Showing posts with label Nick D'Virgilio. Show all posts
Showing posts with label Nick D'Virgilio. Show all posts

Wednesday, February 28, 2018

Spock's Beard - Noise Floor (2017-2018)

Coming out on May 25th, NDV is back on drums. More melodic.

Will check out of course.

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Spock’s Beard announce 13th studio album ‘Noise Floor’ 

Legendary US progressive rockers Spock’s Beard have announced the release of their 13th studio album ‘Noise Floor’ for 25th May 2018. As announced previously, for this album Ted Leonard, Alan Morse, Dave Meros & Ryo Okumoto are joined in the studio once again by drummer & original member Nick D’Virgilio, who records his first album with the band since 2010’s ‘X’.

Spock's Beard are a band who are in a continual state of evolution, as is always the case with genuinely creative musicians. And their new album, 'Noise Floor', fits perfectly into this process.
“We are always about evolution, not revolution. But what we have done this time is make the songs more melodic,” believes vocalist/guitarist Ted Leonard. “We still love our crazy prog, but now appreciate how important it is to grab people's attention early on.”

As with all Spock's Beard songs, most of the new album was written by the individual members, and then brought to the rest of the band as high quality demos. “We all do this type of thing in our home studios,” adds Leonard. “So, by the time they reach the stage where the entire band get to judge them, they are really developed, and therefore everyone can make a reasoned judgement.”
Much of what you will listen to here is very much the product of fresh inspiration from the Californian band.

One key change on this album sees the return of drummer Nick D'Virgilio, who originally left in 2011. There are also two violinists, a cello player, a viola player and an English horn featured on the album, thereby giving the sound a slightly more evocative and persuasive twist.

The album was once again engineered by long-time collaborator Rich Mouser and will be released as a 2CD digipak (featuring an EP of material from the same sessions), gatefold 2LP + 2CD & as digital download.
The track-listing is as follows:
Disc 1 – Noise Floor
1. To Breathe Another Day
2. What’s Become of Me
3. Somebody’s Home
4. Have We All Gone Crazy
5. So This Is Life
6. One So Wise
7. Box of Spiders
8. Beginnings

Disc 2 – Cutting Room Floor
1. Days We’ll Remember
2. Bulletproof
3. Vault
4. Armageddon Nervous

Look out for more information in the coming weeks!

Thursday, November 20, 2014

Dave Kerzner - My Old Friend (Thud Reunion)

Dave Kerzner, who played with Kevin Gilbert on THUD and was a touring/live member with that era/band has been buzzing in the progressive rock world a lot this year with his solo record (and he many guests, one being Steve Hackett I recall).

But today, which would have been Kevin's 48th Birthday, Dave was very cool to share a recording him along with some of the other THUD band members made I guess in honor of Kevin. Nick D'Virgilio + Russ Parrish are on this.

Rather dreamy sounding. I probably need to be more conscious of this upcoming solo album of his, which it sounds like should be released rather soon, and will include a version of this track.

https://www.facebook.com/groups/4784414683/permalink/10152896734279684/

Happy Birthday My Old Friend Kevin Gilbert!
In honor of the late Kevin Gilbert's would-be-48th birthday I am streaming a song from my solo album that features a mini "Thud Reunion" with Nick D'Virgilio, Russ Parrish and myself. This is the second song I've written about him. The first was SOC's "Not Coming Down". I'll just be streaming this for 24 hours, today November 20th, for Kevin.
https://soundcloud.com/davekerznerband/my-old-friend
A lot more information about the song, the players and the lyrics in the Sound Cloud description.



https://soundcloud.com/davekerznerband/my-old-friend

20 years ago I played in a band called "Thud", which was the late Kevin Gilbert's solo project after "Toy Matinee" split up. Today would have been Kevin Gilbert's 48th birthday if he was still alive. In many ways, his spirit is still alive through his music and his influence. Working with him had a profound impact on me as a musician and lyricist.

In 1998 I wrote a song about him called "Not Coming Down" that later got revised and recorded for the Sound of Contact "Dimensionaut" album. Now, many years later I've written another song dedicated to him for my first-ever solo album "New World". What made this even more special for me is, for the first time in 20 years two other former members of "Thud", Nick D'Virgilio and Russ Parrish, play drums and guitar along with myself on vocals and keys, Fernando Perdomo on bass and special guest Maryem Tollar on "exotic vocals from another land". So, it was like a mini-Thud-reunion for us and it was very fitting given the subject matter of the song. It was also very nostalgic! While I work with NDV a lot, I had not seen or talked to Russ in probably 18 years? So, it really was great to catch up with him and he was thrilled that I asked him to play on it. Maybe we'll do it again sometime!

I wasn't planning on posting any more full songs until my album is out (which is very, very soon) but, since it's Kevin's birthday, I thought it might be nice to stream a pre-mastered version of the song "My Old Friend" just for today, November 20th, in honor of Kevin on his would-be-birthday.

If you aren't familiar with Kevin's music, he was a brilliantly clever lyricist and virtuoso musician. I strongly recommend you check out the latest Kevin Gilbert and Giraffe releases coming from Kevin's estate. www.kevingilbert.com and look him up on YouTube. The "Thud Live At The Troubadour" DVD gives you an idea of what some of these same combinations of musicians sounded like back then.

Happy Birthday Kevin wherever you are!

My Old Friend
(Music and Lyrics by Dave Kerzner)

Hello, my old friend 
From the other side of the end 
You’ve come to visit me again 
Poetic license to pretend
Hello, to the shape unknown 
Waiting dauntless on my own 
Bare and fragile flesh and bone 
I am eager to be shown

Give me reason, give me art 
Unearthly wisdom you impart 
Crossing over, shaking hands 
With someone who understands

Hello, my old friend 
From the other side of the end 
We both took that drive 
To an unexpected curve 
With hollow people 
Who’ve got a lot of nerve 
Restrained what we deserve 
In a cloud you observe

Give me reason, give me art 
Unearthly wisdom you impart 
Crossing over, shaking hands 
With someone who understands
Give me courage, give me grace 
Spin the dogma that I face 
I am tuning to the signs 
Etching truth in cosmic lines

©2014, Dave Kerzner ASCAP, RecPlay Inc. All Rights Reserved.
So long my old friend One day we shall meet again

Saturday, July 12, 2014

Fire Garden - Sound of Majestic Colors (2014)

http://firegardenmusic.com/
https://www.facebook.com/firegardenmusic
http://firegardenmusic.bandcamp.com/

Fire Garden is a progressive metal band from Chicago, whose debut album "Sound of Majestic Colors" was released just a few weeks ago on June 10th.

"The Joker" is a pretty sweet opening track. With dynamic, haunting textures and moods. I particularly like the sad, slow section that comes about 5 minutes-in.

"Get ready to play my game. I leave you all in tears. It'll never be the same, because I'll make you go insane"

The chorus and vibe of it does represent a bit of what "The Joker" from the Batman Universe may represent. At least I suppose I get that image in my head of The Joker character. I would guess the band was thinking about that at least in some part when they wrote and named that track what they did.

edit: I never got around to finishing this as I posted this a few weeks ago as a DRAFT. But I can say, this record, while overall has some of the traditional prog/prog metal. The melodies do stay with you, and there does not seem to include that much of the extensive filler I notice in a lot of the so-called traditional prog metal. I think they focus as much (if not more) on atmosphere as they do on chops.

Vocally Kevin sounds at times like Neal Morse or even Nick D'Virgilio, but not *exactly* like either. I suppose that is one reason why i am not as bothered by the vocals compared to some of the again, so-called trad. prog metal.

Is this an album I am addicted to? I can't say exactly. But I still like a lot of it. "Time Machine" "Far From Grace" "The Last Step" come to mind among the others besides the opening track.

Is it a short record? no, of course just look at the track lengths. But I suppose it doesn't seem as long as it may (or other prog albums of similar 1 hour+ lengths).

I will try and digest it more if/when time allows by the end of the season (Halloween) when that comes up. But for now, as far as "prog" records for 2014, this is one of the better ones, and namely given it's from a new band



1. The Joker 8:39
2. Alone 5:32
3. Time Machine 6:33
4. Endless Memories
5. Redemption 4:18
6. Behind the Face 8:09
7. Forsaken 6:00
8. Echoes in Silence 8:23
9. Far From Grace 6:26
10. The Last Step 8:42

Saturday, May 17, 2014

Kevin Gilbert: Facebook + YouTube [Official]

Kevingilbert.com's YouTube

https://www.facebook.com/kevingilbertofficial

This Topic on Mike Portnoy's forum was posted this past week about Nick D'Virgilio's involvement in The Shaming of the True . And Gruno, a noted friend and longtime collector/helper/supporter/promoter of many things Kevin Gilbert/Kevin Gilbert-related on a few forums and email lists, chimed in.

He mentioned a few things, but one being a documentary series about Kevin, and how Kevin's estate is now cool about these being made. Not just one part or 1 doc, but as I said, A SERIES covering "eras" of Kevin's musical career.

So, this video was just shared per the FB/YouTube page (among some other live and official videos), and there is certainly a lot of footage in there I have never seen. The fact Kevin did do some filming on his own, has me awfully curious about what may come with these i.e. Kevin did likely shoot a good amount of home video. And along those lines, given the fact Kevin was a studio hound and would literally leave the tape (or Reel-to-Reel) recording almost all-the-time, makes me curious if there is a lot of footage of him just recording. Which I suppose will have to be edited for the documentaries, but I'm sure there could be some very cool moments or just funny or poignant quotes.

I guess we'll see. These documentaries may not necessarily come out rapidly though, as I'm sure Gruno has other things he needs to do with his time as well. In other words, I would not expect to see some of them for a few years. But he mentioned perhaps the 1st one may come by the end of this year.

In the mean time, this new official page on FB and YouTube may provide more goodies or just info about things related to Kevin. Namely any new music the estate may release as well of course (which usually shows up on the official website, but having it on Social Media also should help).

Tuesday, March 13, 2012

Kevin Gilbert's The Shaming of the True (live) 6/2/2012



CalProg is honored to announce the only show of the epic rock opera by the brilliantly twisted late, great Kevin Gilbert called "The Shaming of the True". This full-scale theatrical production is being directed by Mark Hornsby (Rewiring Genesis) and Nick D'Virgilio who also is featured in the starring role as Johnny Virgil. The band is comprised of musicians that all performed with Kevin at some point in his career. They are:

Stan Cotey - Guitar (Giraffe)
Dave Kerzner - Keys (Thud)
Paul Ill - Bass (Kaviar)
Brian MacLeod - Drums - (Toy Matinee, Tuesday Night Music Club, Thud, Shaming, Kaviar)
Plus Special Surprise Guests

"Shaming" was something that Kevin worked on off and on for years throughout his career. NDV who had been intimately involved in many aspects of the project decided to complete it for him following his untimely tragic passing, and the finished product was this brilliant piece of work. It was performed live only once in 2002 at ProgWest. It had been recorded for a live release, but due to glitches in the recording it was never released. This time it will be recorded digitally for a DVD/CD production, and there will be no "glitches"!

