Posted on

What’s On My Mind #1: Sons of Apollo

Hi everybody and welcome to my first review in the section of my website I’m calling “What’s On My Mind.” Named after a Kansas song, this area will feature my thoughts on whatever has my attention at the time. My goal is to keep things positive and informative. Thanks for reading (and hopefully in this case, listening)!

Mike Portnoy’s latest musical offering comes in the form of another “supergroup.” The term is often used with Portnoy’s projects, but if you really dig into each band he’s been involved in since his departure from Dream Theater, it’s a shallow term that’s easily thrown around and doesn’t do the bands justice. Each one has its own cohesive sound that is the result of a true chemistry between the artists involved as opposed to a bunch of “name” musicians being thrown together to see what happens. Adrenaline Mob, Flying Colors, The Winery Dogs, and now Sons of Apollo all have a different vibe and musical direction. Each has members that have chemistry and have been involved with each other in various other projects. It would be interesting to see a Portnoy family tree of his involvement in groups over the past few years.

This is another group of seasoned virtuosos, some whose paths have crossed before. Sons of Apollo brings Portnoy together again with keyboardist extraordinaire Derek Sherinian, whom he worked with in DT, and virtuoso bassist Billy Sheehan, who worked with Portnoy and Sherinian in the instrumental project PSMS and is also a member of The Winery Dogs. New to the fold are guitar wizard Ron “Bumblefoot” Thal (Guns & Roses) and dynamic vocalist Jeff Scott Soto (Yngwie Malmsteen, Soul SirkUS, Journey, and Trans-Siberian Orchestra). My only experience with Soto was with Malmsteen’s band, but he was my favorite vocalist. His voice is still amazing and fits this project perfectly. He may be rock’s best kept secret. Bumblefoot was the wild card for me, but after a few listens, you can deal me in.

God of the Sun opens with an eerie eastern motif and Sherinian quickly announces his presence with his dramatic, signature searing synth sound and we’re off. Guitar and drums enter and quickly establish that this band means business. Soto’s vocals give a serious, melodic weight that proves he’s one of rocks underrated singers. Portnoy’s drum sound is crisp and tight and the immediate mix comes off strong and well balanced. The tune segues into a dreamy bridge that hears Soto and Sherinian both showing their prowess.

The opening tune makes a statement that this band is about melody and hard rock, but sees Portnoy dipping deeper into the prog-rock pool than he has since departing DT. Portnoy and Sherinian’s chemistry and influence in this department is noticeable. Bumblefoot provides the “balls & chunk” while adding a modern sound with his soloing style. The tune closes with some great synchronized triplet instrumental runs.

Sons of Apollo waste no time going for the groove with the bass riff heavy Coming Home. Sheehan shines on this tune while Portnoy kicks in some background vocals. Bumblefoot adds some tasty guitar wizardry and the tune has a great break down that builds back up into the tune’s chorus. Great feel on this one with tastefully regulated chops.

Next up is the more proggy, yet tribal, Signs of the Time. Rhythmic tom patterns take the verse into an intricate two surface ride pattern. The band emphasizes the feel in the chorus before launching into a nice instrumental workout featuring more great work by Sherinian. Even though the band has plenty of heaviness, they again take a nice breakdown that has some elegant solo work by Bumblefoot that veers into fusion territory.

Labyrinth opens with a symphonic backing to Soto’s emotive phrasing. As the tune progress, an instrumental maze of accents is punctuated by Soto’s singing. Sherinian shines again on this tune with his synth sound selection and it isn’t long until he and Portnoy are into prog territory again with the tunes bridge. Sheehan’s growling bass isn’t lost in the mix either and only strengthens the power of the intricate riffs the band synchronizes on, especially throughout the latter part of the song. Sherinian chooses a great organ sound for his solo and Bumblefoot again pulls out a melodic solo full of phenomenal technique.

A dreamy guitar riff opens Alive, the next track. Solo’s vocals are again spotlighted as he shows he’s just as much a virtuoso with his instrument as the others. The band once again wastes no time in getting to the hook of the song which features more tasty interaction on Portnoy’s part. Sherinian again makes his case for best keyboardist in rock with a creative solo before Bumblefoot takes a mellow lead before building back up into the chorus.

More musical mayhem ensues on the opening of Lost in Oblivion before Portnoy ties everything together with a steady double bass rhythm. It’s not long before that riff is dropped for the more staccato style of the other section of the verse. Portnoy has a nice breakdown in this tune before matching up accents with the guitar riff as Sheehan roars again with some nicely mixed harmonized runs with his fellow bandmates.

Figaro’s Whore is a blazing one minute spotlight for Sherinian, who solos while segueing into the opening keyboard riff of Divine Addiction. This mid-tempo rocker is probably the most straight ahead tune on the album but still has moments of flash and flurry, especially from Portnoy. He manages to weave in bursts of his patented hand/foot combinations into the groove without getting in the way of Soto’s strong vocal melody.

