Roine Stolt is a Swedish guitarist and composer. A major figure in Sweden's rock history, Stolt led two of his country's most successful progressive rock bands: Kaipa in the 1970s and The Flower Kings in the 1990s onward. Stolt started his career in the late 1960s playing bass guitar in local rock bands, he switched in the brief sojourn with Allman Brothers-influenced Orexis. In 1974 he became the guitarist in Kaipa, a professional progressive rock band, he was 17 years old at that time, the group made three successful albums and toured more than 100 gigs a year, including national TV and radio performances in Scandinavia. In 1979 he made two albums; the group split up in 1983 and Stolt started working as a solo and session musician and producer. It was at this point I felt I had learned to master the guitar that my career as singer started on the 1985 album "Behind The Walls", a melodic and romantic album more in the style of Jackson Browne or Hall & Oates. In the late 80's he started his own publishing and recording label called Foxtrot Music and was involved in various projects including live performances and recording sessions with other artists going from symphonic rock towards more traditional rock, pop, folk and jazz.
Under the "Stolt" project he released "The Lonely Heartbeat" in 1989, the sound is a mix of pop and complex rock. Witnessing the progressive rock revival of the 1990s, a movement that originated from Sweden with bands like Landberk and Änglagård, Roine Stolt was quick to come back to his ancient love. Recruiting ex-Jonas Hellborg drummer Jaime Salazar and ex-Samla Mammas Manna percussionist Hasse Bruniusson, he released The Flower King in mid-August 1994. Stimulated by the warm response, he enlisted brother Michael Stolt and longtime friend Tomas Bodin and formed the Flower Kings, which would remain his principal musical project for years to come, it was an album that tried to unleash the forces of good in the negative, aggressive, competitive music business of today. Reinstate the old hippie ideals and musically. In 1998 he released his second solo album Hydrophonia which reveals major influences by early progressive musicians such as Frank Zappa and Steve Howe among others. In the year 2000 Stolt worked in two different projects, the supergroup Transatlantic, the re-launch of Kaipa in which he was involved in three albums from 2002–2005.
He re-entered the studio with Transatlantic in 2009, for an album release in the year. In 2013, Stolt and The Flower Kings joined Neal Morse for a co-headlining tour in which the members of both bands collaborated for an encore consisting of Transatlantic songs, as 3 of the 4 members of Transatlantic were present. In 2015 Stolt joined Steve Hackett's touring band as bassist and guitarist for Hackett's Acolyte to Wolflight with Genesis Revisited Tour. On 24 June 2016, the duo Stolt and Jon Anderson had formed released their debut studio album entitled Invention of Knowledge. In 2017, Stolt co-formed the supergroup The Sea Within. Stolt and his wife Lilian have two sons, Johan Sebastian and Peter Gabriel, named after two of his all-time musical idols. Roine Stolt biography at The Flower Kings official site Article in AMG by François Couture
The Flower Kings
The Flower Kings are a Swedish progressive rock band formed in 1994 by guitarist and singer-songwriter Roine Stolt. The group began as Stolt's touring band to support his third solo album The Flower King, they continued performing after the tour and have gone on to become one of the most prolific studio recording units in progressive rock, having released nearly twenty hours of music spread across twelve studio albums. Their music is similar to early symphonic progressive rock groups such as Yes, marked by sharp dynamic changes, heavy bass, vocal harmonies and nonsensical lyrics, extended song lengths. In early 1993, guitarist and singer Roine Stolt had written material for his third solo album The Flower King and sought for musicians to perform it, he had wanted to release a progressive rock-style album for a while and felt the time was right to pursue the project. The album features Stolt on vocals, guitar and keyboards, Jaime Salazar on drums, Hasse Fröberg on vocals, was recorded in Sweden between May 1993 and January 1994.
In preparation for Stolt's concert tour to support the album's release, Salazar, Fröberg were joined by Stolt's brother Michael on bass and Tomas Bodin on keyboards. The five performed their first gig on 20 August 1994 at an outdoor festival in Uppsala, Stolt's hometown and the city where The Flower King was recorded. After they decided to become a full time band, they adopted the name The Flower Kings, named after Stolt's album. Stolt had produced a list of potential titles for the record, one of, "The Flower King", chose it because of its positive meaning and its reference to the hippie era of the 1960s. After performing a series of concerts through 1994, the band entered the studio in December 1994 to record their debut album, Back in the World of Adventures; the recording process was gradual, finishing in September 1995. In 2000, Michael Stolt was replaced by Jonas Reingold. Two years Salazar was replaced by Zoltan Csörsz. Daniel Gildenlöw of Pain of Salvation joined the band the same year as a multi-instrumentalist and vocalist.
Other contributors have included Ulf Wallander. Stolt has written the vast majority of the material the band has recorded, with Bodin contributing most of the rest; the music is best described as symphonic progressive rock, bearing a strong resemblance to the music of Yes, King Crimson, Gentle Giant, early Genesis, with jazz fusion and blues influences. The band's lyrics are uniformly positive and uplifting, affirming such values as love and spirituality, furthering their association with Yes, their 1999 album Flower Power contains the eighteen-section 60-minute "Garden of Dreams". In June 2007 they released The Road Back Home, a compilation of remixed songs from 1994 to 2006, plus "Little Deceiver" and the full version of their cover of "The Cinema Show" by Genesis. Zoltan Csörsz was replaced by new drummer Marcus Liliequist for one album, but returned for the 2007 album, The Sum of No Evil, he was subsequently replaced by Erik Hammarström in 2008. In 2008, Ola Heden of Reingold's side project Karmakanic, joined on guitar and keyboards.
In November 2008 the band were the opening act of the Ecco Prog Fest in Moscow. After touring in 2008, The Flower Kings were inactive for four years. Stolt felt the band had started to feel lost, they reunited in 2011 to work on new material after Stolt felt it was the right time and sensed eagerness from the other members to work together. This marked the arrival of 27-year-old German drummer Felix Lehrmann. Banks of Eden, the group's eleventh album, was released in June 2012 and was recorded with analogue recording techniques and styles during the height of vinyl records; this was followed by Desolation Rose in October 2013. In December 2017, the first part of a career-spanning box set titled A Kingdom of Colours was released; this first box, with 10 discs, covers the period from 1995-2002 and includes the studio albums from Back in the World of Adventures to Unfold the Future. The second box set, titled A Kingdom of Colours 2 and covering the albums Adam and Eve through to Desolation Rose was released in June 2018.
In September 2018, Stolt announced a new album named Manifesto of an Alchemist will be released on November 23. The album will not feature long-time keyboardist Tomas Bodin, as such it is credited to "Roine Stolt's The Flower King" rather than "The Flower Kings" Current members Roine Stolt – guitar, keyboards, bass guitar Hasse Fröberg – vocals, acoustic guitar Tomas Bodin – keyboards Jonas Reingold – bass guitar Felix Lehrmann – drums Former members Jaime Salazar – drums Michael Stolt – bass guitar Zoltan Csörsz – drums Daniel Gildenlöw – vocals, keyboards Marcus Liliequist – drums Erik Hammarström – drums Ola Heden – vocals, guitar Guest musicians Hasse Bruniusson – percussion Ulf Wallander – saxophone Pat Mastelotto – drums Studio albums Back in the World of Adventures Retropolis Stardust We Are Flower Power Space Revolver The Rainmaker Unfold the Future Adam & Eve Paradox Hotel The Sum of No Evil Banks of Eden Desolation Rose Manifesto Of An Alchemist Live albums Alive on Planet Earth Meet the Flower Kings Instant DeLIVEry Tour Kaputt Official bootlegs Édition Limitée Québec Live in New York - Official Bootleg BetchaWannaDanceStoopid!!!
Carpe Diem - The Fl
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o
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
The Minimoog is an analog synthesizer first manufactured by Moog Music between 1970 and 1981. In the 1960s, synthesizers—in the form of large and complex modular synthesizers—were inaccessible to most musicians; the Minimoog was designed as an affordable, simplified instrument which combined the most useful components in a single device. It was the first synthesizer sold in retail stores, it was first popular with progressive rock and jazz musicians and found wide use in disco, pop and electronic music. After the sale of Moog Music, production of the Minimoog stopped in the early 1980s. In 2002, after founder Robert Moog regained the rights to the Moog brand and bought the company, the Minimoog Voyager, an updated version, was released. In 2016, the company, now rebranded as Moog Music, released a new version of the original Minimoog. In the 1960s, RA Moog Co manufactured Moog modular synthesizers, which helped bring electronic sounds to music but remained inaccessible to ordinary people; the modular synthesizers were difficult to use and required users to connect components manually with patch cables to create sounds.
They were sensitive to temperature and humidity, cost tens of thousands of dollars. Most were owned by universities or record labels, used to create soundtracks or jingles. Moog engineer Bill Hemsath wondered if the company could create a smaller, more reliable synthesizer, he created a prototype, the Min A, by sawing a keyboard in half and wiring several modules into a small cabinet. Moog president Robert Moog felt the prototype was fun, but did not see a market for it. Hemsath and other engineers, Moog, created several more prototypes, adding features such as the suitcase design to aid portability. In early 1970, Moog Co began losing money. While Moog was away, the engineers, fearing they would lose their jobs if the company closed, developed a version of Hemsath's miniature synthesizer, the Minimoog Model D. Moog chastised them, but came to see the potential in the Model D and authorized its production; the engineers could not get the power supply to stabilise properly, which meant that the Minimoog's three oscillators were never synchronized.
Although unintentional, this created the synthesizer's "rich" sound. Its voltage-controlled filter was unique, allowing users to shape sounds to create "everything from blistering, funky bass blurps... to spacey whistle lead tones". The Minimoog was the first synthesizer to feature a pitch wheel, which allows players to bend the note of the synthesizer as a guitarist or saxophonist does, allowing for more expressive playing. Future synthesizers incorporated their own pitch wheels. According to David Borden, one of the first users of the Minimoog, "If had patented, he would have been an wealthy man." Moog Co released the first Minimoog in 1971. Moog said the Minimoog was "conceived as a session musician's axe, something a guy could carry to the studio, do a gig and walk out. We thought we'd sell maybe 100 of them." Moog hired engineer and musicologist David Van Koevering to travel demonstrating Minimoogs to musicians and music stores. Van Koevering's friend Glen Bell, founder of Taco Bell, allowed him to use a building on a private island Bell owned in Florida.
