Showing posts with label Rush. Show all posts
Showing posts with label Rush. Show all posts

'That Metal Show' announces first guests

Rush, Dream Theater fans ought to be excited
By Peter Lindblad

'That Metal Show' returns Feb. 21 with
hosts Jim Florentine, Eddie Trunk
and Don Jamieson
The waiting is over. "That Metal Show" returns Feb. 21 on VH1 Classic, and, drum roll please, who will be the first guest? Why it's none other than today's Tom Sawyer Rush's Geddy Lee!

It'll be his second appearance on the acclaimed hard rock/heavy metal program, hosted by Eddie Trunk, Don Jamieson and Jim Florentine. Lee will be there ostensibly to promote this summer's highly anticipated Rush R40 Live 40th Anniversary Tour, a 34-city run through North America.

"Back when 'TMS' was first born Geddy & Alex were nice enough to fly to New York and be a guest in our very first season. I've always had a great relationship with the Rush guys and it meant so much to me they were willing to support something that I was doing that at that point hardly anyone had seen or heard of," said host/co-producer Eddie Trunk. "Amazingly, almost seven years have passed and we're now about to debut our 14th season of 'That Metal Show' and I couldn't be more honored to welcome back Geddy to the set to celebrate 40-plus years of Rush and the return of 'TMS'!"

There's another little surprise in store for viewers of the season premiere, as Dream Theater's seven-string virtuoso John Petrucci will make his inaugural appearance on the debut episode. Dream Theater is currently working on a new album, expected to be released later this year.

All the TMS favorite segments are back, including "Metal Modem," "TMS Top 5," "Rank" and "Take It Or Leave It," as well as "Stump The Trunk" and Ms. Box Of Junk, Jennifer.

Fans can watch previous episodes and other exclusive bonus clips at ThatMetalShow.VH1.com and the new VH1 app.


TMS debuted on VH1 Classic in November 2008. Check out That Metal Show's Facebook page for more information at https://www.facebook.com/thatmetalshow

Rush show 'Grace Under Pressure'

A look at the paradigm-shifting album that just turned 30
By Peter Lindblad

Rush - Grace Under Pressure 1984
Signals was polarizing. Songs of teenage isolation in suburbia and the uneasy transition from an analog world to a digital one, a heavy dependence on synthesizers and sequencers at the expense of Alex Lifeson's guitars ... reggae? What in the name of John Rutsey was going on?

While Rush was embracing the modern technology of the 1980s and adapting to a quickly changing musical landscape, where New Wave was all the rage and classic progressive-rock was all but extinct, a large portion of its fan base was pining for elaborate concept albums and a renewed emphasis on the word "power" in Rush's fundamental power-trio format.

Some hadn't even stayed with Rush past the transitional Moving Pictures, where the integration of keyboards and a focus on composing shorter, more compact songs with self-contained stories, rather than long, drawn-out storytelling with vague resolutions, was still under construction. Those clinging to the hope that Rush would come to their senses and return to "real" guitar-driven prog-rock would run screaming for home upon hearing 1984's Grace Under Pressure, click their heels and throw on Caress of Steel or 2112 and chant, "There's no place like Toronto. There's no place like Toronto."

Rush's 10th album, Grace Under Pressure turned 30 years old on Saturday, and for those who not only hated the band's new direction, but took it as an outright betrayal, it was the final straw. Geddy Lee's synthesizers continued to push forward, becoming a dominant element in Rush's transformation, and it was clear they weren't going away. That was a bridge too far for some. The Rush they had come to know and love was gone. They were now new world men.

There were loyalists, though, who appreciated Rush's artistic fearlessness and willingness to experiment with new sounds and work in seemingly incongruent mediums like ska and reggae. And it's entirely possible that Rush did win over a new audience that had previously dismissed them as relics of the past, although that's debatable. Most of the punk and New Wave crowd was never going to accept Rush in any form. Their minds were made up.

So, revolution really was in the air when Grace Under Pressure came out. To hardliners, anything past Hemispheres or maybe Moving Pictures was heresy. There were no record burnings or a mob that "moves like demons possessed. Quiet in conscience, calm in their right, confident their ways are best." Those lines are from "Witch Hunt," of course, and in a sense, there was a somewhat similar atmosphere of fear and dread in Rush's fandom as to where the band was going next.

Not quite oblivious to it all, but certainly not in a mood to make any kind of artistic retreat, Rush calmly practiced its craft, forging ahead creatively with a sense that what they were doing was an essential and logical next step. What gets lost in conversations about Grace Under Pressure is that it's one of Rush's most accessible and well-constructed albums. With all of the critical worship that 2012's Clockwork Angels received, and rightly so, it being a record that brought some of the lapsed believers back to the faith, it's not as direct or as fluid as Grace Under Pressure.

Seamlessly, Rush toyed with ska on "The Enemy Within," the clipped rhythmic stabbing of Lifeson's guitar adding energy to the track. And "Afterimage" had a more languid reggae feel to it, but on the whole, Grace Under Pressure was almost futuristic, its clean, contemporary sound shaped by a new producer, Peter Henderson. After Signals, Rush amicably divorced itself from the only producer they'd ever had to that point in Terry Brown, who had butted heads with Rush during the making of Signals. Brown wasn't convinced they were on the right path either.

Heavy subjects like the holocaust and nuclear war were addressed in the  "Red Sector A" and the briskly paced "Distant Early Warning," respectively, with "Red Sector A" taking much of its inspiration from Lee's mother's horrible experiences in Nazi concentration camps. Some have described Grace Under Pressure as a dark record, and with Neil Peart exploring the impact of pressure on human behavior, it's not an LP that's all sunshine and lolly pops. Even the affecting vulnerability of "Kid Gloves" has a world-weary quality to it.

Lee has said of Rush's past lyrical concept journeys that "what you have to say ends being very nebulous." Not so with Grace Under Pressure, which featured compelling stories and ideas that made their points clearly and succinctly. Instrumentally, Lifeson pops up everywhere, his solos so pure of tone, so piercing and agile, and his flashing riffs dynamic and moving with inspired purpose, while Peart's precision and energy startles, Lee's rolling bass lines and complex figures brimming with momentum and natural drive.

And then there's that cover art by Hugh Syme that was so imaginative and alien, juxtaposing turbulence and calm in a way that was perfectly in sync with its music, the urgency and tension of "Distant Early Warning," "The Enemy Within" and "Between the Wheels" providing such striking contrast to Lee's watery synth floods and the occasional airy oasis-like clearings of breathtaking beauty you'd come across. There's an earnest intelligence to Grace Under Pressure that's a breath of fresh air in this age of irony and cynicism, and the melodic topography of the record is not at all flat, but rather it has expansive scenery and interesting peaks and valleys.

Grace Under Pressure continued Rush's evolution, and, on a personal level, it paralleled my own musical exploration. I was getting into The Police at that time. I was listening to the Talking Heads. I was questioning whether or not to hold on to the past and hold close those records I loved from Led Zeppelin, from Yes, from Uriah Heep ... the list goes on and on. U2, Ultravox, The Replacements, and all manner of U.K. and U.S. punk and New Wave acts were taking me further away from my roots, and that was exciting.

