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Posts Tagged ‘Rob Durham’

TRACKLISTING:
1. You’re Fooling Yourselves (6:53)
2. Exit Strategy (5:46)
3. The Socio-Economic Petri Dish (6:51)
4. Incoherent Ramblings (7:46)
5. The Ones To Follow (3:15)
6. A Work Of Art (2:53)
7. Televised (6:54)
8. The Millions Of Last Moments (2:07)
9. Memetic Pandemic (7:29)
10. A Nihilist’s Love Song (3:39)

LINEUP:
George Dobbs – lead vocals, keyboards
Robert James Pashman – bass, keyboards, backing vocals
Patrick Kliesch – guitar, backing vocals
Eric Pseja – guitar, backing vocals
Aaron Nobel – drums, percussion

With:
Rob Durham – flute (6)
Bill Fox – alto and tenor saxes (6)
Cara Brewer – backing vocals (10)
Veronica Puleo – backing vocals (10)
Jed Levin – spoken word intro (4)

In the years following the release of Narrow-Caster, their “comeback” album after a 12-year hiatus, New Jersey band 3RDegree have been hard at work on its follow-up, which was finally completed in the early summer of 2012. The band’s lineup has also undergone some changes: drummer Rob Durham (who guests on one track) was replaced by Aaron Nobel (who joined the band just in time for their appearance at ProgDay 2009), while second guitarist Eric Pseja had collaborated with them as a guest musician for the 2007 reunion concerts.

As I pointed out in my review of Narrow-Caster, 3RDegree are one of those bands that are bound to divide opinions within the prog community. While critics have generally greeted their albums with words of praise, the public’s response has not always been equally enthusiastic. Though the band members proudly state their allegiance to the progressive rock camp, their sound – in true art-rock tradition – contains enough “mainstream” elements to make purists frown, eliciting doubts as to its actual prog quotient. George Dobbs’ extraordinary vocals (clearly more influenced by Stevie Wonder than Jon Anderson or Peter Gabriel) are also a sore point with those fans who find it hard to break away from the Seventies mould. The band’s frequent reliance on the conventional song form is another source of controversy for those who forget that, in fact, even in its heyday prog never completely rejected traditional song modes, though often rendering them almost unrecognizable.

Compared to Narrow-Caster, The Long Division ups the ante in terms of complexity, while retaining its accessible, deceptively upbeat flavour.  For starters, the songs’ running times have gradually increased from the average 4 minutes of Narrow-Caster to over 6 minutes for half of the tracks on The Long Division.  While there are no epics in the conventional prog sense, the album is intended as a sort of loose concept that, while firmly rooted in the peculiar atmosphere of a US presidential election year, can also resonate with citizens of most Western countries, especially in the current global situation. The clean, geometric lines of the striking cover artwork contrast sharply with the stereotypically fanciful prog aesthetics, its bright blue and red hues identifying  the two main US political parties, separated by an apparently unbridgeable gap.

From a musical point of view, the main ingredients that made Narrow-Caster such as successful example of modern “crossover” prog  – such as its memorable melodies – do not disguise the intricacy of the instrumental fabric and the frequent changes in tempo and mood. George Dobbs’ voice, authoritative as usual, is assisted by gorgeous, layered vocal harmonies reminiscent of early Yes or even The Beatles that complement the lush instrumental interplay. The double-guitar configuration, with Eric Pseja flanking founding member Patrick Kliesch, has undeniably beefed up the sound, though as a whole The Long Division comes across as a smoother-sounding effort, less reliant on high-powered riffs and more focused on Dobbs’ keyboards.

The 10 songs on The Long Division are arranged in a pattern that alternates uptempo numbers with more laid-back ones. “You’re Fooling Yourselves” – a fitting introduction to the musical and lyrical themes of the album, mixed by Echolyn’s Brett Kull – showcases the band’s trademark blend of catchy hooks and subtle complexity, with intriguing vocal textures and sleek guitar solos ranging from meditative to energetic. The mellotron-infused “Exit Strategy”, with its airy, orchestral feel, is dominated by vocals, though Robert James Pashman’s strong bass lines emerge prominently. The bass is also the undisputed protagonist of the funky, exhilarating “The Socio-Economic Petri Dish” – sounding like Yes probably would if they had been founded in the 21st century, and displaying the band’s collective talent in both the instrumental and vocal department. “Incoherent Ramblings” (the longest track on the album at almost 8 minutes) is an extremely well-constructed piece, bringing together the mellow, atmospheric component of 3RDegree’s inspiration and the sense of urgency often lurking even in the more relaxed numbers; while the brisk “The Ones to Follow” offers another vocal showcase for Dobbs and an almost infectious chorus.