Shaming of the True Live
Saturday June 2, 2012 - 8:00pm
The Shannon Center for the Performing Arts at Whittier College (seats 400)
Tickets go on sale This Saturday (March 17) at 8am, only at http://www.calprog.com (do not call the theater)
$80 - Orchestra
$70 - Mezzanine and Balcony

THE STORY
The album follows the career of a singer/musician named Johnny Virgil, which follows an arc common to many big rock and roll bands/stars. It starts out promisingly, but he is lured into the common trap of record-company exploitation and seduced by fame and drugs/alcohol. He becomes more and more burned out and withdrawn as his career becomes larger than life, feeling like he's losing touch with his humanity, until the whole thing culminates in a breakdown. He goes through a period of disillusionment and depression but eventually makes peace with himself. A number of clues (last song title, lyric "End of a long days life," reprise of train whistle in distance, etc..) may also indicate that Johnny dies penniless on the street or takes his own life.
(Wikipedia)



http://www.calprog.com/


I'd love to go, but with this, as of right now, looking at costing $500 or so at least (the cheapest airfare from Minneapolis to LA around June 2nd, is $319 right now, lol), along with other costs and potential trips

-The Dear Hunter in Boston May 9th
-A cousin of mine's Bat Mitzvah in Cleveland May 11th-12th
-Marillion in Chicago June 22nd/23rd

-Bend Sinister in Winnipeg March 13th
-A trip to Scottsdale, Arizona in the next month
-Arch/Matheos in Hartford, CT May 5th

I just don't follow how I will be able to afford this. The Marillion shows are the only one's I am certain I will put money and priority to, as I bought 2 tickets to each show for myself and my girlfriend.

I suspect the timing of this being so-close to not only the upcoming Marillion tour in June, but also Nearfest Apocalypse, which just sold out a little over a week ago, I'm thinking were not factored in. It likely was the best and maybe only time/weekend all these people had free over the next 6 months or more. Namely Nick I'd imagine, with his busy Cirque Du Soleil schedule.

But it's unfortunate for myself and maybe some of those others who already planned trips to see Marillion and/or Nearfest (among other shows/trips) this late Spring/Summer. Because if this was taking place say in August/September/October I'd probably not even question about going. I would, even at the somewhat hefty $70-$80 ticket cost. Given this is Kevin's music, played by people who he played with, and that it seems, like The Dear Hunter show in Boston, like a sort-of Kevin Gilbert fan convention, the $500 wouldn't seem so unreasonable. But so soon around the time of this other stuff, I'm really doubting I can throw that level of cash to this.

I guess their may be some kind of Kevin Gilbert-related opener, but that is not able to be announced at this time.

At least it may come out on CD/DVD unlike the 2002 ProgWest show, but that's kind of a consolation at best. I suppose the thinking could be, like the Kevin tribute act, Champions of Nothing, they could try and do this another time in the near future. Maybe even in Chicago, but that may be wishful thinking, because like I said before, a lot of the timing of this, was how it could work around the schedules of those involved. Nick and some of the others may never have another weekend to do this (and time to prepare) for many years, if ever.

But I guess we'll see. I will at least think about buying a ticket, like I did for The Dear Hunter The Color Spectrum show. Other things like meeting the Used Bin guys and some other stuff in LA would be nice, along with meeting many of the Kevin Gilbert fans. I wonder if even some of his direct family or ex-girlfriend Cintra Wilson might be there. Or The Debster (Debbie Miller) who runs his website and 1 of the email lists as well. Some of them likely, which I suppose meeting them would be another potential interest of mine. But I still can't ignore the cost and timing for now.

Saturday, February 4, 2012

Kevin Gilbert: 2 cool related things.




This trailer for Nick D'Virgilio's Pieces record was just posted. It's not exactly a trailer for his album, but a montage of Kevin's work and his version of "Childhood's End."

Which I'll admit, I did enjoy hearing, although not to the point I like it more than the original. But NDV's work, namely as a lead singer is so mixed for me. But this does sound pretty *big* and *epic* in some ways more than the original.


Jon Cuniberti notes about mixing The Shaming of the True



Notes On My Experiences Mixing The Shaming Of The True by John Cuniberti

In 1995 I was introduced to Kevin Gilbert by his manager and friend, Jon Rubin. I was called in to confer with Kevin about recording gear — in particular digital vs. analog equipment and drum micing techniques. Kevin also had questions about some recordings I’d made. Although Kevin was a very good engineer and had a great studio, he liked to collaborate in some areas and often worked with other engineers at different studios. Apparently he was unhappy with some of the results he’d been getting at his own studio and liked the work I’d done with drums on a Joe Satriani record. The questions about technical matters turned out to be a sort of audition. I guess I passed, as Kevin and Jon hired me to work with them a few days later.

The work we began would become Kevin’s rock opera, The Shaming of the True. I began working as a recording engineer on this project at NRG studios in L.A. in 1995. This was my first insight into the way Kevin went about recording his music. The process could be described as extremely creative, open-ended, chaotic, or the only way an incredibly intense musical prodigy was capable of working. Bits and pieces of song ideas appeared — a bass track here, a synth track there, scratch vocals with piano, etc. There were no track sheets or notes on the technical information and song titles, just a lot of interesting music.

We recorded Nick D'Virgilio’s drums on the songs Smash and Water Under The Bridge. Nick’s performance was spectacular, and I was thrilled to be working with him and with Kevin. I felt I’d gained much more than simply a new client, I saw the beginnings of a friendship with two very talented people.

