New Year Message

Well, friends, it's the last day of 2015. It's time for me to reflect back on this year in terms of what happened musically. First of all, I think it's important to acknowledge that we lost a number of people in the music world, notably B.B. King, Scott Weiland of Stone Temple Pilots and Chris Squire of Yes. These losses were quite shocking and had a major impact on the music world

On a more positive note, there were many good records that were released this year, like The Desired Effect by Brandon Flowers, Hand Cannot Erase by Steven Wilson and, best of all, Rattle That Lock by David Gilmour. I've got about five shows I plan to go to next year (two of them being David Gilmour shows), the longest wait being for Marillion on 22 October.

This year, I saw the most concerts I have ever seen in one year, the grand total being 9. All were worth it, but the absolute best was Brandon Flowers at the Wiltern in September. 2016 looks like it's going to be an eventful one for concerts, as many artists are going on tour.

I also gained more new members to this group than I ever have since I started it. Thanks so much to everyone who asked to join. I really hope you are enjoying it. I was hoping to make it to just 100, so I certainly wasn't expecting to reach 118 members, but I am so grateful that I did. I look forward to sharing more concert experiences with all of you as the year unfolds as well as sharing my thoughts on any new albums that I listen to and making new friends.

Happy New Year prog buddies! Here's to a great 2016! :)

A Message to the Crimson 7 from an 18-year-old (skip to the last two paragraphs if you want the jist of this entry)

Before I get started, let me quickly fill you in on what I've been up to lately. Well, it's the end of Thanksgiving break. Tomorrow, it's back to school I go, as we're about to enter the 10th and final week of the fall quarter. Next thing I know it's going to be time for final exams. Fun, right? ;) 

Anyway, I'm not writing about my apprehension over my first college final exams, mainly because this blog is about my love and appreciation of progressive music. Tonight, I'm writing about King Crimson. Pretty big topic, right? But in all seriousness, there's something about them that I've been meaning to write about for a while now but since my opinion had been shifting from one idea to the other, I couldn't sit down and write anything. Now that I've had time to think this through, I think it's time I got my feelings out.

Here's what happened: On November 19, King Crimson played the first of two nights at the Toronto Queen Elizabeth Theatre in Toronto, Canada, as part of their 10-date Canadian tour. However, for this tour, they revised the camera policy they had made during their tours of the US and UK. Originally, once you were inside the venue, photos were entirely off limits until you left. Now, they have stated that no one may take photos until THE END of the performance, meaning once the music has stopped playing. That means you can take photos of the band before they walk off stage. Sounds fair enough, I suppose. It's definitely a step forward from when I saw them in October of last year at the Orpheum theater. The security was pretty good about being on top of people on their phones. As a result, most of the audience (I say that because I know at least one person did upload a photo of the band the next day) did what the band wanted them to do: they embraced the moment. I've come to really appreciate that concept. At every show I've been to since that night, my phone use has been kept to a minimum. I realize that this doesn't match their idea of not using a phone or camera AT ALL, but it's good enough for me. I manage to take a few pictures here and there throughout a performance, without being a nuisance to those around me.

However, despite this explicit request for respect, there were still people who felt that the rules didn't apply to them. During the second-to-last song (according to the setlist posted on setlist.com, it was "The Court of the Crimson King), apparently a few people were caught taking photos of the band performing. As a result, Robert then walked off stage, followed shortly by the other members of the band. The show was ended.

Now, shortly after hearing about this incident, being the big King Crimson fan that I am, I immediately felt inclined to side with the band only and treat them like the victims, but after considering multiple perspectives, both from band members, and concertgoers, I have decided the following: I'm not happy with either the band or the audience in this turn of events.

The next day, the following note was posted on the DGM site as well as on Facebook:

"The band went onstage at 20.15 in good spirits. Mel played beautifully over the Eb major / Cm Soundscape. IntoLarks’ I and onwards.

 

My experience was of pouring wine into a cup with a hole in it. Once upon a time, I would have attributed this feeling-experience to the presence of bootlegging. Several times the thought flew by: you only need one prick in a balloon.

 

The energy of a performance contains and embraces those within it, performers and audients. When the energy encircles and holds the event, the performance develops intensity, shifts gear, and becomes a qualitatively different undertaking: it takes off and flies away into a different world. When we are carried with it, sometimes a performance can be transformational: even, redirect the course of lives. A requirement of players and listeners is to remain engaged and present, hopefully with goodwill, to the extent that all can bring to bear. Tonight, strangely, nothing took off IMO; a first for this KC.

 

Persistent camera persons persisted, despite rounds of applause for the Revised Photo Policy announcement before the show, continuing into the encores.

The Guitarist Stage Left also persisted. Until finally, having been slapped around the face and stabbed in the heart too many times (this is how I experience violation in performance), it was not possible to honourably continue. Robert left the stage, followed shortly by the other Crims. The show finished, a result of ongoing photographic abuse.

 

The revised KC photo policy is a fair and reasonable way of engaging with those who hand over their hard-earned pay and feel the need to take a picture of the band. To photograph outside those parameters is at least rude, and discourteous to other audients and the players. At a certain point, given the intentionality that gives rise to an act, proscribed acts become aggressive; even close to an expression of ill will. This is what I felt tonight.

 

A report on tonight’s performance, presented from a viewpoint of playing in public for over 56 years."

I heard that it was Robert who posted this note, and if that's the case, apparently he refers to himself in the third person. Interesting. Anyway, there's his perspective on the matter. That same day, Gavin Harrison (one of three drummers in the band at the moment) posted this:

"A concert with King Crimson requires LOTS of concentration from the performers (and I dare say for the audience too). This music is very rich in detail and complexity. In fact everyone in the room needs to give it their absolute full attention. 

Having folks point cameras at you breaks your concentration and distracts you. I've had the same feeling when I've been watching a concert and folks around me are holding up their devices to film and take photos. It's very distracting for all."

So to give my own paraphrasing of these two posts, the band feels as though their request for respect was crudely and senselessly violated. They seem to miss the days in which cell phones and high quality cameras did not exist and, consequently, concertgoers had to watch a show with their own eyes and rely on their memory in order to truly take away the magic of the evening. Furthermore, they feel as though the use of cameras or phones during a show is disruptive, not just to them, but also to other audience members.

After doing a little outside research, I found the perspectives of various concertgoers. Most of them expressed outrage at the band's decision to end the show. One person compared the situation in a way that I found very relatable. To put it simply, the person wrote that walking off stage during a concert because a few people took photos is no different from a college professor giving all his students an F on their final exams because a few people cheated. This gave me a realistic situation to think about. As a college student just a week away from her first finals, I know that I would be pretty upset if one of my professors failed me due to the stupidity of a few people. In a perfect world, the few people who cheated should be the ones who have to suffer the consequences, rather than the entire class.

Now, in the case of this concert, the entire audience was punished because a few people couldn't follow the rules that were explicitly stated by the band. However, I'm sure none of those rule breakers expected the band to just get up and leave the audience in the dust. It certainly seems that the band didn't warn anyone that this was a possibility. Unless it's happened in the past, this certainly seems lie it came out of nowhere.

As a concertgoer, I understand the frustration that accompanies being stuck behind people that insist on filming or taking photos of every second of the show. However, as someone who has also expressed interest in being a performer, I also have to say that, if they're not using flash photography or filming, why should we care that they're using their phones or cameras? It's their loss if they miss out on embracing the show for what it is.