Rush would always stay with me, and the plot twists to their career were continually interesting and never boring. I saw them live only one time, and that was on the "Grace Under Pressure" tour, and it was, as it always is with Rush, an awakening. Lifeson has said of Grace Under Pressure that it is the "most satisfying of all our records." For me, it's Moving Pictures, but who am I to argue with Alex freaking Lifeson!

Keep calm and ask Alice Cooper

Alice Cooper - Super Duper
Alice Cooper 2014
New documentary on shock-rock icon comes with fan Q&A

Alice Cooper is coming to the silver screen. Hide the women and children, and the boa constrictors. 

Due to premiere at the 2014 Tribeca Film Festival, "Super Duper Alice Cooper" is a new documentary on the shock-rock superstar that's purported to be the first-ever "doc opera," combining animation, archival footage and rock opera tropes to tell the story of rock 'n' roll's first true villain. It will hit theaters nationwide beginning May 30. Here's a trailer:





Wanting to make the experience an interactive one, Cooper is compiling a pre-recorded "Keep Calm & Go Ask Alice" Q&A that will run following each theatrical screening. Fans are being asked to go to www.SuperDuperAliceCooper.com (click the "Keep Calm and Go Ask Alice" graphic) and ask the man himself whatever questions they want, as long as the submission period runs. He'll then handpick select questions and answer them via video. 

As for the film, it's another Scot McFadyen and Sam Dunn joint, those same guys from Banger Films that brought you "Iron Maiden: Flight 666" and "Rush: Beyond the Lighted Stage." It traces the career arc of a preacher's son who became Public Enemy No. 1 to parents nationwide as Alice Cooper, following his career from its freaky Phoenix roots through his band's groundbreaking, demented theatrics and into the destructive decadence of the '70s, which set the stage for his rebirth as an '80s glam-metal icon.


Iggy Pop, John Lydon, Dee Snider and Elton John weigh on the art and life of Vincent Furnier, a man who fought to overcome his demons, all while trying to maintain the image of his crazed alter-ego, Alice. 


Looking for information on what Alice Cooper is up to, visit www.alicecooper.com, www.facebook.com/AliceCooper, or www.twitter.com/realalicecooper.

CD/DVD Review: Saga - Spin It Again! – Live in Munich

CD/DVD Review: Saga - Spin It Again!  Live in Munich
earMUSIC/Eagle Rock Entertainment
All Access Rating: A-

Saga - Spin It Again Live!
Germany's love for Saga still runs as deep as it ever has. Glorious in design and execution, 2012's 20/20, the most recent album from the Canadian prog-rock puzzle makers, somehow managed to claw its way into the top 10 in a country that snatched up tens of thousands of copies of Saga's debut LP when hardly anybody outside of Canada knew who they were.

Charting that high, no matter where, is no mean feat these days for a group like Saga, who experienced its greatest success in the late 1970s and early '80s, but Germany has always respected and admired Saga's sonic artistry.

It should come as no surprise then that on the final night of their 2013 sold out European tour in support of 20/20 Saga would end up in Munich, treating an adoring crowd to a thrilling two hours of old favorites and strong newer material. Out on Blu-ray or as a two-CD release, Spin It Again!  Live in Munich documents, in vivid and immersive audio and video, a night of passion that reunited Saga with its most ardent paramour, as the band whirls through its back catalog with a rush of adrenaline.

Munich welcomed back the classic Saga lineup with open arms, taking great delight in lead vocalist Michael Sadler, having reunited with Saga for 20/20 after a five-year hiatus, delivering good-humored stage banter in both English and fluent German. In full throat, the audience sang the chorus to the soaring Saga classic "Wind Him Up" word for word, as Sadler took a break to soak up what was surely a transcendent moment for him and the band.

The time Sadler spent apart from Saga did him and the band some good. 20/20 was an inspiring piece of musical engineering, still as melodic and as daring as ever, but also darker and heavier in spots than past Saga efforts with some of Ian Crichton's cycling through some of his angriest and most compelling guitar riffage. In some ways, it was a throwback to years past, when Saga's resounding guitars and epic synthesizers crashed up against arty, literate storytelling full of the kind of terrific tension, unusual drama and skewed insight into the human condition found in Rod Serling stories.

Drinking in Saga's euphoric, carnivalesque performance, Munich seemed to take as much interest in newer pieces as it did in Saga's past, the audience and performer connecting intimately and with unabashed joy. "Six Feet Under" and "Spin It Again" are especially captivating, swept away on surging melodic flourishes and veering off down magical little detours that seem like doorways to places of mystery and strange beauty. There is cleverly disguised menace in the smiling countenance of "The Perfectionist," a stylish song about the murderous Ellery Snead, and the tantalizing "Anywhere You Want to Go" and "Mouse in a Maze" are powerfully addictive, while "The Flyer" is presented as a breathtaking trapeze act.

As vibrant and intoxicating as the first disc in the CD set is, the second one is more diverse, with the affecting piano exercises "Time's Up" and "Scratching the Surface" sounding naked and alone, but also thoughtful and warmly nostalgic. And then there's the buoyant "Humble Stance," which almost sounds like a bounding beer hall polka all gussied up with Saga's chrome-plated progressive bombast, and a storming version of "On the Loose" that tingles with excitement.

Long ago, Saga discovered the missing link between the crunching hard rock and progressive tendencies of countrymen Rush and the altered consciousness and shape-shifting, classically influenced arrangements of Yes. Given all that, it follows that Saga's musicianship should be incredibly entertaining to behold in concert, and it is, as Germany well knows.

Germans get that the dynamic interplay of guitarist Ian Crichton's flights of fancy – his complex riffs, mushrooming plumes and those searing, exacting and yet unpredictable leads of his that go only where he knows the way – with the spiraling of Jim Gilmour and Jim Crichton is not only absolutely dazzling, but also has a synergy that, to borrow a phrase from Rush, crackles with life. Germans get that Sadler's wonderfully expressive and strong, cloudless vocals make him one of the most underrated singers on the planet. And maybe the people of Munich, in particular, get Saga in a way others don't. Should the rest of the world gives Spin It Again! - Live in Munich, the perfect companion piece to 20/20, a chance, they'll get it, too. http://www.ear-music.net/en/news/ and http://www.eagle-rock.com/

- Peter Lindblad





CD Review: Anthrax – Anthems


CD Review: Anthrax – Anthems
Megaforce
All Access Review: B+

Anthrax - Anthems 2013
The usual mosh pit at an Anthrax show is ramping up its cyclonic fury in anticipation of the raging sonic back-alley brawls Scott Ian and company are about to start. Perhaps they’ll launch into “Madhouse” or “Indians” next or any of the other blazing thrash-metal classics they have at their disposal. And then, those crashing bodies in riotous motion come to a sudden and complete halt, the reason being that Anthrax has just launched into a Journey cover of all things.

Quizzical looks are directed at the stage, as Journey’s “Keep on Runnin’” flies out of their Marshall Stacks. Is that Joey Belladonna singing or Steve Perry? It could be either of them; it really could, as Belladonna’s wail climbs to heights few can reach. Those who’ve heard Anthems, the new Megaforce eight-song EP of classic-rock covers and two versions of the epic, slow-burning “Crawl,” off their sensational Worship Music album, would be prepared in case of such an event and not be thrown by it.

