Nick Magnus – Progradar

Review – John Greenwood – DARK BLUE

Following a life training as a Plastic Surgeon and practicing as a Burn Surgeon and Director of the Adult Burn Centre of the Royal Adelaide Hospital. retirement has finally allowed John Greenwood to pursue some musical dreams.

Just prior to retiring, he met Mark Trueack who had been pointed his way by Jimmy Keegan (not that one), a very long-time friend of John’s and the guitarist in Trueack’s fledgling UPF Acoustic. Following a hand-injury, and unable to play, Keegan suggested that John might be interested. After a few rehearsals with UPF Acoustic, Trueack introduced John to Sean Timms, suggesting a rekindling of Unitopia and a studio album based on ailments suffered by the band’s members. At this stage, Sean helped John establish his own home studio.

John began to record a series of solo tracks (some with themes he composed as a teenager, and some completely new). The songs quickly divided into two camps; those about man’s inhumanity to man, governmental choosing of economy over citizens and even the health of the planet (DARK). The others focussed on sadness due to various forms of loss (physical, experiential, personal – BLUE). He added into that group his cover of what he considers the ultimate song of loss, Tony Banks’ Afterglow.

His ‘Dark Blue’ album features several family members (Wife, Helen, provided the inspiration and lyrics for A Proper Song; Daughter, Emma, sings on Rosco and The Ocean as well as playing the introductory ‘cello on the latter; Son, Sam, plays the Grand piano piece in The Ocean, whilst Sam’s wife Sarah plays violins on Too Late!, Too Late! Reprise and The Ocean whilst her sister Nicola plays flute on the same tracks). John’s brother-in-law, Andrew Fanning, helped with lyrics for Too Late! and The Ocean, whilst the daughter of a work colleague of John’s, Kirstin Damkat, spoke the child’s soliloquy.

A school friend of John’s (Andrew Rowland) provided all the artwork. Sean Timms added additional keyboards and some great sound effects, and a number of drummers were involved (international artist Craig Blundell and local drummers, Ben Todd and Mike Giuffreda). Sean drafted in Nick Sinclair to replace John’s bass on Rosco and Julian Ferraretto to play gypsy violin on Packin’ my Suitcase. Other than that, it’s all John on vocals, all guitars, most of the bass guitars, keyboards and orchestration.

So there is a really extensive introduction to John Greenwood’s solo album and, do you know what?, ‘Dark Blue’ has to be one of the most truly progressive albums I’ve heard this year. At times it is like musical theatre, bombastic, orchestral overtures and idiosyncratic, over the top, vocals and, at others, it is just utterly sublime, wistful and beautiful music with ethereal vocals (check out John’s daughter, Emma, on the epic The Ocean) but it never fails to captivate and engross you in it’s lengthy sixty-nine minute running time.

You’ve read about the supporting cast that helped to make this wonderful release, I mean Craig Blundell for god’s sake!, but this is John’s creation, 100% and his sureness of touch and songwriting genius can be felt in every word and note. If you’re a fan of Unitopia and UPF then you can feel the slight influences on the album and that is a good thing, the expansive music and thought provoking subject matter are cleverly integrated into this amazing creation.

The epic A Little Piece of Rosco Vidal is progressive rock at its finest, a build up of musical intensity, intricate melodies, fine vocals and music that is both cerebral and emotive, superb! The trio of Too Late!, Too Late! Reprise and The Ocean stray boldly into the territory of musical theatre where the elegant vocals of both John and Emma could grace any West End stage but it’s blended perfectly with fine progressive sensibilities to almost create its own identity and check out the wondrous violin and flute, just beautiful.

The passionate, powerful duo of Requiem and Heartless add some meat to the bones (John’s vocal on the latter is dynamic and vibrant) and the almost singer/songwriter vibe of Inside is powerfully moving. The whimsical, bluesy humour of Packin’ My Suitcase shows John’s humorous side with the gypsy violin of Julian Ferraretto the archetypal twinkle in the eye and there’s a simple splendour to The Kiss with Nick Magnus’ impressive orchestration.

