All posts for the month July, 2017

Max Webster – In The World Of Giants

Sparks – England

IZZ – Where I Belong

The Underground Railroad – Love Is A Vagabond King

echolyn – American Vacation Tune

Magellan – Friends of America

Syzygy – The Coronation

Schooltree – Turning Into The Strange

Primus – American Life

Relayer – Freedom

Purposeful Porpoise – Air Pirate Jam

Rush – A Farewell To Kings

The Tea Club – Out Of The Oceans

Ampledeed – The Greatest Gatsby

Starcastle – Why Have They Gone

Simon Apple – Take Root

Derek Sherinian – State of Delirium


This news story was originally published here:

The Globe Theatre, The Bedford Hotel, Balham, London
Sunday 16th July 2017

In these day of social networking there is no excuse, Midsummer Madness should have been packed to the gills. 7.5 million people in London and you’re telling me that gathering 250 prog fans on a Sunday is not achievable? Who are you kidding? Five bands who all gave us excellent entertainment, they deserved a capacity audience. The organisers tried, emails here and there, tweets, requests to Radio stations, magazines, little old ladies on Balham High Street – no response. What can we do to fill live venues, to pull in the punters? it’s an opportunity missed by entertainment venue publicans. Oh well, rant over, those who did assemble were treated to some of the best progressive music around, from the broad canvas that is Prog. We ROCKED, we ROLLED, we LISTENED, and we were DELIGHTED.

Under A Banner

13:05 – Almost on time, and Under A Banner opened for us, with Levellers-like melodies and a New Model Army style voice they woke the somnambulant crowd. Fresh from the outside sunshine and into the dark interior of The Bedford, snoozing was likely. Numbers, an ironic first tune given the 50+ audience, in quantity rather than age. Definitely a little punky, strangely a little proggy, with a series of tunes covering a multitude of subjects. With Tim Wilson on drums, formerly of Oktopus, they joined, performed and surprised. I really enjoyed them. If you have a liking for music of this ilk, then Under A Banner are a very good band. The stand outs for me were Numbers and On Top Of This Mountain later on in the set. Kat Davis’ keys blended well with the bass of Richard Corry and guitars of Jake Brooks and Adam Broadhurst. I liked the slightly rasped vocals which added emotion to the pieces. They did well, their album, The Wild Places, is available from Bad Elephant Music or via their Bandcamp page.

Adam Broadhurst – Vocals, Guitars
Jake Brooks – Guitars, Backing Vocals
Richard Corry – Bass
Kat Davis – Keyboards
Tim Wilson – Drums, Backing Vocals, Electronics

Leaving Here
Close to the Clouds
Snow Song
Bullet Rain
Bell Tolls
On Top of this Mountain
Out Like A Light

Website | Facebook | Bandcamp


Just after 14:15, Mothertongue: boy, have I been looking forward to this. It’s a slightly stripped-down sound, a semi-acoustic set and I missed Shango which wasn’t in the set – if you need that crowd participation choir, I’m happy to arrange. A mixed set of old (!) and new, Panic Music being particularly fun. A sort of Rock band with Mariachi and Ennio Morricone thrown in for good measure, the contrast between our enthused introduction by Under A Banner and Mothertongue’s more laid back set was just right. King of The Tyrant Lizards and Blooper’s Theme standing out from the material from their Unsongs album. Louis Smith has a striking voice that holds your attention, perfectly suited to the songs and setting. The combined guitars worked well together, Phil Dixon, Mark Wall and Louis ably supported by Will Holden’s bass. Completing the ensemble was Andy Malbon, the man of the sublime trumpet, a sound that just added to the overall party feel of Mothertongue’s set. Unsongs remains available at the Bad Elephant pages or from the band’s Bandcamp, with the new songs in development for the as yet unnamed second album. I’ll work the pedals, and the devil can steer. Oh I wish they played Shango

Phil Dixon – Guitar
Will Holden – Bass
Mark Wall – Guitar
Andy Malbon – Trumpet
Louis Smith – Guitar, Lead Vocals
Oh, and everyone doing Backing Vocals

In no doubt abbreviated form
Blue Wicked
Panic Music
King of The Tyrant Lizards
Creature Tree
Sunset Rose
Blooper’s Theme

