I haven’t done a FRT in a while.
- Mogwai, “Kids Will be Skeletons”: a typical Mogwai
track; brilliant post-rock.
- The Redneck Manifesto, “Bring Your Own Blood: more
post-rock in the same general vein as Mogwai. This one is a bit
up-tempo, with a very cool rythym.
- Gogol Bordello, “Dub the Frequencies of Love: an Eastern
European gypsy punk band doing reggae. Insane, but very cool.
- Tony Levin, “Beyond My Reach: A few years ago, the god
of the Chapman stick finally started recording some of his
own music. He’s got a surprisingly good voice. The album is
terrific, ranging from some solid prog tracks, to some fun pop tunes
to very well done ballads, like this one. Even in a mellow ballad
like this, he manages to work in some very impressive stick work.
- Hawkwind, “Seven by Seven”: very old progressive/space
rock. I just recently discovered Hawkwind, and was very surprised. I
thought that I knew about all of the first wave of prog-rockers. And
yet, these guys are famous and influential, but I somehow totally
missed out on them. They’re utterly brilliant. They’ve got a lot of
the typcial hallmarks of the early proggers in their sound – there’s
some similarity to Van Der Graff Generator, early Genesis, Syd
Barret era Pink Floyd; but they’re got their own unique distinctive
sound within that style. Really great stuff. This is a very typical
Hawkwind track; lots of very spacy sounding stuff, against a
complex structure. Highly recommended.
- IQ, “Red Dust Shadow”: from early prog-rock to neo-prog.
IQ is a neo-progressive band that got started around the same time
as Marillion. They’re led by a guy named Peter Nichols, who’s got a
voice that sounds a lot like Peter Gabriel. They’re a really
- Marillion, “Tumble Down the Years: more neo-progressive.
I’m a huge Marillion fan. I started listening to them back in 1985
or so, and I’ve been a continual fan ever since. This is a sweet
little romantic song from them. Typically for Marillion, even when
they do a poppy little sappy song, it’s got some beautiful structure
interesting harmonies, and great transitions.
- Naftule’s Dream, “Free Klez”: Very radical experimental
Klezmer. Ornette Coleman meets Naftule Brandwien on acid.
- Tony Trischka, “Celtic Melody: unaccompanied banjo
played by my former banjo teacher. (He’s also Bela Fleck’s banjo
teacher.) Amazing technique. No one can play the banjo like Tony –
when Tony’s on, not even Bela can match him. This is a medley
of a couple of very traditional Irish tunes, played with absolute
- IQ, “You Never Will: another IQ track, from the same
album as “Red Dust Shadow”.