Refugee: Lost Band Of The '70s

Although their groundbreaking work with proto-prog band the Nice circa 1968-70 was often overshadowed by star-in-the-making Keith Emerson, bassist Lee Jackson and drummer Brian Davison were well-regarded instrumental virtuosos in their own right. The Nice were arguably the first true progressive rock band, the trio blending psychedelic rock and pop with elements of classical, soul and jazz music – the band’s freewheeling jams were typically dominated by cascades of Emerson’s staccato keyboard fretwork. The bottom end, however, was held down by Jackson and Davison, superb musicians with an uncanny chemistry and the ability to weave enchanting rhythms behind Emerson’s pyrotechnics.

In spite of their notoriety, the Nice never sold many records during its glorious heyday, with the band releasing only four critically acclaimed albums (three as a trio) during its brief lifespan. However, the ground that was broken by the Nice’s hybrid sound threw the doors open to all sorts of musical possibilities, from jazz-rock fusion to prog-rock, for which the band virtually created a blueprint for bands like Yes and King Crimson to follow. However, Emerson became disenchanted with the band (particularly Lee Jackson’s rough-hewn vocals) and he jumped ship to form a similar (but inevitably more successful) trio – Emerson, Lake & Palmer – with Greg Lake from King Crimson and Carl Palmer from Atomic Rooster.

After the Nice broke up, Jackson and Davison pursued other musical directions for several years as the prog-rock beast that they, in part, helped create made wealthy men out of the members of other bands. When they discovered Swiss keyboard prodigy Patrick Moraz playing with the experimental band Mainhorse, they recruited him for the formation of Refugee, a second coming, of sorts, of the Nice. Moraz proved to be Emerson’s equal at the keyboard, and with a background in jazz and early training in some of the finest classical music schools in Europe, Moraz brought a different edge and perspective to the trio’s sound than that enjoyed by the Nice.

After a few weeks of rehearsals spent pounding out material, Refugee performed its first show in December 1973, playing a mix of new songs and a couple of old tunes from the Nice. Signed to the Charisma Records label formed by the Nice’s manager Tony Stratton-Smith, Refugee recorded its self-titled debut album, which was subsequently released in the early months of 1974. Jackson and Davison found themselves reinvigorated, musically, in playing with an instrumentalist of Moraz’s talent, and the album was selling well enough that plans were made for recording a second release.

Lightning would strike twice, however, as Jackson and Davison would once again be on the outside looking in when Moraz left Refugee to join the more commercially-successful band Yes. Replacing the recently-departed Rick Wakeman, Moraz would perform on the band’s acclaimed Relayer album, and toured with Yes until the band went on hiatus in 1976, at which time he launched a varied, critically-acclaimed solo career that continues to this day. Moraz would also tour with the Moody Blues in the wake of their successful 1978 comeback album Octave, and would contribute to the recording of that band’s 1981 album Long Distance Voyager.

As for Jackson and Davison, they performed with other bands, most notably Davison with Gong. The two would never again be a part of a major band, though, but it is a testimony to their talent that the lone Refugee album has become a sort of “Holy Grail” among collectors and prog-rock fans, and not only for representing some of Moraz’s earliest recordings. The band’s debut has withstood a rigorous test of time, as the trio’s talents melded together in the creation of a vigorous and electric new direction for prog-rock. Although they were only together nine months or so, Refugee played steadily on the British university circuit, and Live In Concert 1974 is the sole known document of the band’s live prowess.

Rescued from obscurity by one of those odd happenstances that are part of the magic of rock & roll, Live In Concert 1974 was taken from an old cassette recording that was in the possession of Refugee drummer Brian Davison. During a conversation with Davison, writer Martyn Hanson asked if the drummer had any old live recordings of the Nice lying about. As recounted by Hanson’s excellent and informative liner notes, Davison said no, but he had a Refugee tape, which he proceeded to dig out of an old box. Despite its age and vintage, the recording had suffered little through the years, and after being cleaned up a bit, was released on CD by Britain’s Voiceprint Records and distributed in the US by MVD Audio.

First off, let’s address the album’s sound quality, shall we? Keep in mind that the recording had sat in a box for nigh unto thirty years before being “rediscovered,” dusted off and cleaned up for proper CD release. For an album sourced by a three-decade-old cassette tape, the transfer is remarkably spry, with very little tape hiss or rumbling. There is a bit of distortion, particularly on the high end and mostly during the early tracks, and some overwhelming brightness and vibration buzzes across some of the passages. Overall, though, the sound is better than just about any bootleg of the era that you’ll find, less impressive, sonically, than a digitally-recorded modern performance but engaging and entertaining nevertheless. There is good separation on the instruments and vocals (the original tape was a soundboard recording), and each musician’s performance is quite clear and distinctive.

That being said, the performances of Moraz, Jackson and Davison here are nothing short of remarkable. Running through a setlist comprised, basically, of four of the six songs from Refugee’s studio album, with the Nice’s “The Diamond Hard Blues Apples Of The Moon” and an unusual cover of Dylan’s “She Belongs To Me” thrown in, Live In Concert 1974 is a good measure of the band’s live sound. Moraz’s battery of weapons – keyboards and Moog synthesizers, piano and Mellotron – is used to deadly effect, the keyboard maestro injecting each song with a majestic crescendo of crystal sound and powerful rhythms. Jackson and Davison do much more than back up Moraz, with both musicians playing in tandem to create a strong underlying soundtrack, but each adding individual flourishes that showcase their own unique and undeniable talents.