The second half of the album opens with the hauntingly romantic, piano-led “A Work of Art”, the only song dating back from the early incarnation of the band, enhanced by sax, flute and mellotron and featuring an unusually subdued vocal performance by Dobbs. Things pick up with the slashing riffs and hard rock vibe of the Rush-influenced “Televised”, driven by Pashman’s fat, groovy bass line and Nobel’s muscular yet intricate drumming, the heaviness softened by the Beatlesian flavour of the harmony vocals.  The short, gentle instrumental “The Millions of Last Moments” prepares the listener to the album’s grand finale – the melodic-with-a-bite, sinuous “Memetic Pandemic”, which allows Dobbs to shine on piano and organ as well as in the singing department, and the catchy “A Nihilist’s Love Song”, based on a chiming acoustic guitar line reinforced by piano and layers of vocal harmonies.

With The Long Division, 3RDegree prove that they have reached their full maturity as a band, delivering an intelligent, well-rounded example of modern progressive rock. Much like Man On Fire’s splendid 2011 album Chrysalis,  the album epitomizes the “new frontier” of the genre without denying the legacy of the past, or pandering to blatantly commercial trends. Avoiding the bloated excesses of many retro-oriented bands, The Long Division is a complete package of classy music, top-notch vocals and thought-provoking lyrics – recommended to anyone but incurable elitists.

Links:
http://www.3rdegreeonline.com/

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TRACKLISTING:
1. Apophenia (4:45)
2. It Works (5:05)
3. Narrow-Caster (3:09)
4. Live With This Forever (5:09)
5. Cautionary Tale (5:05)
6. The Proverbial Banana Peel (3:09)
7. Young Once (5:14)
8. Scenery (5:49)
9. Free For All (4:35)
10. The Last Gasp (4:57)

LINEUP:
George Dobbs – lead vocals, keyboards
Robert James Pashman – bass, keyboards, vocals
Pat Kliesch – guitars, vocals
Rob Durham – drums, percussion

With:
Dan D’Elia – drums (3, 10)
Veronica Puleo – backing vocals (10)

“3RDegree – Defiling perfectly good songs with prog since 1990”

The definition of ‘narrow-caster’ (as opposed to a broadcaster) –  “one who transmits a TV programme […] or otherwise disseminate information, to a comparatively small audience defined by special interest or geographical location” – seems to be a perfect fit for anyone engaged in the production of progressive rock. In spite of the genre’s relative popularity these days, both the musicians and those who (like myself and many others) support it through our writings are perfectly aware that prog is not likely to become the next mainstream sensation, and its appeal will remain limited to a niche audience.

Based in New Jersey (though guitarist Pat Kliesch resides in Los Angeles), 3RDegree formed over 20 years ago, but disbanded after a few years after the release of two albums, discouraged by the lack of response from their intended audience. In 2005, Kliesch and the other two original members, bassist Robert James Pashman and drummer Rob Durham (vocalist/keyboardist George Dobbs would join them later), met again with a view to reforming the band, taking advantage of those opportunities offered by the Internet that were not yet fully available in the mid-Nineties. The result was Narrow-Caster, released in the first half of 2008, mostly comprising material that had been conceived prior to the band’s demise in 1997, but completely rearranged for the occasion.

The reactions of the ‘prog community’ to the album have been somewhat mixed, as illustrated by the many reviews published since its release. Although 3RDegree have always proclaimed their love of progressive rock (as stated by the quote I used as a heading, which is proudly emblazoned on the band’s official T-shirt), the influences they list on their Facebook page point to a very eclectic bunch of musicians – with the likes of Rush, Level 42, Genesis and Stevie Wonder mentioned in the same breath. In fact, labelling 3RDegree as a ‘conventional’ prog band would do them a serious disservice: they should rather be counted among the rightful heirs of legendary genre-bending outfits such as 10cc, Supertramp, Roxy Music and Queen. These bands and others, pioneers of the much-debated genre called Art Rock, are seen by some as little more than marginally related to prog, by others as no less progressive than icons such as Yes or Genesis.

