REVIEW-January 2, 2010-This is from the MYSTERY RADIO internet radio station (www.independentartistscompany.com/mysteryradio)on my song "Deep Right Center"."Marty always gives us well thought out progressive music and this tune is no exception, he is a master of production and provides all the right kinda touches on this song with fine guitar work,catchy riffs and cool progressions.Sitting on the edge of a quasi jazz thing too, great listen as usual and that funky little break was sweet, nice organ patch, what you use there,like it." Our thanks to Mystery Radio and check out all the great artists there.
REVIEW-July, 2010-The Steve Hackett Band and Renaissance at the Egg in Albany, N.Y- Steve Hackett finally has come to the USA for a tour with his rock band. Steve has been here before with the acoustic trio but this is the first time in many years for his rock band. The band has essentially been together for over 10 years with Steve on guitar, Rob Townsend on flute and sax, Gary O’Toole on drums and Roger King on keys. Nick Beggs replaces Terry Gregory on bass and new addition Amanda Lehmann adds a second guitar to round out the group. Steve reached all the way back to Genesis and all the way forward to his latest album “Out of the Tunnel’s Mouth” for a wide selection of material. Opening with “Every Day”, Amanda Lehmann’s presence was immediately noticeable with the addition of her high harmony vocals. Later on she would bring “Ace of Wands” to new heights with some stunning dual guitar work and guitar harmonies with Steve that breathed some new life in to a Hackett staple. My award for the “most improved” member of the band goes to Rob Townsend. My basis for comparison are the 2 live DVD’s “Once Above a Time” and “Somewhere in South America” which range back to 2001. His ending solo on “Blood on the Rooftops” and his back and forth solo with Roger King in Los Endos were exceptional. Rob is also a master on the Pan Flute on which he played both melody lines and an astonishing improvised solo in “Serpentine Song”. There were very fine vocal harmonies all night and some much improved lead vocals from Gary O’Toole on “Blood on the Rooftops” and “Firth of Fifth”. As far as Mr. Hackett goes- what can I say? Flawless playing, his trademark sustain guitar cutting and searing all night, tremendous melodies and slick fast improvisations. Steve gave us just a taste of his tremendous classical guitar skills with the finger picked opening to “Blood on the Rooftops”. In fact that was the only song in which he played any acoustic guitar all night. The band introduced some new material from “Out of the Tunnel’s Mouth” including “Fire on the Moon”, the beautiful “Emerald and Ash” which features some superb harmonies and soprano sax and the Hackett style blues of “Still Waters”. I thought this was a very evenly performed show- all the songs were performed well- but I had my favorites. “Blood on the Rooftops” has always been one of my favorite Genesis pieces as has “First of Firth”. Both were just done superbly. “Every Days” surprised me with it’s renewed energy and “Emerald and Ash” with it’s sheer beauty (keep in mind I had never heard that song before). Overall, a very strong and satisfying show from a Master and legend. Now, about Renaissance…. This is a band that has definitely been helped by today’s technology particularly in regards to keyboards. The ability to quickly switch sounds and being able to use a second keyboard player to play all the layered orchestral parts made this band sound full and exciting. Vocalist Annie Haslam showed she still can reach the stratosphere with here amazing voice. Keyboardist Rave Tesar was superb, sometimes evoking a little Keith Emerson. Highlights for me included “Prologue” and “Carpet of the Sun”, “Midas Man” and “Mother Russia”. “Mother Russia” was particularly astounding with it’s back and forth tempo changes and it’s musical intensity. This is a superb and exciting band. If you have a chance to see this twin bill-DO IT!
REVIEW-September,2011 YES, Fly From Here- So what is a band that’s been around for 40 plus years supposed to create for a new album? Just what are a bunch of guys in their 60’s supposed to do? You create an album like “Fly From Here” from perennial prog-rockers YES. Real nit-picking fans might say “it’s not Close to the Edge” or “it ain’t YES without Anderson and Wakeman”. Baloney! Yes has never done more than 2 albums with the same line-up. So, YES is what it is at any given point in time. All that being said, this is one fine album. All the songs have melody, substance and great energy and emotion. Musically, these guys have nothing to prove with the exception maybe of singer Benoit David. Speaking of Benoit David, he comes through strong and clear with a real sense of his own contribution as an artist and not just as “Anderson’s replacement”. He was greatly encouraged to make his mark by producer and former Yes front man Trevor Horn. Check out the vocal work on “Sad Night At the Airfield”. Brilliant background harmonies by Squire and Howe are also evident on this track. Speaking of Steve Howe-this album certainly highlights Howe’s unusual abilities and talents including some killer slide work on “Sad Night…” and some great lead guitar on “Into the Storm”. Howe’s solo piece “Solitaire” while not compositionally in the class of “Mood for a Day” or “The Clap” is still a fine piece of music with some interesting changes and some nice blending of quasi-classical and ragtime. Alan White once again “makes it all look (sound) so easy”. Whether it’s shifting meter or shifting accents, the flow and rhythm sounds natural and easy. Check out “Life on a Film Set”, particularly the second half in 11/4 time or the shifting downbeat in “The Man You Always Wanted Me to Be”. Which leads us to Mr. YES himself, Chris Squire. Squire has kept this thing going all these years constantly demanding good musicians and good musicianship. His own performance on this album is excellent. The usual great bass playing! Check out the bass line on “We Can Fly”. Sends a shiver down my spine every time I hear it! Great vocals on “The Man….” and some terrific background harmony arrangements mark Squire's major contributions. Lastly, Geoff Downes’ keyboards are the glue that holds the whole thing together. Downes adds the color to the songs through the use of his many different keyboard sounds while not competing with either Howe’s guitar or getting in the way of the vocals. There are no soaring solos but rather some great “in your face” background work. Think Tony Kaye on steroids. As far as the songs go, my stand outs include “Sad Night…” which I think is the best track on the album. This song defines this version of YES. I also like “Madman at the Screens”. The instrumental melodies and counter-point are classic YES. Squire’s “The Man….” is also a fine track more reminiscent of some of his solo work but with some real nice guitar lines from Howe. The “suite” “Fly From Here” pretty much works as a story about prop planes and love and the flow is fine, My only complaint was that the “Reprise” was a little short and maybe could have used a bigger build-up. But, no failing grade there. Kudos to producer/writer Trevor Horn for proposing this idea and doing a splendid job on a nice crisp and clear production. Overall, this is a fine effort from a bunch of “old guys”. I certainly hope not the last!