Jackson’s vocals, usually described as a “croak,” are unpolished and strained – an acquired taste, to be sure. But they also convey a great deal of emotion through Jackson’s unique phrasing and projection. His bass fretwork is impressive, just a notch below contemporary Jack Bruce’s in my mind, which makes one wonder why another early-70s band didn’t pick up on Jackson’s skills. Davison’s drumming is equally world class, a virtual maelstrom of rapid-fire beats and imaginative fills. One can hear the jazz influences when Davison takes center stage, his powerful, staggering downstrokes reminding this listener of Buddy Rich. As for Patrick Moraz, the best-known of the trio, his work has been showcased behind more successful bands, but the notes and chords that he coaxes out of his gear onstage for Live In Concert 1974 are simply astounding.

One of those bands that has been lost to time, Refugee is worth rediscovering for any fan of early-70s prog-rock. There’s a lot going on in these grooves, and if you enjoy ELP, or maybe even the Nice, you owe it to yourself to dig up both Refugee’s sole studio album as well as Live In Concert 1974 for the full picture of this talented, albeit unheralded band. (Voiceprint Records/MVD Audio)

(Click on the CD cover to buy Live In Concert 1974 from Amazon.com)

The Strawbs - Live At NEARfest 2004

Although their commercial peak was some thirty years ago, the Strawbs, one of England’s most beloved folk-rock bands, continues to packs the houses on every tour, pulling in established fans and newcomers alike. Since reforming in 2001, the band’s appeal – based on intelligently-crafted lyrics; intricate, mesmerizing music and instrumental virtuosity – not only stretches across generations, but also across genres to include both folk-rock aficionados and prog-rock fanatics alike.

Live At NEARfest 2004 captures the band’s lively performance at the annual New England Art Rock Festival, held in eastern Pennsylvania. Featuring the mid-70s Strawbs line-up of singer/songwriter/guitarist David Cousins, Dave Lambert on lead guitar, keyboardist John Hawken, bassist Chas Cronk and drummer Rod Coombes, this is the band that recorded the classic Strawbs albums Hero And Heroine (1974) and Ghosts (1975). Given the honor of performing the festival’s final set, the band thrilled the sold-out audience with masterful renditions of some of their most well-drawn songs.

The magic at the heart of the Strawbs’ music lies in the tension and the creative dichotomy created by the band’s acoustic-folk roots and tendency towards electric-rock experimentation. The band’s best songs obviously come from the same sort of British folk tradition as Fairport Convention or the Incredible String Band, but they aren’t afraid to venture into territory that could well be considered as “progressive rock” as it was being defined during the ‘70s.

The band’s words are sheer poetry masked as rock lyrics, exploring universal themes of a spiritual and personal nature, and they’re often just as relevant today as they were thirty years ago. As singer and main songwriter David Cousins points out in a recent interview, “the most important thing about our band is the fact that the lyrics are equally as important as the music, and an awful lot of people identify with those lyrics.”

The song selection on Live At NEARfest 2004 provides a wonderful trip down memory lane for the Strawbs fan, the album drawing most of its songs from the band’s prolific five-year creative and commercial peak, 1972-1977. “Round And Round,” a definite fan favorite, allows keyboardist John Hawken to shine, his inspired synth washes priming the canvas for the rest of the band to embellish upon. The grand, almost orchestral arrangement proffered “Hero And Heroine” serves as a wonderful counterpart to Cousins’ madcap vocals.

“Down By The Sea” features some of Dave Lambert’s most awe-inspiring fretwork, fluid notes flying off right and left through the mix. Lambert’s incredible tone sits well alongside Hawken’s majestic keyboards, the pair creating a larger-than-life soundtrack behind the vocals. The rhythm section of Chas Cronk and Rod Coombes are as solid a duo as a band could hope for, providing a strong foundation for each song, sometimes deceptively adding a little magic to the mix, such as when Cronk’s bass echoes Hawken’s synth on “Round And Round,” or Coombes’ drum fills compliment Lambert’s lead on “New World.”

“New World,” from 1973’s Grave New World, is placed in a haunting new perspective, Cousins tying the song’s theme of civilization’s fall and redemption to the tragic events of September 11, 2001 with no little compassion. The band supports the song with lush instrumentation, and Cousins’ vocals are driven by the passion of a man trying to reinvent a better world for his children. One of the few newer songs here, “This Barren Land,” showcases Cousins’ unique, wizened vocals alongside Lambert’s six-string wizardry, each note well-placed to enhance the overall impact of the song. Most of the Strawbs’ songs evoke an emotional atmosphere as much as a musical one, a thick tapestry of sound punctured, often starkly, by Cousins’ enchantingly creaky vocals.

I must lodge a minor complaint about the album’s production, however. Although the sound quality is excellent throughout, somebody wasn’t paying attention to the song indexing. When Cousins delivers his introduction to “Burning For Me,” it is indexed as that song rather than an intro, while the real “Burning For Me” is listed as “New World.” Ditto for the introduction to the real “New World,” which is listed as the “Autumn” suite…taken altogether, this oversight throws off the tracklisting across the entire album. This isn’t a problem for those listeners familiar with the material, but for new audience members it could be quite puzzling.

