CD REVIEWS:
Title: David Hentschel & Jay Tausig, with Various Artists, Supper's Ready. A tribute to Genesis. (CD).
Label: Magna Carta, catalog # MA-9004-2. Originally released in the year 1995.
Publication: Originally appeared in an issue of Guitar World, (sometime in the year 1996).
By (Unknown).
Just listening to the band Over the Garden Wall
playing a dead on cover of the 1973 Genesis epic "Firth
of Fifth" is enough to make you smile ear to ear. Here it
is 1996 and that vintage prog-rock sound remains as
fresh as ever. It's also evidence of a fine tribute CD to
Genesis, featuring tracks by art-rockers Annie Haslam,
Peter Bardens, Crack the Sky, and John Goodsall,
among others. There are enough new arrangements
and spirited performances here to keep things fresh
and engaging. A treat for all us Watcher of the Skies.
Title: David Hentschel & Jay Tausig, with Various Artists, Supper's Ready. A tribute to Genesis. (CD).
Label: Magna Carta, catalog # MA-9004-2. Originally released in the year 1995.
Publication: Originally appeared in the 1995 October December issue #18 publication Progression Magazine. (The quarterly journal of Progressive rock).
By John Collinge.
This Genesis tribute album ranks up there with the
Yes tribute Magna Carta released earlier this year.
There's not a bad performance in the bunch, and the
selections are smartly chosen, representing the
progressive meat of the band's career from Nursery
Cryme (1971) through 1983's Genesis. (The only
glaring omission might be a representative cut off Wind
and Wuthering, but at least they rightfully ignored
Invisible Touch). What's more, no one tries to ape Peter
Gabriel or Phil Collins or stick too faithfully to original
arrangements, lending fresh interpretations to the
material.
Some interesting names crop up here, besides the
usual Magna Carta stable (Robert Berry, Magellan,
Enchant, Shadow Gallery, Cairo, World Trade). Once
again Annie Haslam guests, performing "Ripples;"
Richard Sinclair does "For Absent Friends;" former
Camel keyboardist Pete Bardens and his band Mirage
do "Many Too Many;" and Crack The Sky (remember
them?) pitch in on "I Know What I Like (In Your
Wardrobe)."
Others joining the project included John Goodsall,
(Brand-X), and Michael Zentner ("Carpet Crawlers"),
Grammy award winning producer and engineer of
Genesis (1975 to 1980), David Hentschel and singer -
songwriter Jay Tausig performing ("Undertow"), with
Drummer (sound animator) Daniel Todd Carter. Kevin
Gilbert with Mike Keneally turn in a very respectable
("Back In NYC") and the Canadian band Over the
Garden Wall ("Firth of Fifth").
Notable among the other performances are Berry's
version of ("Watcher of the Skies") and Magellan's
treatment of ("Mama"). At 77 minutes, there's plenty of
good music on this disc to choose from here. A must
for the band's diehards, and a good buy for the average
Prog head or fan.
Title: Solid Space with Various Artists, Schizoid Dimension. A tribute to King Crimson (CD).
Label: Cleopatra / Purple Pyramid, catalog # CLP 0123-2. Originally released in the year 1997.
Publication: Originally appeared in the 1998 winter spring issue # 26 publication Progression Magazine. (The quarterly journal of Progressive rock).
By Bill Knispel.
This surprising collection showcases many
Cleopatra Records artists paying homage to one of the
most venerable progressive band's ever. The
performances are intriguing, with each band leaving
individual marks on the material with few radical
changes.
Space rock stalwarts Alien Planetscapes and
Architectural Metaphor weigh in with versions of "A
Sailor's Tale" and "Cirkus" respectively. Arch Met's track
typifies one impressive feature of this encomium
several "lost classics" were selected for inclusion.