Website | Facebook | Bandcamp

Verbal Delirium

Verbal Delirium 1The first half headliners were Verbal Delirium from Greece and they really hit the ground running, different from what had proceeded, much more rock/metal orientated but with that all important combination of styles that marks progressive music for what it is. A band with the ’70s chops but firmly rooted in the present, providing a unique sound. These guys have style in spades! A fine headline act for the first half. Favourites? I actually loved it all, from beginning to end, even the grumpy MC liked them. Prog that you can in numerous places dance to, and I did. Fortunately, there is no photographic evidence of this rare event. Jargon sings with a passion and style, with a beautiful range too. If you haven’t seen this band, take to first opportunity to do so. They are due back in the UK in April next year, and then again for the Reson8 festival in July; come hell or highwater I will be at one of these gigs. The most recent album, The Imprisoned Words of Fear, is available through Bad Elephant or Bandcamp. I look forward to the next.

Verbal Delirium 2

Verbal Delirium 3

Jargon – Vocals, Keyboards
George Pagidas – Bass
George Kyriakidis – Guitar
Nikos Terzis – Piano
Wil Bow – Drums

So Close & Yet So Far Away
Close to You
Misleading Path
The Decayed Reflection (A Verbal Delirium)
Sudden Winter
Dancing Generation
Encore: Images from a Grey World

Facebook | Bandcamp


“The introduction to the opening of a musical composition”, that’s what it means… oh, and there’s a naughty meaning too! From the opening bars of Ghost to their last song, Who Goes There, Introitus were as different from Verbal Delirium as you could expect. Mats Bender’s keys soar and flourish in a Banksian style, and the choice of subject matter is Genesis-like but with a metal edge. Linnéa on flute and keys adds the difference which helps create the individuality of Introitus. There were no weak drummers today and Mattias Bender gives it his all with both drive and attack. This is the lower end of prog metal, but great in its appeal to a broader audience, slightly Gothic in places and very much in the Swedish tradition of story telling. I enjoyed it all, but my spirit was lifted with the sequence of Free through to the final song. Anima is epic in every sense, 16 minutes of prog joy.

Anna Jobs Bender – Lead Vocals
Mats Bender – Keyboards
Pär Helje – Guitar
Mattias Bender – Drums
Linnéa Syrjälä – Flutes, Additional Keyboards
Dennis Lindkvist – Bass

Slipping Away
Who Goes There

Website | Facebook


Cairo is Rob Cottingham’s latest band. I listened a little before hand, mentally establishing a nice pigeonhole for them in the prog canon of music. They escaped! Lisa Driscoll is the new lead singer, replacing Rachel Hill who recorded the vocals for the band’s debut album, Say. She is very good with a great voice and a presence that grew in stature throughout the set. Vocals are shared between her and Rob. Lisa has a warm personality and I suspect a wicked sense of humour (photoshopped the moustache Lisa x). With just the one album to date, the set was supplemented with material from Rob’s Captain Blue persona and Touchstone. In contrast to Verbal Delirium, Cairo delivered a more atmospheric set, but they did rock! If Verbal Delirium were igneous, Cairo were sedimentary, my dear Watson! I was pleasantly surprised and pleased. Yes, the tunes are to my mind more Progressive Pop, but they still rock. I loved the Cairo material more than the Touchstone pieces, Dancing on a Gossamer Thread, Nothing to Prove and Say! still earworms as I took to my bed for the night in darkest Balham. In many ways, a perfect end to five great acts who gave everything to a small but enthusiastic audience. Cairo information and links to purchase Say can be found at their website, along with details of future gigs.

Rob Cottingham – Keys, Vocals
Lisa Driscoll – Vocals
Paul Stocker – Bass
James Hards – Guitar
Graham Brown – Drums

Shadow’s Return Prologue
Shadow’s Return
Wiped Out
Shadow (Touchstone)
Chasing Storms (Captain Blue)
Nothing To Prove Reprise
Random Acts of Kindness, part 1
Hear Me (Touchstone)
Back From the Wilderness
Sleeping Giants (Touchstone)
Dancing On A Gossamer Thread
Katrina Breathe Mix
Nothing To Prove

Website | Facebook

Final Words

These events come about by the hard work of people dedicated to the Prog genre, whatever that may be; Mike Morton for this one, Nellie Pitts for many others, and in the North, Emma Roebuck. The Summer’s End festival showcases it too, but for these events to remain viable they need more support from the media, Radio, Podcasts, Internet and Magazines. I Hope to see a full crowd for Progtoberfest at the end of October, Masquerade II in early December, and the 2018 Resonate two day event in July. Look out for information on the TPA’s listings page!

Midsummer Madness – Website | Facebook

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This news story was originally published here:

Just in time for their Saturday night performance at 2017’s Night of Prog Festival at Loreley on 15th July, Comedy of Errors return with House of the Mind, a collection of great new music, which also includes a newly arranged version of their classic Ever Be the Prize.

A six-piece from Glasgow in Scotland, Comedy of Errors are a progressive rock band who remain one of the sole links to the then new take on prog music in the 1980s and ’90s. All five of the new tracks are outstanding, and great additions to Comedy of Errors body of work, and I would love to have been at Night of the Prog to hear the songs live for the first time. Opener Tachyon lives up to its name with a fast and powerful tempo. “We defeat them, we go on. We will triumph!” – Yes! This band is a great link to the style of IQ and Pendragon, the track charging out of the door like a rocket, taking you high as piano and keyboards soar along with the glittering guitar work. Joe Cairney’s vocals call us all to live our lives to a higher standard than the one the world seems mired in today. Rock on!

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The title track opens with one of those cool keyboard instrumentals we all love and cherish. Very ELP, it is truly memorable and, at over 14 minutes, epic with the support of an echoed backing chorus and filled with drenching guitars and power drums. Joe sings, “Take all the feelings that you’ll ever find and then, lock them away with you deep in the house of the mind”, and with today’s encroaching technology, government and private enterprise taking more and more of our privacy, our connection to feelings of empathy and memories may only have one safe place left… the mind. It’s a powerful song recalling and beckoning a return to when life – and what we did with it – actually mattered.

A Moment’s Peace is the kind of instrumental we all need each morning when we wake, the wonderful guitar surely making the mind wander back to the better days of old. The keyboard work is haunting and familiar and the kind you would wish to hear on every great progressive record. Behold the beauty and joy of this drift back in time and savour every minute. One Fine Day opens with the lyrics, “Remember a time when we made friends with the sun, and we could always outrun our cares – they’d not yet begun?” Yes, we all remember our childhoods, and just like Marillion, this is a Childhood’s End kind of song, of remembrance for the days which will stay with us forever. Keeping the theme, Song of Wandering Jacomus opens with wonderful Marillion-like guitar, string and keyboards. It’s another epic of over 13-minutes, a prog masterpiece full of glittering guitar, bells, and Vangelis-like keyboard images. Then the lead guitar plunges through the mist and fog to call us all to hear the story as Joe sings, “Our time together was all too cut short then again. And she comes to me day and night”, maybe like Cathy from Wuthering Heights, stirring even more glorious memories of the past.

Laid out in the 12-page lyric book within the digipak you will find some tremendous words which will stay with you long after the song ends; “And though I am old as I wander these lands, one day I will find her, one day I will kiss her… The path was a circle that lay ever knowing, beyond…” At song’s end, you can even hear a homage to Genesis’ Silent Sorrow in Empty Boats – nice!

I am a relative newbie to Comedy of Errors, although they have been making music since 1984, and the last song on the album is a re-arranged version of a very old song. Ever the Prize was their first recorded demo from 1985, but the music and lyrics fit this new album perfectly. I listened to the original version to hear any differences, Joe’s voice has lost that young, innocent sound, but in exchange it is now more dynamic and full of greater confidence and assurance.

“Where do we go from here?” That is everyone’s biggest question. “Experience will teach you, given time, they say? Only what is out of reach, can ever be the prize”. I’d say that Joe and the band have reached the prize for sure, delivering an impressive recording that is more than proof that Comedy of Errors have survived where others have not, reaching the alter of prog leadership and deserving the respect and recognition of the bands that they themselves idolized as teens…

01. Tachyon (6:15)
02. House of the Mind (14:48)
03. A Moment’s Peace (4:09)
04. One Fine Day (2:48)
05. Song of Wandering Jacomus (13:39)
06. Ever Be The Prize (9:00)

Total Time – 50:39

Jim Johnston – Songwriter, Keyboards
Joe Cairney – Vocals
Sam McCulloch – Guitars
Mark Spalding – Guitars, Backing Vocals
Bruce Levick – Drums & Percussion
John (The Funk) Fitzgerald – Bass, Backing Vocals

Record Label: Independent
Country of Origin: U.K.
Date of Release: 16th June 2016

Comedy of Errors – Website | Facebook | Bandcamp


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Northern Star   200717


Kim Seviour Special “ Recovery Is learning”

