Imagine for a moment:
Yes invite
Keith Emerson of
ELP over for a song or two. Word gets out of a big-name rock group recording in the works, so
Genesis -- that's in the
Steve Hackett era, mind you -- show up.
Steve Howe nervously agrees.
Jon Anderson gets the idea to invite
Supertramp for some vocals.
Roger Hodgson says that's cool.
Led Zeppelin refuses to attend, but OKs a redo of "Immigrant Song."
Paul McCartney offers to write some
Beatlesque passages and song structuring. In the new version of "Immigrant Song,"
Keith Emerson does a mean organ lead break/finale in that "Knife Edge"/"Barbarian" mood. All is set, the backup tapes rollin', digital-to-digital bytes pulsing, no jacks here -- it's an all-soldered set-up, and then you wake up... None of the superstars are here, but the talented music of
Blue Shift remains a near-perfect mirror of all of them. Stewart Meredith's vocals are so
Yes and even
Supertramp on "Rome" that it is simply a delight to wrap yourself in them. Mark Barton on keys and Joey Backenstone on guitars work precise
ELP/
Yes magic throughout. Tight drumming drives it all along due to the groove Steve Sklar throws down. Meredith can sing all he wants. His crooning evokes a dreamy land that's home to nostalgia -- the search for the golden chord.
Blue Shift have a strong ability to write interesting material that's not copycat, but springboards off a solid foundation laid down by the old masters of progressive rock. You'll also hear signature
Beatles hooks everywhere. Listen for the
Asia and '90s-era
Yes here and there, too.
Not the Future I Ordered is enjoyable and listenable time after time. Look out 21st century, here come
Blue Shift -- cruisin' the fast lane. ~ John W. Patterson