That minor cavil aside, overall, Live At NEARfest 2004 offers up a spirited performance of timeless songs by one of the most underrated of ‘70s British bands. Ripe for “rediscovery” by the rock punditry, the Strawbs enjoyed close to a 15-year run during their halcyon days, recording eight strong albums of enduring quality during their first seven years of existence. From the sound of this 2004 performance, however, it seems like they’re having more fun today than they ever had back then! (Witchwood Records)

The Reverend's interview with David Cousins on Associated Content

(Click on the CD cover to buy Live At NEARfest 2004 from Amazon.com)

Four O' Clock And Hysteria

Guitarist Alan Morse is almost exclusively known for his day job as a founding member, along with his brother Neal, of neo-prog legends Spock’s Beard. Over the past 15 years, Spock’s Beard has risen to the top of the modern prog world, the band’s ever-evolving sound splashed across nine studio albums and half-a-dozen live sets. Nothing if not prolific, Spock’s Beard has helped define prog-rock for a generation of fans, and Alan Morse’s nimble fretwork and creative talents are a major element of the band’s trademark sound.

Through the years, however, Morse had never found the time or inclination to record a solo album. Our loss, really, because as a player Morse is perhaps one of the most underrated axemen in the world of rock music, no doubt overlooked by the critical intelligentsia because of his “progressive” background. No matter, really, because Morse’s first solo album – Four O’ Clock And Hysteria – has arrived, and guitar fans everywhere are going to have to sit up and take notice. If you’re impressed by the likes of Jeff Beck, Steve Vai, Paul Gilbert or Joe Satriani, then you’re going to kick your own ass ‘til it turns blue when that snot-nosed little punk from down the street – the one with the black-dyed hair and nose-ring – THROWS Alan Morse’s solo debut in your face!

Freed of the constraints of the band dynamic, Morse was able to go nuts and CUT LOOSE on Four O’ Clock And Hysteria, unleashing his inner improviser and exploring the depths of his considerable talents. Um, I’d say that it worked; admirably, actually, with Morse merging disparate styles and instrumental genres into one giant mofo six-string workout. With brother Neal at the boards to capture every passing nuance, Morse tosses bits-n-pieces of rock, prog, jazz and blues into the blender, turns the button over to “shred” and hits that sucker with a mallet. The resulting instrumental gumbo evokes memories of notes, riffs and magical moments from a dozen legendary six-string wizards, ranging from the Yardbirds troika of Clapton, Beck and Page to Duane Allman; from Al DiMeola, Shuggie Otis and Ernie Isley to Rory Gallagher, as well as modern-day guitar heroes like Vai and Satriani. Morse takes ‘em all, adds his own indelible stamp, and makes it all new again.

Morse is joined here by his mates from Spock’s Beard – bassist Dave Meros, drummer Nick D’Virgilio and keyboardist Ryo Okumoto, impressive talents all – as well as by some friends from the CCM community, in-demand session players like bassist Gary Lunn and drummer Scott Williamson and, of course, his multi-instrumental brother Neal Morse. With his first album, Morse delivers a dozen complex, energetic and creative instrumental songs that illustrate his amazing skills and diverse creative chops. “Cold Fusion,” for instance, is a trippy little slice o’ space funk, with a constantly-shifting electronic buzz laid down behind Morse’s fluid leads, Okumoto’s keyboard riffing providing an excellent counterpoint to Alan’s squiggly lines.

The atmospheric “R Bluz” has an underlying Brit blooze-rock feel to it, Morse tearing off some Claptonesque tones while either Neal or Ryo kicks the keyboards until all sort of icy-cool psychedelic-jazz notes come tumbling out. The deceptively soulful “First Funk” is actually a mellow, but powerful instrumental jam, the kind of ethereal, R&B-tinged tune that we used to enjoy back in the late-70s. “Dschungel Cruz” includes some funky syncopated rhythms behind Morse’s screaming leads while “Spanish Steppes” is an intricate, delicate composition, its rich tones and subdued instrumentation matched by D’Virgilio’s tasteful drumming and Morse’s Mediterranean-styled playing.

The album-ending “Home” has a melancholy, almost wistful feel, with Alan’s layered guitar tracks creating a rustic vibe over the top of gentle percussion and Neal’s sparse mandolin work. In the end, the notes come tumbling down like rain, every lick shimmering through the speakers with a painfully beautiful sound. “Home” would be a great song to end a movie with, its instrumental grandeur shining as the credits roll. In this aspect, it reminds me a lot of Mark Knopfler’s soundtrack work for The Princess Bride.

Alan Morse’s Four O’ Clock And Hysteria will naturally be embraced by the Spock’s faithful, as well as by prog-rock fans in general, but the album’s innovative instrumentals and Morse’s undeniable six-string talents would also hold strong appeal to any music lover that appreciates fine guitar playing. If you have yet to discover Alan Morse, Four O’ Clock And Hysteria is your entry drug of choice…be forewarned, though, because once you hear this stuff, you’ll be forced to jump into the Spock’s Beard discography. After that, who knows? (Inside Out Music)

(Click on the CD cover to buy Four O' Clock And Hysteria from Amazon.com)

Saga Revisits Classic Album

Saga "Ice Nine"
Saga "On The Loose"
Saga "Keep It Reel"

There are “musical legends,” and there are bona fide “Musical Legends,” and it would suffice to say that Saga falls into the latter category. While punk was being rediscovered and the “Class of ‘77” anointed in England, Saga was forming in Toronto, part of the late-70s prog-rock movement in Canada that spawned bands like Rush and Triumph. Saga fit into the same mold, albeit with slightly more of a pop edge. The band released its self-titled debut album in 1978, toured constantly, and subsequently cranked out a new album every eighteen months or so through the end of the ‘80s; thirty years after forming, the band still creates vital, spellbinding music. Among the some 20 albums in its extensive discography, Saga has continued to show enormous growth in artistic vision and technical proficiency as a band, making them one of the most respected and popular of the second wave of prog bands with hardcore fans.

In 1981 Saga released its major label debut, Worlds Apart, just in time to take advantage of a music revolution partially fueled by the creation of MTV. The album showcased an infectious prog-pop sound that was influenced by Genesis and Gentle Giant, but also displaying a great deal of originality. Beating the subsequent wave of similar-sounding, but geographically-named bands like Asia and Europe by a good year or two, Worlds Apart yielded an AOR-radio hit in the song “On The Loose,” with its accompanying video among the first to be broadcast on the new music video network. Reaching a lofty number 29 on the Billboard pop chart, the album’s success would put Saga on firm footing during the new decade.

In December 2005, around Christmastime, Saga appeared onstage in Prattein, Switzerland to perform World Apart in its entirety, almost 25 years after its original release. The performance was recorded on both audio and video with an eye towards future release on CD and DVD, both of which have been delayed but should be released later this year. Since the Reverend was lucky enough to get his greedy little music-loving hands on an advance copy of the two-CD Worlds Apart Revisited set, let me tell you that if you’re a fan of pop-oriented prog and melodic rock, this Saga CD should be placed on your “want list” post-haste.

As stated above, Worlds Apart Revisited features a complete performance of the original album. With much of the same crew in tow from back in ’81 – the foursome of vocalist Michael Sadler, guitarist Ian Crichton, bassist Jim Crichton and keyboardist Jim Gilmour have played together for better than a quarter-century – these songs sound much like they might have when Saga originally played them at the dawn of the ‘80s. The band’s famous guitar-keyboard interplay is still very much prominent in this performance, the chemistry between Crichton and Gilmour as incredible as that between Steve Howe and Rick Wakeman back in the glory days of Yes. The rest of the band remains equally impressive musically, while Sadler’s vocals are every bit as powerful today as they were when he first cranked up the pipes in 1977.

Alongside well-loved chestnuts like “On The Loose,” “Framed” and “Time’s Up” from Worlds Apart, this two-disc set includes an abundance of vintage material from the band’s first three albums – “Ice Nine,” “How Long” and “Humble Stance” from 1978’s Saga, “See Them Smile” and “You’re Not Alone” from 1979’s Images At Twilight and “Careful Where You Step” from 1980’s Silent Knight; as well as “Scratching The Surface” and “The Pitchman” from Heads Or Tales, the 1983 follow-up to the band’s commercial breakthrough. There’s also a bit of more contemporary material to be found among the 22-songs on Worlds Apart Revisited, including “Keep It Reel” from 2005’s excellent Network and “The Runaway” from 2001’s House Of Cards. All of the performances can boast of Saga’s legendary instrumental prowess and progressive musical arrangements.

Prog-rock is still painfully disrespected in the United States, no band so much as Saga. Representing, perhaps, the last of the ‘70s-era progressive bands, Saga has survived numerous musical “revolutions” – from punk and new wave to nu-metal and grunge – with its sound and dignity intact. The band has retained a loyal following for three decades, both in the states and in Europe and Asia, by playing well and staying true to their original vision. Worlds Apart Revisited is a testament to both Saga’s longevity and dedication to their craft. (Inside Out Music)

(Click on the CD cover to purchase Worlds Apart Revisited from Amazon.com)

Kaipa's Angling Feelings

Kaipa "Angling Feelings"
Kaipa "The Ship Of Life"
Kaipa "The Glorious Silence Within"

Relatively unknown in the states, even by fanatical prog-fan standards, and criminally unheralded by any critical benchmark, Sweden’s Kaipa has nevertheless been a Scandinavian musical institution for almost three-and-a-half decades. Formed in 1973 by guitarist and songwriter Hans Lundin, Kaipa provided a teenaged Roine Stolt with his first major band experience before forming prog-rock legends the Flower Kings during the ‘80s. The ‘70s-era Kaipa recorded a handful of albums for Decca that sold well for their time, and the band’s musical stock would continue to grow beyond its ostensible demise in 1982, subsequently influencing a generation of European musicians.

After an eighteen-year hiatus during which Lundin continued to make music and Stolt achieved a measure of fame and acclaim at the helm of the Flower Kings, Kaipa reformed in the year 2000. The band would find an entirely different prog-rock landscape in the new millennium. Although remaining a relatively small cult genre within the immense world of rock & roll, prog-rock’s status and reputation had grown during the ‘90s, especially in Europe, and its influence could be felt in both mainstream rock and heavily in altering the direction of contemporary heavy metal. No longer overshadowed by hardcore punk, “nerf metal” and grunge, “prog” has enjoyed over a decade of increased sales and growing audiences that thirst for a transcendental musical experience.

Since its reformation in 2000, Kaipa has released three studio albums, but it is with its ninth and most recent, Angling Feelings, that the band has cemented its place among the greats of progressive rock. First of all, Roine Stolt’s fingerprints are nowhere to be found hereabouts. Leaving the band to pursue his other numerous musical projects (including the wonderful solo album Wall Street Voodoo and various Flower Kings’ releases); Stolt is no longer a creative part of Kaipa. In many ways, this is a good thing – regardless of Stolt’s immense talents, his departure allows Kaipa to cast aside his shadow and pursue new musical directions.

