Let me just say: thank you, Mike. Your level of professionalism and integrity is nothing but an inspiration.

For what it’s worth, I’m amazed at the questioning of-and anger at-American drummer, Mike Portnoy.  A controversy about him seems to be raging on Facebook with various members of the Neal Morse Band offering explanations and Mike offering an official apology.

First, I truly hope Mike is feeling better.

Second, I respect him immensely for playing despite being incredibly sick.

Third, his tweet yesterday came as he was INCREDIBLY SICK and trying his best to keep his composure.  I pray for that kind of grace when I’m feeling so nasty.  Looks like you did just fine to me, Mike.

I offer this post for no other reason than to say: Thank you, Mike.  Your dedication to your craft and your fans is a sign of immense integrity.  And, really, I hope you’re…

During her recent acceptance speech of the National Book Foundation’s Medal for Distinguished Contribution to American Letters, Ursula K. Le Guinn, one of the most beloved writers of fantasy and science fiction alive today, stirred authors awake with her prophetic words: “We will need writers to remember freedom…the realists of a new reality.”

As Winter gives way to another Spring, new album releases are finding their way onto my radar in ever increasing numbers. Three new CDs dropped onto my doormat in rapid succession a couple of days ago and each, in its own way, is making a big first impression.

First up, we have Please Come Home, by Lonely Robot, John Mitchell’s new solo project. This is a disc that grabs you immediately – melodic and catchy as hell, with superb guitar playing throughout. If you enjoyed Sound Of Contact’s debut, or the recent release from former SoC member Dave Kerzner, there’s a strong possibility that you will fall in love with this. A proper review will follow soon…

Next is Public Service Broadcasting‘s second full album release, The Race For Space. If you’ve not heard this band, you really should give them a listen. They expertly blend sampled clips from…

Review: The Neal Morse Band, ALIVE AGAIN TOUR, Aurora, Colorado, February 28, 2015.

Neal, in a quiet acoustic moment, singing “Somber Days” from TESTIMONY.

Last night, I had the incredible privilege of seeing the Neal Morse Band live in Denver (actually, in the suburb of Aurora), playing at the Soiled Dove Underground. To make it all so much better, I had the company of my beautiful, prog-friendly wife, Dedra. Colorado prog friends, Geddy, Vince, and Amy, were there as well. And, just to make the company even more interesting, Dedra and I sat with two brothers—Joe and Dave, originally from Columbus, Ohio, but now residing in Denver. Joe might even have been a bigger Neal Morse fan than I am, if such a thing is possible. The guy waved, pumped his fist, and screamed “amen” throughout the whole show. I loved it. Before and after the concert, we talked about…

As the 1970s turned into the 1980s, hard rock and progressive bands were taking serious stock, re-inventing sounds that had sustained them and, for fans, defined an era.  The list of bands who turned the corner of the 1980s influenced by punk and disco and new wave is long, and includes many touchstone bands of prog and heavy rock: Yes, Genesis, Led Zeppelin, ZZ Top, The Rolling Stones, Judas Priest.  Songs became shorter, tighter, glossed in reverb and electronics.  In an odd way the 1960s really ended around 1979-80.  It was a death toll for bands unable to adapt to the FM version of the pop single.

Maybe it’s nostalgia, maybe it’s hindsight, but looking back at those handful of years I find it fascinating that three of rock’s great survivors — AC/DC, Black Sabbath, Rush — issued essential work in this time of transition.  You won’t find three bands…

Thank you, Glass Hammer.  So very honored!!!