Not original. Musically,
Radiohead is close, but the whiny singing
ruins it for me. Sorry. Muse? Again, the singing. And if the Mars Volta could learn to
write actual melodies, they might
have something. I got the "Crossroads" DVD of guitar heroes led by Eric Clapton. The
idea that John Mayer was included was telling. He is a pop singer and matinée idol who
pretends to be a bluesman. Moderate talent, star billing. Derek Trucks,
the son of Allman Brothers Band drummer Butch Trucks is a reincarnation of Duane
Allman and plays slide like no one I've
seen since. Original, no, but name a young slide player (besides the late Jeff Healey)
who's better. I'm sure there are
incredible musicians out there (just watch YouTube,) who have the talent to emulate
their heroes, now just create something fresh. Go back to the basics. Bo Diddley just
died. He created a percussive approach to guitar playing. He wasn't the most talented,
or the fastest, but what he created had never been done before.

Jazz remains the only bastion of good original music, since it involves improvisation,
despite the fact that jazz music itself hasn't progressed since John Coltrane circa 1967,
and was way too noncommercial to survive. Bill Bruford's Earthworks, while popular
amongst aficionados, are probably at the cutting edge of 21st century jazz and can't even
get played on U.S. jazz radio! Why? Because they're British! Everyone knows that only
American's can play jazz. Right? Bullshit.

In many ways, things are so much better for music fans, except for the music itself and
the insane ticket prices for concerts. You can buy trax for less than a buck and never
leave your bedroom. No need for the filler, just download the good ones! Concert ticket
prices (like everything else) are through the roof, but if you can't go, wait six months and
the DVD with better sound will be available. Today, a new band does not have to sell it's
soul to the record company. Just create your own video, put it on YouTube and if you get
the smallest of breaks (see OK GO) and good choreography, you're all set!

As the Byrd's once sang in "So You Want To Be A Rock 'N Roll Star" (McGuinn/Hillman)

So you want to be a rock 'n roll star
then listen now to what I say
Just get an electric guitar
and take some time and learn how to play
And when your hair's combed right and your pants fit tight
it's gonna be all right

Some things are forever, but drive and creativity need to move forward, or forgive me,
progress every now and then. Now is the time.

Yes says no tour as singer stricken

More health problems for our heroes:

LOS ANGELES (Reuters) - British progressive-rock band Yes said on Wednesday it
canceled its upcoming 40th anniversary tour of North America because singer Jon
Anderson has been diagnosed with acute respiratory failure.

Anderson, 63, was hospitalized last month after a severe asthma attack, and doctors
have told him that he will jeopardize his health unless he rests for at least six months,
according to a statement. "I'd like everyone know how deeply disappointed I am by this
turn of events," Anderson said. "I was looking forward to celebrating our music with the
amazing family of Yes fans once again; but as we all know, health must come before
anything else."

The tour, the band's first trek through North America since 2004, was scheduled to begin
on July 12 in Quebec City, and run through August 22 in Los Angeles. Anderson, the
band's main lyricist, and bass player Chris Squire are the only original members of the
group, which has undergone numerous personnel shifts since it launched to immediate
critical acclaim in 1968. Its hit songs included "Roundabout," "I've Seen All Good
People" and the 1983 U.S. chart-topper "Owner of a Lonely Heart."

(Reporting by Dean Goodman; Editing by Bob Tourtellotte)

Rush- Nokia Theatre, Tuesday, May 6, 2008

I'm the first to admit that I came to appreciate Rush later than some. By the time I
purchased Permanent Waves in 1980, I
was a impressed and definitely a fan, and while a rabid concert-goer, I never bothered to
see them until 2002. No excuse, no reason. True, I had purchased the live albums and
videos/DVDs and were quite acquainted with them, but seeing them for the second time
last Tuesday inspired me to write this review/commentary.

Along with fellow 70s icons Led Zeppelin and Pink Floyd, Rush is an inter- generational
band. I don't mean dads in their 40s and 50s dragging their kids along to see Boston or
Journey, There were Rush fanatics in their teens, 20s, 30s, 40s, 50s and I'm sure 60s as
well. And women! Women of all ages screaming at Geddy! Amazing. Generally, this
kind of music is what my friend Lee coined "men's rock", and women are there as
"dates" or as "girlfriends" to make up for the fact that you went to see Sting or John
Mayer with them (and that was OK, it could have been much worse). Drummer Neil
Peart's intelligent and philosophical lyrics, while not unlike Floyd (minus the bitterness),
mesh easily with music that is equal parts heavy metal thunder and melodic progressive.

The stage show is and has been categorized as legendary. All manner of light
configurations, lasers and five video screens featuring an array of animated films and
quite innovative camera angles of the band in all their glory. Too loud, though, or should
I say too shrill. Alex Lifeson is a wonderful guitar player, but he doesn't have the
subtlety or grace of say, a Steve Howe (even in various Rush acoustic moments) and the
fact that the tone he uses is more metal than progressive, I believe hampers the concert
experience more than it should considering the technological tricks that are available in
concerts (like adding more bottom to the mix!)

Rush totally rock. Much more than Yes, Genesis and yes, more than King Crimson (who
also share inter-generational audiences, though in much fewer numbers). Neil Peart is
one of our greatest and most imaginative drummers and these guys have got the groove
down. That hasn't changed over the decades, even though Rush are in their mid-50s.
Rush also has never stopped making records, and their Snakes & Arrows album, like all
their albums, contain some great tunes and some filler. They also insist on playing more
than a couple of new songs on each tour and after almost thirty years of playing
"Limelight" (which, by the way, was the opener and it was bitchen!) they need the
challenge and you have to hand it to them. They didn't do "Entre Nous" from Permanent
Waves this time out, so that was a bit of a disappointment, but "Subdivisons" from
Signals, "2112" (which made up for no "La Villa Strangiato") and "Mission" from Hold
Your Fire were the highlights for me. Peart's drum solo (on two kits, one acoustic, one
digital) was a revelation. Creating tunes on synth pads to improvise from and mixed in
with jazz bits featuring film collages with heroes Gene Krupa and Buddy Rich, Peart
creates and maintains the most entertaining "drum solo" in the business. DO NOT GO TO
THE RESTROOM DURING HIS SOLO! Hold it in, it's worth it.

Geddy Lee, whose birth name is Gary (his East European grandmother pronounced it
Geddy) is virtually ageless, alternating between brilliant bass playing, keyboard
flourishes and running around the stage like an emo-rocker. His voice is a bit lower, but
he can pretty much hit the high notes of his youth and was a joy to behold. Humor has
always been a part of the band's mystique and this sets them apart from the average
serious progressive rock band with the exception of
early and later Genesis. From the brilliant South Park bit featuring the boys as "Lil Rush"
to the many Three Stooges references to staged triple washing machines of the Vapor
Trails tour and the chicken rotisserie "amps" of Snakes & Arrows, Rush refuses to take
itself too seriously and maybe that, and the ageless music that makes it so attractive to
fans of all ages.

Monday, April 28, 2008 @ 1:30PM

Random Notes (with apologises to Rolling Stone)

I had to dig to find this one. Phil Collins is "retiring"! I cannot believe how the British
press treats him! I never realized the venom. We in the US get our share of celebrity
garbage, but the UK, which is so much smaller and more music-oriented than us
(probably because of the Beatles), trash their pop-stars as we trash our movie stars.
Phil has been (no pun intended!) a megastar and when we interviewed him in '79, he
was a scruffy drummer/singer in a progressive cult band. We never realized that in a
couple of years, his touch for writing disposable pop songs would propel both he and
Genesis in the rarefied (for a prog band) strata of mainstream rock and pop stardom. It
managed to removed me as a fan and when the Genesis "reunion" tour took place last
year, one view (and listen) on the "VH1 Honors", I knew that you couldn't go home
again. Whatever chance a reunion of the Lamb Lies Down line-up had is now unlikely. I
wish Phil had stuck to the drumming. His style was so innovative, especially with Brand
X, where he could really rock out. I'd place him in my top five drummers, along with
Furio Chirico (from Arti + Mestieri), Neal Peart (Rush), Rod Morgenstein (from Dixie
Dregs) and Bill Bruford. Then he opened his mouth and the drumming took a back seat.
My other old fave, Yes, has at least kept up appearances over the years, discarding their
attempts at pop (Yes had one, albiet huge hit single and album, while Genesis had
several huge albums and sold many more albums) and concentrated on the symphonic
"standards" in concert.

Speaking of Yes, the re-designed Yesworld site has emerged and looks great! The new
Asia album, Phoenix, has made it to the top 100 of the Billboard charts. To read the
comments and reviews, one plain truth has been revealed. True Asia fans are those who
were kids in the early eighties and found the trite romantic notions John Wetton sang
about fit their emerging adulthood and the back-to-simplicity edict that Ronald Reagan
came to exemplify. True Asia fans are not progressive rock fans and therefore the band
(smartly) stuck to it's original formula. I hate to say this, but I think the first album, was
better, mostly because there was (at least) some uptempo songs. Certainly not prog, but
quicker and catchier, like "Cutting it Fine". I saw them live in '06 and they were pretty
good, so I had my hopes that they may go a bit more "proggy" on this album, but alas, no
such luck. But as I said, Asia albums are not made for me. And never were.

Thursday, April 17, 2008 @2:30PM

1974- The year of transition.

