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: : Prime Cuts : :
Robert Berry is the proven prototype for the profile of a
multi-instrumentalist. When they made him, they broke the mold. He’s a
Jack-of-All-Trades and to be honest, a Master of many as well. In other
words, he’s one-of-a-kind and like no other. To find someone close in
ability, you’d need to scour the ranks of the elite. Even so, you’d be
in the company of the most exceptional talent such as Neal Morse, Kevin
Gilbert, or Roine Stolt. When there is a hole to plug, no need to call
upon anyone but Berry. Point him at the problem and he’ll fix it. Yet,
on his own, he’ll fabricate magic.
While he’s not a household name, if you paid attention to the credits,
you’d see he is quite prolific. He’s not the caterer, the boom guy, or
the dolly grip. Instead, he’s a performer, arranger, and even a darn
good vocalist. On this album, some of his greatest works are chosen. In
many cases, they are tributes to the legends. The only item missing in
my opinion is something out of the catalogs of Kansas. I would have
liked to hear a homage to Leftoverture, Song for America, or Somewhere
to Elsewhere. Otherwise, he’s got all his bases, which even includes the
basses, covered.
Here are the contemporary canals and celebrated straits that Berry
crosses in his trek through these “tributary” channels:
Roundabout – This is a remake of one of my favorite songs ever and oddly
enough, it sounds nothing like original. Still, I wholeheartedly endorse
the effort. It uses more than a one-to-one relationship as the
chart-topping song incorporates several other Yes moments. Rather than
copy Jon Anderson’s unique style of singing, Berry attempts something in
his key. His style is so close to Kevin Gilbert, it’s uncanny. The
hurdles his voice surmounts aren’t the only triumphs in this track. The
bass as well is a real standout. Plus, the rearrangements within this
song are quite brilliant. While the popular song didn’t require a patch,
the enhancement didn’t hurt it. In some ways, it opens up a portal to an
entirely new and different universe.
Minstrel in the Gallery – Keeping with the tributes, our next stop
brings us to the rough and ready gates of Jethro Tull. This is a
whirlwind of down-to-earth delight and minstrel heaven. More or less, I
get my wish as this is awfully close to Kansas. More specifically, the
singing and keyboards are eerily in the vein of Steve Walsh. This
account is more progressive than the source material. When you think
about it, isn’t Kansas just an agitated adaptation of Jethro Tull?
Brain Damage – This song is much too short, but all so good. Like eating
the dessert before the dinner, this is guaranteed to spoil your
appetite. It’s not long before the other delectable delicatessens will
follow suit. In the meantime, be patient with this piece and slowly
nibble away at its periphery. If you wolf it down too quickly, it’ll be
gone before you’ve had a chance to revere it. This will compel you to
the closet where the rest of your Pink Floyd discs are buried. After
hearing this, I’m eager to unearth them. Once you’ve been tempted by the
proposal, I’m sure you too will come to the dark side … of the moon.
Watcher of the Sky – Early Genesis is good, but I’m in the camp that
feels they lacked vitality and vigor. This version lifts the lethargic
curse, partly due to its potent production. I’d be more likely to turn
to this one for a spin over Foxtrot’s dance partner. Then again, those
who enjoy Genesis would call my comments profane and impure, and brand
me as a blasphemer for my rhetoric and riddles. Accept my apologies, but
leave me be to embrace this enigma. Don’t let the door hit you in the
rear as my full attention remains on this stirring translation. By the
way, this also shows Berry’s use of vocal variety and range. He flexes
pipes in a display that would earn the grandmaster, Peter Gabriel’s
praise. The closing sections demonstrate again, his unparalleled ability
to bend a well-known composition into a modern conundrum.
Winespring Reel – Finally, we come across original material. This one
comes from his solo album and I find it resembles Aaron Copland’s
Hoedown. It starts out jogging, but like a Rocky montage, it ends with a
rush of adrenaline.
Life Beyond LA – After indefinitely being stowed away, this previously
unreleased piece ultimately sees the light of day. I have to wonder
where it’s been hiding all this time. It has the aura of Asia about it
and an air of Toto too. This could have easily been on the radio in the
eighties, but there’s no need for a coup. Anyone with taste in music
would warmly welcome it in the present day.