The album closes with the 10 minute instrumental, Opus Maximus, which opens with a heavy, ominous riff, before launching into an sludgy riff that gives Portnoy plenty of room to stretch. Things get quickly get proggy again with and odd chop riff. A majestic theme takes over and we’re only two minutes in. More dynamics come in to play as the band closes this chapter and leads into another odd time work out for Bumblefoot’s solo. More mechanized mayhem ensues in collective synchronous symmetrical runs, which set up another dynamic change in intensity. This sets up Sheehan’s spotlight again as he moves to the forefront of the mix. The band really sounds like they’re having fun playing together as opposed to counting beats and measures. After some extended jamming, the main theme is revisited again taking us out.

The nine tracks clock in at just under an hour. Produced by Portnoy and Sherinian, it’s a perfect combination of tight songs but room to stretch. With “Psychotic Symphony,” each member is given a voice and it shows in the overall balanced sound of the record.

Although this is definitely a group effort, one gets the feeling that on this ship Sherinian is the Captain, Portnoy the Navigator, Sheehan the First Mate, and Bumblefoot and Soto the new, but highly experienced and talented Crew. Sail on gentlemen, I’m on board.

Posted on

Why I Play

Music Chose Me

I wrote in my first blog about Aloke Dutta’s description of the transference of inspiration and influence via learning an instrument (or other expressive art form). I thought I would attempt to tell the tale of how I came to be so enamored with music and drums and why it has continued to be a driving force in my life. Special thanks to Carl King for the amazing photo above. It’s a still from a video Mr. King shot at my old studio.

I find it fascinating that I am so obsessed with music. I had virtually no exposure to it growing up, save for my older brother’s record collection and my uncle, who was a violinist with the Atlanta Symphony. My father listened to records and occasionally played the radio in the car, but music was never a focal point in our household. The extent of my grandmother and mother’s interest in music did not reach beyond church hymns sang on Sundays. Although these were minor influences, they had no real direct impact on me in my journey of musical discovery. A brief encounter with a saxophone in middle school changed all of that. I was in a band class at school and for some reason, when volunteers were called on for instruments, I chose saxophone. I can remember excelling at sight reading and being called on to play passages for the rest of the class. It was empowering to be good at something and at the same time, help others to learn. Although I didn’t stay with it for long, it left a definite impression on me.

Jeremiah Was A Bullfrog

Another experience I remember having an influence on my love of music was learning words to songs and singing in school or church. I was not, and am not, a skilled singer, but the indescribable feeling of when everyone is harmonizing and in tune was a huge rush. As I grew older and started listening to the radio, I would anxiously wait for the disc jockey to play that song I liked. When I discovered I could buy the record and then listen to it whenever I wanted, it was like a miracle. I remember the first 45 I ever bought. It was Three Dog Night’s, “Joy to the World.” I could not get over being able to play the record whenever I wanted. I no longer had to wait on the DJ at the radio station. This was a revelation to me. I think I must have played that record a hundred times the first day I had it. I immediately began saving my money to buy more 45s. As my 45 collection grew, I began raiding my brother’s record collection as well. He had the fancier 331/3 LPs. I figured if he already had it, I didn’t have to save up and buy it! I also liked some of my father’s music. He had a great collection of Benny Goodman 78s and was also a big Neil Diamond fan. Things really went into overdrive when I bought my own record player and could now play LPs and 45s.

I bought the first two LPs I ever owned with special points I had earned at school for good behavior and doing extra credit work. There was a student store with various things you could trade your points in for and among some of the items were some records. I chose Alice Cooper’s Billion Dollar Babies and Deep Purple’s In Rock. Looking back, pretty heavy albums for a 12 year old. Ian Paice’s drumming with Deep Purple was appreciated, but it was the opening drum riff from the song “Billion Dollar Babies” that planted the percussive seed in my fertile mind. I remember the exact moment when inspiration consciously gave life to the thought that I wanted to play drums. It was during a listen to Emerson, Lake and Palmer’s live triple album, Welcome Back my Friends to the Show That Never Ends. Carl Palmer does an amazing drum solo during “Karn Evil 9” and I can remember thinking, “I want to do that“!

Drum -N- Bass

That was 43 years ago. Just writing that sentence blew my mind! People, places and things have come and gone but the music plays on. Not only the music I hear from others around me, but also my own music in my mind and heart. Part of my creative path is finally learning other instruments in order to express myself musically even more. I am fortunate that my early retirement has given me the time to pursue this. A couple of weeks ago, I dusted off my bass guitar and began re-acquainting myself with it. Needless to say, I have some work to do! I also have aspirations to get my keyboard chops in shape, but one thing at a time. In looking back, I am so grateful for all the joy that music has given me. As I move into another season of my life, one of my goals is to continue to fuel that passion and ambition by inviting you to join me!

Posted on

Steel Sharpens Steel

My First Drum Clinic

I love drum clinics. For the uninitiated, this is a performance — usually educationally based, by a drummer known for their technical prowess. Typically, there is a demonstration of technique through playing a drum solo or with prerecorded tracks. In some cases, there are live performances with other musicians. The very first drum clinic I attended was sometime in late 1988. It was put on by Music Mart, a larger music store in Palm Beach County that I frequented. It featured Billy Cobham and Dom Famularo. I was familiar with Cobham and his work with The Mahavishnu Orchestra and now as a solo artist in the 80s.

I was not familiar with Mr. Famularo. I was floored by his enthusiasm, presentation and sheer joy and mastery in his playing. Although not a member of a famous band, Dom has nonetheless parlayed that enthusiasm into a career of drum instruction. He has truly become the drum ambassador to the world. I encourage you to check out his website and see his educational lineage. Dom is like a master yogi that has learned from the master yogis. Billy Cobham’s performance was just as exciting, but in a different way. Famularo’s clinic had really struck a chord in me at that time. I began taking formal lessons again with a private instructor.

Drum Clinics, Lessons, and Beyond

As I progressed in my playing, I would attend any drum clinic in my vicinity and still seek out occasional private lessons. In a behavior that would foreshadow my interviewing drummers and writing for magazines, I would pick their brains at these clinics. I would ask questions that I didn’t see answered in the magazines or ask them if they had any projects or performances that were off the radar. On our vacation that partially inspired us to move to California, I took the opportunity to take a private lesson with Zoro, master R&B drummer and passionate educator. Among the drum set study materials he assigned, he also gave me a list of books to read. Among them was Dom Famularo’s “The Cycle of Self-Empowerment.”

This book is not for drummers only. It talks about real and practical ways to achieve things that you envision. There are several concepts discussed by Famularo but one thing that stuck out in my mind was his statement of “steel sharpens steel” in the very first chapter. This is the concept that the people you surround yourself and hang out with should be honing and sharpening you as a person. In turn, you provide accountability and inspiration back to reciprocate the sharpening. It is difficult, if not impossible, to inspire yourself. It is a rare individual that needs no external stimulation for the process of inspiration. I believe we need the tangible feedback and energy of others to spur us to creativity or out of complacency. I recently experienced this personally and after spending some time with a friend. We were both in a similar state of depression and complacency. We benefited from and were inspired by each others physical presence. Some of the results of my “sharpening” are right here on this humble website.

The Collective Energy


Collective Vision by Alex Grey

There is a concept in some religious, spiritual and self-help theologies that wherever there are two or more believers (or people with a focused, common purpose), gathered together, there is an energy there as well. I believe there is something to this. I have experienced various levels of phenomena with group energies through Qi Gong, yoga, 12-step based recovery fellowships and various spiritual-based gatherings. I can attest to the energy that is present when you have a group of people entirely committing themselves to a collective cause or purpose.

One of my theories on why certain bands are successful is that I believe for a specific moment in time, every member was laser focused on their vision. All members were in agreement in the direction of the band. Some bands crash and burn after a moment in the spotlight. Others may last longer because all members remain focused. Of course, this is all subjective and my opinion only, but it’s hard to ignore some examples of this theory at work. I encourage you to scientifically explore this concept for yourself, either through personal experience or looking for examples of it elsewhere.

Everybody’s a Critic

One of the results of my “sharpening” is going to be a page with reviews of books, recordings, films or whatever comes to mind, starting with Dom’s book. My grandmother would tell me growing up, “If you don’t have anything nice to say, don’t say anything at all.” With that in mind, all reviews will be positive and about things that I enjoy or have been impacted by and wish to share with others. I see no benefit in doing negative reviews or trying to convince people of my viewpoint that something is “bad” or “wrong.” There is enough of that in the world already. My goal is to uplift and inspire.

Constructive criticism is another story. We all have ideas on what would make things better, including me! One of my most cherished memories from my early years of self-discovery is of sharing music I discovered with my friends. We would constantly share and constructively criticize the music we shared with each other. That same desire continues today, but has been made much simpler and far reaching with the internet and social media. With a few clicks of a button, I can instantly share something that caught my ear or recommend a recent discovery.

Here’s a great example. I occasionally have the opportunity to work with Carl King, friend and colleague. He was doing some video work for French guitarist Renaud Louis-Servais and I helped with some lighting and general teching. I had almost forgotten about the project when I happened upon the completed video the other day and remembered how much I enjoyed his playing. The video also features one of my favorite drummers, Virgil Donati. Check it out: