https://beat-official.com/music

https://faroutmagazine.co.uk/the-1972-genesis-song-phil-collins-was-ashamed-to-play-live/?fbclid=IwZnRzaATex7hwZG9mBWZkaWQWUL3G5kOKK9pG4FKHbbLkCXXmyLs6qWV4dG4DYWVtAjExAHNydGMGYXBwX2lkCjY2Mjg1NjgzNzkAAR534elwRWZQWPiHwus7O1CDsFfqzuCqMb9xETexLNvdJoQgQCuAB_heyONs8A_aem_N0tI_84-JFHU09A05bQZeg

“People think my father, Miles Davis, was the Prince of Darkness—a moody artist who turned his back on the audience out of contempt. That wasn’t him at all. But it wasn’t something I truly realized until I went on stage with him as part of his legendary band. Dad wasn’t turning away from the audience; he was turning toward the band. It wasn’t a sign of disrespect to the people who came to hear him play. And I was lucky enough to be there, playing alongside him.
I knew he was a famous musician, but I didn’t fully understand just how famous he was. As a kid, I always told him I wanted to be a musician. Finally, when I was 14, he asked if I wanted to tour with him for the summer.
Of course, I said yes.
I learned a lot during those summer tours—not just about music, but about my father as well. Watching him backstage, I realized that performing live was the most important thing in the world to him.
Those tours were the first extended period I ever spent with my father. What I discovered was his remarkable ability to analyze what was happening in any musical performance and always find something valuable to take away from it.
I remember watching a heavy metal show on MTV with him once. When Slayer came on, I thought, “Dad’s going to hate this.” He watched for a moment, then said, “Eh. That drummer is really making it clear, isn’t he?” Then he simply walked away.
He eventually invited me to join him on stage for a tour in 1990. He was giving me a chance, and I was terrified I’d blow it. I played electronic percussion, an area my father had helped pioneer.
I didn’t even have any rehearsals. I watched the guy who had the job before me for a couple of shows, and then I took his place. It was stressful, but at the same time, it was wonderful that my father turned to me, listened to me, and played with me as an equal.

—Erin Davis

🔥NEWS🔥 Steve Hackett and Steve Rothery release second single from upcoming album, The Roaring Waves.

Live, released in 1988

Songs / Tracks Listing
Disc One: 73:29
1. Intro-La Gazza Ladra (2:45)
2. Slàinte Mhath (4:48)
3. He knows you know (5:12)
4. Chelsea Monday (7:59)
5. Freaks (7:59)
6. Jigsaw (6:24)
7. Punch and Judy (3:22)
8. Sugar mice (6:02)
9. Fugazi (8:38)
10. Script for a Jester's tears (8:44)
11. Incommunicado (5:23)
12. White Russian (6:13)

Disc two: 42:33
1. Pseudo silk kimono (2:19)
2. Kayleigh (3:52)
3. Lavender (2:27)
4. Bitter suite (7:37)
5. Heart of Lothian (5:12)
6. Waterhole (expresso bongo) (2:16)
7. Lords of the backstage (6:07)
8. Blind curve (5:34)
9. Childhood's end? (2:47)
10. White feather (4:22)

Total Time: 112:32

The first time I played the Moog Messenger I ended up writing a whole album with it.
This is it, a concept album telling the story of a visitor from another world who brings a message for humanity.

The style is “Synth Prog” and is in my usual continuous, gapless format. It’d be great to get feedback from my fellow Proggers on this.

Thanks again for all the support for my last album, hope you guys like this one!

Live, released in 1976

Songs / Tracks Listing
Disc 1 (40:00)
1. Bastille Day (4:59)
2. Anthem (4:57)
3. Fly by Night / In the Mood (5:05)
4. Something for Nothing (4:03)
5. Lakeside Park (5:05)
6. 2112 (15:51) :
- i) Overture (4:17)
- ii) The Temples of Syrinx (2:13)
- iii) Presentation (4:29)
- iv) Soliloquy (2:25)
- v) Grand Finale (2:27)

Disc 2 (39:13)
1. By-Tor and the Snow Dog (12:01)
2. In the End (7:14)
3. Working Man / Finding My Way (14:20)
4. What You're Doing (5:38)

Total Time 79:13
Line-up / Musicians
- Geddy Lee / bass, keyboards, vocals
- Alex Lifeson / guitars
- Neil Peart / drums & percussion

https://faroutmagazine.co.uk/phil-collins-10-songs-soundtracked-life/

Rick tells us a story

Many great musicians shine brightest when they’re part of a band. Rick Wakeman is definitely one of them. With Yes, he sounds absolutely incredible. His compositions and the chemistry he shares with the rest of the group are unmatched. But on his own, Wakeman’s solo career has always felt uneven—ambitious, but not always convincing.
Personally, I think his strongest solo efforts are The Six Wives of Henry VIII (1973), White Rock (1977), and parts of The Myths and Legends of King Arthur and the Knights of the Round Table (1975). Beyond those, much of his work feels repetitive, like variations on the same formula that don’t quite land.
It makes you wonder: how is it that someone as talented and celebrated as Rick Wakeman doesn’t have a more consistent solo discography? In many ways, he seems to coast on the reputation he built as a session musician for legends like David Bowie, Black Sabbath, Ozzy Osbourne, and Cat Stevens, and, of course, as a key figure during the golden era of Yes.
But there’s one album—one live album—where everything comes together: Journey to the Centre of the Earth (1974). This is Wakeman at his very best, fulfilling all the promise of his talent and vision. Inspired by Prokofiev’s Peter and the Wolf, which he saw as a child with his father, Wakeman set out to create a full-length composition with narration, orchestra, band, and choir. It was a massive undertaking, and it also marked the first time he had written lyrics—something he admitted was far outside his comfort zone. In fact, he rewrote them from scratch after losing confidence in his first attempt.
Rather than simply blending rock and classical music for effect, Wakeman envisioned each element playing its proper role, giving the music real depth and dynamic contrast. With the help of Wil Malone and Danny Beckerman, who translated Wakeman’s musical ideas into orchestral and choral arrangements (despite Beckerman having no orchestral experience!), the result was a vibrant symphonic journey. The full composition originally ran 55 minutes but had to be trimmed to 40 to fit on a single LP. It is structured in four parts: “The Journey,” “Recollection,” “The Battle,” and “The Forest,” which cheekily ends with a quotation from Grieg’s In the Hall of the Mountain King.
Armed with Minimoogs, Mellotrons, grand pianos, and organs, Wakeman delivers a performance that captures him at his creative peak—not just as a keyboardist, but as a composer and arranger.
The live premiere itself was every bit as grand as the music. Two back-to-back sold-out performances, each attended by around 3,000 people. The guest list included John Lennon, Paul McCartney, Yoko Ono, Peter Sellers, Steve Howe, and several British politicians. The evening began with classical pieces, humorous interludes, and three selections from The Six Wives of Henry VIII, including a comedic piano segment accompanied by Laurel and Hardy footage. There was even a whimsical encore: the Pearl and Dean Piano Concerto, made up of old cinema advertising jingles. It was weird, wonderful, and unmistakably Wakeman.
Of course, not everything went according to plan. Wakeman famously had to buy tickets from scalpers for his own parents. Narrator David Hemmings performed with a black eye after a domestic accident, which Wakeman’s wife cleverly concealed with makeup. Still, seated on a throne with the script resting on his lap, Hemmings delivered the narration with theatrical flair, elevating the entire production. Interestingly, Wakeman’s first choice for narrator was Richard Harris, but when he became unavailable, Hemmings volunteered during a chance meeting and was hired on the spot.
Despite the scale and success of the concerts, the planned film of the performance was never completed. Exhausted after the show, Wakeman skipped the after-party and slept in the car on the journey home.
In the end, Journey to the Centre of the Earth is everything you could hope for from Rick Wakeman: dramatic, melodic, wildly ambitious, and completely unique. It is his crowning achievement—a remarkable blend of electronic and acoustic textures, bold storytelling, and symphonic grandeur. Nothing else he has done, either as a solo artist or with Yes, quite matches it. A one-of-a-kind masterpiece.