Karn Evil 9 1st Impression – His refrain from the tributes is only
temporary. As if asphyxiating from a loss of legendary substance, he
returns to an essential resource. Back to life, we go to the heart of
the matter and strike a vessel in the veins of Emerson, Lake, and
Palmer. It’s like Stevie Wonder meets Sebastian Bach, because it’s
untamed and intense in the most sophisticated way. It also features two
notable guests. Jordan Rudess is recognizable on keyboards while Simon
Philips drums greatly augment the mix. This stays true to the
flamboyance of the original while keeping with his innovative style. The
bow binding this package is bold, brilliant, and vivid. Once the stamps
are licked and the glues affixed, this attractive package is ready for
shipment. Instead, it sticks around and goes insanely postal. This is
exactly how you’d expect an experienced associate to act in an unplanned
exit interview.
Different Strings – If
his technical abilities were in question, here he satiates our doubt.
With little sweat or struggle, he slays the dragon. Mike Mangini lends
us his choppy sticks as they gracefully clamber upon the drum set. He’s
also supported by a snappy Stu Hamm on bass along with an avid Vinnie
Moore on rhythm guitars.
A Theme for the Wheel of Time – This comes from Berry’s own masterworks.
A compilation of prime cuts would not be complete without a submission
from this stunning tour de force. Aside from Michael Mullen’s violin,
Berry is responsible for every scheme, shaft, and structure in its
foundation.
Carol of the Bells – This is quite literally one of the best holiday
songs I’ve ever had the pleasure to unwrap. It comes from the generous
funds of The December People. While it’s serves a practical purpose,
it’s really quite deft. Not only does it capture the spirit of the
season, but it’s incredibly good musicianship. There’s no boring sled
ride or a dingy bell in its midst. The milk is fresh while the cookies
are moist. This gift, however, is ripe for re-gifting or sharing. The
ribbon on this release might be inviting, but it’s what’s inside will
have you beaming. Think Mannheim Steamroller or Tran-Siberian Orchestra,
only much better. It’s progressive to such a degree; it’s surprising
this yuletide isn’t from Yes. The guitars permeate with Steve Howe’s
streamers, emblems, and pennants no less.
In the Studio With Robert Berry (data track) - When you insert this
album in your computer’s CD player, you will encounter this bonus video.
Here he discusses the origins of his musical birth and what it was like
having a father in the music business. He also points out that the
tradition carries on with his son. Berry talks about how he didn’t play
baseball, football, or as he says, all that jazz. He explains that music
was his sport. He continues with his comedic shtick and jokes about how
he can read music, but not the written word. He even discusses what it
was like to have the only Mellotron in town and shows us a beautiful
beast with Rick Wakeman’s autographs in big, bold script. This exhibit
alone should be worth a pretty penny. He even shares a couple impromptu
demonstrations on the guitar. In case you don’t know, he does 100 to 150
songs a year for other artists. When it comes to cutting up songs, he’s
an experienced and practiced surgeon. He regularly sharpens his scalpel
and often puts songs under the knife. This may explain his comfort level
when it comes to reconstructing the classics. It seems he is most proud
of his work with the band Tempest, but his solo work seems to have a
special place as well. When perusing his office, he mentions that The
Magna Carta stuff will always remain on his wall of fame. We are
privileged to get a tour of his elaborate lab at SoundTek. Outside of
the arrival of ProTools, he states it hasn’t changed much over the
years. There’s a lot crammed into this concise documentary. He talks
about the changes he made in Roundabout for this release from how it was
on the official tribute. He shares his definition of real music and how
ProTools is no substitute. His manner of speaking is intuitive and easy
to follow. There’s one scene where he’s talking and this little white
dot is skipping back and forth in the background (if anybody knows what
this is, please let me know). This is the only moment that’s ambiguous
and imprecise. He talks about his stint with Asia, meeting Steve Howe,
the origins of GTR, and the Emerson connection. In his words, the
tributes are what brought his career full circle. There is a plethora of
information that keeps on coming, making this video loaded with
intriguing facts. It appears he both a homeboy and Mr. Mom in tandem.
Looking at his studio, it’s obvious he is very organized. This alone is
a clue of his uncommon characteristics as an artist. It’s plain to see
he enjoys what he does for a living. This is most apparent when he ends
the discussion by saying, “If this interview is finished, then I’m back
to work.”
Robert Berry’s greatest strengths deal with recreating the classics.
Even though he uses an open book to write his formulas, the essays he
drafts are far from plagiaristic. While the album begins with a
brilliant restoration, it ends with the affection and fondness of
holiday cheer. Whether mimicking the masters, creating a carol, or
striking out on his own, Robert Berry is an absolute blast.
8.75/10
Reviewer: Josh Turner
: : Visit the Artist’s Website : :
: : Discography : :
Prime Cuts -
2006
A Soundtrack for the Wheel of Time - 2001
Takin' It Back - 1996
In These Eyes - 1995
Pilgrimage to a Point - 1992
Back to Back - 1985 |
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