John’s version of Afterglow, the moving track originally By Tony Banks, is just sublime and won’t leave a dry eye in the house and this sublime album closes with the fantastic A Proper Song, reminiscent of Wish You Were Here. Pared back acoustic guitar and elegant vocals along with Hammond Organ ( you’ve got to have a Hammond!) deliver a consummate listening experience and when the electric guitar solo kicks in, it’s just heaven!

It’s not often we hear a truly progressive release nowadays but, almost from out of nowhere, John Greenwood has entered the fray with one of the finest releases of 2023. The musicianship and songwriting are top notch and, like all the best albums, I find this on almost permanent rotation, it is, to put it simply, utterly superb!

Released 1st July, 2023.

Order from bandcamp here:

DARK BLUE | John Greenwood (bandcamp.com)

Review – Amanda Lehman – Innocence and Illusion – by John Wenlock-Smith

Amanda Lehmann is that rare article, A genuinely talented Musician who has, until now, never really had the opportunity to shine. Well, this solo album from one of Steve Hackett’s musical foils certainly impresses with its mixture of styles and textures and is backed by several of her fellow ‘Hacketeers’, including main man Steve on guitar on two tracks and harmonica on a third. Ex Hackett collaborator and all round Progfather Nick Magnus‘ keyboards synths and mellotron also come out to play on this short but enchanting release.

Consisting of nine tracks with a run time of just over forty-six minutes, this is a well-rounded set from Amanda who gets to show all her skills on this album, along with some fabulous contributions from the ‘Hacketeers’, who all add much colour to this fascinating album. Let’s have a listen to see what treasures await us in Amanda’s world…

Album opener Who Are The Heroes begins with keyboards and Amanda’s voice singing “Dreamers Dream, While angels fall…”, this is followed by the introduction of Amanda’s trusty red guitar that will be known to any who have seen her sharing a stage on Steve’s ‘Genesis Revisited’ shows in the past few years. Amanda lays down a strong guitar line over the burbling synths of Nick Magnus, who contributes a synth solo after Amanda has played a brief but emotive solo. Amanda has obviously learnt from the master, and it shows well in her fluid emotive playing, which is sublime and elevates the song upwards. This is a strong opener and her voice is in fine form as Tinkerbell follows, it’s another great song, full of wonder in the vocals, you can hear elements of both Stevie Nicks and Kate Bush in her vocals and in the imagery in the lyrics. This track has another brief solo from Amanda and a truly fabulous orchestral arrangement, especially the flying sequence in Tinkerbell, which conjures up a world of enchantment and magic in its melody. When tied to the chorus, it really captures something very special indeed and is one of the highlights of the album.

Only Happy When It Rains features a certain Mr. Hackett on harmonica where he gets to indulge his own unique take on the instrument and sounds equally at home here as he is on six strings. He is also accompanied by Rob Townsend who provides a sultry saxophone solo to the closing moments of the song, this song certainly swings. Next track The Watcher is the album’s longest and one in which Amanda gets to channel her inner Knopfler as she has a very Dire Straits tone to this song. Her playing on this song is highly impressive, very fluid and with a great tone to it. It is all very impressive sounding and makes it very strong track in its own right, one on which she stamps her own identity and authority on, showing that she has not merely called in favours from well-known friends and that she can deliver on her own.

Memory Lane features a beautiful orchestral arrangement by Roger King, who sympathetic melody lends magnificent support to this moving song, the graceful saxophone solo from Rob Townsend is also incredibly. This song is written about Amanda’s mother who died from Vascular Dementia and in the lyrics she recounts the memory loss that her mother faced. This is a very important track and one that will strike a chord with many as dementia is a growing health concern afffecting a lot of people as we get older. A brave song handled with dignity and compassion. Next is a rockier outing with Steve Hackett playing in tandem and harmony with Amanda. The track is called Forever Days and certainly has a lot of power to it, along with a strident organ (again delivered by Nick Magnus) and a fabulous dual guitar riff that hurtles along very happily and nicely. There is some very impressive playing from all concerned, with a great dual solo as Amanda and Steve trade licks and runs, the muscular riff is very enjoyable and it’s all impressive stuff.

