We will meet again john siegler bass

John Siegler and David Rolfe - Unbeatable [Rock] : Music

We Will Meet Again, 8th Movie ending, Pokémon (US), lyrics,song lyrics,music lyrics,lyric Sung by: John Siegler Before I am through I will open every door. We had a band called Vortex which was John Siegler, Ralph Shuckett We were on the plane, we are at the hotel, back at the taxi,backstage. But he'd just be in that room by himself and I would be in the back playing According to bassist John Siegler, Rundgren had built, in Utopia.

These can even be heard on UK bootlegs. Wetton and Jobson kept the name UK and started looking for a new drummer. Initially they also looked for a new guitarist, but when it turned out that most guitar players who applied were little more than Holdsworth clones the search was stopped and UK continued as a trio.

It appeas that the band played slightly on the safe side since it was a fine symphonic prog album, but brough little innovation. The album was fairly successful and especially in Japan the band got a status that is comparable to for example Genesis and King Crimson. And a decade later there would be many Japanese symphonic prog groups like Vienna, Motoi Sakuraba and Deja Vu that owed a lot to UK with their bombastic sound.

Back home from the world tour UK started thinking about its future, and particular Jobson appeared to have many idealistic plans. But due to the fact that Jobson seemed to take all of the songwriting on himself, Wetton felt underappreciated.

This coupled to a rather haughtily way with which Jobson comments on other keyboard players may have been the main cause to arising tensions and UK Mark 2 decided to take a temporary break. Not so temporary as it soon turned out… Wetton has commented that the first thing he heard from Jobson was that he had joined Jethro Tull.

After some time of rumors, in finally a second live album was released the recordings had been on many bootlegs before, by the way - ed.

TODD RUNDGREN'S UTOPIA

A decent amount of the CDs, however, had been sold already and found their way to the fans. With this he toured with a variety of musicians changing from concert to concert playing music from UK, King Crimson, Mahavishnu Orchestra and his solo work.

CD,30th anniversary remaster This album is a classic in progressive rock for sure, and it should be a part of any serious progcollection. Still, for a long time it left me largely cold. I wonder why that was, because the combination of jazz-rock and symphonic sounds usually appeals stronger to me than it did. Even 30 years later this debut album is still one of the milestones in progressive rock. This resulted, in combination with the jazz-rock influences from Holdsworth and Bruford, in a unique interplay of four highly gifted musicians.

Also I find the selection of tracks to all that successful. That is a better representation of the unique sound of UK Mark 2 - including a long and wonderful improv by Jobson on his violin. The music is complex as on the studio release but a bit rougher. The Baku are spirits of the dream world who are devourers of evil dreams and nightmares.

The CD, recorded between and live and in the studio featured Richard Pinhas as a special guest on several tracks. Very spacy and with a definite experimental touch to it that may not please those that are looking for melodic electronic music. He teamed up with a number of renowned musicians: German drum genius Minnemann, Austrian guitar wizard Machacek, King Crimson member Gunn and Lippert, who was a citizen of Belguim but born and raised in New York and formerly lead singer and songwriter for the group Expanding Man.

The first with help of Chris Franke sequencer, electric drums, keyboards and production and Harald Grosskopf. The second LP was less inventive and had a less interesting guestlist: Besides his recorded work, Ulbrich has also been active in theatre music. And as things go: Nothing like Agitation Free, alas.

His solo-work very much ventures in the vein of this group. In they decided to move to London in search of a record deal. So, by chance, Brendan, Lisa and Paul moved into an apartment on the same housing estate where Peter Ulrich lived and began the search for a new drummer, which led them to be introduced to him and after an audition he was hired.

Ironically Peter had to quit DCD at the moment that they made their real breakthrough because of family reasons. The same mixture of dark atmospheric rock, ethnic and medieaval influences, even the vocals are very Perry-like. Highly recommended to DCD fans! Overall the atmosphere appears to be a bit lighter and more playful.

A 3CD box set of Ultima Thule was said to be in the making. The second album featured guest singer Carol Lee Britt. Instead the music turned out to be a varied proto prog affair: Recommended for those exploring the origins of prog rock! Yet, it again is a varied affair. It appears to me that the vocal parts are a bit more pronounced this time and those with the female singer often remind of the earliest and most psychedelic version of Jefferson Airplane. Another recommended album for prog-historicians!

CD mini-CD Rather typical for the style with slight leanings towards Queensryche in the vocals, but not quite as good and with a minor accent. AR CD A nice album, nothing more nothing less.

They sometimes sound like Marillion on "Dark Visions". Most of all their lead singer reminded me of Fish. Music wise the band cannot stand in the shadow of Marillion. The five musicians worked very hard to record four long tracks for their first album in ten years time.

They can certainly play but the songs just don t reach a very high level. I am not sure if all Fish and Marillion fans would like the music on "Dark Visions". Maybe the next effort will attract more neo prog fans that like the old Marillion and Fish stuff. No known recordings although they were working on material around This was to be produced by Steve Rothery Marillion.

MODERATORS

Originally, they were very experimental, but after becoming the trio of Cee, Hollinger and Lother Reitz, they went into ethnic fusion-direction around I hear Oriental influences e. Chinese but Uludag manages to craft these in a very good way into their own music which a. The band was founded in as a black metal group but they went thorugh a number of rather radical changes in musical direction and proved to be increasingly experimental.

The band was started by Garm born as Kristoffer Garm Rygg who began as a vocalist but added other instruments to his CV over the years.

Co-founder was drummer Czral born as Carl Michael Eide. With him the debut was recorded in The band surprised everyone by becoming an acoustic!!! From the fourth CD on Ulver increasingly worked with Tore Ylvisaker who worked with them on programming and sampling. During the late s Ulver became a duo of Gorm and Ylvisaker. The and EPs were release in limited editions, but were reissued in combined form in From on Ulver also did a number of soundtracks.

During their first fifteen years of existence Ulver never played live, which contributed to the creating them an even bigger cult status. May be reason for the fast forward button, yet this piece does have some worthwhile moments as well. Overall not enough to ensure repeated and frequent playing by me but it is an indication of things to come.

A very beautiful disc, at times reminding of a Perry only version of DCD. The lyrics are by Blake, the music is… well, eclectic is the only really fitting word.

Quite amazing how they move from dark metal to triphop into raps and wherever. Maybe the double album is just a bit too much in one go, but if something is worth doing it is also worth overdoing. Hardly a trace of that metal heritage. Instead we get mainly triphop with tasteful beats, spacey and atmospheric sounds and occasionally some jazzy and vocal interludes. CD My first encounter with this group, or project.

And amazing one it is. The entire disc is an enormous mishmash of different musics this should be regarded as a positive thing. But not really as we know it most of the time… Have to listen this a few times over to let it sink in! Instruments are mainly non-metal, non-rock even.

There are guitar-ish soundscapes partly done by the Theremin? Fascinating music for introspective moments. Progressive in the true sense of the word. It took some time and changes in the band until a stable line-up was formed. They recorded a demo first on which Bernd Sahlender plays drums and - latest addition before demo was recorded - Mignon Fuchs stars on backing vocals. Soon after, she had to leave the band because she lived too far from the rest of the band.

The new vocalist, Marc Jost, joined in May after which things became pretty silent. In the early s there was a continuation of the band led by Zoom and Rudnik as Neronia, named after their first album.

Not too many surprises, but basically the kind of music that many prog fans longed for around the time and well executed. Quite enjoyable to listen back to this, so many years later! People in, people out of the countrylong story short: Since the formation in the band merely jammed, as their main objective was to have fun.

They had no particular future planned out for the band. Of course after a while the jams resulted in complete song structures and eventually there was material enough for a demo. In they started arranging some of their strongest songs and the intention was to do just a recording for themselves. Ulysses recorded all live in just one day. The reactions on the Cdemo and also the live shows were very positive which motivated them to write enough stuff for a full-length album. The official debut featured cellist Christiaan van der Spek as a guest.

Overall the reactions were very promising on the album. After attending an elaborate, self-staged 'showcase' performance by the group at their L. The brothers later credited Rundgren as being instrumental in launching their career and in Russell Mael commented that when reviewing the album in they were still " There's nothing there that really sounds 'of an era' because it didn't exactly sound 'of an era' at the time.

The former song featured Rundgren on all vocals and instruments. On his ensuing concert tour, his backing band was the Hello Peoplewhose own album he later produced. Up until that time he neither drank nor took any drugs: I didn't take any kind of drugs or drink or anything. In fact, I had found the behavior of my peers, while they were high, to be somewhat questionable.

Reed introduced Todd to cannabisand he credited this with having a big effect on his songwriting for his second solo album, The Ballad of Todd Rundgren. His return east led to a long and fruitful working relationship with Moogy Klingman and the pair collaborated extensively over the next few years.

They built a recording facility in Manhattan which they dubbed Secret Sound Studios, and a large proportion of Rundgren's solo and production work was done there, until his relocation to Woodstock, New York in the mids. A lot of people recognized it as the dynamics of a psychedelic trip—it was almost like painting with your head. Backing musicians included renowned horn players Michael Brecker and Randy Breckerguitarist Rick Derringer and several other musicians, who subsequently joined the original incarnation of Utopia.

This reflected Rundgren's skills as a mastering engineer, since this extended running time took the album close to the practical maximum for an LP.

On the album cover, packed with his handwritten notes, he advised listeners to crank up their Victrolas accordingly. Rundgren playing in concert during his early years Rundgren's back-up band for A Wizard, a True Star evolved into the first version of Utopiaa larger prog-rock ensemble, which included multiple keyboards, synthesizers and brass and featured a character completely disguised in a silver suit, "M.

This incarnation premiered on Todd Rundgren's Utopiawhich was book-ended by the minute "Utopia Theme" recorded live in concert and the minute suite "The Ikon", which occupied the whole of Side 2 of the album.

If I get that one minute of total illumination then I don't care if my whole career goes down the drain. I'd know there was an answer to everything—to existence, to death.

Initiation, Faithful, and Hermit of Mink Hollow[ edit ] In contrast to Todd, Rundgren's work with Utopia and his next solo album took him decisively into progressive rock.

Initiation addressed cosmic themes, showed a strong interest in spirituality particularly Far Eastern religion and philosophyand displayed the musical influence of psychedelic rockas well as the avant-garde jazz fusion of contemporary acts such as the Mahavishnu Orchestra and Frank Zappa. In the latter half of the s, Rundgren moved to Woodstock, New Yorkwhere Bearsville Records established a studio under Rundgren's direction. He bought a home nearby and a property adjoining the studio was taken over as accommodation for artists who used the studio.

The Woodstock complex became Rundgren's base until his eventual relocation to the Hawaiian island of Kauai in the s. That move was in part prompted by a violent home invasion at Woodstock in the late s, in which Rundgren and girlfriend who was pregnant at the time were tied up while the house was ransacked by a group of armed men.

According to Rundgren's account, the men appeared to believe that he possessed a large quantity of cocaine which he never used ; although the family was unharmed, the men stole some valuable items including a custom-made Alembic bass guitar.

Todd recovered it years later after Alembic staff spotted it for sale on eBay and it was returned to him, but was by then so badly damaged that it could not be restored.

After the prog-rock fusion homage, RaUtopia moved toward a more concise pop-oriented style with Oops! During that year, Utopia also acted as the backing band for the Rundgren-produced Shaun Cassidy solo album Wasp. Rundgren disbanded Utopia in the mid s. During andRundgren attempted to tour with a true quadraphonic sound system, however it proved ultimately unworkable — despite successfully delivering high-quality sound in a concert setting — due to the enormous technical requirements involved.

Since most concert arenas of the day were ill-equipped to host large towers of sound equipment in the rear of the halls, the speakers often had to be hung from the ceiling rigging. This installation could take up to two days to complete, meaning that it was necessary to send two separate sound systems, each with its own, complete set-up crew, out on the road, so that they could "leapfrog" and allow Rundgren to play dates on consecutive days, which would have otherwise been impossible.

The system featured a then-new technology called "signal analysis", which required white and pink noise to be pumped through the speakers, in order to set the active equalizers so as to minimize feedback and distortion.

The pink and white noise analysis had to be performed twice: Additionally, Rundgren's insistence on personally overseeing the acoustic set-up of the system left him exhausted and unable to continue, and he pulled the plug on the experiment. In terms of Utopia why did you leave? I was getting very tired of traveling I really didn't enjoy being on the road that muchI had gotten married,I had a kid and I wanted to be home. I thought I would stay at home play around town and do sessions and things like that.

In the midst of all that,my father got me to join the family business. At the time he had 70 restaurants and he was giving away free beer,wine and sangria at the restaurants and nobody came into the bar. He said why don't you come into the bar and try to generate some business. I went around and held auditions and bought seventy bands into seventy bars and I kind of like the business, the kind of marketingthe advertising,the promotion,liked being home and discovered that I had a whole other side to myself I didn't know it turned out that I was a very good businessman.

I was a singer, I wasn't a songwriter I was a drummer. I didn't want to work for somebody else I wanted to have my own thing. I owned a business, a very success wealth management business working with business owners and in that sense its very satisfying to me to run my own show. If I was a songwriter I would have been in charge of my own life. I think I wouldn't have wanted to been on the road being a sideman.

Neil Peart was influenced by you,have you two ever met? I'd love to meet him some day and I did read that article where he did say he was influenced by the way I played ,it's kind of amazing to realize that you do influence people. I guess the only regret I had is that had I kept on playing ,kept developing I would have played with Todd played with other people in other big rock bands.

I would have left a larger body of work. I would have influenced more people. Maybe I wouldn't have had as good a home life or as good of a relationship with my kids,so it's hard it's a trade off it's a tough life as a drummer. Some day I'd like to meet Neil if possible. I talked to John Siegler about the New York session scene and jingle scene and Moogy was involved with that as well.

I started to do that and I played on a lot of jingles, you could make a living but that went away you can't do that anymore. So today if you wanted to make a living you would have to be on the road most of the year. Unless you get a Broadway show. Was it hard to get your juices flowing for the jingle work?

UTOPIA Todd Rundgren's Utopia reviews

I really didn't like that. I quit playing with Todd then I started doing sessions and I didn't like it. As long as I'm playing music and I'm not liking it I might as well do something else or I could make a really good livinga good life. I always wanted to stretch out play and be creative but if I was going to play music to make a living I'm not going to do that.

I played with all those people before Todd. What was Chuck Berry like, how long did you play with him for? I played only a couple of shows and with as my roommate at Berklee ,he said ,"we have Chuck Berry coming to play could you put a band together? We were waiting in the dressing room at seven o' clock ,no Chuck. The show was supposed to start at eight o' clock.

He shows up five to eight goes on stage and turns around to me and says," you play a funky back beat and I syncopate,ready 1,2 and a one two three and he just counts it off.

Everybody knows Chuck Berry songs, he went on the road with no band he would bring in a band for each show. He got a bunch in local musicians for each show and he would get a local band that would learn Chuck Berry songs and the works.

Cab Calloway must have been something else?

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He used her band so we just backed up Cab Calloway as an opening act. You know that was very cool I could play the swing and do the move and work out all that stuff so it was very fun. His repertoire was in the back of your head?

Yep, I listened to all that jazz music so I knew that swing thing so I always enjoyed it so it was fun to play. Laura Branigan how did that come to be, she must have been like twelve? I played with her on some kind of off Broadway show. And she was in the crew and there was some kinda band and she was one of three singers and I got a couple of gigs.

She was my girlfriend for a awhile. This was way back when when she went off on her own. Mary Travers and Richie Havens? Mary Travers was very cool to work for,she was very,very together. David Buskin put together the band. She wasn't a diva we played at the Avery Fisher Hall. It was a pleasure she was a great star,I heard all that music growing up and it was a pleasure and it was easy to play with.

Richie Havens on the other and I did sessions with him, I recorded an album. I remember that he tried not to pay us. We went to the union to get him to pay us so I don't have fond memories about him. In terms of getting involved in the finance business when did you get back in the music business?

For about 10 years I was a regular on CNBC and one of the producers found out that I was a drummer,so on the fifth of April they decided to have a reunion with Todd Rundgren on the air.

The week leading up to the show they had a contest and each day they would show pictures of a different guest asking which of our guests is a rock and roll drummer? So they had a contest so on the day of the show, I did a financial planning piece about career changes and Todd went to talk about his internet music service, he was one of the first guys to do music on the internet.

This happened in and the next day Moogy called me up and said let's get together and play. So I started playing with Moogy for a couple of years and then I played a lot of parties around town.

I started playing again. How did you keep your chops up from not playing until ? I have my set set up in the basement or the garage and every now and then I would do a gig. I didn't play a lot but I had to get it together again,when I started playing again. Even now, when I'm playing Todd's music it's not like playing Aretha Franklin,it's not easy. So I'm really trying to get my chops together.

What type of drums are you playing now? I have the same exact set that I had when I was playing with Todd. A custom set of Slingerland drums and Zildjian cymbals, I trying to decide whether I should change to a more modern set,maybe DW or Tama or something like that.

I was talking to someone the other day and he said The Slingerland drums are valuable. It's an old set of drums but it's pretty valuable. What was the impetus to bring Utopia back again? Moogy called me up and he wasn't doing well health wise.

He was having a benefit show on the 16th and then he was trying to get Todd, he went to one of Todd's gigs, he asked him about doing a benefit and he was very enthusiastic about it. The theater was too small and they decided to shift the date and get the Highline Ballroom. We've got John and we've got Kasim, Ralph and we've got Todd and we've got two backup singers. We are rehearsing with Moogy and John,Kasim came last week and the week before the show we are going to have rehearsals with Ralph and everybody.

Todd will come in the tail end and come in and do the gig. How is Kasim fitting into the mix since he wasn't part of your version of Utopia? I played with Kasim once or even twice, he's a very musical guy so so far it's been easy.

We're hoping that the chemistry will be good. I haven't seen him in ages, we're all optimistic that all will go well. It's clicking like old times then. The main thing is that we've gotta know the parts. The grooves have to be terrific. The vocals have to be onTodd can kind of sit on top of that and that's the way it was in the beginning. We were all there to back up Todd so this is the same sort of thing.

Todd is coming in next week then? He's coming in the week before the show, the show is on the 29th and the 30th, by the time he gets there we're gonna be completely rehearsed and super tight.