Let me put my view on the matter in simple terms: I get where the band is coming from and I get where the concertgoers are coming from. The band didn't want photos taken, as they haven't throughout their entire history of existence. They said that, people did it anyway, they got upset, so they ended the show. I thought that I would add my own perspective based on what I have heard. After taking both sides into account and thinking it over, this is what I've decided: 

It's not the 1960s anymore. It's not going to be. We're not going to go back to the way we lived in that time, as much as some people may want us to. A lot has changed over the course of 56 years. As much as some may not like it, cell phones and cameras exist, and they will only continue to improve. People are not going to stop taking them and using them at concerts. Unfortunately, while we can do our best to express our wishes in terms of cell phone use during a performance, we can't force everyone to abide by our rules. Now, that's not to say that I don't think there should be repercussions for breaking the rules. What I think should have happened at that King Crimson show, is that the rule breakers should have been escorted out of the venue, so that the rest of the people that WERE following the rules could enjoy the show. I know that I'm only 18. I wasn't around when cell phones and good cameras didn't exist, so that is where I'm coming from. All I know is going to concerts and seeing people on their phones. I'm learning to accept that as the reality. Not everyone these days will learn to embrace the moment, no matter how much we may want them to. That's their loss, though. However, don't let that stop you from continuing to spread the idea of embracing the moment to others, especially to people my age. Who knows? You might just be able to get through to some of them. You certainly got through to me. ;)

2015 concerts

I've seen a total of nine concerts this year. That's more than I've seen in any other year, andI've been seeing concerts since March 2010. for 2015, I enjoyed all of the shows I saw in their own way. Some, however, were better than others. Here are all nine of them, ranked from, what I consider to be, least memorable to most memorable:

9. Big Talk - 7/20/15 - the Troubadour

8. SubRosa - 9/9/15 - the Roxy Theater

7. Rod Stewart - 8/9/15 - the Coloseum at Casear's Palace

6. Halestorm - 10/16/15 - Riverside Municipal Auditorium

5. Yes/Toto - 9/6/15 - Greek Theater

4. The Anderson - Ponty Band - 11/20/15 - Saban Theater

3. Steven Wilson - 6/12/15 - The Grove

2. Steven Wilson - 6/13/15 - The Wiltern

1. Brandon Flowers - 9/26/15 - The Wiltern

Overall, this has been a great year for concerts in my opinion. However, from what I know so far, it sounds like 2016 is gearing up to be an exciting musical year as well. I've heard the following are going to tour next year: David Gilmour, Steve Hackett, Roger Waters, and Marillion. Hopefully, there will be others. Currently, I have the following shows to look forward to in 2016:

David Gilmour - 3/24/16 - Hollywood Bowl
Steve Hackett - 4/1/16 - Orpheum Theater

Sounds good to me! :)

An Evening with the Anderson Ponty Band

I've been at college for over two months now, making short trips to home here and there. Hard to believe we're already in Week 9 of the first of three 10-week quarters. Before I know it, it's going to be time to conclude this first quarter with finals. This first quarter of college has been an interesting one. It's been full of social and academic adjustments. I've met more people than I can count throughout the past two months, and I hope to develop some of those relationships in the future.

Without giving too much away, I go to university roughly 100 miles from my home, and about 47 miles from downtown Los Angeles. This makes it possible for me to still attend a concert here and there if time permits (meaning no tests or serious deadlines get in the way). However, despite having a car with me, I am reluctant to drive in the busy LA evening traffic in order to get to a concert venue. Luckily, there's another option: the train. About 3 miles from campus, there exists a Metrolink train station, with one route going to Los Angeles Union Station. I talked this over with my dad, and we decided that taking the train and getting accustomed to using public transportation would be a good experience for me, especially since I did not feel like dealing with city traffic.

Well, on November 20, I got the chance to try that out. On that evening, I traveled to Hollywood and Vine, where I met my dad. From there, we made a quick stop to Amoeba Music (many great memories at that record store) and had dinner at Stella Barra, another favorite place of ours. After that, we headed down to the Saban Theater to see Yes frontman Jon Anderson and French violinist Jean-Luc Ponty in their band, the Anderson-Ponty Band. I had not seen Jon since July 2012. However, at that show, it was just Jon alone on stage, with a guitar, and an endless supply of life experiences to share with the audience. Even though this show at the Saban was not going to be centered only on him, I anticipated an experience similar to what I had back in 2012. I have been to well over 30 concerts, all of different intimacy levels, but I find something particularly memorable about concerts set in small venues like the Saban or the Orpheum. You're one of a small, lucky number of people fortunate enough to be in an intimate setting with one of your favorite bands or musicians. I've had these kinds of experiences with people like Greg Lake, Steven Wilson, King Crimson, and Joe Satriani. There have been more, but it's more than I want to list right now. I'd rather just get to the show.

We arrived at the venue at around 19:30, so we would have plenty of time to kill before the show, which was set to start at 20:30. Dad wanted to stop at the Coffee Bean down the street, so he gave me my ticket so I could enter the venue myself. Once inside, I met and had a good conversation with my friend Brett. After that, as I was looking around the room at the abundance of longtime Yes and Jean-Luc Ponty fans, there was one face that I recognized instantly: Billy Sherwood! He had just finished up with Yes on the 2015 Cruise to the Edge, so he was just in time for the show, mingling with other concertgoers. This just goes to show you how music makes me an unusually outgoing person: I decided to go over to him and say hi really quick. Not too long, just a quick word. Personally, I have gained a great deal of respect for him within the last five months, especially since the tragic death of Chris Squire. Filling in for the one member of Yes to appear on every tour and studio album is most definitely not easy. While there are some Yes fans who believe the band must call it quits due to the absence of Chris, I think Billy has a strong amount of support from most Yes fans. At least, it seemed that way considering how many people were talking to him. Without saying too much, I reminded him that my friend Bill Snyder had interviewed him a few weeks before, which he recalled. After taking a selfie with me (using my phone), I made sure to give him a big hug and say thanks. He deserves it.

Jon, Jean-Luc, and their band went on a little after 20:30. Since it's been about five days, I can't quite recall the most specific of details, unfortunately. They played a surprisingly lengthy set consisting of songs from their recently released studio album, Better Late Than Never, and the discographies of Jon and Jean-Luc. The band put their own spin on certain classic Yes songs, such as "Time and a Word," "Wonderous Stories," and "Roundabout." That totaled to about 19 songs, if I'm not mistaken. Since I can't recall every detail as vividly as I could, I will just go over the highlights. Jon sounded just as wonderful as he did the first time I saw him back in 2012: beautiful, distinguishable, unforgettable. Even though I had picked up Jean-Luc's album A Taste for Passion at the record store near campus, I consider this to be my introduction to his talent, as I was able to observe it with my own eyes. After watching him, I definitely plan to explore more of his discography in the future. I have always enjoyed the sound of the violin, so to watch him display his skills was definitely enjoyable.

At one point in the show (again, I don't remember at exactly what point), Jon recited the following, which I recognized as being an excerpt from the Yes song, "The Revealing Science of God.":

"Dawn of light lying between

A silence and sold sources
Chased amid fusions of wonder
In moments hardly seen forgotten

Colored in pastures of chance
Dancing leaves cast spells of challenge
Amused but real in thought
We fled from the sea whole

Dawn of thought transfered through moments
Of days under searching earth
Revealing corridors of time provoking memories
Disjointed but with purpose

Craving penetrations offer links
With the self instructors sharp
And tender love as we took to the air
A picture of distance

Dawn of our power we amuse
Re descending as fast as misused
Expression, as only to teach love as
To reveal passion chasing"

I've always considered the lyrics of Yes to be its own language, that only certain people can understand. I, for one, still have difficulty digesting them. Here and there, I can understand bits and pieces, but the poetry overall is difficult for me. However, something about the way Jon recited these words really struck a chord with me. Hearing the words spoken rather than sung was quite different for me. I didn't have the music there to distract me, so I could really concentrate on them better. There's a certain beauty to Yes lyrics that you don't really find in a lot of other bands or artists. To me, they sound like they come from the deep, spiritual depths of Jon's heart. That is true poetry in my view. They are part of what make Yes, well, Yes.

At another point in the show, Jean-Luc expressed the strong emotions he had been feeling due to the recent terrorist attacks that took place in Paris. With him being French, I suspected that he would make such a statement about the matter. He pointed out that, while these kinds of incidents have happened, and will continue to happen, playing music is what gives him a sense of peace in an often distressed world. I'm not quoting him word-for-word, by the way. Just telling you my interpretation.