Sadly, I never saw Kevin again after those sessions. Like most people who were fortunate enough to know Kevin, I , too, was shocked to hear of his death. But this event didn’t end my involvement with Kevin and his music. Instead, Kevin’s tragic departure intensified the process of making the album in a way I could never have predicted.

Jon Rubin contacted Nick and myself a few months after Kevin’s death and asked us to finish, archive, and catalog all of Kevin's recordings for his estate. As mentioned above, Kevin never felt it necessary to label his tapes or make track sheets, a general and usually essential practice in commercial studios where dozens of takes of many instruments and musical phrases need to be organized and put together to mix and construct final pieces. Only Kevin knew the shape, the final plan, for the project. Only he knew what fragments would be arranged in what order, how they would be pieced together and how all the scattered parts would be used, if at all.

Nick began the huge task of cataloging the tapes, some dating back to the early eighties, and eventually created a computer file for us to evaluate. Jon Rubin, Nick, and I were able to determine that we had on hand at least five CDs of unreleased Kevin Gilbert material. I am happy to say that as of this writing all of Kevin’s tape library has been cataloged and archived, and all the material to be released has been mixed (if necessary) and mastered.

The first project that we undertook in early 1997 eventually became Kevin’s rock opera The Shaming of the True. Those of us who took on the task of finishing this work decided to use Coast Recorders in San Francisco. The fact that the studio had an automated vintage Neve console and that I managed the studio made it the likely choice. Kevin loved the sound of the Neve, and I was sure he would have insisted on it as the mixing desk.

The constant question of what Kevin would have done haunted me throughout the entire project. In most cases, I collaborate with the artist on all aspects of the mixing. So instead of a detailed collaboration with weeks of decisions made by an artist, all we had to go on were rough mixes on a DAT and a handwritten note of Kevin's with what we believed was the last running order of the opera. I remember at one point being upset about a mix, not knowing what Kevin had intended and feeling hopeless. Someone said, “Kevin f….d up and he doesn’t get to be here. So do what you feel is right for the song.” With that in mind, I got on with the job at hand, always referring to Kevin's rough mixes as a kind of blueprint and never venturing too far from them.

Song-by-Song Notes

Parade: There are two versions of this song. One was recorded with footsteps keeping time, and one was recorded without. Because Kevin used the second version on his rough mix, I assumed this was the one he wanted to use in the final version. The intro synth chaos was never found on the 24 track, so I pulled it off Kevin's rough mix.

City of the Sun: The cross fade into this piece is a combination of about 20 tracks of TV and radio shows all mixed together and faded up. I really liked what Kevin had done without fader automation, and it took me a long time to equal his rough mix. What a great song and production! After spending a day mixing this song, I put on Kevin’s rough mix and was floored at how good it was. I learned again that I couldn’t venture too far from the rough mixes. There are some backing vocals on the rough mix that aren’t on the master 24 track. Did Kevin have a slave reel with more vocals that we never found? We’ll never know.

Suit Fugue: This shows Kevin’s brilliance as a songwriter, singer, and producer. I loved mixing this and look forward to mixing it again in 5.1 surround.

Imagemaker: This was the first track Jon Rubin asked me to mix. It was a test to see if I could improve Kevin’s rough and finished mixes. All involved agreed there was an improvement, and I got the green light to do the rest of the record. When I told Jon I used Dolby SR on the two track mix, he told me that Kevin hated SR. Out of respect for Kevin, I mixed the rest of the record on BASF 900 +6 @ 30ips.

Water Under The Bridge: This track was incomplete when Kevin died, but was a necessary element to the production. The vocal was a scratch recorded as a guide. I had only one vocal chorus to work with, and moved it around to complete the lead vocal. Nick did a great job of doubling the lead vocal and adding harmonies. I asked Tommy Dunbar (Jon’s partner from The Rubinoos days and a collaborator and friend of Kevin’s) to play a simple George Harrison style guitar solo to complete the song.

Best Laid Plans: There is no doubt that Kevin was paying tribute to some of his mentors on the production of The Shaming of the True. In this case, it must have been Elton John. As a fan of early Elton John recordings, I was thrilled to mix this classic rock production. To get the feeling of this piece, I spent equal time listening to Kevin’s rough mix and referring to Elton’s Madman Across The Water.

Smash: Early on, it was decided that Smash could not be a part of the rock opera. Kevin never sang a vocal on it, not even a guide. There was some talk about a Kevin Gilbert sound-alike singing the song, but that never happened. It was only after working on the Kevin Gilbert Live At The Troubadour CD that I thought it possible to pull Kevin’s vocal performance from the live show and apply it to the studio version. After many hours of digital editing, we had completed the song portion but left the rap (story) section out. We thought it would be clever to have someone else do that bit, so we hired a comedian named Bobby Slayton. Bobby was great and very funny, but in the end we went back and pulled Kevin’s vocal from the live recording. If you listen carefully, you can hear the Troubadour audience in the background.

Staring into Nothing: One of my favorites tracks. The crucial elements: flanged bass on the intro, drum and guitar sounds, monks, backing vocals, reverbs from hell. This track took me three days to mix, and it was worth it. This is maybe the best work I have ever done. There was a problem with some leaking time code on the right channel intro piano track. The piano track was a guide for vocals and was never replayed by Kevin.

Fun: As with most of Kevin's recordings, the use of processing (i.e. compressors, EQ, and distortion) was applied at the time of recording. Unlike most producers, he knew what he wanted and laid it down processed as a raw element. If he decided later he didn’t like the sound, he would just do the recording again. I am sure this practice led to the confusion regarding track sheets and tape box notes. The vocal processing on Fun had serious sibilance problems. There were also three vocal performances on the 24 track. We used Kevin's rough mix to sort out what vocal he wanted to use, when he wanted it to be used, where he would have wanted it. I mixed this song four times before I felt I got it the way Kevin would have wanted it.

