3.2: THE RULES HAVE CHANGED

(FRONTIER RECORDS; 2018)

In 1988, Geffen Records released an album of pop music with haughty (some would say pretentious) rock overtones by a band called 3. That band featured two-thirds of Emerson, Lake and Palmer (the sixty-six percent that wasn’t Greg Lake) and multi-instrumentalist journeyman, Robert Berry. The partnership was an attempt to play the more melodic style of progressive rock which had given Palmer and Berry (with Asia and GTR, respectively) some successes in the previous few years. Maybe the impetus grew from Keith Emerson’s desire for a wider audience than he ever experienced in the Nice or ELP; a growing need to be accepted. Whatever brought the three together, the resulting record, … To THE POWER OF THREE, was well received. With the band doing well on the road, Keith began to feel stifled by the record company’s insistence that they strike while the iron was hot, virtually demanding that they return to the studio to begin work on album number two; Keith’s answer was simple: He quit. Fast forward to 2015. Robert found himself in conversations with Italy’s Frontier Records regarding a new project from 3; After consulting with Emerson (but, apparently, not Carl Palmer) regarding the possibility of resurrecting the band, the two began writing and demoing new material, scheduled studio time, signed contracts with Frontier and… as quickly as it began, it was over: Keith Emerson had committed suicide. Reeling from the loss, Berry set aside the project; after a time of grieving and reflecting, Robert decided to once again resurrect the project – utilizing songs and snippets of ideas that he and Emerson had shared – as a final farewell to his friend and band-mate. Working as a one man band, he began work on what would become THE RULES HAVE CHANGED under the name 3.2. Does it work? For the most part, I think so. The record is split fifty-fifty with new Berry compositions and pieces that he and Keith had been working on before the latter’s death. Still, Emerson’s larger-than-life character and overwhelming musical sensibility are felt throughout what Robert has accomplished here.

3.2 (Robert Berry) (publicity photo)

“One By One” starts with a magnificent, cinematic piano piece before a grandiose, symphonic blast of power propels the song into the first verse, where Mister Berry’s pop leanings are on display front-and-center. Here, the number takes on the feel and scope of an Asia-like progressive ballad; the instrumental passages convey a blend of piano-driven Jazz and Classical phrasing, which informed much of Emerson’s career. Time changes and sudden shifts in style over the tune’s seven-plus minutes, while off-putting at first blush eventually come into focus as the ultimate tribute and a heartfelt homage to Keith Emerson. On “Powerful Man,” the original intent of the group is brought into sharper focus, with what could be considered a more radio friendly sound within a simpler – by comparison – more compact and focused five minute rock song, led by Robert’s Emerson-inspired keyboard work. This certainly would not sound out of place nestled between the poppier works of GTR, Asia or even Trevor Rabin-era Yes. With the title track, the pomposity almost crushes the feel of what the artist was trying to convey, lyrically. The song is a double-edged sword, as the words could be taken as a betrayal by a lover or, more deeply, it may also be construed as an open letter in which Robert attempts to heal the wounds torn open by Emerson’s suicide. Perhaps “The Rules Have Changed” would have been better with a more stripped-down approach but, then, Keith Emerson was never known for his subtlety. Referencing many of Emerson’s most well-known riffs, “Our Bond” is, finally, Robert Berry’s soul stripped bare over the loss of a dear friend. Likewise, the music is stripped of any pretensions of grandiosity. This, the third of four numbers written solely by Berry, brought a shiver to my spine, particularly the perfect, lone piano that closes out the piece. It is, by far, my favorite track thus far.

“What You’re Dreaming Now” has the unmistakable mark of Keith Emerson and the glory days of ELP (as well as a bit of ELPowell ‘80s bombast) all over it; Berry’s vocal phrasing even shares a certain quality, if not timbre, with Greg Lake while his drumming exhibits the power of Cozy Powell along with the finesse of Carl Palmer. It may not be the strongest composition on the album, but for sheer progressive physicality, it’s hard to beat. The playful, almost joyful sound of WORKS-era Emerson, Lake and Palmer (I’m thinking something like “Tiger In a Spotlight” from …VOLUME TWO) are in full effect on “Somebody’s Watching,” with a pumping bass and a guitar set to “power chord stun.” The keyboards sound as if they could have been recorded by Emerson at any time over his illustrious career; as Keith has a co-writing and co-arrangement credit on the tune, one does wonder if Robert used a snippet of a demo that Keith had provided and built the track around that unfinished framework. “This Letter” starts off as beautiful ballad, with a nice acoustic guitar lead and hints and echoes of piano playing around and beneath a ragged vocal; an synth-derived orchestra plays in as the pace begins to quicken at about the halfway mark. All well and good but, the piece begins to morph into a sort of gypsy parody of itself shortly after the introduction of a ragtime piano and we are soon witness to the number devolving into something so far afield from where it began that the joy – for me, anyway – is sucked right out of it. It’s as if Berry has taken two very different songs and jammed them together in an attempt to… what? The first half borders on exceptional while the second half borders on theatrical overkill. Things are definitely back on track with the final track, “Your Mark On The World,” with power chords aplenty and the return of the Emerson penchant for verbose noodling on every keyboard he could get his hands on. As much as I dislike the second half of “This Letter” for that same verboseness, it works in the context of this more upbeat number. Oddly enough, the thing seemed to end way before it was actually over – at 5:20, Robert just… stops! It really felt like it could have and should have gone on for another two minutes, at least. Oh, well… such are the vagaries of Rock and Roll and, if it took me almost an entire record to find something to complain about, I’d say that Robert Berry has done Keith Emerson proud. Well done, Mister Berry!

