Legendary Rock ‘n Roll Musician Chuck Berry dies at 90
ST. CHARLES, MO (KTVI) – Police say that legendary rock n’ roll musician Chuck Berry has died at the age of 90-years-old.
First responders were called to a medical emergency on Buckner Road at about 12:40pm Saturday. They found an unresponsive man inside the home. They started administering lifesaving techniques. St. Charles Police say he could bot be revived. Berry was pronounced dead at 1:26pm.
St. Charles Police sat they have confirmed the identity of the man to be Charles Edward Anderson Berry Sr., better known as legendary musician Chuck Berry.
The family requests privacy during this time of bereavement.
Berry was born in The Ville neighborhood of north St. Louis in 1926, where he attended Sumner High School. His home, on Whittier Avenue, is on the National Register of Historic Places. That’s where he lived in the 1950’s when he recorded many of his biggest hits.
Berry just released his first new studio album in more than 35 years. The album called “Chuck” was recorded in St. Louis-area studios.
Jimmy Marsala, a bassist in Berry’s longtime band, suggests the new album took so long to come together because Berry wanted to make sure it lived up to everyone’s expectations. His last studio album was “Rock It” in 1979.
I can remember a time in the early to middle 1980’s where some very quality heavy metal bands were coming out of the New England area of the United States. Much of the bands were coming from Connecticut area. My first introduction to bands out of this area was Liege Lord in 1983. Soon after that I would discover Steel Prophet and Obsession. But in 1984 it was legendary progressive metal Fates Warning that would really put the Connecticut/New England metal scene on the global map. These bands would all share into some success throughout the rest of the 1980’s until the Seattle bands in the Pacific Northwest would alter the musical landscape for a few years to come.
While record labels and promoters were having their honeymoon with plaid clad lumberjack Grunge whores, heavy metal would suffer for a while and music that once sold out arena’s was reduced back to the nightclub scenes it seemed to of come out of just a decade before. However as many know heavy metal is extremely resilient and has proven so in its almost 50 year history. It is so resilient in fact that those bands I mentioned would recruit another generation of bands. Crossing Rubicon would be one of those bands. Here is a brief biography from their official Crossing Rubicon Facebook Page.
Crossing Rubicon began as a two-man project involving Scotty Anarchy and Pete Ahern (Red China Blue). The band enlisted our current drummer Brandi Hood shortly thereafter. Zach Lambert came on board and the group’s second guitarist. Brandi’s long-time rhythmic accomplice Jeff Diablo joined in the spring of 2010 as the groups bassist to round out the lineup. Pete stepped away from the band in the summer of 2010. Rob Dolan (ex-Dirty Blonde, ex-Hot Mess) joined to fill the lead role through four very successful shows including opening slots for In This Moment, Nonpoint, Pop Evil, and Rev Theory. In March 2011, the groups current guitarist Matt Douglas took over as the group’s permanent lead guitarist. Success continued as the band landed opening slots for Motley Crue, Bret Michaels, and Tantric. Bassist Jeff Miles stepped away from the band in late 2013 to be replaced by the groups current bassist, Steven Riccio. Crossing Rubicon’s music is often described as a throwback to metal of the 80’s and early 90’s, as band such as Queensryche, Alice In Chains, Metallica, Judas Priest, and Iron Maiden, while having a modern rock sound.
It would be that very sound that the band would employ to forge their debut album No Less Than Everything. The band not only applies vintage heavy metal forged from the golden lineage of heavy metal but also advance the evolution of power progressive metal with very modern and relevant elements. Their music is written in such a way that it is ‘Generation Transcending’ as to not be pigeonholed to any particular generational or age demographic. They certainly have a keen and intricate sense of allow all the hallmarks of pure and true heavy metal to come through everything they write and record. Now I will proceed to do a track by track analysis and point out some highlights from every track on Crossing Rubicon’s No Less Than Everything.
Tomorrow Never Comes is a straight away guitar charged frenzy. This frenzy is backed by a very quick and precise charging rhythm section. The vocals are a hybrid of Michael Kiske meets Jon Oliva. There is almost a slight thrash metal aesthetic throughout this track. The backing vocals have some attitude behind them as well. The guitar solo’s are well balanced.
Unhinged opens up with a more tuned rhythmic section both with the bass/drum and rhythm guitar. It is a bit more distorted than the previous track however the intro serves a purpose to set up the first verse and bridge narrative. The female backing vocals add some depth to this track as well. This track just continues to build layer upon layers on heavy rhythm sections within the chord progressions.
Never Again begins with a blistering rhythmic section based around the drums. From there it is a total blister fest between chord progressions and time signatures forming some brutal passages. The heavy blast beats of the bass drums really ground and anchor this track. The guitar solo really stands out as a shred fest among this heavily rhythm based track.
The Fallen begins as a semi atmospheric ballad with a isolated guitar bass and vocal before taking off into a blistering frenzy. This track goes from more of a ballad into a anthem style track. The vocals are very warm and really play off the backbone of the rhythm section. The guitar chord progressions are a bit warmer in this song as well. The lead portion of the guitar goes into a multiple solo style progression telling almost a instrumental story narrative. The backing vocals are very spot on as well. This track ends almost like a Savatage style track.
Bittersweet Day opens up with a very groove laden rhythm section with some really intricate rhythm guitar work in perfect harmony with the bass/drum rhythm section. This track is a very gritty yet fluid track allowing the vocals to come through very crystal clear allowing the track to both breathe and tell the story of the song. The guitar solo’s remind me a lot of a Kai Hansen (Helloween era) meets Savatage’s Cris Oliva. This is one of those songs that can hold its own in any decade over the last 30 years.
Cut Deep reminds me of one of those old school hard rock tracks that may of surfaced in the late 1980’s early 1990’s. There is a certain Alice In Chains influence happening in this track with the multiple vocal harmonies. This takes nothing away from the beautiful quality of the track. I hear some KingsX and even Galactic Cowboy odd metal influence in this one. The vocals harmonies are the true highlight on Cut Deep.
Whos Gonna Save You opens up with a serious blistering rhythm section. This is beautifully followed up with some nasty yet brutal lead vocals with some blistering and brooding backing vocal harmonies. The lyrical content is spot on in harmony with the instrumental throughout the entire track. The writing was deliberately brutal on this song. Even the rhythm section and guitars are brutal with some serious teeth behind them. This is just one serious beast of a track.
Violet Carson opens up with a vocal chant like there may be a occult thing going on here. The vocal chants are layered with beautiful harmony. Soon the track takes a very dark and brutal brooding chord progression. This song really reminds me of a Mercyful Fate meets Narnia vibe in a very odd yet tasteful way. The rhythm section throughout goes in and out between a progressive and power metal time signature. Once again the guitar solos are very spot on in time and register. There is a very wicked and beautiful spoken word section in the middle of the track to help enhance the narrative of the story. The vocal chants harmonies are the true anchor on this one.
Reason To Beg opens up with a very traditional heavy metal chord progression. The rhythm section reminds me a lot of gritty sleaze rock in the vein of Dirty Looks meets Ugly Kid Joe with slight progressive power metal elements. The lyrical content is rather brutal as well.
Do We Not Bleed is one of those tracks that could of been very radio friendly in the 1980’s or early 1990’s. It is a very well written straight away heavy metal track that carries all the hallmarks of verse/bridge/chorus with a well executed guitar solo within it that is carry by a strong bass/drum rhythm section. This is a song that could also be easily adapted to video form.
Im Here is a straight up guitar and vocal oriented track. With that said it is greatly anchored by a killer rhythm section with some serious emotion within the lyrical construct. It is a very fast up tempo track that will appeal to both metal purists and progressive metal purists. The chord progressions within the guitar solos are very heavily progressive influenced along with the vocal harmonies. The vocals really hit some high points on the register.
Return To Atlantis opens up with a very unusual but welcomed ocean crashing on the shore effect. Then the track takes on a very pure progressive metal chord progression allowing the rhythm section and lyrical story to breathe while the listener digests what they are listening to. This track is really focused on the harmony between vocals and instrumental portions developing a special emotion for the audience to really absorb this. The guitar solos are arranged and executed to the point as to not take away from the obvious story narrative the band is trying to convey to their target audience.
Crossing Rubicon are definitely one of those bands that really take a little bit of influence from all eras of heavy metal and hard rock and balance them with ease. They also blend all these various forms of metal and hard rock without it sounding stale or dated. They definitely have created a sound that will not pigeonhole them into where they can play and who they can share a live bill with. It is also noted that No Less Than Everything is a ‘debut’ album. If this is a debut album I can not wait for what they will do next. They definitely have the talent and ability to created various levels to heavy metal and hard rock. For a well thought of and well written ‘debut’ I give this a 4.5/5 for the insightful effort.
My gateway into neo progressive rock music was Marillion’s Misplaced Childhood in 1985. It was a bit difficult for me due to the fact I was a solid metal purist at the time. However the music never left me and the seed was sown towards future neo progressive music in the future. Throughout the years neo progressive music and bands would come across my path. By 1999 I had discovered California neo progressive rocker’s Enchant when I bought A Blueprint Of The World – 1993 and Wounded – 1996. From that point all my defenses concerning neo progressive rock and metal had been totally removed.