Like a raging bull that sees nothing but red, Worship Music bucked and contorted its massive, muscular bulk in such a way as to make it almost impossible to ride. Arguably the best metal album of this century, the last record from New York City’s most aggressive thrash-metal street gang was a relentless attack from beginning to end. The hurricane-like intensity, the dizzying dynamics, the simmering tension and high drama, not to mention the impassioned vocals of the prodigal son Belladonna – all of this nuclear energy was barely contained within the reactor known as Worship Music, until it melted down so spectacularly in 2011.

Considering how powerful and ferocious Worship Music was, and what unexpectedly strong melodies and what bold, high-impact production it had, Anthrax has earned the right to a fun indulgence like Anthems. Unexpectedly, Anthrax plays it straight on Anthems, with vigorous workouts of Rush’s “Anthem,” Thin Lizzy’s “Jailbreak” and a crawling prowl through AC/DC’s “T.N.T” not deviating much from the originals; yet, in typically enthusiastic fashion, they inject each with fresh energy and lively performances. And their playing is more impassioned on “Keep on Runnin’” and Boston’s “Smokin’” – which has a particularly rowdy atmosphere – than on any of the others, as the pulse of both covers absolutely races.

Clearly, they cherish these songs, and they’re so respectful of them that they don’t take any unnecessary chances in their handling of these treasures. It is surprising, though, how they treat these Anthems with kid gloves and avoid giving them a good thrashing. Ultimately, what Anthems proves is that, if they wanted, Anthrax could simply be a great no-frills hard-rock band, especially with Belladonna on the mic. His vocals are astonishingly clear and melodic, fitting the material like a glove. And if Geddy Lee ever chooses to relinquish his singing duties with Rush, Belladonna could step right in and the Canadians would not miss a beat, as evidenced by his piercing treatment of “Anthem” from 2112.

Why Anthrax chose to give the expansive, chugging epic “Crawl,” one of the heaviest songs off Worship Music, a makeover is anyone’s guess. Taking a stab at a remixed version, Anthrax fleshes out “Crawl” with strings, giving it a darker, moodier and more menacing character. Undoubtedly a labor of love for Anthrax, Anthems does no harm to the songs of their heroes, and the thicker, heavier groove they give to “Big Eyes” by Cheap Trick improves the original. Could they have made less obvious choices? Maybe, but then, this is what Anthrax wanted, and had they picked deeper cuts, that pure joy and unabashed eagerness that is so prevalent here might be tempered. And that would be a shame.
   Peter Lindblad