The last highlight I can really think of happened towards the end of the show. Jon, as expected, told the audience that not a day goes by in which he does not think of Chris. He told us he considered Chris to be the "Christopher Robin to his Winnie the Pooh." How cute. With that, he dedicated the next song in Chris' memory: "And You and I," from my favorite Yes album, Close to the Edge, a very nice tribute song in my opinion. Chris most definitely will not be forgotten. <3

This was a great, intimate concert to close out 2015, the year that now hold the record for the most concerts seen in a year: 9 total. The previous record holder was 2012, with 7 shows seen that year. I think this year has been a great one for music, in terms of albums released, and tours that have occurred.  Unless something special comes up, this will be my last concert until the big night of March 24: David Gilmour at the Hollywood Bowl.

Random thoughts

Thinking back to almost 5 years ago, when I saw Roger Waters for the first time. Can't believe it's been almost half a decade since that night. Today, it remains the most special night of my life. However, I have to say that I think that title will go to David Gilmour after I see him in March but for now, no concert has ever surpassed my first time seeing Roger Waters perform perform the entirety of the album that started it all for me: The Wall. 

10/10/15

Paid a visit to the closest record store to campus. There's apparently three of them in Riverside. I have been to two though. This one was the biggest one, I think. A bit overpriced, but it's amazing how many records you can fit into one place. I picked up a vinyl copy of Brandon Flowers' first solo album, Flamingo.

People always talk about how record stores don't exist anymore. I find that interesting. Ok, maybe they're not as popular or common as they once were, but I have to say that, every time I visit a new town, I can always find at least one local record store. Big or small, I'm always happy to visit one. :)

A Night at the Wiltern

So, after nearly a week of settling in to life at UC Riverside I was finally able to get out into LA and do something off campus. That activity, of course, was going to a concert. Last night, I went and saw Brandon Flowers, frontman of The Killers, at the Wiltern Theater.

Let's go back to April of this year. Brandon's second solo album The Desired Effect had not been released yet, but he was still planning to come to LA and do a show at the Troubadour. I saw that as my opportunity to see him, since The Killers are currently on hiatus and have been for the last few years. However, hundreds of other individuals clearly had the same goal, for the minute tickets went on sale for that show, they were gone the instant I refreshed the page at 10:00. Scalper tickets were the only option, but prices were simply too outrageous to make it happen, so I just gave up and accepted that I would just have to wait until The Killers came back, whenever that may be.

But then, soon enough, it was announced that Brandon would be doing a second show in LA at the Wiltern in September. However, the same thing happened. Once tickets went on sale, they were gone before you had time to blink. Again, scalper tickets were more than we wanted to spend. Once I graduated high school, I had some money given to me to use for a graduation gift. We tried to use it on a mandolin but that ultimately did not work out since the mandolin I wanted was built with bad bridge. Soon I thought, "what if, instead of an instrument, I used that money for concerts I really wanted to see?" I thought and thought of who was coming over the summer. I then remembered that Brandon's concert at the Wiltern was coming up soon, but at the same time, I was considering seeing Rush at the forum on the last night of their R40 tour. We couldn't afford both, so I had to decide between the two shows which one I wanted to go to. I eventually decided that, since I had already seen Rush back in 2012, I should go and see Brandon.

I found a ticket on StubHub for the general admission pit, which is located right at the front of the stage. The price was right, so I went for it. I bought that ticket on the 18th July, a little over two months before the show.

Coming to the show, I wasn't sure exactly what it was going to be like. I had not seen The Killers yet, but I was familiar enough with Brandon's solo discography to be able to enjoy it. Even though the line of fans stretched around the perimeter of the Wiltern, I didn't stress too much, since my ticket guaranteed me access to the pit at the front of the stage. Sure enough, once I entered the venue and received my pit wristband, I found a spot behind two people much shorter than I was. That gave me a perfect view of the stage.

There was one opening act: a band from Mexico City called Rey Pila. They played for about 30 minutes. I have to say that they actually didn't sound bad. Believe it or not, they had a sound similar to the sound Brandon has on The Desired Effect.

Brandon took the stage at about 21:00. His band consisted of himself, a guitar player, a bass player, a drummer, two female backing vocalists, a keyboard player, a saxophone player, and a horn player. I hadn't seen that many people on one stage since Arcade Fire. Brandon started with a short piece called "Come Out With Me," which I can only assume was meant to be a short of introduction to the show, similar to The Killers song, "Enterlude." He played about 17 songs, but it was amazing how quickly the whole show went by. Throughout the night, Brandon sang songs and told us a number of stories from his past, like the day he heard "Changes" by David Bowie, what inspired him to write certain songs, or how he got in touch with Neil Tennant of Pet Shop Boys, one of his favorite bands. Sure enough, that mentioning of Neil turned out to be the foreshadow of a surprise guest: Neil himself. Neil joined Brandon on stage for two songs: the Pet Shop Boys song "Rent," and The Killers song "Human."

So, long story short, I loved this concert. I really did. It definitely exceeded my expectations. Brandon and his whole band were at the top of their game, and he had such a stage presence that I don't see very often. I think the last person I saw that had a presence like that was Chris Squire (RIP). So full of life and energy.

I noticed that there were a lot of friends together at that show. While it was cool to experience my first concert alone, I did find myself wishing I had someone that loved The Killers the way I did. I know plenty of people that have heard of them, but I don't really know anyone that knows as many of their songs as I do. So, consequently, I enjoy their music on my own. I am fortunate to say that I do connect with others through most of my favorite bands, but this happens to be an exception.

Anyway, it was an excellent concert. Ideally, I hope the next time I see Brandon is with The Killers, but if not, I would definitely see him as a solo artist again.

First day of Class

So the first day of classes at UC Riverside started yesterday. I had three lectures, starting at 9:40 and ending at 18:30. My first class was one about writing college essays. I learned that my professor's office room was easy to remember: room #2112. I guess the stars, planets, constellations and all other celestial objects aligned perfectly. Really, what are the chances of that happening? Tomorrow I will be seeing my third concert of the month: Brandon Flowers of The Killers at The Wiltern in LA. I will definitely be posting my thoughts about that show. I have been waiting for it for over two months….

Prog Rock Day

Happy Prog Rock day! I didn't realize there was a day for it. Without prog, I would not be the person I am today and this blog would not exist. Over the past 6 years I have spent countless hours listening to and trying my best to understand it. 6 years and 32 concerts later, prog still never ceases to amaze and fascinate me. I am proud to share my love of it with some very special people. Thanks so much to everyone who reads this blog. smile emoticon

An Old Relic of Mine

Found a transcript of this on Greg's website. I wrote it back in 2010 when I was 13. <3

Hello Greg. I am a 13 year old girl who has been playing guitar for almost two years and am greatly influenced by your music. Getting the chance to see you and Keith in concert on your recent tour was very important to me and a night I will never forget. I wanted the opportunity to ask you a question during the Q&A part of the show but sadly could not because I was located on the upper level. My question was: What was your inspiration for Tarkus (my favorite ELP album)?

Answer
Dear friend,

Firstly I am most impressed that at such a young age you are able to appreciate and enjoy such a complex piece of music as Tarkus. The initial inspiration for this record came from the music that Keith had written. Following on from this I wrote various songs and worked together with Keith and Carl as a producer to create the record you now hear. Tarkus has been the backbone performance piece for ELP for almost four decades now and has certainly stood the test of time. It is one of the best examples of the musical genius of Keith Emerson as a composer and of the band ELP working and performing together at the very top of their game.

Thank you for you interest and support and next time you come along to see a show just make sure you write to Eileen at this website in advance, ( with your name) and she will arrange for you to come back stage and I will introduce you to Keith and you can ask him about the piece personally.

Best wishes,

Greg.

(Oct-09-10)

Onward, Through the Night

On Sunday the 6th of September, I saw my fourth Yes concert at the Greek Theater. Believe it or not, out of all those four times, three of those concerts have taken place at the Greek, one other taking place at the Orpheum, a venue that has become a favorite of mine over the years. This was my 32nd concert, my fourth time seeing Yes, my third time seeing them at the Greek and, of course, my first time seeing them without the late great Chris Squire. This tour was shared with the band Toto. Since my Dad and I are not really into Toto, our original plan was to arrive at the venue after their performance, which began at 19:30. However, ultimately, we decided to stay for the entire night and give Toto a chance. Back in 2011, when we saw Yes for the first time, they toured with Styx. We remembered being very impressed with Styx's set so it made sense for us to see if Toto would leave us feeling the same way.

