/ en-US Thu, 07 Mar 2019 10:39:54 -0800 60 / 144 41 /images/layout/goodreads_logo_144.jpg /author_blog_posts/13420891-keith-emerson---an-appreciation Sun, 13 Mar 2016 13:58:00 -0700 /author_blog_posts/13420891-keith-emerson---an-appreciation As a trio, Emerson, Lake, & Palmer were brash, kinetic, and abundantly talented.  They blended mind-blowing musical chops, bombast, and a push-the-envelope sense of adventure.  But despite some over-the-top arrangements, they could also surprise with a tender ballad, and some wonderfully intricate and inventive playing too.

Emerson passed away this week under tragic circumstances.  But his work has made an indelible impression.  I’ll never forget the first time I heard “Take a Pebble, “In the Beginning,�� and “Lucky Man.”�� These were songs that seemed to leap out of the airwaves and demand serious attention.  As a teenage listener, these tunes took me into uncharted realms where the musical imagination reigned.  Keith, I hoped the show would never end, but the songs you created still turn me on.  

posted by Scott O'Reilly on March, 07 ]]> /author_blog_posts/13420892-why-yes-didn-t-make-the-rock-n-roll-hall-of-fame Tue, 22 Dec 2015 20:39:00 -0800 /author_blog_posts/13420892-why-yes-didn-t-make-the-rock-n-roll-hall-of-fame Unfortunately, the institution’s bias against progressive rock seems pretty undeniable at this stage.  The Moody Blues, Jethro Tull and King Crimson are routinely ignored.  Yet, the Moody’s The Days of Future Passed and Crimson’s In the Court of the Crimson King are unquestionable milestones in the history of rock, rivaling Sgt. Pepper’s in terms of influence.  Tull’s back catalogue contains multiple seminal works too.
Yes�� instrumental excellence �� the classic line-up sported four virtuoso musicians �� enduring career (the band continues to tour, albeit without the incomparable Jon Anderson), and sentimental appeal (the band received waves of support from fellow musicians and the music press following bassist Chris Squire’s passing) apparently counted for little.  Neither did the fact that Close to the Edge routinely polls at or near the top of any list of the greatest progressive albums of all time.  Put simply, CttE is to prog music what Citizen Kane is to cinema.

Speaking of which, Orson Welles’s cinematic classic failed to score with critics or audiences when it was first released.  I don’t doubt that Yes’s music will be vindicated by posterity too.  Unfortunately, the judges representing the RHOF are about as qualified to pass judgment on Yes’s as the celebrity panelists on American Idol would be to evaluate the music of Vivaldi.  There’s a reason Yes isn’t in the RHOF.  It has little to do with the band’s musical merits, and everything to do with the fact that mediocrity never acknowledges anything higher than itself.

posted by Scott O'Reilly on May, 17 ]]> /author_blog_posts/9504014-vote-yes-into-the-rock-n-roll-hall-of-fame Tue, 01 Dec 2015 14:18:00 -0800 /author_blog_posts/9504014-vote-yes-into-the-rock-n-roll-hall-of-fame I was not alone.  Roundabout was a song that raised the bar in rock music and inspired countless musicians.  The death of Chris Squire this summer was a blow to everyone who appreciated progressive rock, but it also was an occasion for an outpouring of admiration for the band’s immense influence in the musical world.
Yes fan know it.  Classics like Roundabout, Close to the Edge and Awaken will stand the test of time.  This is music with “structure and vision,�� to quote the philosopher Bill Martin.  Audiences will probably be playing works like The Gates of Delirium or Ritual for centuries because this is music with artistry and depth.  These pieces speak to the human condition and invite new critical assessment and interpretation.That is one reason Yes deserves to be inducted into the Rock N Roll Hall of Fame �� they have created an enduring body of work with albums that have genuine musical merit.
By any of the other objective measures �� record sales, influence, longevity �� Yes more than fits the bill to be inducted.  But there’s a final sentimental reason Yes deserves the nod.  Put simply, it would be wonderful to see founding member Jon Anderson �� the true voice of Yes �� return to the fold, even if it’s just for an induction evening concert.  That’s why Yes fans should care.

Of course, being inducted will call attention to the music, introduce it to new fans and enhance the group’s legacy.  It may not happen, but it does matter.  Vote Yes.

posted by Scott O'Reilly on January, 30 ]]> /author_blog_posts/9236577-why-yes-deserves-to-be-inducted-into-the-rock-n-roll-hall-of-fame Wed, 14 Oct 2015 19:54:00 -0700 /author_blog_posts/9236577-why-yes-deserves-to-be-inducted-into-the-rock-n-roll-hall-of-fame That’s a pretty heady thought.  Mozart, Beethoven and Bach created music of great originality, passion and soul.  The structure of their music, the melodic inventiveness, harmonic complexity and intimation of a personal vision expressed in a musical language still speaks to us.  We still listen because their music carries echoes of their genius.
The same can be said, I would argue, for Yes’s finest efforts ��  by that I mean “Close to the Edge,”�� “The Gates of Delirium,�� “Awaken,�� and “Tales from Topographic Oceans.”�� This is music brimming with ambition, artistry, imagination and instrumental virtuosity.
The legendary music executive, Ahmet Ertegun, once described Yes as a band that used sound to paint pictures.  This is a wonderful and apt description.  The palette they drew upon to express their sonic vision was equal to our innate thirst for authentic music pitched not at our wallets, but at our souls.  Yes music will speak to future ages because this is music that rewards repeated listening, stirs the imagination and reveals new marvels with each encounter.
I hope the Rock ‘n�� Roll Hall of Fame recognizes Yes�� musical excellence.  Perhaps beauty is in the ear of the beholder.  There an old Latin saying �� de gustibus, non est disputandum (on matters of taste there can be no disputing).  Consequently, some argue that artistic merit can never be entirely objective because aesthetic standards are time-conditioned and subject to change.
Fashions change, of course, but some music seems to emerge from a deep reservoir of creativity.  Such music quenches our spirits, refreshes our imagination and replenishes our souls.   It is from such Topographic Oceans that we are brought Close to the Edge of life where we can Awaken to our highest potential.     

posted by Scott O'Reilly on February, 08 ]]> /author_blog_posts/8897006-yes-rocks-pier-six-in-baltimore Sun, 16 Aug 2015 15:58:00 -0700 /author_blog_posts/8897006-yes-rocks-pier-six-in-baltimore However, if the performance that I saw at Pier Six in Baltimore, Maryland on August 12th is any indication, then reports of the group’s demise appear to be greatly exaggerated.  Put simply, the band I witnessed was crisp, spirited and clearly on top of its game despite the grievous loss it suffered just months ago.

There was a celebratory atmosphere that evening -- musicians giving it their all to honor a fallen comrade and fans eager to applaud the music and life of the inimitable man who revolutionized the role of the bass guitar and stretched the boundaries of progressive rock.
But this was not just some obligatory tribute �� let alone a tribute band as some cynics might suggest �� but rather a genuine exhibition and affirmation of the musical positivity and chemistry Squire dedicated his life to.  It started with the set list, which contained a welcome mix of overlooked gems (“Don’t Kill the Whale�� and “Time and a Word,��) progressive workouts (“America�� and “Siberian Khatru��) and the inevitable greatest hits.  But it was the spot-on performances, which conveyed more than a hint of the power and majesty of Yesteryear, that sealed the deal as far as this Yes fan was concerned.
To begin with, Steve Howe’s fretwork was a mixture of ferociousness and grace.  His climatic solo during the coda of “Siberian Khatru�� was blistering and inspired.  The rest of the band seemed equal to the challenge.  For instance, Billy Sherwood handled his mentor’s parts with a mixture of aplomb and deference.  He maintained a low-key stage presence but his deft handling of the supporting vocals and bass duties had me thinking that Squire would be winking with approval.  He seemed locked in with Alan White, who was nothing less than authoritative on the drums.

Geoff Downes and Jon Davison rounded out a configuration that seemed to hitting all the right notes �� musical and otherwise -- while nailing the spirit of the music too.  I have a feeling Chris Squire was saying Yes to this lineup on Aug 12th . . . I know I was.  

posted by Scott O'Reilly on January, 18 ]]> /author_blog_posts/13420894-tales-from-sunset-days-review-of-like-it-is-live-at-the-mesa-arts-ce Fri, 10 Jul 2015 12:22:00 -0700 /author_blog_posts/13420894-tales-from-sunset-days-review-of-like-it-is-live-at-the-mesa-arts-ce The respectable performances that make up the “Like it Is�� series do not capture the group at its glorious peak, but there may rewarding moments nonetheless.  Squire’s hypnotic bass and heavenly singing during “The Fish�� still manage to send a shudder down my spine.  “Heart of the Sunrise�� may not have the urgency and dynamic range it once had, but Steve Howe's limpid phrasing shines within the slower tempo.
In “Close to the Edge�� Geoff Downes seems to be approximating Rick Wakeman during the climatic solo, but he acquits himself quite nicely on “Cans and Brahms�� and also the scintillating finale to “South Side of the Sky.��
Jon Davison sounds fresh and involved throughout, an important element in this concert document of “Fragile�� and “Close to the Edge�� performed by a supernova of a group entering its twilight phase.  There are sparks and shimmers of greatness, mixed along with mere adequacy too.  But Squire’s thunderous bass and heavenly vocals generate more than enough lightning on this outing to make it all worthwhile.

posted by Scott O'Reilly on July, 23 ]]> /author_blog_posts/13420896-rip-chris-squire Mon, 29 Jun 2015 10:49:00 -0700 /author_blog_posts/13420896-rip-chris-squire Roundabout, Close to the Edge, Awaken, and The Gates of Deliriumwere built.

Chris, the central pillar in of the House of Yes, is now gone.   Jon has not been a part of the group for more than a decade.  It feels like the end of an era.  No doubt, Yes music will continue in some form or another.  But Chris�� signature sound and sublime harmonic instinct �� whether on bass or as supporting vocalist �� will be sorely missed.  Rest in Peace, Chris, you have had a hand in creating some of the greatest music of our age . . . and for the ages as well.  And peace be with your family too.  

posted by Scott O'Reilly on January, 27 ]]> /author_blog_posts/8403696-god-speed-chris-squire Wed, 20 May 2015 16:16:00 -0700 /author_blog_posts/8403696-god-speed-chris-squire For about forty-seven years, Chris has been the only constant in the band’s ever changing line-up.  If Jon Anderson is the voice of Yes, then surely Squire has been its torch bearer.
It’s a shame that group’s two founding members find themselves estranged.  Both have endured serious health issues, but undoubtedly past business matters and personal friction have created a rift that extends into the fan base as well.  Yet, both Chris’s version of Yes and Jon’s solo career have created positive, upbeat and rewarding music.
What made Yes�� best music work was a peculiar mix of incongruous elements.  Squire’s down-to-earth personality and pop-sensibility complemented Anderson’s ethereal and cryptic tendencies.  Jon could soar so high, both vocally and in terms musical ambitions, in no small measure because Chris anchored everything with his rock-solid but innately melodic bass.
It’s hard to contemplate Yes without Chris Squire.  I appreciate his friend, Billy Sherwood, stepping in Chris’s large boots to keep the flame alight.  God speed Chris, we are all hoping for a full recovery and the day when your thunderous bass will roar again. 

posted by Scott O'Reilly on March, 04 ]]> /author_blog_posts/13420898-walking-out-of-darkness-and-living-fully Mon, 24 Nov 2014 19:57:00 -0800 /author_blog_posts/13420898-walking-out-of-darkness-and-living-fully
posted by Scott O'Reilly on December, 08 ]]> /author_blog_posts/13420901-yes-at-radio-city-music-hall-review-july-9th-2014 Thu, 10 Jul 2014 20:28:00 -0700 /author_blog_posts/13420901-yes-at-radio-city-music-hall-review-july-9th-2014 Heaven & Earth.  Some die-hard Yes fans are so disgruntled by the new material that their fulminating reviews convey more distemper than Dick Cheney would if he had his hunting license revoked.
The online reaction to new album has been so intense that I had no idea what to expect when Yes was due to perform a song from Heaven & Earth on Wednesday evening at Radio City Musical Hall in New York City.  Surprisingly, the new single, “Believe Again�� came off quite well.   As the set order had it, the new track was sandwiched between “Close to the Edge�� and “Roundabout,�� two of Yes�� most beloved masterworks.  Yet, “Believe Again�� managed to hold up reasonably well; not exactly music for the ages, but a song with some graceful touches and inspired moments nonetheless.   Incidentally, singer Jon Davison sounded slightly tentative at first but seemed to gain confidence as the song progressed.  Surveying the crowd's reaction I’d say the song went down quite well.
The rest of the evening was devoted to the music of yesteryear.  The audience was treated to two classic albums �� Close to the Edgeand Fragile �� and a side’s worth of greatest hits.  On this evening, the band sounded tight, energetic, and confident.  Steve Howe came across best on the soaring coda to “Siberian Khatru�� and his signature acoustic piece, the ever tasteful “Mood for a Day.��   Also of note, was a brief but wicked guitar/keyboard duel during the finale of “South Side of the Sky.”�� Chris Squire’s mesmerizing bass workout, “The Fish,�� wisely preserved the economy of the studio version.
The latest configuration of Yes has emerged as a formidable live force.  Several years ago, it seemed that Steve Howe was supplying most of the musical sparks on stage.  Today, Geoff Downes seems well-integrated within the band and Jon Davison appears to have found a comfortable niche as well.  The Squire/ White rhythm section sounds rock solid too.  Whether this line-up will prove more stable than past lineups is anybody’s guess.  However, this configuration has me believing again in Yes, at least live.  

posted by Scott O'Reilly on October, 10 ]]>