Best of 2012 - Classic Rock


Rush, Thin Lizzy, The Doors, ZZ Top find fountain of youth
By Peter Lindblad
Shaking off the rust that inevitably comes with old age, a number of classic-rock artists showed everybody that they refuse to go gently into that good night.
Rolling Stones - Grrr! 2012
Whether it was the Rolling Stones’ revving up their best song in years with “Doom and Gloom,” or Aerosmith bringing their own brand of “Global Warming” to the masses in live shows that were full of piss and vigor, old greats like those icons, as well as KISS and Bruce Springsteen, burned their AARP cards and did the kind of great work – be it in the studio, as with Springsteen’s Wrecking Ball or Heart’s Fanatic, or on the road – expected of them 20 or 30 years ago.
There were incredible songs, such as Springsteen’s “We Take Care of Our Own” or Joe Walsh’s “Analog Man,” and albums like KISS’s Monster that had unexpected vitality and inspired performances. And tours like the Loverboy/Journey/Pat Benatar triple bill served notice that many of these bands are still capable of delivering the goods onstage. Truly, though, one band rose above them all in 2012, putting out one of the best records of their career and finally getting their just due from critics, while other releases simply outshined the competition. Here’s the best classic rock had to offer in 2012.
Artist of the Year: Rush
Rush - Clockwork Angels 2012
Voters for the Rock And Roll Hall of Fame finally saw the light in 2012. After shunning Rush for so long, they did the right thing for once and selected the Canadian progressive-rock power trio for membership, perhaps earning them some small measure of goodwill from their harshest detractors – although they stand to be inundated with slings and arrows for denying Deep Purple again, and deservedly so. What exactly was it that tipped the scales for Rush this time around? Could it be the fact that they produced one of the year’s best albums in Clockwork Angels? Undoubtedly, that had something to do with it, especially when critics that had been unkind – to put it charitably – toward Rush in the past gave in and applauded a record of sublime beauty, complex musicianship and soaring ambition. A sci-fi concept album with a compelling anti-authoritarian narrative, steam-punk imagery and coming-of-age drama, Clockwork Angels is a tour de force of heavy, intricately constructed guitars (see “Headlong Flight” and “BU2B” for proof), crafty melodies, shifting moods and textures, and epic arrangements – in other words, a Rush album. Sometimes the Rock Hall voters need to be hit over the head a number of times before they finally get it, and it seems that Rush knocked some sense into them in 2012.
Album of the Year: ZZ Top – La Futura (Universal Republic)
ZZ Top - La Futura 2012
La Futura, as it turns out, is deeply rooted in ZZ Top’s past, and that makes it a welcome sight in 2012. A spicy, simmering pot full to the brim of Texas blues-fired boogie, with some of the tastiest licks Billy Gibbons has cooked up in quite a while – this being ZZ Top’s first album in nine years – La Futura is nasty and mean from jump-street, with tracks like “Chartreuse,” “Big Shiny Nine” and “I Don’t Wanna Lose, You” recalling the wicked, dusty Panhandle grooves of dirty classics like “La Grange,” “Tush” and “Cheap Sunglasses.” Like a strutting striptease, the tantalizing “Consumption” is trashy, honky-tonkin’ fun, while the soulful “Over You” is a surprisingly tender and heartfelt love song that comes straight out of the Stax Records playbook. And even though a lot of La Futura harkens back to 1973, it has a modern production sheen to it that doesn’t tame these lions, and the first single, “I Gotsta Get Paid,” has more swagger and tight, stop-start hooks than the Black Keys could ever hope to obtain.
Song of the Year: Rush – “The Wreckers” (off of the album Clockwork Angels on Roadrunner Records)
No one has ever accused Rush of sounding like R.E.M. or The Byrds or Matthew Sweet, and there’s good reason for that. Jangly power-pop has never been Rush’s cup of tea – that is, until now. There’s a bright, sunny quality to the guitars in the intro and the verses to “The Wreckers” that couldn’t possibly sound less like Rush, and yet there it is. And it reaches out its hand to invite you in, a warm smile on Geddy Lee’s face and Alex Lifeson’s colorful guitar licks beckoning with a shiny, happy sound that may or may not hide a dark truth. Be careful of these men, for they are not what they seem. Ultimately, they want to warn you that what is sometimes sold as the truth can often be a lie, as Lee sings in the transcendent choruses, “All I know is that sometimes you have to be wary of a miracle too good to be true.” “The Wreckers,” on the other hand, is not. At the very least it is angelic. Awash in swerving, swooping strings and cinematic keyboards, those magical, glorious choruses where a world-weary Lee dispenses that sage advice are some of the most emotionally powerful and soul-stirring moments Rush has ever brought to bear on record. And there is a bridge in “The Wreckers” that is dangerous to cross, for it traverses a deep, wide canyon of synthesizers, crashing drums and doom-laden guitars that is simply magnificent to behold. Do not be wary of “The Wreckers.” It might not be a miracle, but it’s pretty damn close.
Best Concert DVD: The Doors at the Bowl ‘68 (Eagle Vision)
The Doors - Live at The Bowl '68 2012
For its historic value alone, “The Doors at the Bowl ‘68” is heads and shoulders above any concert DVD released this year. Restored in painstaking fashion from the original camera negatives, the band’s entire performance from that night is included here, and it features the band in high spirits. Loose and improvisational when the occasion calls for it, the threesome of John Densmore, Ray Manzarek and Robby Krieger could go on endless journeys into the jungles of the musical subconscious, but they could be tight and sinewy. Playing at the famed Hollywood Bowl for the first time – in the area they called home, no less – The Doors set the night on fire, and a particularly impish and focused Jim Morrison howled and sang with a primal energy that only he could summon. An abundance of incisive and fascinating bonus features put the event into perspective and the inclusion of performances of “Hello, I Love You,” “The WASP (Texas Radio and the Big Beat)” and “Spanish Caravan” that had previously been lost to time have found their way back. And it’s good to have them again.    
Best Documentary DVD: Freddie Mercury – The Great Pretender (Eagle Vision)
Onstage, Freddie Mercury was indestructible, a force of nature whose flamboyant showmanship knew no bounds and whose voice rang out as clear as a bell in loud stadiums full of adoring fans who hung on his every word – that is, when they weren’t singing along with him. That was the Freddie the world knew. But, in his personal life, Mercury was less sure of himself, a man who sometimes made mistakes and was a slave to his appetites. “Freddie Mercury – The Great Pretender” explores every facet of the singer’s extraordinary life, from his globe-trotting childhood through his wildly successful, if sometimes contentious, studio work with Queen and on to his fascination with opera and the ups and downs of his inconsistent solo work. Loaded with archival images and video footage – including sensational live material – “Freddie Mercury – The Great Pretender” also packs in revealing, insightful commentary and fascinating anecdotes from Brian May, Roger Taylor and a host of other Queen confidantes. It’s a loving portrait of an artist who died too young, and yet, it’s a completely honest rendering that pulls no punches. Mercury probably wouldn’t have it any other way. 
Best Live Album: Thin Lizzy – Live in London 2011 (Four Worlds USA)
Thin Lizzy - Live in London 2011
Phil Lynott isn’t going to come walking through that door … ever again. He’s gone, but the amazing rock ‘n’ roll he left behind deserves to be heard in a live setting, doesn’t it? And who better to play it than Thin Lizzy survivors Scott Gorham and Brian Downey. A fitting tribute to their fallen friend, this concert LP is 19 tracks of explosive hard-rock, containing all the Thin Lizzy hits and then some in a fantastic set list. The mix is primed for optimum power, and this collection of musicians performs classics like “Jailbreak,” “Cowboy Song” and “The Boys are Back in Town” with grit, enthusiasm and swashbuckling panache, those well-executed, signature twin-guitar leads tangled up so exquisitely like ballroom dancers twirling around on the edge of a switchblade. There’s a lot of ground to cover with Thin Lizzy, and this particular incarnation does its best to thumb through the catalog and pick out only the choicest cuts. It’s a flawed record, to be sure, but there’s no doubting the joy and electricity with which Lizzy performs these classics. Word has it that some of the boys from this version of Lizzy are starting a new band called Black Star Riders. Based on this release, which in my eyes becomes more thrilling with repeated listens, expectations should be exceedingly high for them.
Best Reissue: Blue Oyster Cult – The Columbia Albums Collection (Legacy Recordings
Blue Oyster Cult - The Columbia Albums Collection 2012
The word “exhaustive” doesn’t even begin to describe this archeological dig. For starters, this set, released in celebration of Blue Oyster Cult’s 40th anniversary, gathers together every last one of their studio albums released between 1972 and 1988, from their self-titled debut LP on through to Imaginos. That means it includes classic albums such as Agents of Fortune, Spectres, Fire of Unknown Origin, and Cultosaurus Erectus, among others. Oh, and did I mention the live albums? On Your Feet or on Your Knees, Some Enchanted Evening and Extraterrestrial Live are remastered for greater sonic impact and expansiveness. Packed to the gills with great photos and fascinating liner notes, there is a 40-page booklet that accompanies the collection, which is packaged so snugly and efficiently that it won’t throw your cataloging system – if you have one – completely out of whack. You want rarities? There’s a disc for that, too, plus another that gathers as many of their radio broadcasts as they can find and downloads and a bushel full of bonus tracks. Where other classic-rock artists, or rather their record labels, seem to take pleasure in releasing their past works in dribs and drabs, offering very little in the way of rare stuff, Blue Oyster Cult has done it in one fell swoop and they have given the people what they wanted.
Best Book: Gregg Allman – My Cross to Bear (William Morrow)


Gregg Allman - My Cross to Bear 2012
Written in collaboration with esteemed music journalist Alan Light, “My Cross to Bear” finds Gregg Allman in a reflective, confessional mood. Ambling easily through the past, Allman takes his time getting to the real meat of the story, but when he does, the tales he tells are sometimes unsettling, occasionally funny, and often heartbreaking. Life, love, drugs and music – that’s what Allman’s book is about, and it’s a portrayal that isn’t a flattering one. Looking into the mirror, Allman sees his flaws in sharp relief and is willing to expose them for all to read. Once you get past all the self-excoriating personal revelations, there is plenty of behind-the-scenes information on the Allman Brothers to excite fans of their music.