Northern Star  Pallas Theme

  • Fairport convention – Fotheringay
  • Anathema – Lost Song pt 2
  • Thieves Kitchen – Prodigy
  • District 97 – perfect young man
  • Anchoress – PS Fuck You
  • Kim Seviour – Fantasise to realise
  • Lonely Robot – Oubliette
  • Touchstone – Black tide
  • Kim Seviour – Mother Wisdom
  • Kim Seviour – Chiasma
  • Kim Seviour & Alan reed – Love song
  • Kim Seviour Call to action
  • We are kin – Tides of Midnight
  • Tori Amos – Cornflake Girl
  • Cloud atlas – let the blood flow
  • Linkin Park – By Myself & In the end
  • Trippa – Drowning
  • Kim Seviour – Fantasise to realise

Tunein on

The Google app or the Apple App

Repeat Shows Tuesdays 1.00am bst & 3.00pm bst

Podcasts of all the shows are available here

Subscribe to the show here

If you have an requests or ideas about shows

Or anything else for that matter?

Northern Star   130717

Northern Star  Pallas Theme

  • Tangerine Dream – Ultima Thule
  • Porcupine tree – Always never
  • Hipiersonik – Stalker Borys
  • Gong Radio Gnome 1 & 11
  • Crippled Black Phoenix – My Enemies I Fear Not, but Protect Me From My Friends
  • District 97 – Termites
  • The Fierce and the Dead – Dancing robots
  • The mars Volta – Eriatarka
  • Frank Zappa – Transyvania Boogie
  • Meshuggah – Inside what’s behind
  • Sigur Ros – Rafstraumer
  • Guapo – Twisted Stems – the heliotrop
  • Gnidrolog – Peter
  • King Crimson – Elephant talk 12 “ mix
  • Cardiacs – I’m eating in bed
  • Peter Hammill – The institute of Mental health, Burning
  • Thumpermonkey – Sleeve
  • Knifeworld – I am lost
  • Mono – Ashes in Snow
  • Coheed and Cambria – Time Consumer
  • Magma – C’est La vie Qui les a menes la!
  • Anglagard – Ifrån Klarhet Till Klarhet
  • Poisoned Electrick head – Out of Order
  • VDGG – A Plague of Lighthouse keepers

Tunein on

The Google app or the Apple App

Repeat Shows Tuesdays 1.00am bst & 3.00pm bst

Podcasts of all the shows are available here

Subscribe to the show here

If you have an requests or ideas about shows

Or anything else for that matter?

Contact me on

This news story was originally published here:

David Gilmour announce the release of Live at Pompeii, through Sony Music, on 26th September 2017 and will be available on 2-CD, Blu-ray, 2-DVD, 4-LP, deluxe Blu-ray box and download.

“The Blu-ray and DVDs include highlights from the concert performances of both shows, filmed in 4k by director Gavin Elder. The audio, available on CD and LP, was mixed by Andy Jackson and David Gilmour, assisted by Damon Iddins. The formats run to around 148 minutes each, with more than 2 additional hours of material included in the deluxe 4-disc Blu-ray / CD set.

The Pompeii concerts marked a return by David to the venue 45 years after Pink Floyd filmed in the legendary Roman Amphitheatre there, his two spectacular shows forming part of the year-long tour in support of the No.1 album Rattle That Lock. David’s performances were the first-ever rock concerts for an audience in the stone Roman amphitheatre, and, for two nights only, the 2,600-strong crowd stood exactly where gladiators would have fought in the first century AD.

The stellar performances are complemented by an audio-visual spectacle, featuring lasers, pyrotechnics and a trademark huge circular screen, but paramount is the music; the show includes songs from throughout David’s career, solo and with Pink Floyd, including One Of These Days, the only song that was also performed by the band there in 1971, and six songs from Rattle That Lock, as well as two from 2006’s On An Island.

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The release of Live At Pompeii will be preceded by a worldwide cinema screening… details can be found HERE


This news story was originally published here:

The Tangent, the progressive rock group led by Andy Tillison, have released their new ninth studio album ‘The Slow Rust of Forgotten Machinery’ today! To celebrate, watch Andy discuss the making of the album in this new interview:

The album is available on limited digipak CD, gatefold 2LP + CD, and digital download here:

Andy comments: “This is our furthest reaching, most ambitious and genuinely heartfelt album since we began our career together. It is the result of our experiences, friendships, disasters and successes over 15 years. We believe in not just OUR music, but the ability of Progressive Rock to be a real life movement in today’s world. This album is our attempt to prove this philosophy true.”

The album has been receiving some fantastic reactions from press, you can find a few of them below:
“Eloquent, far-reaching prog” – Prog Magazine
“sophisticated and spot on” – Classic Rock
“This is essential listening” – Powerplay
“simply masterful…The Tangent are indeed back.” – The Prog Report
“one of the most unique-sounding and technically-impressive groups ever to come out of the British Isles” – Get Ready To Rock

Listen to an excerpt of the track ‘Slow Rust’ here:
Listen to the track ‘Two Rope Swings’ here:

The line-up for this album once again features Tillison on keyboards, vocals (and for the first time on a Tangent record – drums), Jonas Reingold on bass, Luke Machin on guitars and vocals, and Theo Travis on sax and flutes plus new member Marie-Eve de Gaultier on keys and vocals. There are also guest appearances from author/playwright and Chumbawamba founder Boff Whalley on vocals, and upcoming DJ/producer Matt Farrow.

The album sees The Tangent in political commentary mode once again – this time often focussing on the horrendous plight of refugees from war torn parts of the world – and the way in which they are treated by the West, and in particular by the tabloid press. The album laments the new trend in building walls and defending borders across the world yet takes time to look at the breakup of friendships and other more personal issues – along with a song about the fate of wildlife in the modern consumer world.

And it’s a Progressive Rock Record. Full of intricacies, long developed pieces, challenging arrangements and virtuoso playing from all members. New sounds and styles (the band have brought a DJ on board for some sections) – new voices and techniques (first female vocals in The Tangent since the “Not As Good As The Book” album 10 years ago). A new producer in the form of Luke Machin whose open and deep/clear sound is a major factor of this album, a new drummer in the form of Andy Tillison who decided at long last (after drumming for 30 years) to let his own performances guide the rest of the band rather than adding another musician later. And after 13 years of asking, Jonas finally agreed to play some double bass in a song where Luke also plays some Scat guitar and Andy does a full on drum solo.

“The Slow Rust Of Forgotten Machinery” also features stellar artwork from Marvel / DC Comics artist Mark Buckingham. The sleeve of the album is totally based on the music it contains and was especially created for this project.

1. Two Rope Swings
2. Doctor Livingstone (I Presume)
3. Slow Rust
4. The Sad Story of Lead and Astatine
5. A Few Steps Down the Wrong Road
6. Basildonxit

The band will head out on tour in support of the new record, once again joining forces with Sweden’s Karmakanic to present albums by both bands. The full list of dates is as follows:
Aug 26th 2017 – Bierkeller, Reichenbach, Germany
Sept 1st 2017 – 2 days of Prog +1 Festival, Veruno, Italy
Sept 9th 2017 – The Boerderij, Zoetermeer, Netherlands
Oct 8th 2017 – SUMMERS END Festival, Chepstow, UK
Oct 21st 2017 – Progtoberfest, Chicago, USA
Oct 22nd 2017 – Shank Hall, Milwaukee WI, USA
Oct 24th 2017 – Token Lounge, Westland MI, USA
Oct 26th 2017 – Roxy & Dukes, Dunellen NJ, USA
Oct 27th 2017 – The Regent Theatre, Arlington MA, USA

The Tangent online:


Visit the new Insideout Shop:

If you missed this week’s Prog-Watch you can still listen at! Just follow this link:

There’s been no shortage of great music released so far this year. So to keep you on top of all the great sounds out there, this week I am doing a 100% ALL NEW variety show! Every song will come from an album released in 2017. We’ll hear from Sky Architect, Big Big Train, Cosmograf, The Winter Tree, Steven Wilson, Anathema, The Samurai of Prog, Nad Sylvan, and Drifting Sun. Dr. Rob Fisher will also take us on another voyage of progressive discovery, with the latest album by Steve Hackett.

This news story was originally published here:

The Fleece, Bristol
Wednesday 19th July 2017

Some gigs should never happen.

The obvious question here is – and with no disrespect at all to the venue – what on Earth is STANLEY CLARKE doing playing somewhere like The Fleece?! For four very rare U.K. shows outside London, an event that in all likelihood hasn’t happened since the ’70s, Clarke and his band of wonderful young musicians are playing in venues with capacities of a few hundred. That is just wrong!

