DAYS BETWEEN STATIONS

Days Between Stations is the creative partnership between guitarist Sepand Samzadeh and keyboardist Oscar Fuentes. The duo came together in Los Angeles in November 2003, and named the band after the 1985 novel by Steve Erickson. The band’s sound – Samzadeh calls it “art-rock,” Fuentes labels it “post-prog” – reflects their varied influences, as well as a shared disregard for stylistic boundaries... more

BILLY SHERWOOD

We are much honored this month to have Billy Sherwood (CIRCA:, former YES) as our interview guest. He just released his new CD titled "At The Speed Of Life". Currently, beside his solo projects he is one of the members of the band CIRCA:, formed by ex-YES members Tony Kaye and Alan White, along with Jimmy Haun. They released their first solo album in 2007, followed in 2008 by a live DVD. They are currently in the studio working on their second solo CD...more

Kate BUSH / Never For Ever

1980‘s “Never For Ever” is Kate’s 3rd album. The album was co-produced by Jon Kelly & Kate herself. One of the most interesting things about this album is that it is the first record by a British female artist to top the UK album charts. (Wikipedia). Kate’s progressive approach to music reaches its peak with Never For Ever. She tastefully blends different genres including folk, oriental, rock, classical and jazz. Unlike her first two albums which she wrote on piano, this one was written on synths... more

Emerson Lake & Palmer

self-titled / 1970

This debut release from the now legendary trio is a solid and strange little EP. After recording King Crimson’s iconic debut In The Court of The Crimson King as a founding member, guitarist/bassist/vocalist Greg Lake departed the band and met up with keyboardist Keith Emerson and drummer Carl Palmer. This trio would go on to firmly place themselves in the hierarchy of the relatively new musical genre known as prog-some would say defining or even embodying it. This EP reveals Emerson, Lake and Palmer in their natural element-strange time signatures, jazzy keyboard phrasings and unique vocal phrasings.

Offering only six tunes, it is still easy to see how this debut by ELP stamps itself into the musical collective consciousness-especially of the early 1970’s. The first track The Barbarian reveals all the bravado of 21st Century Schizoid Man the first track from Lake’s previous band’s debut In The Court of The Crimson King. This tune is a raucous mid-tempo stomper complete with heavy-handed organ, thumping bass and frenetic drumming and features a piano interlude. Although this is definitely a rock tune, the jazz influences are rife and they show up in many other places on this EP.

The second track Take A Pebble clocks in at over twelve minutes and unfolds as an introspective journey. Here it most apparent that keyboardist Keith Emerson’s composing shows equal parts influence of jazz and classical-at least for the first three and a half minutes. The song then quiets in order to return featuring a two minute acoustic guitar interlude-part peaceful, part groovin’ with handclaps to boot. The jazzy/classically oriented piano returns for the rest of the tune to usher in the return the passionate vocals and moody lyrics of Lake.

Knife-Edge steps forward boldly as ELP’s first groovy, most rock-oriented track. Starting as a bass-low, slow groove and featuring a moody vocal proclaiming “Just a step-cried the sad man, take a look down at the mad man…” and building into a frenetic display of keyboard wizardry and biting drumming.

The Three Fates rises up dramatically after the sudden drop-ending of Knife-Edge. A three part tune subtitled Clotho, Lachesis and Atropos, keyboardist Emerson shines here like in no other tune on this EP. Beginning dramatically with Clotho on traditional organ with sweeping pronouncements, Lachesis comes in with a classical/light jazz/pop piano and descends beautifully into Atropos, a more straight forward, if very raucous, heady jazz piano piece.

Tank is the album’s thumpy jazz extravaganza. Not a hint of classical influence here as jazz meets rock to bring forth a rousing keyboard and drum fest.

Not least is the album’s last song Lucky Man. Penned by Lake, this is the song that we all hear when we listen to our ‘70’s rock radio station. This is more of a straightforward acoustic rock song with the dreamy and droning vocals of Lake. Hearing such a straightforward and peaceful song right at the end of thumping rockers and classical piano interludes may not be everyone’s cup of tea. In all, however, it’s easy to see from this debut by ELP how they so confidently move from obscurity into the annals of prog rock history. A seemingly schizophrenic collection of songs for a debut is risky but listeners saw the potential of this super group even from such an initial foray and it sure paid off. This surely is the stuff that prog is made of.

Nelson LEE