For today’s standards, Narrow-Caster is a short album, with no track longer than 5-odd minutes. Chock-full of hooks and melodies that would be the envy of many bigger-name bands, it is one of those independent releases that manage to sound like a million dollars. While the label-happy brigade (the ones that always wonder if a band, artist or album is prog or not before they say anything else) might frown and turn up their noses, at the beginning of the 21st century, with progressive rock in all its manifestations enjoying an almost unexpected Renaissance, an increasing number of outfits have rediscovered the importance of a well-crafted song as opposed to sprawling, patchy  and often terminally boring epics. 3RDegree are part of a solid, though not too large, contingent of bands who do not believe that ‘pop’ is always a bad word, and who deliver consistently intelligent, classy music without the need to release a whopping 80 minutes of it.

While all the members of 3RDegree are gifted musicians, creating rich sonic textures without anyone seeking to outdo the other, the band’s real ace in the hole is George Dobbs’ absolutely stunning voice (which, I am happy to say, sounds every bit as good live as it does on CD). Though I have seen it compared to the likes of Michael Jackson, in my view the closest comparison are Glenn Hughes (of Trapeze, Deep Purple and, more recently, Black Country Communion fame), and of course Stevie Wonder. George’s versatile, soul-infused tenor can shift from soothing to aggressive in the space of a single song, stamping his unique imprint on the band’s music without overwhelming it. 3RDegree’s love of classic prog acts such as Yes and Gentle Giant – as well as The Beatles and the hard-to-pinpoint King’s X – shines through the superb vocal harmonies that grace most of the songs.

The album kicks off in high gear with “Apophenia”, an intriguing mid-tempo with echoes of Rush in the guitar parts that immediately introduces the listener to 3RDegree’s heady blend of aggressive, catchy and atmospheric elements. Dobbs delivers the thought-provoking lyrics, belying the apparently carefree tone of the music (something perfected by the likes of Steely Dan and Supertramp, to name but two) in impassioned yet perfectly controlled fashion. The Steely Dan comparisons rear their head in the splendid “It Works”, my favourite number on the album, with excellent guitar and keyboard work bolstered by Pashman’s nimble bass lines, and one of Dobbs’ finest moments together with the energetic “Free for All” – where a deceptively blissful chorus is offset by the spiky, riff-heavy electricity of the verse.

While the title-track and the smooth, jazz- and soul-tinged “Scenery” showcase 3RDegree’s more accessible side, with plenty of catchy vocal harmonies and laid-back melodies, the short but punchy “The Proverbial Banana Peel” sees the band experiment with both electronics and metal-like power chords The nicely-paced “Cautionary Tale” delivers a biting indictment of religious fanaticism through almost seductive vocals and an atmospheric guitar solo, and “Live With This Forever” marries a great hook, supported by Dobbs’ stellar performance both on vocals and keyboards, with some harder-edged guitar work. “Young Once” and “The Last Gasp”, on the other hand, are probably the two songs where the constantly lurking progressive component of 3RDegree’s sound emerges most clearly: the former, a wistful number in the Steely Dan vein, unexpectedly features a lovely, ambient-like bridge; while the latter closes the album in style with a brilliant combination of dreamy vocals, Rush-like guitar riffs and a majestic, orchestra-backed, bass- and keyboards-led coda that brings Yes to mind.

If you are looking for music that successfully combines accessibility, great musicianship and stunning vocals, look no further than Narrow-Caster, definitely one of the best releases of the first decade of the 21st century – regardless of labels.  In a perfect world, these guys would be stars, since it takes a whole lot of skill and dedication to write music that is at the same time approachable and sophisticated. At the time of writing, 3RDegree are working on their fourth album, which will hopefully be released by the end of the year. In the meantime, check out the band’s two DVD releases, The Reunion Concerts (released in the same year as Narrow-Caster) and Live at ProgDay 2009, capturing their performance on the small but legendary stage in the beautiful surroundings of  Storybook Farm.

Links:
http://www.3rdegreeonline.com/3RDegree/Home.html

http://www.myspace.com/3RDegreeNJ


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