3.2 (Robert Berry, Keith Emerson) (uncredited photo)


JOE DENINZON AND STRATOSPHEERIUS: GUILTY OF INNOCENCE

(MELODIC REVOLUTION RECORDS; 2017)

The music of Stratospheerius is a frenzied, brilliant amalgam of the Blues, Progressive Rock, Funk, improvisational Jazz, Classical and orchestral music, along with just about any other genre or sub-genre you can come up with. I’m not sure, but… there may also be a bit of the kitchen sink in there somewhere. Led by virtuoso violinist Joe Deninzon, a man sometimes referred to as “the Jimi Hendrix of the electric violin,” the quartet comes closest in spirit – if not in actual sonic delivery – to the early music (through, say, 1976’s ZOOT ALLURES) of Frank Zappa and his various groups. The resultant sound is a chaotic rush of genuine (and genius) eclecticism. There is certainly more than a little of something for everyone on the band’s fifth release, GUILTY OF INNOCENCE.

JOE DENINZON AND STRATOSPHEERIUS (Aurelien Budynek, Joe Deninzon, Lucianna Padmore, Jamie Bishop) (uncredited photo)

The record kicks off with “Behind the Curtain.” With lyrics like “Welcome to the circus/It’s your biggest nightmare/Wear the scarlet letter/Scrutinized forever” and “Put your mask on/And tuck your shirt in/Pay no attention to the man behind the curtain,” the song acts as a sort of catch-all warning against the behind-the-scenes machinations that fuel the music industry or intolerance or political correctness or… You get the point. With a heavy, pound-yer-face-in riff-a-rama approach, bassist Jamie Bishop and drummer Lucianna Padmore lay down an exceptionally tight groove allowing Deninzon and guitarist Aurelien Budynek to go crazy with wicked dueling solos. As an opening salvo or as a stand alone piece of music, this one is a near-perfect shot across the bow of accepted norms. “Take Your Medicine” is a nasty little piece of work about “glass houses” and “casting the first stone.” It’s a bass heavy blast of funkiness with Joe’s violin filling in nicely for a full horn section. Guitar, violin and vocals add a rather hard rock urgency to the proceedings, with another dose of wild soloing, a feature that lends a certain Zappa-esque quality to this record. According to Mister Deninzon, the title track (“Guilty of Innocence,” for those with a short memory span) was “inspired by my 2012 stint in jury duty and deals with crime and punishment. I was presiding on a rape trial and the guy who I thought was guilty got off practically scot-free.” Padmore and Bishop lay down a modest Ska-influenced groove, while spastic violin leads and muscular metal riffs drive the tune. The violins and bass take on an almost operatic quality during the break and, just because I enjoy mentioning musical touch-points to give the reader a better idea of what to expect, the song’s chorus has a very Who-like feel, melodically speaking. Piling on to that musical heritage, let me say that if you’re a fan of Bela Fleck and the Flecktones or the previously mentioned Frank Zappa, you’re gonna love this one. “Face” is a sombre little ditty, sort of a slow burn piece with scathing lyrics about people (lovers, partners, friends, perfect strangers) who are more than willing to openly attack you just for the pure enjoyment: “These scars ain’t healing/It’s too late to make amends/I dodge the bullet/Your tongue flies across the room/Build up the callous/’Til I grow numb to the doom and gloom.” A very Hendrix-ian solo by Deninzon adds a certain psychedelic (or maybe it’s “psychotic”) mania to the number. The introduction to the frantic retelling of the Muse hit “Hysteria” features glass-shattering soprano Melanie Mitrano before a warbling high-register vocal from Joe takes over; the latter fits the surrounding chaos of the tune perfectly. There’s a certain “Flight of the Bumble Bee” quality to the always on-point violin work, highlighted by a massive solo, all backed impeccably by the metal leanings of Stratospheerius.

Affluenza” is another funky number with “ripped from the headlines” lyrics about people who believe themselves superior to “the little people” and, therefore, above the law because of that superior wealth and high standards of living. The song has a kind of Living Colour rock vibe happening, with lyrical barbs aplenty over sharp jabs of guitar and violin. Guest performer Rave Tesar adds an oddly appealing set of synthesizer “bloops,” giving the whole thing a cool late ‘70s funk sound. A hard(ish) rocking, progressive sort of pop-metal thing with Queen-like aspirations, “Parallel Reality” is choke full of breathy vocals, an absolutely killer rhythm (and a melody line to match) and, of course, the usual high-minded violin/guitar interplay that makes this band and this album essential listening. “Game of Chicken” starts out sounding like it coulda been an OVER-NITE SENSATION outtake, but then turns into sort of a Kansas prog-pop kinda thing. The playing and soloing remain top-notch and raise the piece out of what could have been a severe abyss of doldrums. The wholly (holy?) improvisational “Dream Diary Cadenza” is a muscular, solo violin freakout rife with flashes of Hendrixisms, Van Halenisms, Beckisms, Zappaisms and any other guitar genius ism that you could ever bring to mind. A brilliant workout from a master technician of his chosen craft. “Soul Food” is a nearly thirteen minute extravaganza with a veritable orchestra of guest artists: Melanie Mitrano, Rave Tesar, guitarists Alex Skolnick (!) and Randy McStine, violinist Eddie Venegas, violist (?) Earl Maneein and cellists Patrice Jackson and Leo Grinhaus. The piece is epic in every musical sense of the word and is, truly, a fitting end to a superb album. You owe it to yourself to obtain GUILTY OF INNOCENCE; you can do so by visiting CD Baby, Amazon or any of the other “usual places” and, naturally, at the group’s Bandcamp page.