Toto started right on time, with the song "Running Out of Time." There were a total of nine people on stage. Believe it or not, that's not the most people I've seen on stage at once. That record goes to Arcade Fire, who had a total of ten people on stage when I saw them at the Forum in 2014, including touring musicians. While I could see the talent that existed in each person on that stage, I have to say that I wasn't as impressed with them as I was with Styx. Throughout the set, I actually found myself becoming somewhat bored by some of their extended jams, which is saying quite a bit, considering that I generally love extended jams. As a guitar player, I found myself a bit lost with some of the longer guitar solos. They didn't really take me on a musical journey the way Steve Howe would or David Gilmour would. The goal of those guitar solos seemed to be to play as many notes as possible in the shortest amount of time just to impress the crowd, something I really don't find pleasing to my ears. I managed to tough it out through the rest of the set, which ended at about 21:00 with "Africa." Sorry, Toto. I gave you what I think was a fair chance, but you still don't do much for me.

Yes came on at exactly 21:30. However, before they entered the stage, they played a sweet tribute video in memory of Chris on the screen with the song "Onward" playing. I think the audience took that as an opportunity to share a moment of silence for a lost prog hero, because for the most part, no one made a sound. During the tribute, I couldn't help but think of the note Rick Wakeman had written shortly after Chris' death. Rick's tribute was just one of tens of tributes posted by many of my favorite musicians in the days following Chris' death, but I think his words stood out to me more than the words of anyone else: "Although Chris is no longer with us in human form, his music has not gone with him and that will be around long after all who read this will also have departed this mortal coil. That’s the great gift of music. That gift can be passed on with what has been created and so Chris will always live on." (http://www.rwcc.com/notice_chrissquire.asp)

It's true that none of us are getting any younger, especially these prog legends. I know that, eventually, they will leave too, so that is why every one of these concerts is important to me. To live out the rest of my days knowing that I got to see (and even meet!) artists like Yes, King Crimson, Rush, Greg Lake, Roger Waters and, next March, David Gilmour, means more than I can express in words. While I enjoy just about any kind of concert, there is really nothing quite like a prog concert. I really feel like everyone is connected to the music and to the artists. It keeps me believing that music truly has no boundaries and is limitless.

King Crimson inspired me to, like they would say, "embrace the moment," and enjoy the concert for what it is, so I have no photos to share from the evening, but I do have my memory to refer back to. Following the tribute to Chris, Yes made their usual entrance with Stravinsky's "Firebird Suite" playing. This lineup consisted of Jon Davison on vocals, Alan White on drums, Geoff Downes on keyboards, Steve Howe on guitars and, in place of Chris, Billy Sherwood on bass. From my understanding, they are doing exactly what Chris wanted them to do: keep Yes going, regardless of what happens. However, I know that there are many Yes fans out there who don't want that, and wish that the band would just hang up their gear and call it quits, since there has never been a Yes without Chris until now. I, on the other hand, am open to different lineups. To me, it doesn't really matter who's on vocals, or bass, or whatever (unless Steve leaves), as long as they play well. :)

They began their set with a very unusual opening song: "Don't Kill the Whale" from Tormato. That made for a very low-energy entrance, to be honest. The second song they played was the song that I think would have been a better start: "Tempus Fugit" from Drama. One problem that jumped out at me almost instantly was that, from our seats (North Terrace), I could hardly hear what Steve was playing, and Steve is pretty much the main reason I'm interested in seeing Yes in concert. The next song they payed was one I had not heard them play live before: their version of the Simon and Garfunkel song "America." I always enjoyed listening to that cover so it was a nice addition to the set. Even though I like to pay attention to all the musicians on stage whenever I got to a concert, in this case, I found myself observing Billy Sherwood more than anyone else. I admire him for filling in for such a vital member of the band and covering Chris' complex bass riffs. From my understanding, he was actually Chris' first choice in finding someone to replace him. He didn't quite have the same large stage presence as Chris, but I wasn't exactly expecting that. Next, they played another favorite of mine: the title track from their album Going for the One. After hearing this song live several times, it has become one of my favorites to watch Steve play on. I'm always fascinated by his ability to play just about anything that has strings on it. It blows me away when I see how underrated he is in the guitar world.

The next song was another one I was hearing live for the first time: the title track off their album Time and a Word. I have established that, of all the singers that have replaced Jon Anderson over the years, Jon Davison has been the best. He really did sound great on this song. his voice probably resembles Jon Anderson's the closest, not that I'm expecting him to sound just like Anderson. They then played "Siberian Khatru," from my favorite Yes album, Close to the Edge. I'm always happy to hear that song live, let's just leave it at that. However, next came one of the songs that they pretty much have to play, but I would rather not hear: "Owner of a Lonely Heart." While 90125 is a good album overall, that song has never done anything special for me. I like the guitar solo, and that's about it. The second time I saw Yes was in 2013, when they did their 3-album tour. Part of why that was the best Yes concert I have been to was because they did not play that song, if you want the truth. They closed their set with two more must-play songs: "Roundabout" and "Starship Trooper."

I noticed a trend. I've seen Yes four times, twice alone and twice with another band. The two times I've seen them with another band, they displayed far less energy than they did when I saw them by themselves. There just didn't seem to be as much excitement or motivation from them. Of course, on this tour, part of the reason may be because they are grieving for the loss of Chris, which is totally understandable, but it is still a trend that I have noticed. While this was a good set overall, it could have been better. I think I will give them one more chance but, in the future, I think I will also avoid seeing them if they do another two-headliner tour. If I go to a Yes-only concert and find that they are still lacking in energy, I may have to retire from seeing live Yes shows. That's the truth. Well, at least that's the truth for now. I have a tendency to change my mind about things sometimes. ;)

One year ago...

One year ago today, I saw my third Yes concert. I never imagined that that would be my last time seeing Chris. Chances are, no one in that entire theater thought of the possibility of him not being there, at least not any time soon. We've seen Yes without Jon Anderson. We've seen Yes without Steve Howe. We've seen Yes without Rick Wakeman, Trevor Horn, Trevor Rabin, Peter Banks, Billy Sherwood, Tony Kaye, Bill Bruford, Benoit David, Jon Davison, Patrick Moraz, Igor Khoroshev, and Oliver Wakeman. But we've never, ever seen a Yes without Chris Squire until now. Given that he was the only member to appear on every album and every tour, it was hard to imagine the band without him. At least for me it was. I'm anxiously waiting for the next issue of PROG magazine, which is going to be all about Chris and the impact he had on other musicians and the legacy he left behind.

I won't get to see them this summer on their tour with Toto, but from what I've seen on Billy Sherwood's FB page, it seems to be going quite well. They even play a nice tribute video for Chris before each show. (https://www.youtube.com/watch?v=ujI3ctUVHuU)

Meeting Father Christmas

No this is NOT a Christmas entry. I felt a little inspired to write this after sharing this experience with my friends Brett and Stacey Briskin, when Dad and I met with them along with our friends Kathy, Jean, and Dylan at Trader Vic's for dinner before a Steven Wilson concert that night. The experience took place a little less than a year before that concert. It was May 18, 2012, and it was on that night when Dad and I headed to the Orpheum Theatre in L.A. to see Greg Lake of my second favorite band, Emerson,Lake,and Palmer, perform in support of his Songs of a Lifetime tour, where he performed songs that, in my opinion, illustrated his entire life, as the setlist contained ELP as well as songs written by some of his heroes like Elvis and The Beatles. Needless to say, the show was unbelievable, but after that, I experienced one of the best things that has ever happened to me, and I'll tell you about it (with help from my journal!).

