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. :)

No better place to start than from the beginning

Hi friends and new friends. My name is J Michelle Sample, but you can call me Michelle if you want. I am currently 18 years old. I have been writing about prog and music in general since I was 16. I started this blog because I want to share my love of prog rock with others. I have been an active prog fan since the summer of '09, when I was introduced to Pink Floyd by my guitar teacher, and received encouragement from my dad to hear other very special bands like ELP, Yes, King Crimson, and Rush. All are wonderful, but Pink Floyd, to this day, remain my favorite group, because if it hadn't been for them, I probably would not have had the inspiration to branch out and discover all this amazing music.

As you may be able to imagine, it hasn't been easy for me to find many people my age who understand my taste in music. Having recently graduated from an all girls school, I spent the past six years immersed in a world of Justin Bieber, One Direction, and a somewhat odd obsession with The Hunger Games, with an occasional Pink Floyd fan here and there. Nonetheless, high school is over and done, and now I am about to being the next chapter of my life by going to university. There is much uncertainty regarding what the future holds for me, but I am hoping that I can connect with individuals my age who are willing to respect and appreciate my love of music, prog especially.

I have been to 29 concerts since 2010, when I saw the Experience Hendrix tribute show at the now demolished Gibson Amphitheater. Most of these concert experiences have been for these legendary prog bands, believe it or not. Some of these experiences include Yes, Rush, King Crimson, Steven Wilson, Greg Lake, and Asia. I have written entries on my other Facebook group "Prog Rock: A Teen's Perspective" describing some of those experiences.

I think it's also safe to say that I am a pretty "retro" person. When I'm not blogging about music or playing the guitar (been playing for over 7 years), I'm collecting vinyl records and CDs. It's a great activity that I always look forward to doing.

Anyway, prog has allowed me to meet some very special people and connect with people in a way that I don't normally do. Every moment is precious to me and I hope to continue to have many more of them in the future. I think this blog will be a great way for me to express my feelings on the music that has helped shape me into the person I am today.


Have fun and prog on! :)

J.M.