Could it be that the smaller venues are an indication that the man, now 66 years old, is past his prime and playing wherever he can for change? Not a bit of it, from start to finish this was a blazing display, not only of raw talent and intuitive technique, but of musical understanding, it becoming obvious early on that this was to be a band performance, not simply a star with some side men. All of the players got their time in the spotlight, actively encouraged by Clarke who supported them strongly and was clearly getting a kick out of what they were doing.

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The word ‘legend’ is oft used, but couldn’t be more appropriate for a man of Stanley Clarke’s reputation. Innovative and hugely influential, his playing has been used as a yardstick for the bass guitar for more than 40 years now. I’ve had the good fortune off seeing some stunning bassists over the years but Clarke was a revelation, putting in a jaw-dropping turn with effortless ease. From slapping, strumming, harmonics and rhythmic percussive outbursts on the electric, he followed through to beautifully ornate and sophisticated jazz, his soloing always of the most melodic tone. It really didn’t matter what he played, and most of it was probably unknown to all but the fiercest SC die-hard, but there was a mighty cheer when the ubiquitous School Days made its expected appearance, a thrilling display of chops and tune that could never fail to get the people moving.

Stanley Clarke

The added improv skills of the ridiculously talented trio of additional players brought energy and inspiration off which Clarke fed. He has a history of developing young talent but in pianist Ruslan Sirota, keyboard player Caleb McCampbell and drummer Mike Mitchell he has one fiery group of musicians at his disposal. To put it in context, unbelievable as it may sound, the band were so good that I often forgot that Mr Clarke was also on the stage! Ruslan’s exquisite technique and dexterity were highlighted early on, his melodic flights taking the music to new and unexpected places. The two keyboardist set up is an unusual choice but it works a treat, McCampbell adding more sweeping synth lines whilst also soloing to magnificent effect. For brief passages he deployed a Vocoder-like piece of equipment to add treated vocals to the mix, including a snatch from Paul McCartney’s Yesterday at one point.

Drummer Mitchell is a full-on force of nature who deserved his time to shine, playing with time signatures and massaging tempos whilst smashing his kit to matchwood one minute, adding the most deft and delicate touches the next and grinning like a man possessed throughout the whole near two hour set. Some commented afterwards that three drum solos was a bit much, and that may be true, but with almost psychic talents of this magnitude, when Mike goes off on one Clarke is shrewd and professional enough to let him get on with it.

All of the performances brought incredulous shakes of the head from the audience, people turning to each other in disbelief as the band eloquently showed why the best jazz musicians are the best musicians there are. After humorously introducing himself as Louis Armstrong, on Clarke’s part the set was split in two, the first focusing on the electric bass whilst the second resulted in some mesmerising double bass work, Stanley showing his equally magnificent technique on the upright, belying the unruly nature of the massive instrument and making it sing and dance, bright harmonics skittering off in all directions, sometimes coupled with Clark beating out rhythms on the shell. Sounds appeared that I’d never thought could come out of an acoustic bass and his playing was frequently outrageous and audacious, a majestic and enthralling performance throughout. Legend? You betcha, and on numerous moments tonight, Stanley Clark was the coolest dude alive.

Stanley Clarke

Having overrun the curfew, the band returned for a brief and funky encore, Clarke returning to his electric. I was hoping for more of this towards the end of the show but that was not to be and it is clear that the double bass is where Clarke’s heart lies these days, so it was nice to see it getting so much attention, despite my drooling anticipation of more slapping fireworks.

A complete honour to witness such a masterful display, a masterclass of technique, control and unadulterated enthusiasm for what they do, not a dry and empty experience built on technique alone but a complete performance to be savoured and enjoyed. Whoever decided that this was a show for The Fleece should be applauded as to see skills of this magnitude in such a compact environment was a thrill not to be missed, despite the comfort and sighting issues associated with standing venues.

Stanley Clarke

If you missed this, there’s still a couple of chances to catch this magical band in intimate surroundings in Glasgow and Leeds on 24th and 25th July. If you’re able, you know what to do.

And that was that. Having driven home I sat quietly, looking at my own trusty bass guitar, thinking of the hideous sounds I manage to wrench from it and dreaming what it might be like to play like Stanley Clarke. Realising the inevitable I took a hammer to it. And then cut my fingers off and fed them to the cat.

[With thanks to Mel Allen for the photos and video.]

Other than School Days, no idea!

Stanley Clarke – Electric Bass, Double Bass
Ruslan Sirota – Piano, Keyboards
Caleb McCampbell – Keyboards, Vocals
Mike Mitchell – Drums

Stanley Clarke – Website | Facebook


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