No doubt, the band chases after some bold new musical thoughts with Angling Feelings, reinforcing their reputation as one of the most creative, energetic and invigorating outfits on the prog-rock landscape. With the addition of new guitarist Pers Nilsson (Scar Symmetry), composer and group leader Lundin has a new tool to work with, and he utilizes Nilsson’s considerable talents with remarkable results. The songs on Angling Feelings are built upon the normal prog architecture: the familiar keyboard flourishes, spry rhythms, sporadic interspersed vocals and the electric improvisational nature of the music itself.

With Angling Feelings, however, Lundin and band have expanded Kaipa’s sound – there are many passages that sound downright jazzy, mostly those featuring Aleena Gibson’s seductive vocals. Patrik Lundstrom (Ritual) provides the vocals for most of the material here, his warm voice and soaring vocals playing well off of Gibson’s breathless phrasing. There are elements of traditional Swedish folk interlaced within the songs, as well as hints of world music influences. “Broken Chords,” for instance, builds upon a simple, island-influenced rhythm with shimmering guitar and keyboards and Lundstrom’s strident vocals. “The Glorious Silence Within” dances out of your speakers like a sprite at a Renaissance faire, the song’s intricate weaving of delicate instrumentation matched by an upbeat tempo and performance, with delightful vocal harmonies building a joyful chorus.

“Path Of Humbleness” begins with an ethereal, far-away sounding intro leading into Gibson’s haunting vocals and a quiet cloud of instrumentation before filling out with an unique mix of Celtic traditionalism and soulful keyboard riffing. The title cut kicks off with a Wakemanesque keyboard wash before descending into a maddening, chaotic clash of instrumentation and vocals that has its roots in the ‘70s-era sound of King Crimson but its feet firmly in the firmament of contemporary prog expectations. The song provides Nilsson with an excellent showcase, his nimble fretwork and trembling tone adding a vital new aspect to Kaipa’s sound, different from, but just as valuable as Stolt’s previous contributions.

Whether you’re a fan of classic prog-rockers like Yes and Genesis or modern generation prog bands like the Flower Kings or Pallas, you’ll find a lot to like about Kaipa. If you’re a new fan recently discovering the joys of the prog genre, Kaipa’s Angling Feelings is a good place to begin your journey. With superb musicianship, charming vocal harmonies and imaginative song craftwork, Kaipa has successfully incorporated sounds both old and new, building a bridge between the ‘70s and the ‘00s. Enchanting and electrifying, Angling Feelings represents both the overwhelming potential and the very best aspects of contemporary progressive rock. (Inside Out Music)

(Click on the CD cover to buy Angling Feelings from Amazon.com)

Lana Lane's Favorite Songs

Lana Lane "White Room"
Lane Lane "Time"
Lana Lane "Nights In White Satin"

It’s no secret that the Reverend possesses a soft spot for female vocalists. No, not the mousy, shrill, no-talent hacks that regularly get pushed to the top of the charts by enormous marketing budgets and a record-buying public that, sadly, doesn’t know any better. No, I’m talking about brassy, ballsy, bigger-than-life women like Janis and Chrissie, Patti and Kate that have voices coated in experience and sadness, joy and jubilation – sexy women whose caress of every word conveys passion, every snarl drenched with attitude. That’s my kind of female vocalist…not some ditzy pseudo-celebrity with a lollipop body and an overpaid publicist.

Lana Lane is just such a vocalist, one of the good ones, with an astoundingly large voice and an amazing range. She’s known as “The Queen Of Symphonic Rock” among her growing legion of fans, and music lovers in Japan have been particularly smitten by Lane’s charm and talents. As a solo artist, Lane released her debut album, Love Is An Illusion, way back in 1995 and she has subsequently released better than a dozen more since. As Mrs. Erik Norlander, Lane has appeared on most of her husband’s recordings as well as performing with Norlander’s prog-rock band Rocket Scientists, and Lane appears on albums by prog-faves like Ayreon and Ambeon. Although she is primarily known as a “symphonic rock” artist, mostly because of the operatic timbre of her vocals, Lane’s pipes possess such subtlety and range that she can purr jazz overtures to romance just as easily as she melts hearts with a blast of explosive prog-metal.

Gemini is Lane’s second collection of cover tunes, and a concept album as well, following an astrological Gemini “twins” theme and gathering two songs apiece from some of Lane’s favorite bands from the ‘60s and ‘70s. It’s a concept that works, and not only because of Lane’s vocal capabilities or inspired choice of material. Along with hubby Norlander on keys, Lane has assembled a crackerjack group of players, including seasoned veterans like drummer Vinnie Appice (Vanilla Fudge, Cactus, Rod Stewart, too many more to list); bassist Tony Franklin (Jimmy Page, Blue Murder and Derek Sherinian, among others); and guitarist George Lynch (Dokken, Lynch Mob). Mark McCrite from the Rocket Scientists and journeyman voice-for-hire Kelly Keeling also join in on the festivities – if these guys can’t get the job done, nobody will.