The show started at approximately 8:30 p.m. Greg's cue came from Kanye West's song "Power," which includes a sampling of King Crimson's "21st Century Schizoid Man." The lights came on and he looked and sounded great. He had a nice choice of songs, for he included, not just ELP, but also King Crimson and covers of songs written by artists that were of great influence to him, like Elvis and The Beatles. Throughout the show, he told amazing stories about some of the biggest experiences of his life, from seeing Elvis perform, to getting his first guitar, after gaining interest from playing with a friend's one-string guitar. I was hoping to ask him why he considered ELP's album Trilogy to be especially important to him, as I had heard him mention its importance in various interviews. Before I knew it, the show was done, and it was time for the after-show. I entered the concession room with my Dad, accompanied by our friends Xhana, Victor, Rebecca, Freddy, and Bill. The wait ended up being two hours long, but we were all in a great mood. During that time, I finally met my friend Tony Ortiz, an archivist and good friend of ELP. After a picture with him, I had a nice conversation with the photographer, Ron Lyon, who took the shot. He loved hearing that I was a guitar player and interested in Greg's music. For the rest of the time, I amused myself by watching clips from the movie Eraserhead.

Two hours later, it was time. 

For some reason, the meeting was outside. I watched Bill have a fun talk with Greg and then, before I knew it, it was my turn.

After setting down my sweater (bad idea - it was COLD!) I heard the meet and greet photographer introducing Greg to Dad and I. Greg shook Dad's hand, and as he turned to shake mine, I held out my arms and it finally happened: we hugged. He and I embraced, and everything felt alright. He wondered how someone my age could be interested in music like ELP, and blushed when I noted that I had been a fan since age 12. He then began to mention "this girl you can look up on the Internet called Rachel Flowers. She has amazing talent," and I told him I knew exactly who he was talking about and had seen her perform the previous year in Santa Monica. I mentioned posting a question on his website when I was 13, asking what was the inspiration behind their album Tarkus. I was thrilled when he said he did after thinking for a bit. Then he signed my CD copy of Tarkus with: "To Michelle. Love, Greg Lake. XXX" How cute! While he was signing, I felt it was a good time to ask him how his new Dalmatian, Valentino, was doing. Knowing he has a strong love for animals, I was not surprised to see his face instantly light up with joy at the mention of his puppy. I was told that he was wonderful, and a very good little boy. I then mentioned my then 1-year old golden retriever, Lilly, and how much joy she brought me. He explained that the love of an animal is truly unique and special. Bill told me that, before Greg adopted Valentino, he had grieved for two years after the death of his previous dog. I could totally relate to that feeling, having just recovered from some personal tragedies in 2011. But I was mostly thrilled just to be having a normal conversation with someone from one of my favorite bands.  It was getting pretty cold out there, and I tried to hide my shivers, but he saw that I was cold and expressed concern, but I assured him that I would be fine. He then gave me a guitar pick, one side having the ELP logo, and the other having his own logo with his initials. I thanked him and, after pictures, hugged him again, and he expressed his appreciation for my attendance. He promised me that we would see each other again, and I certainly hope he is right.

I smiled the whole way home. That pick is now safe with the pick I got from Steven Wilson in 2011. Nights like these are the ones where, in the words of Neil Peart, "I wish that I could live it all again." It has now been over a year since that show, but I still feel the same impact it had the moment it happened. Over the recent years I've learned that these are the moments you simply cannot take for granted. The people you meet, and the things you experience, are what shape you as a person.

Review of my third Yes concert from 3/6/13

I don’t often have moments in my life in which something I see or hear completely and fully changes my perspective of things. A recent event in which such a revelation occurred was while I was on my travels through India. It was New Year’s Eve, 2012, and we had arrived in Agra that afternoon, After a quick lunch, we were driven to the parking lot of the West Gate of the Taj Mahal. Once we finally saw the Mausoleum with our own eyes, I was immediately taken in by the true devotion that was put into creating that beautiful building. So much detail and talent went into every aspect of its structure. It created proof that the human imagination is often larger than our physical existence.

To me, such a thing is just about as eye opening as, say, going to a concert. That is when you are truly able to see how much time and care went into creating the music you hear and love. Which is exactly what I did on the evening of March 6, 2013. And not just any concert, but a concert of a band that has helped change my life over the years. I’m talking about the band Yes, the fourth group I was introduced to during my mass discovery of the majesty of progressive rock. They had just begun a tour in which they would play three of their albums in their entireties, including Close to the Edge, Going for the One, and The Yes Album. Apparently, Yes guitarist Steve Howe had always wanted to embark on such a tour, but never got to until now. The third show of their tour landed right in Los Angeles, at the Orpheum Theatre, which has grown to be one of my favorite places to see concerts. March 6 landed on a school night, but having enough experience with handling school-night concerts, I was not bothered by that.

The entire block must have been prepared for the crowd of people destined to show up at the Theatre, for even a restaurant next to the one Dad and I ate at proudly displayed a blackboard offering a discount of “$1 off for all Yes fans!” We enjoyed our meal and walked back to the Theatre, just when people were beginning to arrive. After taking a minute to snap a picture of the marquee and then of the promotional poster by the doors (a tradition we’ve adopted after three years of concert going), the security let the growing crowd in.

No chance of picking up anything from the merchandise stand, for everything (even the CDs!) was greatly overpriced. That wasn’t a tremendous loss for me. I was happy with my tee from their 2011 tour to promote their album Fly From Here.

Our seats had us concerned for a minute. While we did have orchestra seats on Steve’s side of the stage (a plus for me as a guitarist!), we wondered how well we would be able to see the man at work. Nonetheless, I was thrilled just to be there and knew that, in the end, the music matters most. Another “tradition” I have adopted is, if possible, to go to the very front of the stage to check out the equipment, usually just the guitar setup (amplifiers, guitars, pedal boards…). I try to take in the whole stage setup, to give myself an idea of where to look when show time came. After this small moment of “self amusement,” I returned to my seat, and waited with the rest of the crowd, which was getting more and more pumped every minute.

Finally, the lights dimmed. I was glad to see that they actually started fairly close to the time in which they were set to start (8 p.m.), about ten minutes late. Stravinsky’s Firebird Suite, a piece I was familiar with from live Yes albums, primarily Yessongs, filled the room, and the screen above the stage began to project a montage of the band’s history, showing photos of the band onstage, in the recording studio, and in interviews. The five of them finally entered the stage. There they were, in all their glory: Steve Howe, Chris Squire, Geoff Downes, Alan White, and their current singer, Jon Davison. The last time I saw them, they had Mystery singer Benoit David on vocals. I had grown to admire him for his unique stage presence and enthusiasm for performing, and was shocked to hear that he had left the band for good due to an ongoing respiratory illness, so I was not sure what to expect of the next “new guy.” All I knew was that he also came from a Yes tribute band called Roundabout, sang in a progressive rock band called Glass Hammer, and played multiple instruments. Sounded promising. I was willing to give this one a chance.

Up first was Close to the Edge, for once they all took their spots onstage, the sounds of waterfalls, nature sounds, and a growing crescendo that any Yes fan would recognize created the majestic atmosphere of a concert that was destined for greatness. That was a great sign for me, given that there 2011 show at the Greek Theatre was, after thinking about it for a little longer, quite a disappointment, especially for me, that being my first time seeing them. They shared the stage with American prog band, Styx, so that forced them to shorten their set to, literally, a “best of” set list. The guys in Styx were fantastic, but unfortunately, that made the guys in Yes look more tired and less motivated. Alright, alright, back to THIS show! The minute the sound effects broke off and the band began the menacing guitar break to open the album, I saw an amount of energy I certainly had not seen from them before. They were all completely into the music, moving around, encouraging claps, and playing with, truly, all their might. It very quickly became obvious to me that they had a genuine love of the albums they had selected to play, Jon Davison included. They all played and sang with much excitement

  Close to the Edge was overall played with a stunning level of precision and care, musically and vocally. I couldn’t help but notice that Jon appeared to have a more trained singing voice, for I caught hardly any vocal struggles. “And You and I” was just as beautiful as it I expected it to be, but sounded more powerful live, as it always has, from the various recordings I have heard of it from the ‘70s onward. The best part about live music is that it can often give the listener a new perspective on the song that’s being played. You can really grasp the tone of the song, and the message that is intended to be expressed, since it feels like a story being told to you from grand raconteurs. “Siberian Khatru” closed the album with a fun, playful sound to it. 

Going for the One came second, just as I had hoped it would. It just seemed to make more sense that The Yes Album be played last, since it features some of their most well known tracks.  This album is where Jon Davison’s abilities as a musician came into play. He picked up an acoustic guitar on “Wonderous Stories” and even played keyboard during the middle movement of the last track, “Awaken,” a piece which delighted the entire crowd, for it is a piece loved by most Yes fans, including the members themselves. But I was most pleased to be able to hear “Turn of the Century,” the second track on the album, for I have always loved its (prepare for a little corniness!) magical, and mystical sound, from Steve’s lovely guitar work, to Rick Wakeman’s (well, in the case of this show, Geoff Downes’) emotional keyboard work.

After this came a 20-minute break, where a beautiful new Yes logo was projected on the screen. A mix of red, orange, yellow, black and white, it had a look that very much reminded me of a butterfly.

The third album of the evening was The Yes Album. Not a favorite of mine or my Dad’s, so we were not necessarily thrilled about this album, but coming away from hearing the whole thing live, our opinions on it changed up a bit. It was also a chance to see Steve get his own solo time to perform his acoustic piece, “The Clap.” I had seen him back in August 2010 with his band Asia, when he played another two acoustic pieces of his called “Australia,” and “Mood for a Day.” Both were meant to be beautiful and soothing. “The Clap” managed to also be beautiful, but at the same time, energetic. These solo moments show me the skill that he put into composing these pieces that we all as proggers have come to know so dearly. Of course, my respect for him as a fellow guitarist grew immensely, watching him stamp his foot rhythmically to encourage claps and his hand cascade up and down the fret board. The fifth track on the album, “A Venture,” had never been played live before prior to this tour. While it is not one of the most popular songs, it was still an honor to hear it. “Perpetual Change” ended the main set list, and “Roundabout,” a somewhat anticipated track, finished the show, and the band disappeared backstage.

When will I see them again? Who knows? Maybe the lineup will be different, or maybe it will be the last time. I have grown to believe that you simply cannot count on everything to happen as you want it, so that is why I make it a priority to embrace every moment of a concert from beginning to end. Coming away from this show, I definitely hope I get to see them again. Or, if not, in the words of Neil Peart:

I wish that I could live it all again.

Clearing Things Up

During my afternoon walk one day, I began thinking, I really don't like it when people suggest to me that I am intellectually superior to others in my age group because of my musical interests. I appreciate the respect I get from others, but I have learned that what you listen to does not always define your level of intelligence. 

There were students at my school who did great academically and were also very well-spoken, yet had no idea what King Crimson or Yes was. Instead, they enjoyed what was popular on the radio (which drives ME crazy). That's their choice, and I don't mind it. On the other hand, I have encountered some very close-minded and rude people who happen to love all the same bands as I do. They said awful things to me and refused to listen to what I had to say.

I appreciate the things people say about me, but sometimes it really bothers me when I'm viewed as smarter than others because of my favorite bands.

For example, I was once tagged in a photo of two different brain sizes: one normal size and one about the size of a penny. The caption under the normal brain said something along the lines of, "The brain of a person who listens to prog," while the caption under the penny-sized brain said something like, "The brain of someone who listens to rap, pop, etc." I felt so uncomfortable as I figured out the message of the image: You're smarter if you listen to prog ONLY.

Believe it or not, friends, my musical tastes stretch farther than just what progressive music has to offer. While prog makes up the majority of what I love musically, I also do get some enjoyment out of more recent music of different genres. That doesn't necessarily mean I enjoy Robin Thicke's "Blurred Lines" or One Republic's "Counting Stars," though. The unfortunate thing, is that the radio stations that are most popular among most kids (girls, at least) my age stick to the songs that are highest up on the charts and play only those for most of the day. In the recent years, I have familiarized myself with the music of The Killers, Keane, Arcade Fire, and other great modern bands.

What I find appealing about The Killers is that they are able to blend the influence they gained from U2 and Elton John with their own unique sound and ability to tell stories with their lyrics. Same goes for Keane. Something I find somewhat "progressive" of The Killers is that they have developed their sound between the years 2004 to the present day, straying away from a harder rock sound to a blend of electronic and rock elements.

The Killers, Keane, and Arcade Fire all share something very special in common: their sound cannot be mistaken for any other band. If I hear Arcade Fire, I know I'm listening to Arcade Fire, and if I hear The Killers, I know I'm listening to The Killers. You get the idea.

I have observed that the most popular music lacks the intellect that exists within other modern bands out there. My point is, don't jump to conclusions about my generation's music based on what you hear when you tune your radio to 102.7 KIIS FM. There ARE good bands out there that strive to achieve similar goals that the older bands we know and love had with their music.

Music changes within the course of time. Maybe that's a good thing, maybe it's not. Maybe when prog was in its heyday, older generations saw THAT as garbage. I don't know because, obviously, I wasn't there. I'm not part of the generation that saw those amazing bands rise to fame. Fortunately, I am old enough to appreciate them while they are still around. I happen to be someone who finds prog music so special that I can't bear the idea of it being forgotten and lost in time. However, plenty of kids today have those feelings about something else, and that's totally fine in my opinion. Everyone is different, friends. To me, prog is not about being better or otherwise superior to others. It's, in the words of Robert Fripp, "a way of doing things."

Believe me, I have tried to get some kids interested in prog (I chose Yes' Close to the Edge, which was probably not the best starter), and I was not successful a single time. But that's ok. I'm not one to go up to someone enjoying the latest Taylor Swift single and say, "How can you listen to this nonsense?"

The Opportune Moment

The title of this entry comes from the definition of the ancient Greek term “kairos.”The ancient Greeks used it in order to make sense of time. In my life, the termis used in a spiritual sense, in reference to a moment in which an individual abandons all stress and burden and focuses on what brings him personal peace.The qualitative nature of kairos is what resonates with the one experiencing it. This resonance is said to be long lasting and transformative to the mind. At my Catholic school, every senior is given the opportunity to attend a Kairos retreat either in the fall or in the winter. However, it being a primarilyreligious experience, I have assessed that such a retreat is not right for me and what I need in order to succeed at finding that inner peace. With that in mind, I decided that it would be best if I created my own kairos “retreat,” and on Wednesday, 1 October 2014, I was able to do just that.

That October evening was the night I saw my fifth favorite band perform a previously unprecedented concert: King Crimson. On 26 September 2013, I discovered a note from Robert Fripp that surprised me plus countless prog rock fans: the band were reforming with its eighth incarnation and planning a tour for the fall of 2014. Having been a fan since summer 2009, I had come to accept that the band were essentially done, since they had been on an extended hiatus since 2008 and their future was looking uncertain. Well, needless to say, I was thrilled with the news, and spent the time between then and about May of 2014 watching closely for Los Angeles tour dates to appear. Soon enough, they did, and I was happy to see that they were appearing at a much loved concert venue of mine,the Orpheum Theater. I hold many strong memories at that venue, from meeting Greg Lake, to having special conversations with some of my dearest friends.

Having spent much time learning what I can about this mysterious band (there’s really no other way for me to describe them) since discovering them, I knew that their concerts were unlike the ordinary, just as their music is. Photos were never allowed,and there was minimal focus on the band members themselves, the goal being to emphasize the experience of sound and the importance of, as they would put it,embracing the moment. Not long into their tour, they released a sound clip telling concertgoers to refrain from taking photos or videoing any of the concerts, and to instead, eliminate distractions and turn all attention to the music. I began to wonder, what if I treated this concert like my own personal kairos retreat? It all seemed to click. Put away any physical or mental distractions and focus on the opportune moment of being at the concert and united your friends and with many individuals who share the same love for the band as you.

1 October turned out to be a very hot, but beautiful day. Having been to multiple“school night” concerts, it didn’t bother me that this show fell on a Wednesday night. I simply came home early from school, and changed into my concert gear (Discipline tee, jeans, a watch, scrunchie and My Chemical Romance bracelet). I wore a watch because I had decided to leave my iPhone in the car once we reached the venue. Soon my dad and I left the house, and after making a quick stop, were on our way. About a quarter to 6 pm, we found a parking spot a few blocks from the Orpheum. I took out my phone and locked it in the glove compartment; my retreat had started.

We walked down to the Nickel Diner to meet up with our friends Gina, Jean, Kathy,and new friend Melissa. Most of them had flown in from out of state to see this show. Throughout a casual dinner, we discussed all things music, from the unknown future of Tool, to our frustrating experiences with John Wetton. Furthermore, from the time we ate to when we arrived at the Orpheum, I may have asked the following question about five different times: What do you think the band is doing right now? It’s something I can’t help but speculate about before a concert, and I thoroughly enjoyed the scenarios we came up with.

When we arrived, it was after 7. Less than one hour before show time. My friend Phil, who had gone to see them the night before, told me that they were pretty good about not starting too late after their scheduled time (8 pm), so that made me feel better. Since the girls had balcony seats and my dad and I had floor seats, we said goodbye to our friends and wished each other a good show.

 Now came what is, in my opinion, one of the most exhilarating moments one could experience at a concert: finding our seats. I say that because, more often than not, the seats we get are actually closer than the seating chart leads us tobelieve.  We were in the Orchestra section, Row M, seats 3 and 4, a position very similar to where we were when we saw Yes there back in March 2013. Off to the left, but we still had a view of the entire stage. We took the remaining time to take photos of the stage, which was beautifully set up, so that we may be able to see the entire band, a seven-man lineup and King Crimson’s eighth incarnation if you can believe it. After we finished, we took our seats.

“Girls? At a prog concert?” an older male fan observed, noticing the presence of myself as well as that of three other women seated behind me. The four of us simply glanced at one another and merely laughed to ourselves. I have a feeling this wasn’t the first time this had happened to them, as it certainly wasn’t the first time for me. All I can say is,believe it or not gentlemen, we exist. ;)

Soon after we had taken our seats, an audio clip of the YouTube video about the band’s No Camera/Video Recorder policy played over the speakers. I recognized the soft-spoken voice of Robert Fripp as we were welcomed to the show and politely requested to refrain from using our phones or recording devices while they were performing, with the rest of the band providing their own feedback when asked (Listen here:https://www.youtube.com/watch?v=kl69qnWbQ_M).Finally, at approximately 8:17 pm, all the lights went down except for those that lit up the stage. Interesting. We all stood up in respect as the band enteredthe stage in a beautiful, orderly fashion. All of them were dressed in suitsand looking very sharp. They took their places, and there they were, the eighthincarnation of King Crimson: news frontman Jakko Jakszyk on lead vocals and guitar, Mel Collins on saxophones and flute, Tony Levin on bass and Chapman stick, Robert Fripp on guitar and Mellotron (what would a prog concert be without that?), and on drums, Gavin Harrison of Porcupine Tree, Pat Mastelotto, and Bill Rieflin.

They began their set after being cued by a recording of the band’s 1971 bassist, Boz Burrell, which can be heard at the very end of their album, Islands (“One, two, three, two, two,three…”), with “Larks Tongues in Aspic Part 1.” The three drummers performedthe opening three minutes in perfect syncopation before being joined by the rest of the band. With the violins being replaced by the hard tone of Robert’s guitar,it really made for a strong beginning. The pounding sounds provided by our three drummers actually proved to be a valuable aspect for the entire show. The next piece they played was a pleasure for me to hear live: “Pictures of a City” from In the Wake of Poseidon, a grossly underrated album in my opinion. This was the first song they played to feature vocals, which did not disappoint in the slightest. The roaring, deep blares from Mel’s saxophones gave significant power to that song. The song waswoven into the next one in their set, a cover of the Jakszyk, Fripp and Collins song “A Scarcity of Miracles.” Hate to say it, but I don’t remember too much from that performance, since I wasn’t familiar with the title. But rest assured, it was great. Next was a drum arrangement called “Hellhounds of Krim.” It was essentially a few loud,thundering minutes of Gavin, Pat and Bill getting a chance to display their capabilities. It reminded me very much of the tribal drums Tool used when I saw them in Las Vegas back in 2012. Well, that was pretty cool, I thought. Back to the albums, the band continued with the instrumental title track from the album Red. I always liked that track. Nottoo long or too short. Really a decently composed instrumental, and better than it sounds on the record. After that we moved into the THRAK album, a record my dad has come to really enjoy. They played the opening two songs off that album, “VROOM,” and “Coda: Marine 475.” Beautiful. Just beautiful, all the way through. Probably one of Robert’s best moments was during “Coda.” THRAK has grown to be a favorite of my Dad’s, so he especially enjoyed hearing those two.The drummers had another big moment after that, during the Bill Bruford song,“Hells Bells.” Sadly, my memory of that track is a bit blurry, but again, I know it was great. They followed that up with the vocal-free “The ConstrucKtion of Light, Part 1.” Probably one of Tony’s best moments happened right here. Dad was particularly intrigued by it, since he especially enjoys King Crimson’s discography from the 90’s and 00’s. Another favorite of mine came after: “Level Five” from The Power to Believe. Ever since I heard that piece for the first time, I had always imagined that it would sound unbelievable in concert, and I was more than right, fortunately. It was just a powerful 7 minutes of work from the whole band. This was anothertime in which I particularly loved Robert’s guitar tone. As a guitar player, Ipay careful attention to those kinds of details. I was thrilled with what they played next: “The Letters” and “Sailor’s Tale” from Islands, another underrated record of theirs in my opinion. A big moment for the band was during “The Letters,” as they perfectly transitioned from the soft vocals and guitar in the first minute to the roaring combination of percussion and saxophone. Loved it. Another Jakszyk, Fripp and Collins cover followed, called “The Light of Day.”Beautiful, and just as good as the first JFC cover they played. One more big moment for the three drummers, who pounded out “The Talking Drum” from Larks Tongues in Aspic. I never imagined I would be hearing that one live, but it was a wonderful rendition. Of course,like on the album, that track took us into “Larks Tongues in Aspic Part 2.” I have to say, hearing these pieces in concert really does change my perspective on them, especially on ones that I previously didn’t have much interest in.“Larks Part 2” was definitely one of those moments.

Now came the moment that made the entire show for me: the band’s performance of the song “Starless,” from the album, Red. Definitely Jakko’s best performance, but for me, the piece marked the climax of my Kairos retreat. The piece was just played to absolute perfection. It was a gorgeous combination of Mellotron, percussion, spacey guitar work, wind instruments, and strong vocals. About halfway through the piece, I began to notice the only light transition in the entire show. Very, very slowly, the lights transformed from a bright luminescent glow to a deep, rich red color that covered the band and stage.Staring intently at the band at that moment, it felt like a dream watching them bring that piece to life while immersed in the color that appears in their name. For the remainder of the piece, they were all in perfect syncopation with one another. There was such intense focus on the music from everyone in that concert hall. At that moment, I felt at peace. At the end of that piece, Dad and I both had to stand up with the rest of the audience, applauding the band as they exited the stage, which was still in that dreamy, red glow.

Wait, the show’s almost over? I thought. I had a watch on, but had not glanced at it since shortly before the show started, so time was not even on my mind. Needless to say, I didn’t want the night to be over, but they needed their beauty sleep like I did. After a few minutes, sure enough, the band reemerged for one last jam. That jam, naturally, was “21^stCentury Schizoid Man” from the classic In the Court of the Crimson King. A favorite of millions of prog fans, it was only appropriate for them to close with that one. They brought the insanity and energy of the piece to its maximum potential, I think. I really don’t think they could have performed that song any better than they did. It was also during this song that Gavin received his big moment by performing a drum solo.Dad and I are not particularly fond of drum solos, but Gavin, Pat and Bill were all able to play a decent solo and make it a valuable addition to whatever song was being played instead of mindlessly thrashing about as fast as possible.When the band played that last bar of “Schizoid Man,” everyone stood up in unity and just applauded. The band also stood up, but did not say a word to us,as they hadn’t for any of the show. I was back a little ways, but I could see the satisfaction on their faces, particularly on Robert’s. They were “embracing the moment” in a way I had never seen a band or artist do so. No bowing, waving, or anything of that nature, but it was a beautiful moment. Just to watch them take in the audience’s happiness let me know of the time they had spent carefully planning out this tour. Then I watched the back curtains close as they disappeared backstage.

