Peter Trewavas is an English musician. He joined Marillion in 1982, taking over the role of bassist, from Diz Minnitt, while acting as a backing vocalist and acoustic guitarist. Although he was born in Middlesbrough, Trewavas spent much of his childhood in the Buckinghamshire town of Aylesbury, it was in Aylesbury that he became involved in several bands, having most success with The Metros, before taking up his long term role in Marillion. Although still a full member of Marillion, in recent years, Trewavas has become a member of the progressive rock supergroup, Transatlantic. In 2004, Trewavas co-founded another group called Kino, with John Mitchell, John Beck and Chris Maitland. In 2011, Pete Trewavas joined up with his longtime friend Eric Blackwood to form the duo Edison's Children; the new project was designed to be a creative outlet for Pete Trewavas, in which he could play lead guitar, lead vocals, drum programming and keyboards as well as have full creative control over the writing and producing of the record with.
The 72-minute concept album In The Last Waking Moments... about a man fighting to understand if a recent bizarre happening was reality or a descent into madness, was released on 11.11.11. The Edison's Children project would result in the release of the single "A Million Miles Away"; the song debuted on American Commercial Radio in June 2012 and by September it had reached the FMQB U. S. Commercial Radio Top 40. 32. Edison's Children did live performances in Montreal, Wolverhampton England and Port Zelande Netherlands opening up for Marillion's "Brave" performances during the Marillion 2013 Weekend; the Montreal show was recorded and released as a B-Side on their "In the Last Waking Moments..."-EP Single. The UK show was released on their latest album "Somewhere Between Here and There". Edison's Children released their second album, The Final Breath Before November, on 13 December 2013, it was mixed by Jakko Jakszyk, lead singer of King Crimson, John Mitchell, lead guitarist of It Bites, Arena and Robin Boult, lead guitarist of Fish.
The album featured Eric Blackwood on lead vocals and guitar and composition again along with Henry Rogers of DeeExpus and Touchstone. Pete Trewavas co-wrote and produced the album with Eric Blackwood and played lead guitar and lead vocals on many of tracks along with bass and programming for the symphonic orchestration. Edison's Children is expecting their third album "Somewhere Between Here and There", a "bridge album" containing 7 new songs and 6 original mixes from The Final Breath Before November by King Crimson's Jakko Jakszyk and John Mitchell, along with the live version of A Million Miles Away from Wolves UK to be released in June 2015. Work has begun on a 4th epic album, expected to be much "harder" than the more symphonic The Final Breath Before November. On 17 September 2012, during a Marillion concert at The Junction in Cambridge, Steve Hogarth announced that Trewavas was now called "Sweet Pea Tremendous" as it was the result of putting his name into an anagram solver. Trewavas has appeared in Prog Aid, the charity project set up to raise money for victims of the 2004 tsunami.
Trewavas was a guest musician on English progressive rock band Big Big Train's 2007 album, The Difference Machine. Though a bassist, Trewavas has been known to write keyboard parts during his time with Transatlantic, has played acoustic guitar on Marillion songs "Faith" and "Now She'll Never Know". With Edison's Children however, Trewavas plays lead guitar, lead vocals, symphonic orchestral programming, guitar synthesizer, drum programming and several middle-eastern instrumentation. Trewavas is a fan of the Football team Manchester United F. C. Trewavas uses: Laney Amplification and Ibanez Bass Guitars Laney B2 power amp & cabinets Laney RWB300 Combo Ibanez RDB Bass Fender Precision Bass Fender Jazz Bass Squier Precision Bass Squier Jazz Bass Rickenbacker 4080 Warwick Basses Elites stadium series 45–105 strings TC Electronic D-Two multi-tap rhythm delay processor Various Boss effects pedals: Delay, EQ, Distortion, Octaver Sennheiser wireless system Roland PK5 Bass Pedals Controller Pete Trewavas' homepage at Marillion.com Kino official homepage
Neal Morse is an American singer, multi-instrumentalist and progressive rock composer based in Nashville, Tennessee. In 1992, he formed the progressive rock band Spock's Beard with his brother Alan and released an album, moderately successful. In 1999, he joined former Dream Theater co-founder Mike Portnoy, Flower Kings' Roine Stolt and Marillion's Pete Trewavas to form the super-group Transatlantic. In 2002, Neal Morse became a born again Christian, left Spock's Beard and began a Christian rock solo career, releasing many progressive rock concept albums about his new religious faith. In the meantime, he continued to play with Transatlantic and formed three new bands with Portnoy, Yellow Matter Custard, Flying Colors and The Neal Morse Band. Morse grew up in the San Fernando Valley of Los Angeles as one of four children, his father was a choral director. Morse started to play the piano at the age of five and started to learn to play the guitar at the age of nine. During his twenties he wrote two musicals, did some session jobs, tried to get a deal as a singer/songwriter in Los Angeles, recorded a few country and western demos with his brother Richard.
After about ten years, Morse grew tired of the Los Angeles music scene and traveled through Europe for several years and playing in small clubs. On his return to the U. S. he formed the band Spock's Beard with his brother Alan. Their first album, The Light, was moderately successful. Spock's Beard would soon become one of the most successful progressive rock bands of the late nineties. While with Spock's Beard, Morse released two solo albums of straightforward rock music. In 1999, he joined former Dream Theater co-founder Mike Portnoy, Flower Kings' Roine Stolt and Marillion's Pete Trewavas to form the supergroup Transatlantic; the band has released four studio albums plus live albums from the tours behind each studio disc: Live in America, Live in Europe, Whirld Tour 2010: Live in London, More Never Is Enough, KaLIVEoscope. In concert, the group has included Daniel Gildenlöw of Pain of Salvation, Ted Leonard, Morse's eventual replacement in Spock's Beard. In 2003 Morse, Mike Portnoy, Paul Gilbert and Matt Bissonette formed Yellow Matter Custard as a Beatles tribute supergroup.
They took the name from a lyric in The Beatles song "I Am the Walrus":'Yellow matter custard, dripping from a dead dog's eye...' On March 26, 2012, Morse released the first album of the newly formed band Flying Colors. In 2014, he gave life to another group, The Neal Morse Band, that released its first studio album The Grand Experiment in 2015; the group's second outing, The Similitude of a Dream, was released on November 11, 2016, the sequel to that album, The Great Adventure, was released on January 25, 2019. Morse became a born again Christian in 2002, he left both Spock's Beard and Transatlantic following the release of the Spock's Beard album Snow, since he felt a calling to make his personal faith more prominent in his recorded output and felt that this would not be possible or appropriate in a band context. The period leading to this decision is described on the solo album Testimony, an epic, introspective composition which features Kerry Livgren of Kansas and Mike Portnoy. One part of his conversion to Christianity, omitted from Testimony but described in full on Testimony Live and in the song Jayda on Testimony 2, was that his daughter Jayda had been diagnosed as having a hole in her heart that required open-heart surgery.
However, before Jayda received surgery, the hole disappeared following a church service in which Morse's wife and others prayed for God's healing. In 2004, Morse recorded a new concept album featuring Portnoy and Randy George. Guitar virtuoso Phil Keaggy made a guest appearance on guitar and vocals; the album, titled One, is about man's relationship with God from his Christian perspective and was released on November 2, 2004. In 2005, Morse released two non-prog Christian albums. In January, Morse recorded Lead Me Lord with the Christian Gospel Temple Choir, his children, his friends. Morse wrote about half of the tracks; this is available for a donation. In July, Morse released God Won't Give Up, written around the Snow period; this is a pop album similar to It's Not Too Late, but with Christian lyrics. In the summer of 2005, a member of his church approached Morse to tell him that he should make an album based on the tabernacle and that he should keep it a secret. Morse mentioned that he was working on a secret project before he had written a note or was convinced that he should do the project, mentioning it during a radio interview created enough buzz to convince him to make the album.
There was a contest on his message board to guess the participants and meaning of the album based on a series of clues. The secret project was revealed to be? and is about the tabernacle in the wilderness and the tabernacle of the heart. The studio band is Neal, Mike Portnoy, Randy George with guests Mark Leniger, Alan Morse, Roine Stolt, Steve Hackett, Jordan Rudess. In 2006, Morse issued Cover to Cover, a collection of cover versions by himself, Mike Portnoy, Randy George recorded during the production of?, One and Testimony, proving that despite the new foc
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Theodore Michael "Ted" Leonard is an American vocalist and guitarist, best known as the lead singer for the progressive rock band Enchant. He has provided lead vocals for Thought Chamber, as of 2011, Spock's Beard. Leonard's influences include Paul Rodgers, Doug Pinnick/King's X, Steve Walsh/Kansas, Rush, Tears for Fears, Neal Morse, Steve Perry, Queensrÿche. Way Home A Blueprint of the World Wounded Time Lost Break Juggling 9 Or Dropping 10 Blink of an Eye Tug of War Live at Last The Great Divide Live at High Voltage Festival Brief Nocturnes and Dreamless Sleep The Oblivion Particle Noise Floor Angular Perceptions Psykerion 84.000 Dharma Doors Harmagedon Reflections - An Act of Glass KaLIVEoscope Enchant official website Spock's Beard official website
Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson ag
Eric Gillette is an American multi-instrumentalist from Dallas, Texas. He is the lead guitarist and vocalist for the Neal Morse Band as well as a solo artist and session musician. Although a guitarist, he plays keyboards and drums as part of his professional work. Gillette learned to play the guitar as a teenager, his father and aunt taught him chords, he spent time jamming with his aunt's bluegrass band. In 2010, he began playing guitar and providing background vocals for The Swon Brothers, three years before their appearance on The Voice, he went on to play electric guitar for their album The Swon Brothers. He married his wife, Jaci Lynn, on October 10, 2014, about a year after they met at a Swon Brothers show. Gillette's musical influences include Steve Vai, Joe Satriani, John Petrucci, Eric Johnson, he is a fan of and inspired by former Dream Theater drummer Mike Portnoy. In April 2012, Gillette auditioned to play guitar and vocals for The Neal Morse Band. After winning one of the two guitar slots in the band, he served as a guest vocalist on Morse's 2012 album Momentum and played on that album's world tour.
Gillette contributed guitars and songwriting to the first Neal Morse Band album, The Grand Experiment, in 2015, its second, 2016's The Similitude of a Dream. That album was awarded Album of the Year 2016 from The Prog Report, which applauded "the talents of guitar virtuoso Eric Gillette." Gillette has been active as a solo artist. In 2013, he released his first solo album, playing all instruments with guest appearances by Neal Morse Band mates Randy George and Bill Hubauer on bass and synthesizers, respectively, his second solo album, The Great Unknown, was released in May 2016 and includes drummer Thomas Lang and Haken band members Conner Green and Diego Tejeida on bass and keys. In 2017, Gillette's visibility increased when drummer and Neal Morse Band colleague Mike Portnoy chose him as the lead guitarist for his series of "Shattered Fortress" shows, which included the first complete live performances of Dream Theater's Twelve-step Suite; that year, Gillette worked with the Tree of Life Project, providing drums and mixing for its first album, Awakening Call.
Afterthought The Great Unknown Momentum -- additional vocals on "Thoughts Part 5" Live Momentum -- vocals, electric guitar, keyboards Morsefest 2014 -- vocals, electric guitar The Grand Experiment -- vocals, electric guitar, songwriting The Similitude of a Dream -- vocals, electric guitar, songwriting Morsefest 2015 -- vocals, electric guitar The Great Adventure -- vocals, electric guitar, songwriting The Swon Brothers -- electric guitar Awakening Call -- drums, keyboards On the Brink -- lead guitar, mixing & mastering