Gemini stands tall on much more than mere gimmickry or an all-star band line-up, however. Lane and crew reinvent these songs, from the ground up, discovering the grain of truth at the core of each and building a new, different, and sometimes better version of the song. Cream’s “White Room” is afforded the grandiose symphonic reading that it has always deserved, with multi-layered instrumentation, Lynch’s slicing six-string pyrotechnics and Lane’s soaring voice driving the song into a stratosphere that even Icarus would be afraid to fly into. “Sunshine Of Your Love” kicks off with a muted, scratchy replica of the song’s familiar opening riff, Lane’s seductive vocals playing off of Lynch’s pounding fretwork and a potent, powerful Franklin/Appice rhythm.

Jefferson Airplane’s “White Rabbit” is a heavyweight contender; Lane’s vocal’s punching and bobbing, matching Grace Slick’s previous versions blow-by-blow, a martial beat marching this psychedelic classic to its abrupt end. A pair of songs about “home” follow, Lane tackling Foreigner’s “Long Long Way From Home” and the Moody Blues’ “You Can Never Go Home” (an obscure choice if there ever was one), the two songs as different as night and day – one a classic rock & roll shotgun blast, the other a gentle, pastoral ballad. On the flip side of the coin, Foreigner’s “Starrider” is provided an ethereal, art-rock arrangement (with elements of British folk wafting throughout the song), while the Moody’s “Nights In White Satin” is preserved in its original form as a beautiful symphonic ballad, Lane’s vocals respectful of the song’s dignity and origins.

The high point of Gemini is Lane’s “Pink Moon Suite,” a reinterpretation of several songs from Pink Floyd’s Dark Side Of The Moon juxtaposed with Heart’s “Johnny Moon.” Here the band really gets to shine alongside Lane’s vocals, providing a jazzy undercurrent to the affair with subdued-yet-intricate keyboard work matched by subtle drums and sparse guitar. The songs in the “Pink Floyd Suite” all flow together into a slipstream of singular sound, provoking an almost surreal, otherworldly experience. When Lynch finally cuts loose with the guitar-mangle that we all know him capable of, on Floyd’s “Time,” his fluid leads come as a shock, puncturing the dreamlike clouds of the previous songs with a mix of heavy riffing and jazzy overtones.

Lana Lane and Erik Norlander have created a cottage industry from their extensive talents, and there is no reason to believe that they would even be interested in the wider exposure afforded by major label distribution. They don’t really need a big league deal – they continue to record whatever and whenever they want, releasing albums with an alarming frequency that would send a normal label exec into therapy. They tour the world to perform before adoring audiences, and they attract the support of some of the most talented musicians in the fields of rock, heavy metal and prog-rock to contribute to their projects.

Gemini is a sparkling example of the talents of this incredible husband and wife team, and a fine introduction to one of the best vocalists that you’ll ever experience. If you’re unfamiliar with the charms of modern progressive rock, art-rock, symphonic rock, or whatever you want to call it – they’re all the same beast, essentially – then Lana Lane and Erik Norlander are a good place to familiarize yourself with this rapidly-growing, underappreciated style of music.

Click here for review of Erik Norlander's Hommage Symphonique CD

(Click on the CD cover to buy Gemini from Amazon.com)

Erik Norlander's Fantastic "Hommage"

Erik Norlander "Conquistador"
Erik Norlander "Turn Of The Century"
Erik Norlander "Clasp"

Progressive rock is, without a doubt, the most self-referential of genres, bar none. Musicians jump from band to band like some sort of crazy Rubik’s Cube, usually with impressive results. The genre can boast of some of the most technically proficient musicians in rock & roll, and unlike other musical styles, progressive types aren’t afraid (or ashamed) to wear their artistic influences on their sleeves…which means that cover tunes and musical tributes are not entirely unheard of in prog circles.

Erik Norlander is a well-known figure in both electronic and prog musical circles, releasing some two-dozen albums under his own name and with his progressive rock band Rocket Scientists. He has also produced and played on several albums by his wife, Lana Lane, a powerful vocalist and solo performer in her own right. Norlander’s studio wizardry and musical training are apparent, and it is an interesting dichotomy that Norlander, with an impressive knowledge of audio engineering, has helped design modern synthesizers but still seeks out vintage keyboards and Moog synths to use on stage.

For his latest project, Norlander began with a core band that includes bassist Don Schiff (Rocket Scientists), drummer Gregg Bissonette (Joe Satriani) and vocalist Kelly Keeling (too many impressive credits to mention). Norlander then assembled a mini-orchestra around horns, strings and woodwinds in order to create a “symphonic rock” album of his favorite songs. The talented orchestral players that he recruited – horn players David Schiff, Eric Jorgensen and Jon Papenbrook, and cellist Mike Alvarez – rise to the occasion, imbuing each performance with a grandeur that belies their meager numbers. Rocket Scientists guitarist Mark McCrite came in later and added his six-string magic to the songs.

Norlander’s Hommage Symphonique is the result, an illustration of both pure genius and unbridled inspiration. Although many of the songs here will be quite familiar to the informed prog fan, many of them will not be readily familiar, and therein lays the attraction. In paying homage to his musical heroes – legendary first-gen prog bands like Yes, Procol Harum, ELP and King Crimson – Norlander has not always chosen the most obvious songs to cover. By digging a little deeper into each band’s catalog, he comes up with brilliant choices of material that challenge both the musicians and the listener alike.