From Here To There: This might be Kevin’s finest vocal performance on the CD. I still get goose bumps when I hear it. The end is down right creepy.

Ghetto of Beautiful Things: This song was a late arrival. We knew it existed only because we found a mix Kevin made of it to DAT. In my opinion, the mix was not good enough to go on the CD. The master was found at the last minute and it was the last to be mixed. When mastering the CD, I decided to replace the drum intro I had mixed with Kevin’s original. When we tried to cross-fade the two intros together, the tracks were a bit out of phase with each other. Jon and I liked the effect so we left it in.

Long Days Life: Mixing this song was like mixing three songs. In fact I had to mix it in sections or I would’ve gone crazy. I no sooner got a mix I liked than the arrangement would change and guitar tracks would turn into vocal tracks and a percussion track would turn into a keyboard track then back again. Kevin would often put many different instruments on the same track. He had a 24-track tape recorder and a pair of 8 track digital recorders locked up for a total of 40 tracks. But that still wasn’t enough for this complex and beautiful production.

Way Back Home: This cut was bare bones. Only drums, a piano, and a guide vocal track. Nick D'Virgilio, who worked on this cut prior to Kevin’s death, is the person most responsible for its completion. Nick knew what Kevin wanted regarding instrumentation and vocals. Nick decided to finish the track knowing how important it was to the opera. I am certain this must have been very difficult for Nick since he had been so close to Kevin and was now working at Kevin’s studio without him. Nick did a great job, and I know Kevin would have approved. The guitar solo is one of the high points of this CD, played by David Levita. Nick doubled Kevin’s guide vocal track to help reinforce it bit.

Johnny’s Last Song: Kevin wanted this last song to sound as down and out as Johnny Virgil must have felt. He recorded it outside the studio somewhere, onto a portable cassette player. The guitar was some old beat up junker. It was then transferred to the 24-track and sound effects were added. Kevin recorded the wonderful rain track himself. The faraway train whistle, that always leaves me with a sense of sadness, was another stroke of brilliance on Kevin's part.

A final note: There are two other songs that may have been part of the rock opera but were pulled at the last minute by Kevin. They are The Best of Everything and Miss Broadway. Miss Broadway appears on the Thud Live CD, and The Best of Everything will be on a forthcoming compilation of unreleased solo material.


Jon Rubin posted this on facebook just a little while ago. And I'll fully admit to never having read it. Interesting where some of the sources came from. I'm also trying to picture not only "Miss Broadway" but "The Best of Everything" on Shaming, and I could see it. I didn't realize although am not surprised that part of the version of "Smash" was taken from Live at the Troubadour.

I'm now a little curious as to what else Jon Cuniberti has mixed/worked on.

Monday, November 21, 2011

Ted Leonard joins Spock's Beard



From:
http://www.spocksbeard.com/


To keep bringing you the finest Prog Rock, we’ve brought on board the amazing vocalist/guitarist Ted Leonard (Enchant, Thought Chamber) and Jimmy Keegan (Santana, John Waite), who’s been our tour drummer for close to 10 years now. If you know these guys, you know they’re world class. They bring exciting new energy and creativity to the party.


We regret that Nick D’Virgilio, a founding member of the band, good friend and incredible talent is unable to continue with us due to his other commitments. Please continue to support him, check out his new solo CD “Pieces,” go see him with Cirque du Soleil and follow whatever other madness he's up to. He’s awesome. We wish him the best of luck and the success he deserves. We wouldn’t be here without NDV!

Look for a new live Spock’s Beard DVD and extensive European tour in early 2012, followed by our 11th studio release sometime in the summer. We’re energized and excited, and will be posting updates and sound samples as we progress.

Thank you for continuing to support us through the years and changes. We stay committed to bringing you the finest in Prog Rock and taking it into the future.

If you don't already, please follow us on Facebook and Twitter for all the latest.


more of a continuation of the NDV news of leaving, but as a fan of Enchant historically, I am rather intrigued by this potential. I suppose it may not matter unless the writing isn't good. And perhaps however good their new album coming next Summer is may indicate how important Ted's writing with Enchant is/was.

But on the surface, he's a tremendous singer, so immediately, that had my curiosity. Now whether their music still ends up being the recipe-prog that a lot of the Beard work has been since Neal left, that has to be something to wonder.

As far as Enchant, I wonder if this means anything given they have been somewhat retired/hiatus for almost a decade anyway. But I hope it doesn't sort of officially put the nail in their coffin. But how much time can pass before you don't wonder anymore. Last thing I recall from them was the ProgPowerUSA show in 2009. I suppose checking-in on their forum might give more insights as to how this may affect them in any way.

Friday, November 18, 2011

Nick D'Virgilio leaves Spock's Beard



http://www.ndvmusic.com/november-18-2011
The time has come.

It is very hard for me to write this, but as all good things come to an end at sometime or another, unfortunately I have to tell you all that my time with Spock’s Beard has come to a close.

As you may or may not know, for almost 2 years now I have been working for Cirque Du Soleil on the touring show TOTEM. Traveling a bit of the globe with my family on an adventure that has been great, but also very tough. Great because I am finally able to fully support my family with this very unstable life I chose as a musician, but also very tough because this job has made it hard to do other things and the main thing is Spock’s Beard.

For the first time in 20 years I had to miss shows when the band played a few festivals this past summer. Needless to say it was very, very strange not being there. I have been trying to land a permanent resident show for next year which would leave me a little more time to tour with SB but that has not happened yet and I don’t know when exactly that will happen. I recently signed for another year with Cirque because I cannot just get up and quit until something else can takes its place. I am sure you all understand that I have to take care of my main responsibility and that is my family. Spock’s Beard has never been the main money maker for me, or any of the other guys in the band. We have always had to do other things to supplement our incomes and for me now the other thing just happens to be Cirque.

The Spock’s guys want to keep moving forward and it is just Murphy’s Law for SB that everyone else is totally available to tour at the moment and I am not. For many years, I was available for anything but we couldn’t tour as much as we wanted because of other schedules. Now with my job it doesn’t look like I am going to be available anytime soon. I totally understand where the guys are coming from, wanting to tour and make new albums and I have too much respect for them and SB to say that they cannot keep going without me. The guys are eager to keep the ball rolling, and as hard as that is to imagine without me I give them my blessing fully and wish them nothing but the best in whatever they do.

I have had the best time and have made some of the best music of my career with Dave, Al, Ryo, and Neal and will take those memories with me for the rest of my life.

This is not to say that I will never play with the guys again. If all of the stars align in future and I can do something I surely will but for now the guys will be going on without me and I humbly ask all of you SB fans that have been nothing short of amazing, to keep the flame burning for them.

SO for my future, even with the crazy schedule of my Cirque job I have still been able to release a new solo EP “PIECES” recently and even did some solo shows. Those things are easier for me to do because I can do those within the areas that I am living at the time and I am planning on many more solo gigs in the future so keep an eye and ear out for those announcements. I will be going back to London at the beginning of 2012 with Cirque and during that time I will be able to get back down to Rob Aubrey’s studio to do some more sessions with the great BIG BIG TRAIN and even try and finish a project that got started a number of years ago now called “PULSE” with Mike Holmes of IQ fame. I am also writing a lot for more solo music of my own.

Thank you to my family. Your support has been my rock for many years now, I know that will always be there and I am so thankful for that.

Thank you to all of the great guys who have crewed for SB over the years and have gone way beyond the call of duty to get us on and off stage. Especially Rob, Olly, and Tommy. I will for sure miss touring with you guys.

Thank you to the promoters and venues that have opened up their stages to us.

Thank you Jimmy Keegan for holding down the fort while I was up front and kickin ass for SB over the years.

Thank you to all of my amazing endorsement companies.

In closing, THANK YOU to all of the Spock’s Beard fans out there who have given us so much amazing and heart felt support over the years. We could not have done it without you all. It has been an amazing journey for me and I will never ever forget the great times we have shared together.

It’s time for a change…

Nick


well, I have a few thoughts about this.

a) Nick of course I see maybe 1st and foremost, with his connection to Kevin Gilbert, as a significant personality within the Kevin Gilbert story, history, etc.

b) Spock's Beard since Neal Morse left really hasn't even been close to the same band. My intention in that feeling is not meaning to knock Nick, but I just know my taste, and there has always been a different, special element missing since Neal left. I just don't find Nick

1) Truly working as a frontman
2) Having the lead voice to really work well as a frontman and lead singer. He's always struck me for having a voice that's suited well for harmonies and backup vocals, not leads
3) Having the songwriting chops. As sad and ironic as it seems, given his relationship and exposure to Kevin Gilbert among others (the Genesis guys?), he just has never made anything that got my attention like those who he spent so much time working with. Although to be fair, I've never heard his NDV solo record Karma which I've always wanted to.

That all being said, I do feel for the Spock's Beard fans, although at the same time, it does raise the possibility I may be more interested in their music again. Ted Leonard of Enchant filled-in on vocals over the Summer at some festivals in Europe (at least 1 is on Youtube in fact), and by some chance he would join them, I immediately will be a lot more curious about their next album.

Also this may open the door for Neal Morse to re-join the band, even just for a 1-off record or something.

With those possibilities or others, I think the thing for me comes down to the songwriting. Spock's Beard, especially since Neal left, has come to sound a lot like many of the generic, plastic-y sounding (keyboard-laden) retro-progressive rock bands. They got away with some of it with Neal, because within that recipe of homage to the bands from the 70's, they came up with a lot of memorable melodies and fun sections that didn't seem to be too cheesy, for all that long (if at all).

Since Neal left, they have done similar things, but without those memorable elements that really stand out. They're almost like IQ, in that they do sound like another recipe-prog band. They're still a little better than the dozens of others who seem to mostly sound the same, but regardless, overall that almost soul-less sound I hear still exists.

If the Beard can bring in someone whose highly notice-able, that has a voice that grabs you, their chances of returning to greatness could happen. Ted Leonard, Neal, or someone else? I'm curious now who it may be.

Wednesday, September 14, 2011

KEVIN GILBERT's The Shaming of the True (Prog West 11/2002)

Here's a clip
of "City of the Sun" and "Suit Fugue" more to add later...

EMBED disabled (lame!)

edit: it appears the embedding is not enabled thankfully. Wow, I have to wait to get home to hear the Long Day's Life. I had a whole thing written up and then the lack of perfect html and Explorer's spazzing out caused me to lose it the other day. I'll try and rewrite it soon in here, especially if more of this footage comes, or even an announcement about a dvd.

Shaming of the True from David Robin on Vimeo.


"Long Day's Life"

Long Days' Life from David Robin on Vimeo.

Wednesday, September 8, 2010

Mike Portnoy leaves Dream Theater



facebook

mp.com

Wednesday September 8th 2010

I am about to write something I never imagined I'd ever write:

After 25 years, I have decided to leave Dream Theater....the band I founded, led and truly loved for a quarter of a century.

To many people this will come as a complete shock, and will also likely be misunderstood by some, but please believe me that it is not a hasty decision...it is something I have struggled with for the last year or so....

After having had such amazing experiences playing with Hail, Transatlantic and Avenged Sevenfold this past year, I have sadly come to the conclusion that I have recently had more fun and better personal relations with these other projects than I have for a while now in Dream Theater...

Please don't misinterpret me, I love the DT guys dearly and have a long history, friendship and bond that runs incredibly deep with them...it's just that I think we are in serious need of a little break...

Dream Theater was always my baby...and I nurtured that baby every single day and waking moment of my life since 1985...24/7, 365...never taking time off from DT's never-ending responsibilities (even when the band was "off" between cycles)...working overtime and way beyond the call of duty that most sane people ever would do for a band...

But I've come to the conclusion that the DT machine was starting to burn me out...and I really needed a break from the band in order to save my relationship with the other members and keep my DT spirit hungry and inspired.

We have been on an endless write/record/tour cycle for almost 20 years now (of which I have overseen EVERY aspect without a break) and while a few months apart from each other here & there over the years has been much needed and helpful, I honestly hoped the band could simply agree with me to taking a bit of a "hiatus" to recharge our batteries and "save me from ourselves"...

Sadly, in discussing this with the guys, they determined they do not share my feelings and have decided to continue without me rather than take a breather...I even offered to do some occasional work throughout 2011 against my initial wishes, but it was not to be...

While it truly hurts for me to even think of a Dream Theater without Mike Portnoy (hell, my father named the band!!), I do not want to stand in their way...so I have decided to sacrifice myself and simply leave the band so as to not hold them back against their wishes....

Strangely enough, I just read an interview that I recently did that asked me about the future of DT and I talked about "always following your heart and being true to yourself"...sadly I must say that at this particular moment, my heart is not with Dream Theater...and I would simply be "going through the motions", and would honestly NOT be true to myself if I stayed for the sake of obligation without taking the break I felt I needed.

I wish the guys the best and hope the music and legacy we created together is enjoyed by fans for decades to come...I am proud of every album we made, every song we wrote and every show we played....

I'm sorry to all the disappointed DT fans around the world...I really tried to salvage the situation and make it work...I honestly just wanted a break (not a split)...but happiness cannot be forced, it needs to come from within....

You DT fans are the greatest fans in the world and as you all know, I have always busted my ass for you guys and I hope that you will stay with me on my future musical journey, wherever it may lead me....(and as you all know my work ethic, there will surely be no shortage of future MP projects!)

Sadly...
Your fearless ex-leader and drummer,
MP


"Move on be brave, don't weep at my grave, because I am no longer here...
But please never let your memory of me disappear...."
--- The Spirit Carries On

okay, while this is immediate, this feels more like something that'll be remembered for awhile. Unless/until he comes back to the band at some point. 2, 3 5, even 10 years from now.

And 1 thought that crossed my mind is I could write what would or may end up in the Dream Theater Music Essential, in here. But we'll see.

I uh, really have found this as hard to believe as most anything in recent years. As I posted on facebook and some of the forums including mp.com, had this happened around the SFAM or 6DOIT period..and of course when he was supposedly rather close to quitting shortly after FII came out, it probably would sting a lot worse than it does now.

Because from a purely musical standpoint, Dream Theater's music, while I still enjoy it, isn't as much of a passion for me to listen to regularly, as it once was. However, I still check out their new music, and have hope that the interest I once had with it could come close if not return.

And of course seeing them live is still a regular ritual. I still promote their shows as much as I can when they come to town, etc.

But that all being said, I'll still follow what they do without Mike himself.

However, there's no question I've always seen Mike as the pivotal part of the band. He's the fan within the band. He's the progger and the Metal-head and the musical sponge that at times brought things to their music I really appreciated.

Now his controlling nature and OCD kind of seemed a bit overwhelming, and the truth is as a longtime fan, I certainly have been curious what the band might be like with some of the other members doing more. Namely John Myung. But JM I guess hasn't wanted to, at least the way the band was functioning.

So certainly there's part of me that sees this as potentially a really good thing to find out how different they become.

But part of me feels almost like the band is done. Or it just won't seem right to think of them without Mike.

Now on the Avenged Sevenfold bickering on many of the forums and comments on stories online. It's natural to think that he left due to wanting to focus on working with them and the other projects as he states there. But 1st off, A7X haven't said he's their permanent drummer, nor has Mike even said he'd be interested in creating that kind of music (he didn't really do much if any of the writing on Nightmare anyway).

But maybe what pisses me off is all the hatred toward A7X. First off, A7X are NOT A FUCKING POP BAND. JEEZUS. I'm rather sick to death seeing so many uninformed, awful characterizations of their music. THEY'RE PROG FOR FUCK'S SAKE! If people can't hear that in their music, they really need to get a better idea of what technical or progrock-influenced music CAN AND DOES SOUND LIKE. They use syncopation, odd time signatures, varied dynamics and themes along with complex vocal harmonies. =/= POP or POP PUNK SCENESTER GARBAGE.

I guess it wouldn't be such a big deal, but it just bugs me to read the comments about it over and over. And the truth is, I am a fan, but it's not like I'm a HUGE fan or anything. Nightmare is okay, but will it be high on my year-end list? not likely. But is it good to see a band who has some musicianship show up on the Billboard charts? hell yes! It's about fucking time actually.

But the thing is, Mike may never play on another album of theirs again. All these posts are concluding that he will. People just love to gossip and assume shit.

So, this leads me to what Mike may do next. Personally, I hope he takes the needed time off just to spend time with his family and pursue some other interests. Maybe film? or maybe another NEW project? Maybe it'll be Metal? Maybe with Jim Matheos?, although Fates Warning could be busier in 2011, but it wouldn't surprise me if Jim would consider working with Mike again.

Or maybe another Transatlantic album?..or LTE?

I guess it doesn't matter, I'll want to check it out. His side projects have actually been more my thing really since Train of Thought and especially after.

And Dream Theater, well obviously they will be working on their next album with a different drummer. Who? a laundry list of names could happen, and many of them could be totally off. But I guess it depends on if they want a drummer just for now, or more of someone to contribute creatively and hopefully full-time. Because there's many session guys that you'd think might work well. Even someone from another band who will in fact be on a break this Winter. I guess the idea of Gavin Harrison in that respect might actually be possible. And he's worked with Jordan of course.

Personally, I'd love for someone like Mark Zonder to help them out, but I wonder a bit about how crazy he'd be about that. That might sound like "Musical Drummers" from prog metal bands. Mark's not going to be playing on the new Fates Warning record I guess, as that has been given to Bobby Jarzombek.

Another name that just came to mind is Paul Craddick, formerly of Enchant. I suppose that quote I love to take about prog bands and his view on Dream Theater, might not make him too interested, but who knows, maybe he has a good relationship with JP and JM from when they opened for them back in the day? Or Nick D'Virgilio who has a history knowing both DT and Enchant. And NDV is an obvious name, but last we heard, he was pretty busy moving to Montreal to do Cirque Du Soleil. But if there's 1 name who I probably wouldn't question would do it, it'd be him given his track record and relationship with the guys in Dream Theater.

Martin Lopez, Sean Reinert, Pat Mastelotto, Thomas Lang, Gene Hoglan, Bill Bruford, Mike Mangini, Simon Phillips, Terry Bozzio, Virgil Donati, Dennis Chambers
..I mean there are a lot of names who may audition or be asked.

And I suppose it's that along with some potential differences in their process of making music which still adds to the intrigue. Will they demo before recording? Will they bring in an outside producer? Will they try some of the songs out live before recording?

Another thing that some folks posted, I think on last.fm is how much more visible commercially will they get? Mike certainly had a lot to do with getting their name out there. Especially in the Metal world, which ever since them signing to Road Runner, they've shifted more and more towards being regarded as a Metal band. And none of the other guys in the band are all that into the modern metal as Mike is. However, they have influenced a ton of the modern metal and technical-death-metal/technical-metal bands in the last decade namely. With Mike gone, their music itself and how they are promoted might change. Which in some ways might be a good thing. But if they go more back to being largely thought-of and promoted as progressive rock, some of the touring venues and promotion levels they get may not last to where they are now. I'm not saying for their next album, but in a few years.

Another point here is while this does come as a shock and it was and still is hard to believe, of course this has happened to many other bands. Yes namely, or Spock's Beard of course. Which in some ways it may kill Mike enough that if the band desires for him to come back, he likely will. But there are no guarantees and that could be many years from now even if it does happen.

But it should at least be a learning experience for both Mike and the band, even some 25 years in. Kevin Moore's departure was, so was Derek Sherinian's, and I'd expect this will as well.

Mike's sort of been like that guy I knew who I always assumed would be around. Like the guy who I knew growing up. Although some of his activities, namely some of the stuff he posts online, almost read as a bit younger than he is. And more so in recent years, But even back in the day with his AOL and commercial products use. I'm not sure if that's the best way to describe it or him. His Hero's of the Day I've always enjoyed and a lot of his posts and how he ran his forum (for the most part). His posts there. But recently, like on twitter/facebook he does seem a little different. Younger almost. Maybe his kids are helping him with the words he uses? :p

I've still always wanted just to spend 30 minutes or an hour just hanging out with him. It's always been a brief 5-10mins with 15 or 20 people near the buses outside. Not on a human level, but more of a rockstar-to-fan level. He's a normal guy in a lot of ways. And I'd be lying if I didn't consider that I owe him and his taste in music along with film/tv to a point, to what mine is. And that is rather important to me. I think that is part of why I've always connected with him. It goes back to pretty much the point I knew who Dream Theater was in May of 1995 and how much they became iconic to me beyond just their music itself.

And that's why on many levels this is rather hard to grasp. But maybe it is in many ways learning a lot more about who he is, and who he is now.

I will say, apparently with his tactful departure statement, having read 1 or 2 comments, there likely is more behind the reasons for this. I think all of the members are respectful to each other, and their family members. But Mike's personality is probably the strongest. Down the road, some of the reasons that may not be in writing now could come out. I just hope it's not uglier than we'd like to know about.

Maybe now they'll finally find their way onto Behind the Music, lol.


mp.com

DREAM THEATER
Press Release
To all of our loyal fans and friends: It is with
profound sadness -- regret -- we announce that Mike
Portnoy, our lifelong drummer and friend, has
decided to leave Dream Theater. Mike's stature in
the band has meant the world to all of us
professionally, musically, and personally over the
years. There is no dispute: Mike has been a major
force within this band.

While it is true that Mike is choosing to pursue other
ventures and challenges, we can assure you
that Dream Theater will continue to move forward
with the same intensity -- and in the same musical
tradition -- that you have all helped make so
successful, and which is truly gratifying to us.
Fans and friends: File this episode under "Black
Clouds and Silver Linings."As planned, we begin
recording our newest album in January 2011, and
we'll follow that with a full-on world tour. "The Spirit
Carries On."

All of us in Dream Theater wholeheartedly wish Mike
the best on his musical journey. We have had a long
and meaningful career together. It is our true hope
that he finds all he is looking for, and that he
achieves the happiness he deserves. He will be
missed.