Van Koevering used the building to host an event he billed as "Island of Electronicus", a "pseudo-psychedelic experience that brought counterculture to straight families and connected it with the sound of the Minimoog". The Minimoog was in continuous production for thirteen years and over 12,000 were made, it was the first synthesiser sold in retail stores. Despite the success, Moog Co could not afford to meet demand, nor had credit for a loan, Moog sold the company. Production of the Minimoog stopped in the early 1980s and the company ceased all production in 1993. In 2002, Robert Moog bought the company. In 2002, Moog Co released the Moog Voyager, an updated version of the Minimoog that sold more than 14,000 units, more than the original Minimoog. In 2016, Moog Music began manufacturing an updated version of the Model D. Moog announced the end of Model D production in June 2017. Numerous companies, including Arturia and Behringer, have developed clones and software emulations of the Minimoog.
In 2018, Moog Music released the Minimoog Model D app for iOS. According to TJ Pinch, author of Analog Days, the Minimoog was "the first synthesizer to become a'classic'". Wired described it as "the most famous synthesizer in music history... a ubiquitous analog keyboard that can be heard in countless pop, hip-hop, techno tracks from the 1970s, 80s, 90s". It was important for its portability. David Borden, an associate of Moog, said that the Minimoog "took the synthesizer out of the studio and put it into the concert hall". According to the Guardian, "Tweaked now so that the synthesiser could reliably perform as either a melodic lead or propulsive bass instrument, the Minimoog changed everything... the Moogs oozed character. Their sound could be quirky and cute, or pulverising, but it was always identifiable as Moog."The Minimoog changed the dynamics of rock bands. For the first time, keyboardists could play lead solos in the style of lead guitarists, or play synthesised basslines popular in funk, as in the track "Flash Light" by Parliament.
Wakeman said: "For the first time you could go on and give the guitarist a run for his money...a guitarist would say,'Oh shoot, he's got a Minimoog', so they're looking for eleven on their volume control - it's the only way they can compete." Wakeman said
Kaipa is a Swedish progressive rock musical group. The band was begun as Ura Kaipa by Tomas Eriksson. Roine Stolt joined Kaipa as guitarist when he was 17. In 1974, shortly after they had cut the "Ura" from the name of the band, they released their self-titled debut album. Stolt, who founded The Flower Kings, quit after the recording of Mindrevolutions, the band has continued without him. In 2014, original members Roine Stolt, Ingemar Bergman, Tomas Eriksson re-grouped under the name Kaipa DaCapo to play the old music from the first three albums as well as brand new music. New members of the band are Mikael Stolt, brother of Roine, on vocals and guitar, renowned Swedish musician Max Lorentz on keyboards. Recording of a new album began in June 2016 with a scheduled release in September and an extended European and Scandinavian tour in the autumn. Current Line-Up Hans Lundin – keyboards, backing vocals Patrik Lundström – vocals Aleena Gibson – vocals Jonas Reingold – bass Morgan Ågren – drums Per Nilsson – guitars Former Members Roine Stolt – guitars, backing vocals Ingemar Bergman – drums Tomas Eriksson – bass Mats Lindberg – bass Mats Löfgren – vocals Max Åhman – guitars Mats "Microben" Lindberg – bass Per "Pelle" Andersson – drums Kaipa Inget Nytt Under Solen Solo Händer Nattdjurstid Stockholm Symphonie Notes from the Past Keyholder Mindrevolutions Angling Feelings In the Wake of Evolution Vittjar Sattyg Children of the Sounds The Decca Years 1975–1978 The Flower Kings Kaipa: Notes From the Past 2010 interview with Hans Lundin on Prog Sphere 2013 Interview with Hans Lundin on Lebmetal
Hydrophonia is an album by Swedish progressive rock guitarist Roine Stolt. The album was released 1998. All songs composed by Roine Stolt. "Cosmic Lodge" – 7:13 "Shipbuilding" – 5:51 "Little Cottage By The Sea" – 4:55 "Wreck of HMS Nemesis" – 11:55 "Bizarre Seahorse Sex Attack" – 6:00 "Oceanna Baby Dolphin" – 3:26 "Nuclear Nemo" – 6:27 "Hydrophonia" – 6:11 "Lobsterland Groove" – 6:19 "Seafood Kitchen Thing" – 9:25 Sources:and Jaime Salazar – drums, percussion Roine Stolt – bass, keyboards, percussion Ulf Wallander – soprano saxProductionDon Azzaro – mixing, producer Ingemar Bergman, Stefan Bodin, Lilian Forsberg – photography Per Nordin – artwork Dexter Frank Jr. – engineer Sources:and