Next is a track that originally featured on the ‘Harmony for Elephants’ charity CD of a few years ago, remixed here by Nick Magnus. This song is a beautiful piece of music with fabulous words and is supporting a very worthy cause too. Childhood Delusions is another emotional journey, this time into childhood dreams and how Amanda feels that “The Man in The Moon Still Follows Me Home”, again, the imagery used in this song is evocative and memorable. The album ends with a duet between Steve Hackett on acoustic guitar and Amanda, whose voice is poignant and moving. The music marries the words and closes this highly impressive release on a high.

This album is a joy to listen to and has much to offer; great music, fabulous performances with warmth and depth and is a tribute to the talent Amanda offers, there’s no wonder Steve Hackett rates her so highly!

Released 20th August, 2021

Order the album here:

AMANDA LEHMANN – INNOCENCE AND ILLUSION CD | Steve Hackett (hackettsongs.com)

Review – Tony Patterson – Equations of Meaning – by Progradar

“Life in the fast lane, surely make you lose your mind
Life in the fast lane..”

Those words are taken from the Eagles’ track Life in the Fast Lane, particularly poignant due to the untimely recent death of Glen Frey, one of the original songwriters.

I was only saying to a friend the other day that January had literally flown by and that life in general was moving way too fast, the years seemingly flashing past in the blink of an eye.

We don’t take enough time to just relax and chill nowadays. It is almost illegal to just take time to yourself and enjoy the moment rather than be rushing around filling that time with something that appears to be important (and quite possibly isn’t).

Perhaps the late Sir Terry Pratchett put it best when he said, “This isn’t life in the fast lane, it’s life in the oncoming traffic.”

So, what can you do to move out of that ‘fast lane’ ? For me, my own retreat away from the rigors and, sometimes, horrors of modern life is music. Music can whisk me away to another place, a place of calm solitude where I can reflect on things and see life slow down to a much more manageable pace.

Don’t get me wrong, when I’m hitting the gym I want something fast paced and upbeat but, when I’m at home and in a reflective mood, I want something that will match that state of mind, preferably with a glass of something old and red and alcoholic to complement it……

I am here today to let you know if Tony Patterson’s latest solo effort, ‘Equations of Meaning’ fits the bill as an accompaniment to that contemplative atmosphere.

Tony Patterson is a solo artist/musician from the North East of England. Probably best known as the singer with the UK Genesis tribute act ReGenesis, he has also recorded four previous solo albums as well as working for TV and short film.

His most recent work, ‘Northlands’, is a collaboration with fellow North-East musician Brendan Eyre (Riversea) and features guests including Steve Hackett and Nick Magnus.

I reviewed ‘Northlands’ and had this to say about this sublime release, “A totally bewitching musical experience that transports you to another place, Northlands has touched my soul in such a way that I will never be the same again.

I am left with a feeling of solemnity and grace, as if I am in a place where all is well with the world and I can come to no harm.”

The first thing that grabs you about ‘Equations of Meaning’ is the superb artwork and photography, also a highlight of ‘Northlands’. This comes as no surprise as both were done by the talented Howard White and is featured throughout this review. I’ve often stated in the past that I am a sucker for excellent album art and this is no let-down.

The album opens with the elegant instrumental track Ghosts. A quite delightful piece of music that leaves you in mind of elysian fields with the gentle acoustic guitar and ethereal keyboards. A really pensive guitar note then takes up the reins, thoughtful, intent and precise as it dances across your mind. A really meditative opening to the record.

‘All alone, chilled to the bone

Still your warmth flows through me

All around, beckoning sound

Though your ears can’t hear me…’

Nick Magnus adds his programming skills to The Magdalene Fields, a track that opens with a really delicate introduction before Tony’s gentle vocal takes centre stage. A song that seems to meander along, there is no fast lane in operation here, time is taken to relax and the ghostly aura puts you in a state of grace. The heavenly chorus is quite sublime in its subtle delivery. My mind is an open book and is waiting for these celestial notes to leave their imprint, totally at ease. Fred Arlington’s sax is an utter delight, velvety smooth and relaxing.

‘Young Billy takes his life and he throws it

all away

For a silly dream he has that would

somehow find a way…’

Each Day a Colour (A Dreamer’s Dream) sees Magnus take on occasional keyboard duties alongside Patterson and is another exquisite track. The opening section is dreamlike and graceful before an acoustic guitar lifts the musing aura and the vocals smoothly segue in and give a jaunty air to proceedings. There is a soothing and reassuring tone to Tony’s voice that gives it a really hypnotic air. Nick Magnus then delivers a superb slow burning, passionate guitar solo that is mesmeric and calmative at the same time, a real piece of magic to end the track with.

‘Ship sets out for sail today

Cast away, Cast away

Waking Dawn will show the way

Cast away, Cast away….’

Cast Away may be short but it is exceedingly sweet and gossamer like in its delivery. The tender guitar and haunting vocals give an almost surreal ambience, tranquil and soothing. It has a real calming effect, my heart rate dropping considerably. listen to this with headphones on and you will lose yourself in its benign embrace.

The Angel and The Dreamer

i) Vision ii) Journey iii) Reprise

This track is a more intricate instrumental with vocal embellishments provided by the luscious voice of Siobhan Magnus in addition to Tony Patterson. The first part, Vision, is full of eastern promise and a brooding longing hidden in the background, quite earnest in its delivery as the vocals are used as another instrument adding layers of intensity. Journey sees a return to the creamy, polished feel of the earlier tracks, Fred Arlington returning to lay down some jazzy horn to the track as it becomes effortlessly cool. Doug Melbourne adds the class of a the mopho synth as we move towards Reprise and a return the mysterious east.

‘Look to the sky

I’m not feeling this ground

See all the world

Something happening here..’

The intro to Beneath a Perfect Sky builds up steadily, becoming a methodical, repetitive backdrop to Tony’s melancholy vocal. The measured delivery of this track is extremely reassuring and relaxing as it washes over your psyche in its metronomic style. A beautiful lilting piano and choral voices leave you in blissful repose as this restrained piece of music continues to soothe your soul, the wonderful horn playing of Fred Arlington that closes out the song is just the icing on the metaphorical cake.

‘I saw your picture on your wall

Sent you a message, did you read it at all?

Just let me tell you, I like your style

Give me your attention, let me

stay for a while…’

I heard a clip of Sycophant when Tony put a teaser video up and, knowing he is a big fan, I asked him if it was his homage to James Bond, I’m sure John Barry would give a knowing nod as the introduction begins. It really is classy as the strings begin before it heads off in a more funky direction with the edgy keyboards. Tony delivers the vocals in his slick style and they really make this track the epitome of cool. The repeated use of the string and keyboard motif just adds to the feeling that you are in the middle of an EON Productions movie. Andy Gray’s fiery and yet cultured guitar solo adds another sheen of gloss to what is a rather excellent song and one that has one foot firmly in the mainstream. An homage to Bond? I’d like to think so and a song that could grace any of the movies.

And When the Sky Was Opened is another transcendental instrumental track that has a whimsical, almost insubstantial feel to it as it ghosts its way across your aural synapses, a musical Amuse-bouche perhaps.

‘There’s a fire that burns within my soul

And it drives me on towards my goal

There’s a burning fire that’s in my eyes

There’s a place that I don’t recognise…’

The rarefied air returns with Pilgrim, another urbane and congenial track that flows gently across the airwaves. Tony’s vocal is a bit more insistent but it reined back by the calming feel of the piano and keyboards. Fred Arlington’s horn makes a welcome return, just adding to the unhurried repose that this song engenders. Lay back, relax and let the harmonious charms of Fred’s sax free your mind and your soul.

Tony’s long time writing partner and friend Brendan Eyre co-wrote the piano based instrumental As The Lights Go Out and it is a little gem of a song. Brendan’s piano has an unseen depth to it that grabs your heart and soul and pulls you in, it is so beautiful it almost brings tears of joy, tinged with a small hint of nostalgic sadness.

‘Look at me

Time was never on my side

You and me

Survived the turning of the tides…’

All good things must come to an end and The Kindest Eyes is the final track on this wonderful album. A cultured acoustic guitar opens the song before Tony’s voice lifts your mind and takes you on a bewitching and whimsical musical journey. This track was written for Tony’s wife Angela and he admitted to me that it took a lot of courage to write. Well, I for one am glad he did, it is utterly stunning and just leaves a huge smile on your face. Nick Magnus, once again, provides the programming and the superb slide guitar and highly emotive guitar solo delivered by the outrageously talented Adrian Jones just lift it to another level. I would hate to pick one song above any of the others but this was the one that moved me most emotionally. The way the song closes out, fading to an enchanting acoustic guitar, just leaves you struck dumb.

Well I was utterly mesmerised by ‘Northlands’, Tony’s collaboration with Brendan Eyre and this album deserves to be mentioned in the same breath. To get the utmost from the album you must listen to it from start to finish, preferably with headphones on, in a darkened room and with your choice of relaxing alcohol. To me, ‘Equations of Meaning’ is not merely a great release, it is a state of mind that we should all aspire to when our Life in the Fast Lane gets too much for us. Superb and highly recommended.

Released 26th February 2016

Order ‘Equations of Meaning’ from Cherry Red Records

Guest review – John Hackett – Another Life – by John Simms

Stepping into the chair and taking a break from his Flight of the Skypilot blog is my good friend John Simms.

When someone steps out of their usual musical genre and produces something different, it can often spark some interest. John Hackett is well known in musical circles as an accomplished flautist, and has contributed to ambient and dance music as well as classical and progressive recordings.

The majority of his recorded output in recent years, in his own name, has been classical works – often self-penned and usually with classical guitar accompaniment. Indeed one of his biggest selling albums was ‘Sketches of Satie’ recorded with brother Steve in 2000.

The new album ‘Another Life’ is different in that it is a rock album – even a progressive rock album! Only once before has John done anything similar, with 2005’s ‘Checking Out Of London’, and here again he has called on the talents of Nick Clabburn to provide the lyrics for the 13 songs.

This is an album of contrasts: light and shade; rock, some quite poppy moments, and more quiet, meditative tunes. John plays not only his trade-mark flute, but also guitars, bass and occasional keyboards. His main collaborator is Nick Magnus, and this – along with the frequent appearance of Steve on guitar – gives the album, for me, a feel reminiscent of some of Steve’s earlier solo work.

The vocals are strong (without being overpowering) expressive and varied, with a good use of harmonies, and I couldn’t help feeling that maybe Steve should have used him in this capacity on some of his own solo albums, particularly when he was beginning to sing his own material.

John’s guitar work is not to be sniffed at, but it is with flute in hand that he really excels. In the opening song, Another Life, there is some haunting, swooping flute work which brought to mind his work on Tigermoth on Steve’s ‘Spectral Mornings’ album, and Life in Reverse, one of the quieter songs, uses the flute where others would put in another guitar solo, and does so to great effect. This song, along with Poison Town, has a definite sound of Tim Bowness about it, and I would love to hear Tim’s take on either of these tracks.

Satellite deserves some special attention, featuring as it does not only Steve – but on harmonica rather than guitar – and Anthony Phillips on 12-string. It has a blues-y, Neil Young vibe with a tinge of early pastoral Genesis that can only come with Phillips’ signature style.

For those who enjoy their music a little on the soft side, this is a collection which repays repeated listening: good, though not great, but still a worthy addition to John’s canon and repertoire.

Released 25th September 2015 through Esoteric Antenna

Buy direct from the artists website

About the author – John Simms

John Simms is a long term Prog fan in his mid-fifties from Yorkshire, currently living in exile in Cumbria. By day (and sometimes at night too) he works as a Methodist clergyman, and when not doing that he scours the outer reaches of the Progressive universe searching for musical nuggets. This latter endeavour is slowly bankrupting him.

John’s blog ‘Flight of the Skypilot’

Share this:

Share this:

Share this:

Share this: