My journey into the world of drumming followed the standard script: I spent my grade school years banging on my friend's 3-piece kit while he played his brother's guitar, then my parents bought me my own 3-piece kit when I graduated from grade school, followed by lessons at the local music shop, and finally my first "real" Pearl Export 5-piece kit when I graduated from high school. During those formative years, my exposure to different kinds of music expanded rapidly. It started with The Beatles and The Stones, then on to Led Zeppelin and Black Sabbath, then on to Pink Floyd and Yes, and so on. I would spend hours in the basement playing the drums along to all the different albums from these great bands. Then a friend of mine in high school (a bass player who idolized Geddy Lee) turned me on to Rush.

Amazingly, I had never heard a single tune by Rush before high school. The first Rush album my friend gave me was (predictably) "Moving Pictures." That album began my lifelong devotion to Rush and to the drumming of Neil Peart. I began consuming every Rush album, starting with their debut and working through them chronologically. I had never heard music or drumming like that before, and I was completely hooked. While I loved every single Rush album, the one that resonated the most with me was "Hemispheres." Peart's drumming on this album is unparalleled, and his lyrical style reached its apex with tracks like "The Trees" and "Cygnus X-1 Book II." This album opened my eyes to what music can be, and how the drums can both support and enhance a piece of music, particularly with additional percussive elements such as wind chimes, temple blocks, triangles, orchestra bells, and so on. One need only listen to one of my all-time favorite Rush tunes from this album, "La Villa Strangiato," to appreciate the level of dedication and attention to detail that the entire band poured into this album.

To this day, "Hemispheres" serves as a reminder of the raw potential of explorative and creative music and the very vital role that the drummer must play in such an undertaking.

Ray's Take - I have been a Rush fan since high school as well, and as with Joe, they have inspired me with what a really well-crafted album can sound like. In fact, Rush is probably one of only a few bands upon which Joe and I are in complete musical agreement. My favorite overall Rush album is probably "Moving Pictures," but "Hemispheres" would be a close second. In general, I have never felt that Alex's virtuosity and inventiveness are at the same level as Geddy and Neil, but I think he does have a feel for how to build guitar into the structure of the piece. "La Villa Strangiato" is a perfect example of this. I definitely see Peart's influence coming through in Joe's work, not only in his drumming techniques and attention to detail, but in his approach to the music-writing process itself.

I have always found albums of bold and original musical exploration, where each individual in the band contributes to a coherent work, the most appealing works. A certain amount of challenge is necessary both musically and lyrically so that the album can remain fresh and offer musical inspiration to listeners and fellow musicians, as well as serving as a canvas for exploration in live shows. "Fragile" offers this in abundance.

Although I was introduced to Yes through "Close To The Edge," and am a big fan of many other Yes albums (as Joe will attest), I developed a real appreciation of the band through exploration of "Fragile." This album features each band member expressing components of the theme through solo features, woven into a totally original musical journey. Each of these songs features a band member making a musical statement; not gratuitous demonstrations of virtuosity (which each obviously possesses), but contributions to a complete musical statement. As a guitar player, I always found "Mood For A Day" really appealing in its straightforward grace, and classical phrasing and mode. I burned out two cassette players trying to figure it out as I was learning guitar. Sure, listening to Jimmy Page, Stevie Ray Vaughn, Jimi Hendrix, Eddie Van Halen, and David Gilmour made me really want to learn to play guitar, but Steve Howe was my #1 influence. In tune with the rest of the album, Chris Squire does a complex and yet simple musical meditation on "The Fish". "Heart Of The Sunrise" innovates on many levels. Bill Bruford's drumwork is precise and intricate (with classic jazz undercurrents interspersed with energetic runs) The band alternates between energy and delicate harmony with perfect balance. The whole band shows the same type of range on "South Side Of The Sky," highlighting Rick Wakeman's understated and pitch-perfect keyboard work, building energy with repeating descending piano runs, combining beautifully with the vocal harmonies and syncopated rhythms.

I think that as much as any band can ignore the commercial currents, Yes has always been happy to do the music that appeals to them. They have not sought to delight a mass audience, but have forged a closer connection with a like-minded fan base (Trevor Rabin era non-withstanding). "Fragile" always has always embodied to me an optimistic, challenging, original and influential musical journey which stands up even better against much of the derivative musical product that is on the market today.

Joe's Take - I do not pretend to be as hardcore a Yes fan as Ray. I recognize their rightful place in the lineage of progressive rock, and I am a true fan of the great Bill Bruford (On a related note, I've never felt that Alan White compared to Bruford. I went to one Yes show in my life, and yawned through Alan White's performance on the drums. Yuck!) I do own Fragile, and I do love most of the music on this seminal album, so it is hard for me to argue with Ray's impressions. "Heart Of The Sunrise" is perhaps my favorite tune from Yes. Obviously, the attraction for me is Bruford's imaginative and complex drumming, but the entire band fuses together seamlessly to create a stirring series of ebbs and flows. My only complaint with Yes is that they can be a little too self-indulgent at times, but I will take that over the pre-packaged and processed "product" that we are inundated with these days.

One of the most interesting questions I've ever been asked went like this: "If you could only listen to the music from one band for the rest of your life, who would you choose?" Luckily, I am still free to listen to any music I desire, but the question got me thinking about the artists who have created the most interesting and influential music (in my opinion, of course). I was able to narrow this down to a fairly short list, comprised of The Beatles, Led Zeppelin, Rush, Metallica, and Tool.

The first single from "Ænima" was a track called "H." I was a college senior at the time when I happened to tune in about halfway through the song. I immediately stopped everything I was doing to listen to this amazing song. It had power, it had subtlety, it was dark, it was delicate, and it was unlike anything else I had ever heard. I became a Tool fan then and there. I purchased "Ænima" the next day and I listened to it continually for three straight months and my understanding and appreciation of music was forever changed.

With the exception of The Beatles and Pink Floyd, most of the bands that interest me are powered by drummers known for their virtuosity and skill with complex polyrhythms and odd time signatures. Tool is certainly no exception. Next to Neil Peart (and possibly even tied with him), Danny Carey is the greatest rock drummer in my opinion. As I listened to "Ænima," I soaked up every contribution Danny made to that album, from the delicate percussion introduction on "Eulogy" to the explorative tabla interludes on "Pushit." I became immersed in the soundscape created by the band - dark, sinister, menacing, yet without the metallic crunch of your garden variety alt-metal or nu-metal bands. Tool was coming from a completely different place altogether with the release of "Ænima," and they didn't care if you "got it" or not. If you don't believe me, then give a listen to "Forty Six & 2" from this album - one of Tool's finest tracks ever recorded.

To this day, I still give "Ænima" a listen every week or so. It sounds as fresh, honest, creative, and different today as it did ten years ago. Their music is written without compromise and without forethought of commercial success. It seeks to surround and to challenge the listener, allowing him to draw his own conclusions. Tool defies classification - they are not a simple metal band, they are not a prog rock band, and they are not a bland alternative band. They create music that transcends our definition, and for me, that is where the real attraction lies. If I could only listen to Tool's music for the rest of my life, I would certainly not be disappointed.