The results are quite breathtaking, both in the classic mastery of their performances but also in the range and depth of material. Even with a much smaller “orchestra,” Procol Harum’s “Conquistador” sounds better than the well-known symphonic version of the song from 1972. Accompanied by Norlander’s graceful fleeting piano, Keeling’s wistful vocals on the Yes ballad “Turn Of The Century” echo those of Jon Anderson, creating a quieting, transcendent moment. Jethro Tull’s “Clasp” is punched up with some imaginative synth work and high-lonesome woodwinds while ELP’s “Pirates” evokes a certain visual landscape through the deft use of syncopated sounds, squiggly synthesizer riffing and determined orchestration. Keeling’s chameleonlike vocals sound like Greg Lake in relating this overlooked song from Works, Vol. 1.

Rick Wakeman’s “Sir Lancelot and the Black Knight” is a gimme given Wakeman’s obvious influence on Norlander’s work. Here, though, the song is delivered with more strident instrumentation, the song’s fretboard duel more violent and darkly potent. The choice of covering Chuck Mangione’s “Children Of Sanchez Overture” is not as difficult as it might seem, there being a natural link between the improvisational inclinations of both prog-rockers and jazz musicians. Here, one of Mangione’s better compositions is provided an almost King Crimson-styled remake, the song’s innate ambiance complimented by Keeling’s somber vocals and a vaguely threatening instrumental undercurrent.

The most startling musical transformation, however, on Hommage Symphonique is within King Crimson’s signature “Starless,” evolving here into an ominous extended jam with jazzy overtones, deliciously muted horns and discordant instrumentation. A wild ride across an ever-changing musical turnpike, the song’s tempo changes, movements between stylistic elements and inspired performances by the musicians create a simply spellbinding reading of the title song from Starless And Bible Black.

A talented performer, composer and musician, Erik Norlander may never break from the progressive ranks to find mainstream success but, then again, he doesn’t have to. A respected figure in the prog-rock world, the only constraints on Norlander’s musical fortunes seem to be his own seemingly limitless imagination and artistic ambition. Hommage Symphonique is both a lovingly crafted tribute to Norlander’s musical heroes and a wonderful showcase for the talents of the assembled musicians.

(Click on the CD cover to buy Hommage Symphonique from Amazon.com)

Elements Of Ken Hensley

The Gods "Looking Glass"
Uriah Heep "Lady In Black"
Ken Hensley "Proud Words"
Ken Hensley "In The Morning"

Back when I was a wee lad, attending Franklin H.S. in lovely suburban Nashville, my friends and I were simply *ga-ga* over Uriah Heep. We all thought that they were the bee’s knees, the hot-cha-cha, the Nazz…well, you get the point. With Heep’s landmark 1972 album Demons & Wizards as our starting point, we championed the band’s excesses while reveling in their Goth-inspired, fantasy-influenced proto prog-metal trademark sound. Our love affair lasted throughout high school as albums like The Magician’s Birthday (also ’72); Sweet Freedom (1973, with the great AOR track “Stealin’” leading the way) and Wonderworld (1974) dominated our turntables.

Aside from the operatic voice of frontman David Byron, the other dominant element in Heep’s mid-70s sound was provided by guitarist/keyboardist/songwriter Ken Hensley. Byron and guitarist Mick Box originally formed the band, called Spice, changing the name to Uriah Heep when Hensley joined. Hensley came over from a British band called the Gods which, at one time, included future Rolling Stones’ guitarist Mick Taylor and future ELP member Greg Lake. Hensley’s influence can’t be found on Heep’s debut album; however, with Salisbury (1970) and Look At Yourself (1971), Hensley took over the reins as the band’s primary songwriter. Writing both punchy metal-edged cuts like the title song as well as prog-oriented tracks like the symphonic “July Morning,” Hensley provided the band a distinct identity and a future direction.

With the addition of bassist Gary Thain and drummer Lee Kerslake – a former bandmate of Hensley’s from the Gods – on Demons & Wizards, the band found the players and chemistry that would take them over the top. Kerslake proved to be a talented songwriter in his own right, penning three of the eight songs on the band’s breakthrough album, and serving as a valuable counterpoint to Hensley’s efforts. Whereas Hensley’s work tended to lean more in a poetic prog-metal direction, Kerslake’s songs tended to be darker, more Goth-oriented exercises. The work of both writers coexisted well on the album.

Gary Thain would also spread his wings as a songwriter for the band, contributing two tracks on The Magician’s Birthday. Hensley would still carry the brunt of the creative load, however, writing five songs for the album, including the incredible tracks “Sunrise” and “Rain.” By the time of Sweet Freedom and Wonderworld, the Hensley/Thain songwriting axis was well in place, the two experimenting with a more radio-friendly, harder-edged sound on songs like “Stealin’,” “Seven Stars” and “Something Or Nothing.” In a case of “did he jump or was he pushed,” Thain would leave the band in 1974, after the release of Wonderworld. Suffering from a serious drug problem, Thain would tragically die a year later. Kerslake would subsequently pick up the pen once again for 1975’s Return To Fantasy, writing six of the album’s nine songs.

I mention the Hensley/Thain/Kerslake songwriting tandem as a way to underscore the dynamic that was created by having three solid writers in one band. Although not privy to any “backstage” maneuvering by any of the songwriters, it’s clear that having a trio of such talents drove the band to new heights. It’s also telling that when Hensley recorded his first solo album, Proud Words On A Dusty Shelf, he recruited Thain and Kerslake to play on the sessions. I feel that the competition between the three was a healthy one, pushing each to achieve great things.