Through the ride home, I wrote out as many notes on my phone as I could while the details were still fresh in my mind, all so I could write this entry. I can’t afford to forget any part of this night, this retreat, this Kairos. The quality of the evening is what will stay with me, just as it had for the ancient Greeks, and just as the band would want for their audiences. When I got into bed that night, shortly before midnight, I couldn’t help but think to myself. I wonder what they’re doing now…

Thoughts About Last Night

It's Sunday afternoon on the 2 of August and I can't help but be thinking about what I missed out on last night.

Last night, at the Forum in Inglewood, Rush completed their R40 tour. I considered the show as a possible high school graduation gift. That is, until I saw the ticket prices. Before I knew it, all the tickets had been sold at face value, leaving us only with the option of purchasing resale tickets, which more often than not, far exceed the original price. The highest price I found was well over $10,000! A friend of mine joked that, for that kind of money, the buyer should be treated to dinner with the band and sound check access AT LEAST. Now that would make for an unforgettable graduation gift.

Watching a live streaming of the show was not possible, as the band had stated earlier in April that they did not wish to stream any of their shows during this tour. I was really hoping they would do something like that, so I wouldn't have to completely miss out on the whole experience. Of course it wouldn't be the same as being there in person, but I could still watch it live from the comfort of my own bedroom.

The last time I saw Rush was on 17 November, 2012, during their Clockwork Angels tour, featuring a string ensemble. The musicianship was, as expected, excellent, but there was one major problem my dad and I both noticed: the vocals. Mr. Geddy Lee seemed to be having a hard time reaching those high notes, especially when they would play older songs. I really noticed it during "The Big Money," which was about a couple of songs into the show. We couldn't help but wonder: Would it kill them to at least change the key of the song if it's too hard to sing? Or, if not, maybe change the melody line slightly? It started to really bother me. I felt that he shouldn't be putting that much strain on his voice if he wanted to take care of it.

With that in mind, we were already hesitant to rush out, so to speak, and buy the best tickets we could find, so the high prices on top of that forced us to completely rule out any chance of seeing them this time around.

They say that this could very well be their final tour, or at least their final BIG tour. Even if that is the case, I'm not entirely worried about not getting a chance to see them again. We figured that if they do tour at all again, however small it may be, they will most certainly make a stop in Los Angeles, or any other big city.

So will they return? Perhaps. Perhaps not. Who knows? I certainly don't and I don't know anyone who does. We'll just have to wait and see, I suppose...

A Surprise, Sort Of...

On the 12 and 13 of June, I had a particularly special weekend. It was one that I had been looking forward to for over 5 months. During that weekend, I, my dad, and some really good friends met up in both Anaheim and LA to see Steven Wilson (I'll call him SW) in concert. As of right now, I have seen him five times, my first time being when I saw him with Blackfield in 2011. After that concert, just before the final bow, SW came over to my side of the stage and handed me the guitar pick he had used that night. I still have that pick tucked away some place safe along with the picks I got from Greg Lake of ELP and Ronnie Vannucci of The Killers.

In the past, my friends and I would meet up for dinner before the show, and then go our separate ways once we entered the venue. But this time we did things a bit differently. After our first show in Anaheim (which was great!), I decided to try something that my friends commonly did after SW shows: go out to the bus and see if any of the band members would come out for a bit to mingle with fans. It was pretty late at night, but I still decided to try it out. 

At first we assumed that the band members would come out to the venue lobby, but once the staff members asked us to leave, we knew that that was not the case. Just as we decided to give up, we spotted the bus in the back of the venue. We couldn't get too close though, on account of the fact that we were separated by a small fence that stretched across the asphalt. Ultimately, all of the band members turned up at some point during my nearly two-hour wait. The first one to show up was Nick Beggs, who played bass and the Chapman stick. Having bought a tour program, something I have been doing lately in place of getting a tee shirt, I received an autograph and a couple photos with him.

The next guy to come out was keyboardist Adam Holzman, who also gave me a photo and autograph. Soon after, drummer Craig Blundell. I would have gladly joined in with the rest of the fans to chat with these guys, but I just didn't have much to say. Being the introvert that I typically am, I simply listened to the conversations the other fans were having with Adam, Craig, Nick and, eventually guitarist Dave Kilminster. I remembered Dave from the two times I saw Roger Waters' The Wall concert performed in LA in 2010 and 2012.

While waiting for SW, I met a nice young woman who had traveled down from Santa Cruz to see the show. I admired her devotion as a fan and we had a good time wondering whether or not SW would even turn up. But eventually, around 12:30 a.m., he did appear. However, security let everyone know that SW would only be giving autographs and not photos. Fair enough, I thought. It's better than nothing, I suppose. 

He looked understandably tired, so I decided to keep things brief. Once he reached me he took my program to sign it. As he did so, I simply said, "Thanks for coming. I really appreciate this album, as a girl." He said he was glad I enjoyed it. Shortly after, my dad came around with the car, and off I went. We arrived at our hotel at about 1.00 a.m. I accepted the experience as my first time meeting SW. Even though it was brief, I felt satisfied. Believe it or not, meeting him at least once was on my bucket list.

Dad and I slept through the night and the next mid morning, checked out of our hotel, and headed off to LA for concert #2. due to heavy traffic, we didn't make it down there until after 1:30 p.m. My friends and I had decided to meet each other at Amoeba Music after dad and I had finished lunch. Finally, at around 3:00 p.m., my dad dropped me off at Amoeba and I met up with my friends. Having been to Amoeba many times in the past, I usually like to start browsing in the very back of the Used Rock CDs section. 

 Suddenly, one friend came over to me and said, "Look behind you." I looked and interestingly enough, it was Steven. Oddly enough, I had suspected that he would pay a visit to Amoeba. Not exactly sure why, it was just a thought I had.
At first my friend was saying we should just let him be and not bother him. I decided I wouldn't directly approach him, just get close to him. So I went until I was about an aisle away from him. He was talking to one other guy that was with him. He eventually came into the aisle I was in. He saw me and said, "Oh, I remember you from last night," since I stayed after Friday night's show for an autograph. We chatted for a bit. I told him that I was trying to get into other prog bands and asked if Anathema was any good. He said I should hear their album We're Here Because We're Here (since he produced it). He also asked if I had heard of Opeth and Katatonia, which I have. He told me he was struggling with what he should get from Amoeba. I had two CDs with me already that he saw. I had the first Genesis album which he said he hadn't heard before. I told him I had been looking for it for a while. After that, I said I would see him that night, and we moved on.
Later on, I was looking through the vinyl section and again, he eventually came to the same aisle with the other guy he was with. I overheard the guy he was with start to tell him that he went to the King Crimson concert he went to at the Orpheum last October. I immediately turned and said "Oh, I went to that too!" and we started talking again. I told them about how great the concert was but also about how disappointed I was with the live album they released this year. Steven told me that they plan to release a full length live album at some point, which I most definitely look forward to. He told me and the other guy that he was "so over King Crimson" but still a fan. Before he left, I asked him what Jethro Tull albums I should listen to. He said Aqualung, Minstrel in the Gallery and Songs from the Wood. He also hinted that Songs from the Wood was going to be rereleased in 5.1 surround sound soon. I thanked him and he told me to have fun at the show that night. Adam also happened to be there, and also recognized me from the night before. I shook his hand. Then we went our separate ways.

There's a lot I can think of that I would like to talk to SW about, but that moment, that casual encounter, beat the hell out of the night before. I made a conscious decision to keep the conversation as normal as possible. I had told him the night before what I thought of his music, so I figured there was no need for me to say it again. No need for an autograph obviously, but I also did not ask him for a photo because, like I stated before, I wanted to talk to him not as fan and musician, but as person and person (if that makes sense). Ultimately, it made the weekend all the more special. After we left Amoeba, my friends and I went to a mall in the LA area. As I described my encounter with SW to them, one of them suggested that he liked me because I was "his type" (referring to his taste in women), me being half Indian. I suppose that's a possibility, but I certainly didn't get that impression when I talked to him.

The concert that night was splendid, needless to say. SW never disappoints. Hearing his music live actually makes me appreciate the album more than just hearing the studio recording. A nice ending to a fantastic weekend. I definitely anticipate more in the future. :)