Ray's Take - The great thing about Tool is that they explore every variable in musical composition - rhythm, harmony, dynamics, vocal range, modulation and texture - to deliver a listening experience that has real power. This is a band that is committed to excellence. Tool is clearly not concerned with mass market, and therefore they allow themselves to let their songs develop with non-standard meters, lengthy formats, and non-radio friendly structures. On this album, I love the flange bass groove opening on "Forty-Six & 2" that transitions into a modified version with guitar overlay for the chorus. This type of sound is really expanded later on in the band's career on "Disposition-Reflection-Triad" from "Lateralus" (a magnificent effort). I also really like the feel "Pushit" on this album. After the build-up from the light touch of the opening through the rising of the verse and chorus, the band drops into an intricate bridge section that is absolutely haunting with various percussive effects and an ambient groove where Maynard James Keenan's vocals just hang upon the air with unbelievable delivery. Listening to the band crescendo out of that subtle interlude into an all-out power suite is simply amazing. Lyrically, I am not exactly on the same page with MJK on many of the tunes (I think his lyrics are far more creative and better written in A Perfect Circle, although not necessarily more agreeable) but I think that the musical performances and vocal deliveries are the highlights for me on this album.

My discovery of Porcupine Tree just a little over a year ago was a musical revelation of sorts. Porcupine Tree has really inspired me, more than any modern band, with the way they can synthesize a wide array of influences into a completely unique and well-crafted album. Steven Wilson certainly is a musician and producer with extraordinary range, and myriad influences. His career as a musician with IEM, No-Man, Bass Communion, Blackfield and Porcupine Tree has spanned the range of electronica, ambient, pop, metal and psychodelica, and his production of albums from the raw simplicity of Anja Garbarek to the crushing death metal of Opeth showcase his amazing musical capability and attention to detail.

Porcupine Tree's latest studio album "Deadwing" defies characterization, with their trademark pristine production, attention to nuanced detail, and intelligent songwriting. I love Porcupine Tree's ability to easily switch gears from a straight-forward groove rocker like "Halo" to a subtle ballad like "Lazarus," and then transition to the centerpiece of the album "Arriving Somewhere Not Here" which builds from quiet ambient to full metallic power.

As with their previous album "In Absentia," and much of the rest of their catalog, the band creates accessible yet challenging pieces that still seem fresh after many repeated listens. Although incredibly talented, it seems to me that the band is almost incapable of showboating, and they prefer to let musical nuggets like the offbeat groove in "The Start of Something Beautiful" or the touch of the fuzz-wah solo in the self-covered "Shesmovedon" reveal themselves over the span of multiple listens.

Joe's Take - I could not agree more with Ray than I do here. Well, I take that back - I agree just a bit more with his response to my "Hemispheres" review. Ray introduced me to the music of Porcupine Tree, and I have been a fan ever since. While I think I enjoy their "In Absentia" album just a little more, there is no denying that "Deadwing" is an impressive effort. They are willing to open their music up to creative exploration and craft multi-layered works that require multiple listens to absorb all of the hidden gems in each track. In particular, I think that Gavin Harrison is a world-class drummer. His complimentary style of drumming enhances the music and propels it forward - his sense of touch is impeccable and he brings a rich new dimension to the music.

I was first introduced to Primus in 1991 through an album review printed in Rolling Stone magazine. I had never heard of Primus at that time, but what caught my eye was a mention of the band Rush in the review as I skimmed the page. At that time, I was very much into Rush and looking for media on their latest album release "Roll The Bones." So when I saw mention of Rush within the Primus review, I decided to read the entire article, and with great interest. I learned that Primus specialized in a quirky brand of progressive rock, driven by a bass player with supposedly "insane skills" and a drummer with impressive chops. I was eager to hear their music at some point.

As luck would have it, my college roommate came back from the record store the following week with a copy of "Sailing The Seas Of Cheese." We popped it into the CD player, cracked a couple of ice cold Genny cream ales (the best we could afford in college), and settled in to see what these guys were all about. I wasn't too terribly impressed until we got to the third track on the album titled "Sgt. Baker." From that moment on, I was hooked. These guys were clearly first-rate musicians. They weaved in and out of odd time signatures with ease while juxtaposing their powerful sound with humorous tongue-in-cheek lyrics.

I especially appreciated the skill and musicality of Tim "Herb" Alexander's drumming. His mastery of the drumkit was obvious. He could lay down a thunderous double-bass drum section one minute and transition easily into subdued-yet-complex accompaniment of rimshots, splashes, and other percussion accents the next minute. Songs such as "Tommy The Cat," "American Life," and "Fish On" reveal the full range of Alexander's virtuosity, not to mention the relentless creativty of bassist Les Claypool. My appreciation of Alexander's playing only grew as I listened to other albums such as "Frizzlefry," "Pork Soda," and "Tales From The Punchbowl."

Primus reminds me that there are many ways to make great music. "Sailing The Seas Of Cheese" is a testament to the fact that good and interesting music can come in unexpected forms. Sometimes, a band comes along that has a flair for oddity but can pull it off. Most bands that dive into quirk are quickly labelled as hacks (such as Dread Zeppelin) unless they have legitimate skills as musicians and songwriters. Primus definitely has ability. All three members of the band are masters of their instruments who aren't afraid to explore territory far off the beaten path. Some people may hate their music, but nobody can deny their originality.

Joe and I first encountered Daniel Castro completely by chance when we were doing a short tour of limited engagments in the San Jose, California area. We ventured into San Francisco for dinner one evening, near the Fisherman's Wharf, only to hear the sound of this phenomenal blues band floating out of the windows of a second floor bar. Even though we were tired from performing, we just had to check this band out.

Both of us were completely blown away by Daniel and his band. The guy is one of the most natural blues talents I have ever heard. By the first intermission, Joe had already made up his mind to purchase Castro's CD "Live at The Saloon," which we both found to be a really remarkable collection of blues music.

The centerpiece of "Live at The Saloon" is the incredible 19:40 minute version of Bob Dylan's "All Along the Watchtower." The slow introductory buildup with the Hammond organ lays the groundwork for Daniel to drop in some of the sweetest blues playing on the guitar that I have ever heard. This is the epitome of great music - solid musicians creating an incredible sound, and in no hurry to get through the tune, working off of each other, allowing the song and emotion to build, even if it takes 20 minutes. This is one of the aspects of Headend's music that we really strive for, really letting the tunes develop at their own pace.

"Blues for Mario" is also really amazing. Daniel just unleashes pure blues emotion over an open rhythm. The band seems in perfect sync on "All Your Love" while exploring some real dynamic range from very delicate to an all-out blues jam. I have seen Daniel Castro a few more times at some of his live shows, and his performances are always intimate and really tremendous.

Joe's Take - I vividly remember the night when we walked by the Pier 47 club on Fisherman's Wharf only to hear the sounds of a fine-tuned and seasoned blues ensemble above us. Ray and I knew that we had no choice but to walk in and check out this band. After listening to the show and meeting the band, we were definitely fans of their music. Daniel Castro in particular is one of the most fluid and soulful blue guitarists I have ever heard. His solos are as beautiful and effortless as the finest work of Stevie Ray Vaughn, delivered with emotion and always within the theme of the song. His band also deserves credit for being incredibly solid, versatile, and accomplished musicians. They weave a rich blues-based tapesty upon which Castro's guitar work is painted. If you are ever in the Bay area and can check out Daniel and his band, don't miss the opportunity.

In my opinion, few bands can deliver top-quality albums as consistently as King's X. Doug Pinnick (bass and vocals), Ty Tabor (guitars), and Jerry Gaskill (drums) have crafted incredibly textured albums over the years, replete with focused songwriting, flawless performances, infectious melodies, and beautiful harmonies. I can honestly say that I have enjoyed every King's X studio album, but I especially enjoy listening to their 1994 release titled "Dogman."

There are a number of reasons why any fan of music will take this album to heart. First of all, Pinnick's soulful vocals have a depth and tonality that any listener can enjoy. And in an age where the art of vocal harmonies (perfected by The Beatles) are a relic of the past, King's X offers rich harmonies on nearly every track. Obviously inspired by predecessors such as the aforementioned Beatles and Yes, King's X is able to use the vocal abilities of all three members to augment each of the tracks on "Dogman."

Tabor's guitar work on this album is exceptional, with heavy riffs that still manage to feel light and melodic (unlike the alt-metal riffing of other bands at the time). His solos are tight and focused, and reveal the depth of his talents without going over-the-top and distracting the listener from the track as a complete single work. Just give a listen to "Pretend" or "Cigarettes" on this album and you'll immediately appreciate his ability to craft a rich and flowing guitar part that still has weight and aggression.

Gaskill is about as solid a drummer in rock music as can be found today. While not given to the polyrhythmic displays or virtuoso fills of Neil Peart, Danny Carey, or Carter Beauford, he has the ability to complement every tune and carry it upon his back with his style of drumming. He never overplays or underplays any part of any song on "Dogman" - in fact, you get the sense that the drum parts simply could NOT be played any other way except the way Gaskill played them on the album. It is always a treat to listen to a master of his instrument play a part so that it sounds simple and effortless, and yet nobody else could create the same kind of feel if they tried. This is what Gaskill's drumming represents to me on "Dogman."

Not quite metal, not quite pop, not quite prog rock, but a combination of all of the best elements of each, King's X is a band that is woefully underappreciated in the music world. You cannot go wrong with any selection from the King's X catalog, but for my money, "Dogman" is the most complete and satisfying work from this trio.

Ray's Take - Joe introduced me to King's X and I really have become a big fan since that time. I had "Dogman" in my CD player for quite some time and it still ranks high in my rotation, as does my other favorite album from King's X: "Tape Head." I really enjoy the unselfish and unpretentious approach that King's X takes with their music. The mixture of hard riffs, delicate touch, and sweet melody is executed with surgical precision. Gratuitous riffing is nowhere to be found on the album. The personal lyrics and vocal harmonies weave in and out of hard rock grooves such as "Cigarettes" and it works really well. A standout track for me is "Black the Sky" with its Chili Peppers-esque groove and the sweet but powerful Ty Tabor solo layered on top, serving as a great counterpoint to the vocal delivery. Their cover of "Manic Depression" absolutely channels Jimi Hendrix and demonstrates the great live prowess and considerable talents of the band.

"Animals" has always been near the top of my list of most influential albums. Sure there has been criticism of the metaphor, and the direct reference to "Animal Farm" has been implied to be too obvious and overwrought. Despite this I have always found this album to be exceedingly well-written. The "rock as art" approach has always been difficult undertaking, since there is a fine line between biting social criticism and pretentiousness. Sometimes it is best to just produce good music for its own sake. If you are going to make a statement, it needs to be done well. This album pulls it off masterfully.

The writing is crisp throughout, and the three major musical works ("Dogs," "Sheep," and "Pigs") manage to be masterpieces of long-form music. It is obvious that Roger Waters completely takes the helm on songwriting, but rather than the more self-indulgent "The Wall" which followed, this album has the trademarks of good art - it makes you think, it is well done, and it stands the test of time. I think the same could be said for "Wish You Were Here", but "Animals" edges it out for me due to its coherence as an album and its more enduring statement.

This album really changed my thinking about songwriting. Instead of the standard verse-chorus-verse arrangement, the songs move in a linear direction, sometimes returning to elements from before, and sometimes not. "Dogs" is a masterpiece. David Gilmour lays down the perfect solos (as usual) on this track. Gilmour has that natural ability to create the "song within the song," with each solo expanding on the groove and the lyrics themselves ("Have A Cigar" being another great example of that style of solo).

The guitar work at the end of "Pigs" is searing. The performance of Gilmour on this album, really opening up the Roger Waters grooving bass line in "Sheep," simmering at first and then building to the crescendo, is masterful. That type of guitar approach has definitely influenced my own development as well. I have always felt a connection to Gilmour musically through his playing. I can appreciate the amazing virtuosity of Eddie Van Halen or Joe Satriani, but Gilmour's playing has constantly reached me at a much deeper level.

Joe's Take - I have long admired the works of Pink Floyd for their creativity, originality, and solid musicianship. From "Meddle" through "The Wall," every Pink Floyd album during that era set a new standard for space rock. They've been imitated as much as any other band in music history, and with good reason. I think Ray's review here is right on the money. I share many of the same viewpoints regarding "Animals" and its place in rock lineage. Even as a drummer, I can fully appreciate and enjoy David Gilmour's methodic and melodic approach to the guitar. Though the album material is consistently dark, every tune has a bit of a silver lining thanks to Gilmour's soaring style. Another good point raised by Ray is the extended linear songwriting style adopted quite effectively by Roger Waters for this album - I think the influence of "Animals" can be heard in some of our own music as well.

We may not often think of them in such a way, but I believe that The Beatles are really the first great progressive rock band. Typically classified as a pop band, thanks to a string of early radio hits such as "Please Please Me" and "She Loves You," The Beatles did more to pave the road to progressive rock than any other band in history. At the pinnacle of their popularity, they walked away from touring and live performances to focus their energies in the studio. They abandoned the image of neatly-pressed pop stars to pursue the styles of music that interested them and, in 1966, gave us "Revolver."

"Revolver" opened the door for all progressive rock which followed. From the orchestral "Eleanor Rigby" to the psychedelic "Tomorrow Never Knows," this album was one relentless musical exploration in which all of the rules and regulations of pop music were disregarded. George Harrison delivered the first of his Indian-inspired tracks in "Love You To," infused with the sounds of sitars and tablas. John Lennon's creativity was fueled by his recent explorations into drug use, resulting in the trippy "She Said She Said" and "I'm Only Sleeping" compositions. Paul McCartney continued his forays into symphonic chamber music and tightly- crafted melodies with the solemn "For No One" and the energetic "Got To Get You Into My Life." The Beatles fully unleased their relentless creativity for the first time with "Revolver," and the entire world took notice.

The impact that this album has had on me has been profound. It was the first album that had such a widespread array of influences and concepts captured in a single work. As different as each song is from any other song on the album, "Revolver" still manages to hold together as a cohesive effort. Perhaps it is due to the fact that each song is so strong on its own, or that there are so many nuances to absorb that the listener simply cannot lose interest, but regardless of the reason, "Revolver" is the first true progressive rock album. All musical explorations since then owe at least a tip of the cap to this masterpiece.

The greatest influence "Revolver" has had on me has to be its layered approach to the music, particularly demonstrated on Lennon's contributions, with multiple textures and instrumental tracks built upon the basic rhythm section. The music takes on dimensions that were simply not considered possible up until that time. I think the most powerful message that this album delivers is "write music for yourself." Hopefully, as far as our music is concerned, the message has been received loud and clear.

Ray's Take - I totally agree with Joe's position that "Revolver" is perhaps the seminal release in the development of the progressive rock album concept. This has always been one of my favorite Beatle albums (perhaps edged out by Abbey Road, but it is very close). "Revolver" has always seemed to be the perfect example of what happens when a band really allows its creativity to become unleashed, but simultaneously crafts solid compositions (which is much more along the lines of what I think of as progressive rock than merely long-form music, gratuitous soloing, and complexity for its own sake). The darkness of "Tomorrow Never Knows" and "She Said She Said" is juxtaposed against the timeless songwriting of a tune like "Here, There, and Everywhere" which has an almost Cole Porter ageless quality. George Harrison also came into his own, creating counterpoints to Lennon and McCartney on "Taxman," "Love You To," and "I Want To Tell You". Throw in "Eleanor Rigby" with its orchestral accompaniments and Ringo's vocals on "Yellow Submarine" and you have a band breaking all previous conventions while creating a superbly-written album that spans the full musical spectrum. Clearly "Revolver" was the changing point for the Beatles as they redefined themselves as musical pioneers and an influence for myriad bands to follow - effectively recreating the musical landscape for generations to come with a single album.