Hensley’s solo debut was released in 1973, Proud Words On A Dusty Shelf benefiting from Heep’s commercial success at the time. According to interviews with Hensley, the prolific songwriter would offer a slew of songs to the band and they would subsequently record some and discard others, mostly due to the 40-odd-minute time constraints imposed by the vinyl LP format. Thus songs like “Proud Words” would never be recorded by the band while “Rain” is afforded slightly different interpretations on both The Magician’s Birthday and Hensley’s solo album. Hensley has said that the solo album wasn’t an effort to try and launch a solo career, as such, but rather as a forum for sharing all the songs that he had written with his fans.

Hensley would record his second solo album, Eager To Please, in 1975 while trying to figure out exactly where Heep was going, commercially and creatively. Thain was gone, replaced by journeyman bassist John Wetton, a detour on his way towards forming Asia. Byron would leave after 1976’s High And Mighty album to pursue solo fame, replaced by former Lucifer’s Friend frontman John Lawton. Lawton would subsequently record three albums with the band, leaving after 1979’s Fallen Angel to be replaced by the generally reviled John Sloman. Kerslake would also leave at this time, working on Ozzy Osbourne’s first solo album before rejoining Heep in time for 1982’s Abominog. Along with founder Mick Box, Kerslake has been with Heep ever since, until he had to retire from the band in late-2006 due to health problems.

The tensions surrounding Lawton’s departure from Heep, and the conflicts created by the band’s internal struggles spelled the end for Hensley. The talented songwriter and musician would leave the band after 1980’s ill-conceived Conquest album to pursue a full-time solo career. Hensley would release his third solo effort, Free Spirit, the following year. Representing somewhat of a departure from both his previous solo work and his legacy with Heep, Free Spirit includes synth-pop songs and new wave flourishes that were decidedly un-metal like in their execution. Hensley himself seems to have expressed reservations about the album’s material, and it stands alone as an anomaly in the artist’s catalog.

The party was pretty well over by the time that I got to see Uriah Heep live, in May 1978, probably touring in support of their twin 1977 releases, Firefly and Innocent Victim. In a rare show of largesse, Rush had asked the band to open for them on their 1978 tour, paying back Heep for dragging Rush along on one of their previous tours. I had just scored my first ever backstage passes through Thom King’s Take One Magazine to interview Rush and figured out that the passes could also be used to get backstage and meet my idols, Uriah Heep. Although Hensley was reserved but friendly, Mick Box and Lee Kerslake were both chatty and accommodating. Box got the entire band to pose for pictures holding a copy of Take One and he invited my friend Wayne and myself backstage after Rush’s set to talk some more. We ended up drinking champagne and talking about music and motorcycles until early in the morning with Box and Kerslake.

Ken Hensley’s influence on a generation of musicians is often understated. From his 1981 solo album, Hensley would go on to hang out for a while with southern rock band Blackfoot, performing on two of the band’s albums and touring with them for several years. Although it seemed as if Hensley had retired from music by mid-decade, a number of bands called upon his talents to contribute to their songs in the studio. Well into the late-90s, when Hensley became “born again” and rebooted his career with 1999’s A Glimpse Of Glory, recorded with the band Visible Faith, Hensley lent his unique keyboard signature to recordings by Cinderella, Metalium, Ayreon and W.A.S.P.

Elements, released late last year in the U.K. by Castle Music, attempts to place Hensley’s contributions to rock music in context. The two-CD set features a handful of tracks by Hensley’s early bands the Gods and Toe Fat, with the Gods’ “Looking Glass” standing out as a strong cut from one of the ‘60s lesser-known outfits. There are fifteen Heep songs on Elements, ranging from “The Park” and fan-favorite “Lady In Black” from Salisbury, to “Falling In Love” from Fallen Angel. These aren’t necessarily Heep’s best-known songs, or even the hits, but from “Look At Yourself” and “The Wizard” to “Sunrise” and “The Easy Road,” they represent some of Heep’s best.

Disc two of Elements jumps right into Hensley’s solo career, offering up six songs from Proud Words On A Dusty Shelf and five songs from Eager To Please, including the album’s lone single, “In The Morning.” The anthology also includes three songs from Free Spirit, including a standout track in “The System.” A lone Blackfoot track, “Send Me An Angel” is included here, as is “The Return” from A Glimpse Of Glory. A rare recording of “I Close My Eyes,” originally from Running Blind, features the first reunion of Hensley and former Heep frontman John Lawton since ’79. Elements closes with a fine recording of the previously-unreleased “Romance,” part of the 2005 album Cold Autumn Morning where Hensley re-recorded some of his classic songs.

Elements is a fine representation of Hensley’s career, presenting his work in a strong light and successfully balancing his band and solo efforts accordingly. The anthology serves as an excellent bookend to Hensley’s 1994’s rarities collection, From Time To Time, and is a great place for the neophyte to experience Hensley’s musical talents.

The time is ripe for a critical rediscovery of Ken Hensley. A new Hensley album, titled Blood On The Highway, is scheduled for release in 2007, featuring vocal contributions from prog and melodic rock heavyweights like Glenn Hughes, Jorn Lande and John Lawton. To the delight of his many fans, Hensley’s biographical book When Too Many Dreams Come True will also be reissued in 2007. Some forty years after his first recordings, Ken Hensley is still going strong.

(Click on the Hensley CD cover to buy the disc at Amazon.com)