Soon after I had discovered bands such as IQ, Pendragon, Spock’s Beard, Jadis, Pallas and Arena to name a few. These bands all have a common thread that easily allows the neo progressive title to be bestowed upon them. This common thread is experimental symphonic prog. It requires particular programming of synth’s along with guitars and rely more on a heavy lush stringed section. It is a very rare occasion when the neo progressive element meets a heavier almost metal element. It also takes a very talented and exceptional band to be able to blend these elements just right. Fortunately Dutch band Knight Area has been able to manage just that. Their 2017 release Heaven And Beyond displays this at work.
On Knight Area’s Heaven And Beyond there is a sonic buffet of various styles in play. Various styles not only include the obvious neo progressive staple but also go on to include hard rock, heavy metal and even AOR at certain points. This album is easily accessible to those various audio pallets. My appeal to Knight Area really took off after Peter Vinnk – Bass (Star One and Ayreon) alumni joined the band. I had always been a fan of his intricate and expansive bass work. This work is magnified on Knight Area’s Heaven And Beyond. Now I would like to explore some highlights of Knight Area’s Heaven And Beyond track by track.
Unbroken opens up with the keyboard transcribing a horned section almost from the 16 th century. Soon it goes into a pure progressive hard rock slightly metal chord progression with a great isolated guitar solo. The track fades down and soon come out of left field with a really gritty and crunchy rhythm based guitar signature. That is followed by a thunderous another thunderous rhythmic section between the bass, drum and rhythm portion on the guitar. Mark Smit – Vocals then comes in with some powerful, clear and angelic style vocals to carry the atmosphere of the track. This is a very guitar driven track from top to bottom with various breaks and time signatures.
Tree Of Life opens with a beautiful piano passage before being met with a straight away progressive hard rock passage. The rhythmic section really sets the table on this track quite nice. The guitar almost sounds like a 7 string guitar at times allowing more depth within the track. The vocal work is just as much a instrument as it is a narrative piece within the composition. The guitar solo’s really allow for a heavier listening experience. This is easily one of the tracks that can open up a live set list delivering depth to their intended audience. The Hammond Organ style towards the end gives the track a vintage progressive rock presence.
Memories starts out with a lush piano ballad with a deep warmth within the vocals. Although it is very progressive it displays some light AOR elements. The track soon takes off like a hard rock power ballad however without sounding cheesy. The guitars really lend a lot of atmospheric depth and layers to the stringed section. The vocals harmonies are spot on with the instrumental portions to the composition. They are almost like a mini choir in nature. This is definitely one of the more guitar driven tracks on the album.
Dreamworld begins with a beautiful piano intro before taking on a very heavily symphonic rooted chord progression. It is as if the band are taking a symphony orchestra mindset and transcribing it to the available instruments at their disposal. This track as big thunderous rhythm sections matched wonderfully with big stringed sections. The vocals really blend all the sum of the parts of this track beautifully. The band really start to form a very distinct sound on Dreamworld.
The Reaper opens up with a very dark brooding bass passage with some seriously warm yet dark vocals along with a open atmosphere on the keyboards. The vocals are arranged with such thought and care in their isolation. This track takes on a very some very misty eerie instrumental elements allowing the isolated vocals to get a beautiful to be told in its fullness. In its gloomy atmosphere the track still allows a little light in to breathe.
Box Of Toys opens with a powerful guitar solo from the top. Soon it goes into a break with a great rhythm section to allow the vocal to breathe and tell the story. This track reminds me a lot of early GTR or Asia compositions. There is a great violin in this as well. The harmonies are very Yes in nature.
Starlight blasts open into a progressive frenzy with the rhythm section. This is a very straight away progressive hard rock track with intelligent vocal harmonies playing in perfect range with the stringed section of keys and lead guitar. Starlight borders on the fringe of a progressive metal track at times throughout the track.
Heaven And Beyond opens up with a beautiful harmony between the piano, guitar and vocal. This combination allows the listener to settle in the track. The opening is almost ballad like before the drums come in and turn it into more of a power ballad. This is definitely one of those songs I see their fan base singing back to them during live performances on tour. Its very nature is unifying. The guitar solo’s are a complete treat on this one as well. There are some really tight beautiful vocal harmonies towards the end.
Saviour Of Sinners opens up with a straight away prog metal delight with some neo progressive elements sprinkled in. The band really has a great talent in mixing the vocals to be isolated within the instrumental where they can be clearly heard and the story told. The rhythm section is spot on leading both the vocal harmony and the stringed section serving as a anchor for the entire track. Time signatures are definitely present all over this song.
Eternal Light the ethereal opening guitar solo on this track matches the title quite perfectly. It appears this was recorded live as is in studio along with a beautiful and perfectly complimentary keyboard in tandem harmony. The emotion in this track will take the listener for a emotional ride. It is the only instrumental on Heaven And Beyond.
Twins of Sins opens up in a almost unconventional classic rock format. It opens up much like 1980’s progressive rock when bands like Asia, Yes , etc took on more AOR elements. However the further this goes the more the track takes on a more modern neo progressive metal track with catchy time signatures and complex chord progressions to match the intricate bass and vocals. This track also serves as a great uplifting track to close out the album.
To my surprise Knight Area’s Heaven And Beyond was a very unconventionally guitar oriented neo progressive album. Sometimes the term neo progressive means it is more keyboard based however this album was not that. Heaven And Beyond is going to surprise some people in the progressive rock and metal communities since there is a little bit of everything for the progressive pallet. I would not be surprised to find this album in the Top 5 or even #1 of the Album Of 2017 lists when they come out at the end of the year. This is a very good album and gets a 5/5 for the variety of many progressive elements.
In their long career, Vanden Plas Official has only released one live album, “Spirit of Live,” recorded in Paris at the legendary Elysée Montmartre, in 2000. With the upcoming release of “The Seraphic Live Works,” the wait for another documentation of the band’s immense talents asa live act is finally over!
Through many tours and countless concerts, Vanden Plas has proven again and again that it is among the world’s leading progressive metal bands. The quintet’s glowing reputation carries across the pond to the U.S. where Vanden Plas was invited to appear at the renowned ProgPower USA in Atlanta in 2011. Regardless of a band’s fame, an invitation to this prestigious event is an honor and their performance is certainly a high note in Vanden Plas’ history. And it is for exactly that reason that Vanden Plas decided to captutre that unique moment.
“The Seraphic Live Works” shows unmistakably how extraordinary this gig at Center Stage Theater was for everyone involved. A performance exploding with energy, euphoric audience, and the venue’s own special flair. The recordings will captivate every viewer and there is no question that Vanden Plas made the right decision to preserve this performance for eternity.
“The Seraphic Live Works” captivates and enthralls for nine songs, beginning with straightforward opener “Postcard to God” through the atmospheric “Far Off Grace” to the brilliant closer, “Silently.” In this extended live version of the song, Vanden Plas ignites a prog metal fireworks display that is unparalleled, leading the listener through more than 11 magnificent minutes to a spectacular conclusion.
Vanden Plas has fans all over the world, but for those who have not yet been able to experience the band, they wanted to give them the next best thing with “The Seraphic Live Works.” The audio and video capture an authentic band that stands out in the prog metal genre.
“The Seraphic Live Works” includes:
Tracklisting (CD & DVD):
1. Postcard To God
2. Rush Of Silence
3. Holes In The Sky
4. Far Off Grace
5. Scar Of An Angel
7. Cold Wind
Stephan Lill – Guitar
Andreas Lill – Drums
Günter Werno – Keyboards
Andy Kuntz – Vocals
Torsten Reichert – Bass
The Shattered Fortress is Mike Portnoy and an all-star Prog lineup consisting of members of HAKEN and the NEAL MORSE BAND performing Dream Theater’s 12 Step Suite live in it’s entirety for the first time…
This is not “a new band or project”, it is “an exclusive EVENT” that will be making several exclusive live appearances in select markets throughout the world ONLY in 2017
The setlist at the show will be comprised of the 12 Step Suite and select other classic Mike Portnoy/Dream Theater songs
As of now, these are the ONLY Shattered Fortress shows…after 2017, this will NOT be happening again….So don’t miss this ONCE IN A LIFETIME event while you can!
All Tickets on Sale this evening! Wednesday March 15th at 7pm GMT
Friday 10/20: Doors 3pm Music Joint:
Sons of Ra/ Echoes of Giants/ Five of the Eyes/ In the Presence of Wolves/ AISLES
Friday 10/20: Doors 4pm Rock Club:
Luz de Riada/ District 97/ Thank You Scientist/ Dave Kerzner Band/ The Alphonso Johnson Band
Saturday 10/21: Doors 11am in Rock Club:
Frogg Cafe/ ABACAB/ Wave Mechanics Union/ CAST/ Mike Keneally & BFD/ WOBBLER/ Karmakanic/ The Tangent
Saturday 10/21: 11am in Music Joint:
Roswell/ NEW! Performing NEU!/ King Llama/ Joe Deninzon & Stratospheerius/ Karcius/ Necromonkey/ Bruce Soord of The Pineapple Thief
Sunday 10/22: Doors 11am in Rock Club::
Randy McStine/ Kinectic Element/ Discipline/ XmarsX/ Schooltree/ Mano/ Martin Barre
Sunday 10/22: Doors 11am in Music Joint: EYE/ Amalgam Effect/ Lost World Band/ Progger/ Agori Tribe
All tickets good for both Music Joint and Rock Club room. Complete times and Meet & Greet schedule TBA.