Other highlights include former Crimsonites David
Cross and John Wetton with a new version of "Exiles,"
Controlled Bleeding's rhythmic take on "The Talking
Drum," and "In the Wake of Poseidon"(one of
Crimson's lost classics), performed ably by Solid
Space. The group (sound animator) Daniel Todd
Carter's is currently involved in.
The only dubious selection is Astral Asia's almost
rave style version of "I Talk to the Wind." While the
female vocals are nice enough, the dance / trance like
rhythms simply don't fit with the other performances
immortalized herein.
While King Crimson was never a space rock band,
this collection seriously makes you wonder. Very highly
recommended.
Title: Solid Space with Various Artists, Schizoid Dimension. A tribute to King Crimson (CD).
Label: Cleopatra / Purple Pyramid, catalog # CLP 0123-2. Originally released in the year 1997.
Publication: Originally appeared in Interface Magazine, version 13.
By Michael C. Mahan.
ROBERT FRIPP and the revolving door of musicians
known as KING CRIMSON have, during their off and on
existence since 1969, done more to define all that is
"progressive" music than perhaps any other band. King
Crimson had two quintessential strings of existence.
The early seventies years brought them through various
permutations that embraced soft beauty and harsh
aggression, while their eighties years were more
rhythmic, built primarily upon Fripp's scales and Adrian
Belew's rock sensibility. "Schizoid Dimension" gathers
13 artists (including a couple of former Crimson
members themselves), to perform covers of King
Crimson standards. As is true with all discs of this
nature, the material here ranges from nice tries to
carbon copies to truly very original interpretations, with
generally the first being the only ones we can honestly
live without, (which means, lets ignore Chrome's
attempt at performing "Moonchild"). "Red" is my favorite
Crimson piece, and as such I was elated to find two
covers on this CD. Sadly, both renditions were more
than direct emulations from the originals and left me
hankering to merely pull out the original Fripp
endowed CD than to continue to listen to the redone
versions. However, this CD is graced with four very
effective approaches to other songs.
Controlled Bleeding brought a newly exuberant life to
"The Talking Drum," a piece that was already
possessed of great vigor. Space rock greats Melting
Euphoria did an outstanding job with " Lark's tongue in
Aspic (part 1)," retaining the strength of the original
arrangement, yet restructured with a raspy psychedelic
undertone a la Barrett's Floyd. Alien Planetscapes took
"A Sailors Tale" and mixed in elements of psychedelia
and even R&B to create a very strong redesign of the
original. While Solid Space did an excellent (albeit fairly
faithful to the original), rendition of "In the Wake of
Poseidon," replete with softly swelling Mellotrons, solid
and imaginative drumming via (sound animator) Daniel
Todd Carter, acoustic guitar and clean male vocals.
This CD is not the best approach to "covers" that could
have been done, but with the near worship that people
feel towards Crimson, one supposes the urge to
perform songs in the original style was a bit too strong
for many to overcome. However, the strength of the
original compositions is always enough to overshadow
failings in the cover band's originality.
Title: Solid Space with Various Artists, Schizoid Dimension. A tribute to King Crimson (CD).
Label: Cleopatra / Purple Pyramid, catalog # CLP 0123-2. Originally released in the year 1997.
Publication: Originally appeared in Audion Magazine, December 1997.
By Alan Freeman.
As my experience goes, tribute albums are generally
a bad idea. So, why do labels like Cleopatra / Purple
Pyramid keep doing them? Well, quite obviously it's a
way to tempt people into buying product on their label
who may otherwise not know that Cleopatra's current
progressive label Purple Pyramid even exists. And,
also, it will introduce some obscure new artists to the
punter. I can see logic in this. But, generally it's an
artistic failure. Not so this time however, as 60 minutes
of this disc are really excellent, and what's more, it's not
just tributes as many of the artists have rearranged the
music radically to their own fashion. This means there
are many surprises to catch up with here.
I'll have to go into reviewing all the interesting stuff, as
it all deserves some mention, so this could be a
lengthy review! I would never have thought of Controlled
Bleeding as a band to put on such a disc, yet their
opening track "The Talking Drum" is superbly
atmospheric and understated with a looming tension.
Amusingly included next is David Cross with John
Wetton, (two ex King Crimson members), with an
updated edited version of "Exiles" from his new solo
disc. Brand X get two tracks here, one excellent a
storming version of "Red" credited to Brand X (West),
and then there's Brand X (East), who (in my opinion at
least) were very unwise to do one of the poorest of King
Crimson songs "Neil Jack and Me", which is also out of
place as an 80's song, where as everything is 60's and
70's classic material. Melting Euphoria bring "Lark's
Tongues in Aspic, (part 1)" up to date as a spiraling
piece of post Ozric's space rock. Alien Planetscapes I
always knew had serious potential, and their "A Sailors
Tale" is a rip roaring rendition sounding more like the
legendary Mars Everywhere. Architectural Metaphor I
knew of from their release on Black Widow records
from Italy, which I described as "A nice disc of Space
rock soup!" yet their version of Cirkus with robust
female vocals, rich Mellotron, synths and liquid guitars,
really has what it takes. No soup, but pure emotional
guts and power nice one! Pressurhed's "21st
Century Schizoid Man" sounds like a mad Hawkwind
interpretation, and odd is the only word to describe
Xcranium's off beat version of "Cat Food".
Finally, we end up with two unknown bands to me,
another version of "Red" comes courtesy of Spirit's
Burning, which feels very studio constructed and
modern adding a new twist to the arrangement, and
(sound animator) Daniel Todd Carter's current group
Solid Space perform a very nice faithful version of In
The Wake Of Poseidon". Apart from the Brand X
(East), and Chrome's version of "Moonchild" is
embarrassingly mediocre, and Astral Asia would have
surprised me if I'd liked their "I Talk To The Wind",
though admittedly it is unusual. Tastefully put together,
and with nicely plagiaristic cover art work, I'm sure
this CD is going to delight and surprise many. I doubt
anyone will like all of it, and some may be perplexed by
the new twists and turns in the arrangements of some
numbers. But, that's what makes this (largely) a
success, with the sense of experimentation and
adventure that has been encouraged.
ARTICLES:
Title: Lord Have Mercy / Hemp the Hype.
Publication: Hip Magazine, (A local music & arts magazine based in Fairfield County CT). Article originally published in the July 20th, 1992 issue.
By Mike Mullarkey.
Does anyone remember a few months back, when I
expressed confusion about the name of "Roger from
Stylie's" new band? Well, it's several months later, and
vocalist Roger has another, more permanent band.
They are called Lord Have Mercy. I caught up with them
after a gig opening for Eek A Mouse at the
Apocalypse on Sunday June 7th.
"The band you use to write up," Roger tells me, "was
called After Forever". "I came out of Stylie a year ago,
and I've worked with 5 different projects since." I've
worked with a bunch of different people, and we all
gelled together eventually through a place called The
House Of Pain," a now defunct location where Lord
Have Mercy used to practice. "It was October, 1991 that
Lord Have Mercy started as a full band."
The bands line up includes Daniel Todd Carter on
Drums and Percussion, David Aaron on guitars ("and
other guitars"), and Sean McGregor on Bass. I asked
Roger to describe Lord Have Mercy's sound.
"Rastamosh is a term we use. Reggae / Trash,
conscious rock
I love Reggae. It's beautiful music. But
the roots Reggae doesn't get played anymore. Dance
Hall does. But we have the heavy edge, too. I love
Hardcore. It's got energy."
Lord Have Mercy are currently touring under the
banner "Hemp for Life." I asked Roger to explain the
relevance of this title. "We all know what Hemp is.
People like to call it Marijuana. And you know what Life
is; that's when you live. There's Hemp in my life, and
there's Hemp in a lot of people's lives. Marijuana is a
very misunderstood thing." It's been in prohibition for
over 50 years," Sean points out. Roger goes on, "The
name Marijuana itself is derived from the government,
meaning the Devil's weed. So what we're trying to do is
bring it back into context by calling it Hemp, it's God
given name."
I asked what Lord Have Mercy is about. It's obvious
that they're concerned with more than just rocking us
(although they are certainly very good at that). Daniel
says, "There's so much negativity going on in the world
today. We just want to teach positivity and awareness."
"Drug awareness." Roger interjects. "Be conscious of
what's around you. Ignorance is the seed of fear and
that's what keeps people down, isn't it?" Getting into
the political side of things, everyone agrees that we
should all register to vote, and that the legalization of
cannabis is an important issue.
From this point we began to discuss the future of Lord
Have Mercy. Daniel explained what the direction the
band would be taking. "We're going to be disappearing
into the studio soon to record an album. And then we'll
be going right back out on the road and tour all over the
northeast and New England in the fall all over the place
to support this disc," Lord Have Mercy's self titled debut.
"We're also going to be writing a whole new show of
completely brand new material and we will be opening
up the musical spectrum a little more. More space
music and Dub and progressive influences," Roger
adds. "Kind of Psychedelic."
Roger goes on to talk about the new album. "We're
going to manufacture it, release it and distribute it
ourselves. We're accelerating the whole process.
Everyone knows all about the whole corporate rock
scene, and how long it takes, and even the indies have
become like corporates now. We've already got a good
local scene, so why not now?" I asked the band
members to express their opinions on the Connecticut
scene. "The scene is strangled right now," Roger says.
"The promoters in Connecticut don't work together, and
the two scenes (Norwalk and New Haven) are
separated. Unity is the key."
Roger does see hope, however. He had this
message to give to the people; "Get your fucking asses
out of your fucking stupid beds, and out of your lame
ass little boob tubes, and go see something real,
instead of just being sedate behind your dumb ass
Nintendo's." He also adds that, "We've had a lot of
success with the younger people, but the older people
our age I don't see them coming out."
The members of Lord Have Mercy do "Their version of
the Seattle sound." The guys remembered this with
great fondness,("Not!"), David says, "There were five
bands on the same bill that night, and the guy who
composed the article also did the flyer; this is a Seattle
band, etc." "What a dumb ass," David adds. Daniel
goes on to elaborate more, "Although there are a lot of
really good bands coming out of Seattle right now, it's
basically a tag. They're always going to try and pigeon
hole you." He adds, "Hopefully the next spot for
happening bands to come out of is right around here.
First it was L.A, then Seattle
why not Connecticut next?"
That, then, is the story of Lord Have Mercy. If you like
any kind of music that challenges you, rocks really hard
and totally makes you think, you just might want to
check out their next show. (They're playing with HR at
the Apocalypse on Friday, July 31st, 1992; KNOW IT!)
And give their new CD a chance when it comes out in
the Fall. Do unto your local scene as you would have
done unto you. If you wish to contact Lord Have Mercy,
you can reach them through their recording engineer
Scott Robertson at The Garage Recording Studio in
Stamford, CT. They can be reached at (203) 323
6331. Thanks for reading and peace to you all.
Title: Norwalk band Bellydancer shakes, rattles and rolls.
Publication: Norwalk Citizen News, (Norwalk Living Social Arts & Entertainment section). Article originally published in the Friday, December 29th, 2000 edition.
By Michael C. Juliano.
Like a loaded freight train rattling fiercely through a
midnight mist, the powerful playing style of Norwalk
band Bellydancer hits one's soul and sends it flying
into the night. Fronted by seasoned Norwalk resident
and former Stylie and Lord Have Mercy vocalist Roger
Guimond, the five member group, which started in
Norwalk three years ago and plays locally in and
around the New York City and tri state area, performs
a style the band coined as "Country Vampire Rock."
"It's a moniker we use because it has a bit of country,
a bit of rock and a bit of seduction to it," said Mr.
Guimond, who compared the band's seductive style to
that of Led Zeppelin. "We thought we would give it a
little flavor." Aside from Mr. Guimond, Bellydancer is
rounded out by guitarist Tim Arevalo and bassist Curtis
Miles Long, both of Norwalk, and drummer (sound
animator) Daniel Todd Carter of Stamford, CT and back
up vocalist Rebecca Koetting of Paramus, NJ. The
thunderous voice of Mr. Guimond, which , filled the
large hall of Shenanigans in SoNo from floor to ceiling
and then some during a December 13th gig with
Electric Hill from Stamford, debuted in 1989 as the lead
voice for the Reggae band "Stylie." During his two years
with "Stylie," Mr. Guimond, 32, toured up and down the
east coast, opening up for big acts such as the Spin
Doctors, Blues Traveler, Bad Brains, Buster Poindexter
and Run DMC amongst others. In late 1991, after Stylie,
Mr. Guimond went on to form another successful
though unfortunately very short lived band called Lord
Have Mercy with his now current drummer (sound
animator) Daniel Todd Carter. The both of them then
continued to proceed to tour all over New England and
continue to open up for more big name acts such as
Eek A Mouse and Human Rights amongst others.
Mr. Guimond also continued his vocal career as the
lead singer for Flowerland of New Haven from 1991
through part of 1997, during which time the band
released three CD's under their own label "Kick Us
When We're Down" Records. They then released under
the same label a compilation called "Flowerland Box
Set 1991 1997, which includes previously unreleased
tracks he and fellow Flowerland original Stephen
Christofor recorded in New York City during the
summer of 1996. Following the disbanding of the group
in 1997, Roger and Stephen formed the present group
Bellydancer. Soon thereafter, Mr. Guimond put out
Bellydancer's first self titled CD. Produced under the
"Kick Us When We're Down" label, the release offers
two songs written by Mr. Guimond, one of which reflects
upon his travels through Canada called "Moonshine on
the Dewline."
In addition to putting together the Flowerland box set
and the recording entitled "Bellydancer," Mr. Guimond
co produced and sang on "Waiting for Daybreak" an
Energy records release by the New York City based
band, Larva, featuring Todd Youth. In addition, he
recently produced an album by Ms. Koetting in Austin,
Texas. Entitled "Austin Sessions," the album, which
contains 11 originals by Ms. Koetting, came about as a
result of her meeting Mr. Guimond last year through a
friend while she was living in Stamford, CT working as
a magazine editor.
"When Roger was down in Charleston, S.C., with
Flowerland, he met a friend of mine who was writing an
article on the band," said Ms. Koetting, a New Jersey
native. "Roger told him he was looking for a back up
singer, so that's how we met." Recognizing her talent
as a musician and songwriter, Mr. Guimond, who knew
of some exceptional musicians in Austin, suggested
they head to Texas to lay down some tracks. "Roger
asked You want to go down to Austin?'", said Ms.
Koetting. "Next thing you know, we made three trips
down there and it's at the manufacturer's now as we
speak, and it will be coming out in January, 2001." For
more information on Bellydancer and Mr. Guimond's
label, you can surf to www.kickus-down.com and when
you get a chance, it might be refreshing for you to go out
on the town next time Bellydancer is playing to absorb
some "Country Vampire Rock" and check out an
intriguing band of excellent musicians. Keep an eye out
for them.
INTERVIEWS:
These four MP-3's are from a radio interview that Daniel did for a radio program entitled Tempest Broog on KXCI National Public radio based out of Tucson AZ in April of 1999.
Tempest Broog - interview 1.mp3
Tempest Broog - interview 2.mp3
Tempest Broog - interview 3.mp3
Tempest Broog - interview 4.mp3
These two MP-3's are from a radio interview that Daniel did for a radio program entitled Local Motion on KVMR National Public radio based out of Nevada City CA in July of 1998.
Local Motion - radio int.mp3
Quark S&C - radio int.mp3
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