CD Review: Saga - 20/20


CD Review: Saga – 20/20
Eagle Rock Entertainment/earMusic (edel)
All Access Review: A-
Saga - 20/20 2012
A signifier of perfect eyesight, the designation “20/20” holds special meaning for the long-running Canadian progressive-rock institution Saga. For one thing, 20/20 just happens to be their 20th album, and for another, it also refers to the eye operation keyboardist/vocalist Jim Gilmour had that has restored his vision to – you guessed it – 20/20.
More than that, however, the title is emblematic of Saga’s ability to visualize so clearly and with such detailed definition what it is they want to accomplish every time they step foot in a studio. Nothing, it seems, is ever left to chance for a group that has always been meticulous about sound clarity, even as they designed some of the most grandiose sonic architecture in the realm of prog-rock with Worlds Apart and other marvels. Cleanliness is next to godliness for Saga, and with the successful Lasik surgery conducted on 20/20, due to be released by Eagle Rock Entertainment, it appears there is nothing clouding their focus.
With Michael Sadler, one of the most distinctive and crystalline vocalists in all of prog, back in the fold, Saga seems re-energized on the futuristic 20/20, even if the music was almost entirely finished before his return. Between the breathless urgency and racing pulse of 20/20’s opener “Six Feet Under,” the wah-wah radiation burns of “Anywhere You Wanna Go” and the crunching, switchback guitar grooves of a particularly metallic “Spin It Again,” so reminiscent of early King’s X, 20/20 finds Saga adding some edginess and heft to what are often airy melodic passages – the likes of which are found in the breezy mix of light acoustic guitar strum and gently ruffling synthesizers that is “Ellery,” which checks in on the psychopathic main character of fan favorite “The Perfectionist.”
A defiant optimism pervades 20/20, as the pain and frustration of a life of unrealized potential vented in the chorus of sharp vocals and angry riffs in “One of These Days” give way to dizzying whirls of synthesizer and inspiring lyrical self-affirmations. Fighting against the erosion of imagination, “Till the Well Runs Dry” – featuring a deceivingly simple, but wonderfully executed Ian Crichton guitar solo and touches of jazz fusion – is swept up in a gushing geyser of a chorus of soaring, faith-healing keyboard swells and arpeggios and Sadler’s almost evangelical fervor for the subject matter. Tested again in the gorgeous ballad “Lost for Words,” Sadler’s expansive range and rare gift for expertly navigating melodies swim through an ocean of lovely piano figures, crystals of synth and acoustic guitar gold, before the surging electric rock – blanketed in dreamy vocals and pinwheel keyboards – of “Show and Tell” crash the reverie.
One of the most emotionally powerful and heartfelt records of the band’s history, 20/20 is, nevertheless, pretty typical of Saga the easy marriage of synthesizers and keyboards with diverse guitar forays allowing each entity enough room to make their mark.Though more muscular than past efforts, the utterly transcendent 20/20 is full of altered moods, dynamic shifts in tempos and guided tours of epic, byzantine instrumental citadels. In much the same way that countrymen Rush combine their adventurous inclinations with a grounding in solid rock riffing, Saga forges strong song structures and flowing, shapely melodies that can withstand experimentation and the occasional odd time signature. There is nothing wrong with Saga’s vision, even after all these years.
-            Peter Lindblad

CD Review: Testament - Dark Roots of the Earth


CD Review: Testament - Dark Roots of the Earth
Nuclear Blast
All Access Review: A-
Testament - Dark Roots of the Earth 2012
Forget the kerfuffle over Testament’s use of blast beats on Dark Roots of the Earth. Such concerns are small potatoes when measured against the enormity of the Bay Area bashers’ latest sonic blitzkrieg on a metal community still dazed by the fire-bombing wrought by Formation of Damnation, unleashed by Testament in 2008. Utilizing a drumming technique associated more with death metal than thrash on “Native Blood” and the unremittingly hostile “True American Hate” – both of these clean-running machines riddled by head-spinning fusillade of fiery riffs and saber-rattling twin-guitar leads – Testament willingly violates a long-held taboo to forge steely, sharp broadswords of battle-scarred aural barbarism that could cut through armor as if it were butter.
Recorded and engineered by Andy Sneap, who seemingly can do no wrong lately, Dark Roots of the Earth, out now on Nuclear Blast, is a somewhat less ferocious animal than its predecessor, despite its full-bodied, high-impact sound. That’s only because Testament chooses to occasionally indulge its more refined progressive inclinations on such complex, tempo-shifting pieces as the tightly-woven, seven-minute descent into madness that is “Throne of Thrones.” The lengthy melodic ballad in “Cold Embrace” – veering cringingly close to power-balladry – cycles through a hoary underworld of intricate acoustic passages and gentle tendrils of electric-guitar arpeggios before periods of crushing heaviness swoop in to lay waste to anything resembling song structure, while the title track initiates a deliciously slow, tantalizing burn that eventually becomes a bonfire.
Not to worry, Testament hasn’t turned into Rush, as the clawing, growling riffage and monstrous brutality of “Rise Up” so violently attests. As defiant as ever, powerhouse singer Chuck Billy seems to detonate land mines every time he opens that raging mouth of his to speak gruffly of war, freedom, death and the end of days – not to mention the oppressed Native American experience that Billy confronts head on in the explosive, deliriously infectious “Native Blood.” Always mindful of maintaining an exhilarating pace and planting hooks with the teeth of bear traps – always biting right through the bone – guitarists Alex Skolnick and Eric Peterson fluidly wield their axes with impressive precision, rich tonality and diabolically diverse dynamics on such rugged earth-movers as “A Day in the Death” and “Man Kills Mankind.” Sneap and Testament take all of those elements, including the blizzard of beats pouring out of Gene Hoglan’s drums and the thick, gripping bass undertow of Greg Christian, and shape tracks into chugging, monolithic thrash-metal war ships.
This is not your father’s thrash, the raw and sometimes hairy character of old-school recordings sanded smooth on Dark Roots of the Earth. Incredibly detailed, the album’s rigorous attention paid to raising dark melodies and the complex, artistic soloing of Skolnick and Peterson – apparently born of jazz and King Crimson studies – out of the usual Testament tumult strengthens and boosts the force with which Testament attacks. Experiencing almost every song on Dark Roots of the Earth is like getting gored by a bull and then shot by a hunting rifle. Physically, it slams into the body and boggles the senses. Having medical personnel nearby ready to lend aid might not be a bad idea.

-            Peter Lindblad

Best of 2012 ... so far (Part 2)


Unveiling the top five hard rock and heavy metal albums of this half year
By Peter Lindblad
And then there were five. Fine specimens of skilled musicianship, thrilling energy and conceptual artistry, these sparkling diamonds bear hardly any rust, even if Judas Priest is nowhere to be found among them. From the devastating brutality and white-hot intensity of Whitechapel and Kreator to the steam-punk splendor and adventurous progressive spirit of Rush and black melodic magic of Kill Devil Hill, 2012 has been a banner year for hard rock and heavy metal up to this point.
And though any of the four mentioned above could easily have garnered the top spot, none of them did. There is another whose mystical vision and raging metal tumult simply boggles the mind. It is a perfect storm, one that would make meteorologists quiver with excitement. And it will leave you disheveled and dumbstruck, scrambling your brains so thoroughly that you might not remember where you are or how you got there. Feel free to agree or disagree with the list or its order, as long as we can do it over drinks at an establishment of my choosing.
Whitechapel - Whitechapel 2012
5. Whitechapel: Whitechapel – Nobody’s taken a bigger leap forward in 2012 than Whitechapel. It’s not enough anymore for deathcore’s biggest breakout act to take audiences by brute force. It’s not enough for them to terrify the easily offended with gore-splattered lyrics. These tortured Tennesseans with the swarming, intricately woven triple-axe attack have gone all in on their self-titled not-so-pretty hate machine, with back-breaking tempo shifts, maximum riffage and crazed dynamics threatening to consume Phil Bozeman’s guttural growl. Pretty little piano passages – a tribute to a fallen friend – set listeners up for the kill, as the imaginative sonic architects of Whitechapel makes good on their promise to conquer expectations.
Kill Devil Hill - 2012
4. Kill Devil Hill: Kill Devil Hill – A thick slab of surging, darkly melodic doom metal, Kill Devil Hill’s powerhouse debut bulldozes gothic ruins of riff-heavy rock and builds towering, monolithic new song structures atop the sacred burial grounds of Pantera and Ozzy-led Black Sabbath. More than the sum of its talented parts, Kill Devil Hill – created by former Sabbath and Dio drummer Vinny Appice, with ex-Pantera bassist Rex Brown onboard – introduces to the world Dewey Bragg, a man with the voice of a lion, and guitarist Mark Zavon, whose Panzer-like guitar forays seem directed by Rommel himself. The Alice In Chains comparisons are unavoidable, but with Brown lending heft and potency to the low end and Appice beating the living daylights out of his kit, Kill Devil Hill – immersed in all the haunting blackness and gloom of a graveyard after hours – boasts way more sonic mass than its grunge-era counterparts.
Rush - Clockwork Angels 2012
3. Rush: Clockwork Angels – 2112 was a great album … for its time. Clockwork Angels is better. Blasphemy, you say? Clockwork Angels is heavier – “BU2B” and “Carnies” – and more complex musically, although perhaps less raw and angry. The elaborate story, welded to some of the most grandiose sonic architecture the Canadians have ever constructed, of Clockwork Angels is wonderfully crafted, a mature, thought-provoking concept with none of the holes or the confused hokum of the 2112 saga. Where revisionists might see 2112 as the epochal moment where Rush’s power and progressive-rock inclinations clashed to create a compelling piece of art – which 2112 surely is – Clockwork Angels finds Rush still suspicious of totalitarian authority but more articulate and elegant about how they construct a response to it. And “The Wreckers” is one of Rush’s finest creations.
Kreator - Phantom Antichrist 2012
2. Kreator: Phantom Antichrist – Across a hellish, smoldering wasteland of apocalyptic imagery fly these four horsemen of thrash, soaring to dizzying heights on spiraling arpeggios, pounding whole cities into piles of ash with bombing drums and frenzied riffs that attack with an unquenchable blood lust, and speeding at high velocity into the unknown with an unrestrained fury bordering on madness. Screaming for vengeance, tracks like “United in Hate,” “Death to the World,” and “Civilisation Collapse” rain torrents of fiery thrash down on the unsuspecting, while “Until Our Paths Cross Again” and “Your Heaven, My Hell” offer brief moments of bruised beauty amid an outpouring of transcendent power-metal drama. Once again, Mille Petrozza whips this reconnaissance mission of the damned through its paces, and the result is a magnificent manifesto forged of startlingly brilliant technical musicianship and cataclysmic, compelling song craft. Phantom Antichrist will make you a believer.
High On Fire - De Vermis Mysteriis 2012
1. High On Fire: De Vermis Mysteriis – In the eye of a wintery hurricane of blustery, tempest-tossed guitars and roiling rhythmic seas stands High On Fire’s Captain Ahab Matt Pike, daring an angry God bent on destruction to silence his roaring, ragged voice as he relates the woeful plight of Jesus’ cursed twin brother. Mystery, madness, time travel and gale-force riffs threaten to tear the good ship De Vermis Mysteriis to pieces, but Pike’s able seamanship steers this scarred vessel through treacherous, rumbling melodic currents and violent, battering storms of sludgy metal. Epic is too small a word for such a monstrous beast. It’s only four letters after all. 

CD Review: Rush - Clockwork Angels

CD Review: Rush - Clockwork Angels 
Roadrunner Records
All Access Review: A-
Rush - Clockwork Angels 2012
Revolution is in the air again for Rush, lo these many years since the people of the Solar Federation were freed from 2112’s dystopian, artless existence and the fascist Priests of the Temples of Syrinx were removed from power. Flexing his literary muscles, Neil Peart spins an epic yarn of adventure and wonder throughout the new Rush sci-fi concept album Clockwork Angels, a work of grandiose progressive-rock architecture that’s suffused with steampunk imagery and traffics in many of the same themes that dominated 2112 – namely, the insidious nature of repressive, totalitarian rule and the subtle erosion of individual freedoms that occurs under such governance. Somewhere, Ayn Rand is … well, barely cracking a smile.
Peart’s protagonist is a boy who fantasizes of escaping a peaceful, idyllic rural paradise to explore the world and find the famous City of Gold: Cibola. “I can’t stop thinking big,” the child exclaims in the mystical chorus to “Caravan.” Neither can Rush, apparently. A wonderfully constructed maze of rampaging, complex riffage, melodic magic and quick-shifting rhythms and tempos that introduces Clockwork Angels, “Caravan” rolls on into the roaring maw of “BU2B.” One of the heaviest tracks Rush has ever produced, along with the grotesquely sinister and oily “Carnies” that also inhabits the record, “BU2B” introduces us to the Watchmaker, the supposedly benevolent dictator whose orders are carried out by the Regulators, the suppliers of energy to a populace taught to “believe in what we’re told.” Is the narrative starting to sound familiar? It should.
As our hero encounters a dangerous anarchist, joins a carnival, finds love and loses it by idealizing “a goddess, with wings on her heels” in the tender and reflective “Halo Effect,” and then survives a desert of extreme cold and snow only to narrowly avoid death in a disaster at sea, Rush builds strong citadels of sonic grandeur and intricate machinery on Clockwork Angels. From the sublime acoustic artistry and sweeping, gorgeously arranged strings – erected by arranger/conductor David Campbell – of “Halo Effect” to the swirling mystery and renegade guitars of “Seven Cities of Gold” and the big-hearted emotions and dramatic swells of “The Wreckers,” Clockwork Angels is both beautiful and majestic.
Alex Lifeson’s fretwork is breathtakingly here, balancing expressive solos with the desire to sculpt the muscular, driving riffs of “Headlong Flight” and weave acoustic gold in the delicate, affecting dreaminess of post-Roger Waters Pink Floyd in “The Garden.” Pushed to the forefront, Lee’s bass is propulsive and elastic, contorting itself into impossible shapes, all the while never letting the integrity of the song be compromised. And as for Peart, his wizardry has never been more potent or as unpredictable, that technical precision of his always one step away from devolving into controlled chaos. Witness the dizzying instrumental passage near the end of “Caravan” to get an idea of just how incredibly powerful and dynamic the trio’s interplay can be when Rush is at the top of their game. If not for the overwhelming production values actually weakening the sound quality and clarity of the record rather than strengthening it, Clockwork Angels might be deemed one of Rush’s finest albums, even if the threesome, on the rarest of occasions, appears slightly tentative and uncertain as to how to take songs to the next level. As it is, Clockwork Angels is still undeniably a classic.

-            Peter Lindblad

Metal Evolution - "Progressive Metal"

Metal Evolution - "Progressive Metal"
Sam Dunn
VH1 Classic


All Access Review:  A-

As if channeling some malevolent force from the Great Beyond, the moody schizophrenia and heart-of-darkness explorations of King Crimson's unsettling early 1970s progressive-rock seemed to emanate pure evil. Where more timid musical spirits braked to a screeching halt at the borders of that uncharted musical territory they explored with such curiosity, Robert Fripp and company pressed on, eager to discover bizarre sounds and encounter odd time signatures while welcoming any weirdness that might suddenly jump out at them from the blackness. Hardier souls like Metallica's Kirk Hammett embraced the more disturbing and strangely foreign elements of Crimson's oeuvre, and some, like Classic Rock magazine's Jerry Ewing, even go so far as to consider them a proto-thrash outfit.

It's not quite as easy as it sounds to establish that link between the early forefathers of English prog-rock, like Yes and Genesis, and heavy metal, but filmmaker Sam Dunn and his co-conspirators do just that in the beginning of "Progressive Metal," the latest chapter in his "Metal Evolution" series that's been dominating the airwaves on VH-1 Classic over the last few months. Over the life of "Metal Evolution," Dunn has shown the ability to make connections that don't seem patently obvious, and he doesn't do it in a ham-fisted manner. With regard to Crimson's influence on thrash, Dunn lets Hammett and Ewing make the case for him. And Genesis guitarist Steve Hackett, also interviewed by Dunn, bolsters the argument by adding "I doff my cap" to metal artists who have shown an affinity for weighty, challenging music. 

And this heavy metal sub-genre certainly has its share of challenging artists. There's the mysterious complexity of Tool and the blend of raging thrash metal, technical brilliance and melodic playfulness of Dream Theater - Dunn's inquisitive nature leading him to revisit Dream Theater's somewhat rebellious Berklee College of Music experience and study Tool's brooding intensity and penchant for remaining anonymous. All of that, however, is nothing compared to the extreme lengths Meshuggah goes to in pounding out its jazz-infected death metal assault or the completely insane prog-metal noise riots Dillinger Escape Plan ignites onstage. It is at this point that Dunn wonders if progressive-metal hasn't gone too far, the furious live clips of Meshuggah and Dillinger Escape Plan leaving viewers with mouths gaping wide. Mastodon brings "Progressive Metal" back to some semblance of normalcy, the Atlanta, Ga., prog-metal outfit combining unrelenting heaviness, surging power and intricate instrumentation on albums such as the "Moby Dick"-style concept record Leviathan, one of the truly important rock albums of the last decade. Dunn isn't shy about singing Mastodon's praises, and with good reason, considering the focused study of Leviathan he undertakes. Their lofty ambitions, Brann Dailor's multi-dimensional drumming, the hoary vocal blending of Dailor, Brent Hinds and Troy Sanders, and the sheer immensity of their sound has turned Mastodon into what is perhaps the biggest force in metal today, at least among the more independent-minded metal denizens plying their trade.

Of course, none of this would be possible without the fearless experimentation of 1970s progressive-rock envelope-pushers Yes, Genesis, and King Crimson. Dailor cites Crimson and Genesis, in particular, as inspiration at the beginning of "Progressive Metal," which leads Dunn to craft a concise, yet compelling history of prog-rock through intelligent, insightful interviews with the likes of Hackett, Yes/King Crimson drummer Bill Bruford, and Yes bassist Chris Squire, along with Ewing and another Crimson drummer, Michael Giles. Augmenting the tightly edited and endlessly fascinating dialogue is a series of period live footage from Crimson - playing "21st Century Schizoid Man" - and Yes, shown performing a lively, boisterous version of "Roundabout" that makes present-day Yes seem impotent by comparison.

Once Dunn dispenses with the old guard, he turns his camera eye on Rush. Neil Peart, Alex Lifeson, and Geddy Lee are all interviewed for Dunn's piece, and their commentary on the transition from Caress of Steel to 2112 is informative and interesting. Clearly, Rush is the suspension bridge that connects old-school prog and the progressive-metal community that is driving metal out of all its predictable ghettos and into places where others fear to tread. Dunn's keen interest in Rush shows, resulting in a long segment on the band's development from basic, blue-collar hard-rock dynamos to a trio that isn't afraid to stretch the limits of imagination. That hunger to expand and grow that's made Rush an enduring proposition has undoubtedly made an impact on the upstart metal bands swept up in their hugely influential wake. Plenty of Rush live footage - from yesterday and today - is offered that puts the band's rugged, uncompromising, and dynamic musicianship on display in "Progressive Metal," and when Lee, in his talk with Dunn, mentions how radio contains many "empty calories" and that people will also be on the lookout for interesting, unconventional music, it gives one a glimmer of hope that many will turn to early Genesis, Crimson and Yes to scratch that itch.

Though Dunn takes a more linear - and therefore, less artful - path in detailing progressive-metal's rise, he handles the subject matter with characteristic humility and sincere interest. He is thorough in his investigation of progressive-metal, leaving very few stones unturned. "Progressive Metal" is the last episode of the season for "Metal Evolution," and it is a strong chapter in the series. Whatever Dunn has up his sleeve for the future let's hope it matches the detailed examinations, intellectual groping and witty humor that have made "Metal Evolution" such wonderful television.


- Peter Lindblad


Metal Evolution - Progressive Metal
Watch the Full Episode - Here and Now! 



Backstage Auctions Rolls Out a Different Type of Auction

Summer Classic Rock 'n Roll Auction
Auction Dates: September 17th - 25th

By Pat Prince

Backstage Auction’s “Summer Classic” auction, September 17-25, will be unique for a rock ‘n’ roll auction house that typically handles consignments from only those involved in the recording industry. The sole collection for the “Summer Classic” auction is that of a private collector.

Uncle Ted's favorite Indian boots.
“This is the first, and likely only, exception we are making to our standard model,” says Backstage Auctions owner Jacques Van Gool. “We pretty much knew where these items in this auction came from. This is a collection that came from a private collector who has been a buyer from Backstage Auctions, literally, from the very first auction. And he never skipped a beat — every single auction we put up, he bought. So the one thing that I did know is that a lot of the things still have the original certificate of authenticity. I know where they came from, so I’m very comfortable. And items that we found that didn’t come from us, we had the signatures verified by a third party to make sure the signatures are authentic.”

He continues: “When you have an individual who has been so incredibly loyal to you, literally from the first day you been in business, you build a personal relationship with them— which is what we had. And he sadly passed away and his family did not know where to go. And we just felt — and it’s hard to put into exact words — but if he knows that we are taking care of this, then I would like to believe that that would make him happy.”

Also, this may be one of Backstage Auction’s most eclectic auctions yet. “The fact that he was so diverse and eclectic of a collector means that you’re probably going to find something from anyone who was somebody in rock ‘n’ roll. He wasn’t discriminating towards either a particular artist or a particular musical genre or a particular type of item — from ticket stubs to videos — everything you can think of. But he did have a couple favorites.”

One of those favorites is Ted Nugent. According to Van Gool, twenty-five percent of the entire collection is made up of Nugent-abilia. “There’s a tremendous amount of Ted Nugent stuff,” says Van Gool. “I mean, it’s impressive. The rarest vinyl you can think of. A CD collection that is just over-the-top. Then there’s also the personal stuff, like one of Ted’s most favorite outfits that actually used to hang in the Rock and Roll Hall of Fame, which is a pair of his Indian boots that he used to wear for years and years. There has to be over a thousand photos where you can find Ted wearing those particular boots. And there are Gold and Platinum record awards (RIAA) that were all issued to Ted Nugent. These were his personal record awards, including one issued to his mother.”

1965 Pandora & The Males "Kiddie A Go Go"
He goes on: “One of the things I thought was so cool is that we came across a 7” of Pandora & the Males’ “Kiddie A Go Go” from 1965. We had set it aside because no one here had recognized what it was. Finally, when we started doing research on it, we found that Kiddie A Go Go (aka, Mulqueens Kiddie A Go Go) was a pre-teen dance show from 1965, Chicago — which was basically a cross between American Bandstand and the Mouseketeers. They had some pretty interesting artists on the show, but they also had their own house band which was Pandora (Elaine Mulqueen) and a backup band, The Males. And the soundtrack for the show was “Kiddie A Go Go.” Well, Ted Nugent was the guitar player of The Males. And this little 7” is the very first recording that includes Ted Nugent. To me, something like that, is super awesome. Yeah, it’s great to have a “Double Live Gonzo” signed album hanging on your wall, and, yeah, we have that, and it’s cool to have, but then you have something like Pandora & The Males 7” from 1965 … I get excited about that kind of stuff.”

For many, it may be hard to imagine the Motor City Madman, who is about as polarizing a personality as one can ever imagine, as the guitar player for a pre-teen dance show’s house band. Whether it has to do with his opinions or his politics, controversy attaches itself easily to Ted Nugent. But Van Gool makes it clear that it isn’t his job to be the judge of such issues. “As an auctioneer we have never looked at which artist we like for their life views or their political views because it is irrelevant. You only can look at what their contributions are to the history of music, and how relevant they are to collectors. Nugent, without question, is very relevant. But I think that, as opposed to a lot of artists, there’s no denying that the world of Nugent is a little more black and white. You either really really like him or you really really don’t.”

Long Life To The Queen
But, as stated above, you don’t have to be a Nugent fan to be attracted to this auction. There will be plenty of other artists — over 1000 auction lots to chose from and the foundation of it is probably the vinyl record collection. “I mean, we’re talking about thousands and thousands of records here,” says Van Gool. “But what makes this so interesting is that just about every vinyl lot will include some really unusual, special releases. We found a very solid number of import vinyl — British pressings, German pressings, Japanese pressings. Then we found a significant number of broadcast vinyl. Back in the ‘70s, companies like Westwood One would make these broadcast specials, print them on vinyl and distribute them to radio stations around the nation. Westwood One had their Superstar Concert Series and those were legitimate live recordings. Westwood One also had a DJ named Mary Turner and a series called Off The Record. Mostly interviews, there are also some studio sessions and live sessions.”

Also included in this record collection is much sought after bootleg vinyl. “Usually in vinyl collections you’ll come across these releases,” says Van Gool. “They’re mostly from the ‘70s. And back in those days they would press like a 1000 copies, and yeah, you know, the audio quality is probably not the greatest but 30-40 years later these albums have become real collectible. It’s almost more fun to complete a bootleg collection of your favorite artist.”

1979 KISS World Tour Vintage T-Shirt
Apart from the vinyl, it doesn’t stop there. There are hundreds of signed items, over 300 concert t-shirts (mostly officially licensed), ticket stubs, backstage passes, guitar picks, drum sticks, photos, posters, promo items, reels, CDs, DVDs and videos, books and over 1000 magazines (first assorted by artist, then by genre and then by title). There is even an entire lot of Goldmine magazines.

It may all seem a bit overwhelming but one thing’s for sure, rock ‘n’ roll collectors, this is one auction not to miss.

The auction will feature rare memorabilia from KISS, Pink Floyd, Rush, Rolling Stones, The Beatles, Led Zeppelin, Queen, AC/DC, Van Halen, The Who, Jimi Hendrix, Aerosmith, Fleetwood Mac, Grateful Dead, Janis Joplin, The Doors, Pretenders, YES...and these are just a few of the highlighted artists. 

Register Today:   VIP All Access Auction Pass

A special thanks to Pat Prince for writing such an awesome piece on our auction. Pat you ROCK our world!




DVD Review: Rush "Classic Albums: 2112 & Moving Pictures"

DVD Review: Rush - "Classic Albums: 2112 and Moving Pictures"
Eagle Vision
All Access Review: B


Perhaps predictably, Rush took a lot of heat for throwing in their lot with Ayn Rand as they did on 1976’s 2112. Her controversial writings were viewed by many as promoting a selfishly individualistic philosophy that sanctioned greed and scoffed at the notion of a common good.

Drummer/lyricist Neil Peart and the rest of Rush looked at Rand and saw something different in works like “Anthem” and “The Fountainhead.” In Rand, they found something of an intellectual freedom fighter, a warrior of strong mental fortitude in the fight against repressive totalitarianism and mind control. What they had, in essence, was an ally.

Influenced by the writings of Rand and those of science fiction writer Samuel R. Delaney as well, Peart constructed for Side 1 of 2112 an epic futuristic tale of a world where technology reigns supreme and art – music especially – is crushed under the heels of priests who knew, implicitly, what was best for the people. And yet, somehow, as told in this latest installment of Eagle Vision’s Classic Albums series, Rush was demonized for it. Critics went so far as to call them right-wing extremists and even Neo-Nazi sympathizers, when all Rush wanted to do was say a little something about staying true to yourself and your artistic vision.

2112 was the epitome of transitional records. On one side, there’s a conceptual suite, at once angry and piercingly loud, but also contemplative and melodic, pieced together in defiance of record company mandates to be more commercial. Once the rebellion had ended in the crashing chaos of “Oracle: The,” which Peart sees as the cavalry coming to save the day, Rush moves on to the shorter, more compact songs – the ones Mercury Records wanted more of, particularly after the weird and incomprehensible Caress of Steel – that make up Side 2.

Exploring the exotic, drug-fueled nature of “A Passage to Bangkok” and the contrasting lightness and dark shadows of imagination in “The Twilight Zone,” the DVD goes into great detail in telling the story of 2112. Peart, guitarist Alex Lifeson and bassist Geddy Lee all end up sharing fascinating memories of the making of 2112, with producer Terry Brown also revealing much about the studio process. Context and insight provided by esteemed music writer David Fricke and Foo Fighters drummer Taylor Hawkins flesh out the history of Rush’s break-though record, while Mercury promotions man Cliff Burnstein explains how tough it was for him to sell a conceptual record, or at least half of one, to a label that wanted no part of that.

What feels ham-fisted is how the film segues into Moving Pictures. In a sense, it tries too hard to find a connection between the two landmark records. History has shown that 2112 and Moving Pictures are clearly the most important works in Rush’s catalog, but, maybe due to time constraints or the lack of supporting material, the filmmakers gloss over how the band evolved between those works. And where they artfully lay the foundation and backdrop for 2112, less attention is given to what led up to Moving Pictures, though passing mention is made of Rush’s interest in New Wave and Punk and how that helped inform the record. The Moving Pictures segment is salvaged, however, by the deep, expansive analysis of “Tom Sawyer,” “Limelight,” “YYZ” and “Red Barchetta.”

While “2112 & Moving Pictures Classic Albums” does much to celebrate Rush’s musicianship and the complexity of their compositions, perhaps the film bit off more than it could chew here. Maybe separating the stories behind both records would have made for fuller, richer and more satisfying storytelling. Still, if you’re a Rush fan and these two records are among your favorites, there is much here to enjoy, especially the interviews. Candid, open and refreshingly defiant, Peart, Lifeson and Lee are engaging subjects, and watching them, up close, work through some of the most interesting parts of these great songs on their instruments is an absolute pleasure.

-Peter Lindblad 

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