It's sad to say that until last week, I hadn't watched any of the old shows on YouTube in
their entirety So I watched the two favorites, Fripp and Wetton, and I started thinking
about the last King Crimson album of the 70s, the seminal Red album. It was released in
1974 and I pondered the many end-time events in the world of progressive rock that
signaled the musical change from the complex to the simple: progressive rock into punk
rock. And in rock radio the progressive to the placid. The Red album was the first of
three albums of original material by progrock leaders released within weeks of each
other in October/November, 1974. Red was the most metal, heaviest and shrill of the
three Crimson albums with Bruford and Wetton. While Red could have been produced
more "warmly" as Lark's Tongues in Aspic was, or as FM rock sounding Starless and
Bible Black, the stark nature of the production seemed intentional. "Red", the song, fused
the metal fusion of "21st Century Schizoid Man", while "Starless"starts out with the
delicate tunefulness of "Moonchild" and melts into a Bolero-like buildup that is a staple of
the bands repertoire to this day. John Wetton tells the story about why a song called
"Starless" was not on the album Starless and Bible Black on the '79 Boffomundo Show
interview.

Red was followed by the last truly progressive Yes album, Relayer. This 3-track album
was, to many (including myself) the hardest album of the band's to digest. I am one who
felt that Tales was melodic and beautiful and is the pinnacle of progressive rock and
reject all criticism. So there! At first Relayer seems cold and unmelodic with "Sound
Chaser" and "The Gates of Delirium" featuring fusion jazz-like jams and extended solo
electric guitar freakouts. But the tranquil "To Be Over" and the other worldly "Soon, Oh
Soon" coda to The Gates are among the band's most beautiful. Compare the album
covers and that will tell you. I would come to love it, but it took some time, as did The
Lamb Lies Down on Broadway, by Genesis. This was the last featuring Peter Gabriel,
and while the music was masterful, the lyrics took some getting used to (very un-prog-
like) and the song nature of this double album made it initially harder to swallow,
following the smooth and professional sounding, Selling England by the Pound.

Meanwhile, in the world of Art Rock, 1974 saw Brian Eno leave Roxy Music, and with
that, Bryan Ferry began to fashion the band in a more direct, less kitschy way with the
successful Country Life. David Bowie released Diamond Dogs, his most decadent album
to date and jumped on the disco bandwagon in 1975 with Young Americans.
Symbolically, 1974 will be remembered as the year the Beatles REALLY broke up, with
the dissolution of the Beatles, Inc., allowing them to be finally legally separated from
each other,

Music changed post-1974, and in the coming two years the album sales success of Peter
Frampton, Boston, Fleetwood Mac and others set the stage for more commercial and
easier to digest "product" in rock radio. Regardless of it's artistic freedom and progress,
music was a business and business was good and going to get better. Until 1979. More
on 1979 later.

And with that, the experimentation in music that struck a chord with a generation and
radio programmers would be replaced by the plain, the predictable, the punky and the
placid. God save 1974.

Monday, March 17, 2008, 8:44AM

Rick Wakeman and YES

A statement from Rick's website:

"Throughout much of last year, e-mails and phone calls were held between Jon, Chris,
Steve, Alan and myself as to where we all felt the future for YES lay, and of course, there
were conflicting views in many areas! (Nothing new there, but very healthy of course).
My major concern was that of over-touring, which I felt YES had done since 2002 with
far too many shows, especially in America which for me diminished the "specialness" of
the band. I also was concerned for the health of the band, both as a whole and as
individuals. It's a matter of public record for instance, that Jon in particular really
suffered during the last weeks of the previous YES tour which was extremely worrying
for us all.

Over the years, I have had my fair share of "narrow escapes" when it comes to health
and I felt that I simply could not do months and months of touring each year anymore and
I expressed this to the other guys from the outset. I'm absolutely fine at the moment, but
want to stay that way, so I suggested to the new management that we perhaps limited
the shows we would do and make each show something special, but this was rejected
with the management feeling that lengthy touring was the answer for the band.

It was therefore with an extremely heavy heart that I had to say to the guys that I could
not be part of a massive long term touring schedule as I did not feel it right for the band
musically and also for the band member's health. We are a democratic band and I accept
that I was a sole voice in this thinking.

Chris and I met up a few times and spoke about who I felt would be able to do a good job
in the keyboard department and I put forward just two names, my two eldest sons Adam
and Oliver. Adam, to be truthful, was not really a "contender" because he is fully
committed to Ozzy and is touring constantly. Oliver has worked with Steve of course on
various recordings and so there was already a rapport there. I was therefore very happy
when Oliver told me that Steve had called him.

I am sad of course not to be walking on stage with the guys on the upcoming tour, but
like each member of YES, I have developed a deep inner spiritual feeling that takes over
your whole life, and sadly witnessing too many friends around my age, (both musicians
and people connected with the business), either departing this world or having serious
illness, has played an enormous part in the very difficult decision I had to make.

I truly hope that this is not the end of the Classic Line-Up and that something very special
may happen in the not too distant future. In the meantime, I wish the guys, good health,
great music and much happiness."

Rick Wakeman - 14th March

Wednesday, March 5, 2008, 2:40PM

The Yes Dilemma

I first got into Yes in January, 1972 when I bought the Fragile album. I had never heard
anything like it. I already was blown away by the first album by ELP and swooned over
In the Court of the Crimson King, earlier, in 1969, but something about the bass/drum
interplay, the space age keyboards, the unblues-like frantic guitar stylings and the guy
(?) with the alto voice that was completely unique and I fell in love. It was amazing then
and still manages to blow my mind on a regular basis. I saw them in '73, '74, '75, twice
in '76, '77, second row for the "In the Round" shows in '78 and '79. The 1978 show is
the best concert I have ever seen in the 300 plus I have attended. Are Yes still alive? No
word from them collectively since '04. Has it really been over since 1979, when
Anderson and Wakeman both left the band? Today, I read a posting from a Yes blogger in
the UK here. It announces that Oliver Wakeman, Rick's eldest son's, will tour in his
place! Rick has had health concerns for many years and didn't want to undertake a world
tour. No Wakeman again? Let's try and get this straight: he joined Yes for the first time
in 1971, left in 1974; rejoined in 1976, left in 1979; again in 1996 and left again in '97;
and again in 2002 and now for the final time. Why bother? Well, this is Yes' 40th
anniversary, but these guys are approaching 60 and Jon Anderson is headed for 64. So
what! Look at the Stones and the Who. They are older and play much less complex
music and they are certainly not as "fast" as once upon a time, or as vocally sonic. I saw
Yes with Wakeman in '02, '03 and '04. They were good, very good, but not great. Why
just very good? Age and stamina, I'm afraid.

It all started back in September, 1989, when I saw Anderson, Bruford, Wakeman and
Howe at the Greek Theatre in Los Angeles. This was the chance for Jon Anderson to
resurrect the personnel from Fragile and Close to the Edge (without Squire, however)
and begin anew after the 90125 years. My observation? Live, the band played
considerably slower and more in line with the original arrangements on the albums. How
was the playing? Steve played much slower but with more control and precision, Jon's
voice was a tad lower, but still glorious, Bill was more a rock drummer this time around
(with his electronic kit) and Rick's chops were the most impressive of the bunch. The
performance was a kinder, gentler Yes. Their music has always been complex and
superior musicianship is required to get the job done, slower paced or frantic, it was
quite enjoyable, but tame. Sadly, the ABWH material, for the most part, was mediocre.
The 1991 Union tour was fun but the patching together of ABWH and "Yes West" albums
into one was a disaster.

The "Keys to Ascension" set contained live examples of the tamer approach, plus what I
contend is the best piece of music they have produced since "Awaken", the 19 minute
opus, "That, That is". Prototypical Yes music and arrangement augmented by some of
Anderson's worst lyrics (something about crack babies in heaven.) There was some
hope, I thought. After Wakeman left the band for the third time (for Jesus, as some
contend), I continued to see Yes in the later 90's (after Anderson regrouped with Howe
following the mediocre Talk album with Trevor Rabin) with Russian import, Igor
Khoroshev on keyboards and "Key's" producer, Billy Sherwood on second guitar and
vocals. The shows were similarly tame, but with some added freshness with the new
members, and the newer material, while lambasted by critics, contained several cuts in
the Billy Sherwood/Chris Squire written Open Your Eyes album that were very Yes-like
and leagues above any of the 90125/Big Generator stuff. During that tour they played
"The Revealing Science of God" and THAT in itself made it special.

Will I go see them again, maybe for the final time? It's a must! It's a commandment.
Why? It's the brilliant music. It's Yes, one of my personal Trinity (along with the Beatles
and Cream) Oliver Wakeman is as authentic as Jason Bonham is to Led Zeppelin, and will
undoubtedly bring new perspective to the old songs. Yes is still the most original
sounding group I have ever heard. Who knows? They may open with "Future
Times/Rejoice", which they haven't played in 30 years. Or dig up "The Remembering"
from the depths of the topographic ocean. The comfort and excitement of hearing the
finale from the "Firebird Suite" as the band comes on stage still brings the goose bumps
and that is something I cannot miss. My point? Parents, bring your children and children,
drag your parents. It may not be 1978 anymore, but seeing Yes perform this complex,
beautiful music for maybe the final time (or for the first time, for you youngies) is
essential, even for cynics like me who saw them at their peak. Remember, it's the music
that counts, not the age of the messengers.

Boffoblog