In 2013, there aren’t all that many bands making progressive rock of the sort that walked the Earth in the first half of the 1970s. But while the popular thinking is that punk killed off prog, that simply didn’t happen: it merely went back to being a slightly underground movement – as did punk, really

I truly mean no disrespect to the man, but experience has taught me not to get too excited about any musical project that involves Billy Sherwood. He’s clearly a talented musician: skilled and appealing on many instruments including guitar, keyboards and drums, he’s also a fine singer, and skilled at production, engineering, songwriting and so

I’m cool with the concept of tribute albums. Hell, I play in a cover band, so I get it. Paying respect to a group or artist is a worthy goal, if perhaps not the world’s most creative endeavor. But for it to be more than an exercise in futility, there needs to be something of

For some bands, personnel changes are the mile markers by which we chart their history. Members come and go, and (usually) each time, the character of the group changes in some measurable way. For whatever reason or reasons, progressive rock bands seem to engender the most frequent lineup changes; are prog players more difficult to

Continued from my previous entry, here’s Part Two of my conversation with legendary bassist/vocalist John Wetton. Bill Kopp: Two tracks on your new album, Raised in Captivity, feature Tony Kaye. Have the two of you worked together before? John Wetton: That came straight from Billy Sherwood. [Ex-Yes members Sherwood and Kaye have a band called