springsong

springsong (1)

I couldn’t imagine ever living anywhere that did not have four clearly defined seasons. While I understand the desire of many fellow New Yorkers to want to flee south in the winter, I’m happy to stay put and be a part of my surroundings for as long as I am able.

Because I love to listen to what each season has to say.

This is the driving force behind springsong and three other songs that will follow throughout 2024. Bet you can’t guess what they’re about. …

As I wrote springsong, I started to more fully understand the way each season reveals its story in the annual cycle. And it’s not just about finding beauty in a raging lake effect storm or in vibrant autumnal colors. It’s about changing your speed and your consciousness to match the calendar, about leaning into what the season is telling you. We are so busy that we live our modern lives at the same breakneck pace 365 days a year, forgetting that each season has a rhythm, a meaning, a purpose that our agrarian ancestors understood all too well. Spring tells us to pay attention to our spiritual life and to marvel at the way the universe always tends toward life and regeneration.

springsong wasn’t the first song I wrote in the sequence, but like two of the other songs I’ll release later in the year, it began life on a 12-string guitar. I was striving for a hybrid of Trespass-era Genesis and Bruce Cockburn, two acts that have been inspirational to me throughout my life.

The lyrics are in three parts. The verses describe the way nature, creation, and the universe unfold their secrets in their own time and fashion; the repeated pre-choruses encourage engaging the senses to fully engage with the spiritual awakening that happens at this point in the year; and the choruses, in which I channel my inner Jon Anderson, attempt the impossible: to capture in words and music the transcendent wonder of creation and rebirth.

April wind blows where it will
scatter cloud revealing blue beyond
snowbank sinters in warming sun
songbird sings its ancient song

Smell of earth and touch of sun
sight of flower and sound of life
in the movement of the earth
to be reborn
in resurrection light

And spring will come when it will
light the green fuse creation spark
world revolves, world evolves
fear remove from winter’s dark

Smell of earth and touch of sun
sight of flower and sound of life
in the movement of the earth
to be reborn
in resurrection light

ceaseless constant changing moment
life ascends transcending time
mirror universal motion
echo mystic songs divine

And change has come as it will
like swollen streams sweep all away
making all things new in time
fulfill the promise of this day

Smell of earth and touch of sun
sight of flower and sound of life
in the movement of the earth
to be reborn
in resurrection light

ceaseless constant changing moment
life ascends transcending time
mirror universal motion
echo mystic songs divine

NOTES

April wind: We think of spring as beginning with the equinox in March. But April is the month of spring in literature. So, this opening line is a nod to Chaucer’s opening line to the General Prologue of The Canterbury Tales (“Whan that Aprille with his shoures soote/The droghte of March hath perced to the roote/And bathed every veyne in swich licóur/Of which vertú engendred is the flour”). T. S. Eliot famously also borrowed from Chaucer for the opening of his landmark poem, The Wasteland (“April is the cruelest month, breeding/Lilacs out of the dead land, mixing/Memory and desire, stirring/Dull roots with spring rain”).

in resurrection light: I didn’t intend for springsong to be a Christian song, though that interpretation is valid. But as I am steeped in the Episcopalian tradition, I couldn’t resist bringing in an Easter reference. I always loved this phrase, which comes from the old hymn “The Day of Resurrection”: “Our hearts be pure from evil,/that we may see aright/the Lord in rays eternal/of resurrection light.”

the green fuse comes from Dylan Thomas’ poem “The force that through the green fuse drives the flower.”

making all things new is a Biblical reference: “And he who was seated on the throne said, ‘Behold, I am making all things new’” (Revelation 21:5). Like so many New Testament passages, these words have an analog in Old Testament prophecy, specifically in the words of the prophet Isaiah: “Behold, I am doing a new thing/now it springs forth, do you not perceive it?/I will make a way in the wilderness/and rivers in the desert” (Isaiah 43:19).

DOWNLOAD:

Bandcamp: https://brucepegg.bandcamp.com/track/springsong

iTunes: https://music.apple.com/us/album/springsong/1735238945?i=1735238946

Amazon: https://amazon.com/music/player/albums/B0CXNHPKSK?marketplaceId=ATVPDKIKX0DER&musicTerritory=US&ref=dm_sh_DYBDPNvgEMmf0YeXJwm6K8xym

STREAM:

Spotify: https://open.spotify.com/album/5oV15f1fMo7m1Efu7zvPIB?si=AkD0E501TMKm0KPxfdjd0A

Pandora: https://pandora.app.link/HMvjHrWYhIb

Soundcloud: https://on.soundcloud.com/3o2YgrvwyDbNq4HK7

Apple Music: https://music.apple.com/us/album/springsong-single/1735238945

YouTube Music: https://music.youtube.com/watch?v=xs-OVSj3ziQ&si=gIHDupUzISOwHfTJ

Written in Cazenovia, NY, between March and May, 2023; recorded between November 2023 and March 2024. Released March 19, 2024.

Bruce Pegg (vocals, 12-string)
Mark Chatwin (keyboards)
Will Pegg (nylon string)
Tom Westcott (bass)
Mike Santiago (percussion)

Produced by Mark Chatwin with Bruce Pegg
Art by Ann Stevens

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We Know What We Like

We Know What We Like

A People’s History of

Forthcoming from Spenwood Books

Genesis_Peter_Gabriel

ABOUT WE KNOW WHAT WE LIKE

Spenwood books is pleased to announce a forthcoming addition to its growing series of People’s History titles.

We Know What We Like seeks to document Genesis’s live performances from eyewitness perspectives throughout their history, from their first show, the Balm’s Dance on September 23, 1969, through to the final performance at the O2 Arena in London on March 26, 2022.

WE KNOW WHAT WE WANT …

Spenwood’s People’s History series seeks to tell the stories of bands through fan memories of shows attended and encounters with the musicians themselves. For We Know What We Like, we’re looking for the following stories about Genesis in their different incarnations throughout the years:

Stories: Tell us what was amazing, unusual, remarkable or even bad about the show(s) you attended, from before the first note to after the encore and everything in between! (See below for a sample story written by Bruce Pegg describing his first Genesis show at Leicester’s De Montfort Hall during the Selling England by the Pound tour in 1973).

Images: Photos of the band, before, during, or after a show; scans of ticket stubs, posters, or any tour memorabilia such as t-shirts, backstage passes, posters, autographs, and so on.

A Note About  Images: First, for copyright reasons, you must own the image or have permission of the copyright owner to allow its use in the book. Second, the image must be as high a resolution as possible, preferably 300 dpi or higher.

Feel free to reach out to Bruce Pegg using the contact form below, joining the We Know What We Like Facebook group, or by emailing Bruce at genesislivestories@gmail.com to submit your contributions or inquire about the project.

SAMPLE STORY

I don’t remember why I ended up going as I bought a ticket without having heard the band. But something about them – maybe the cover of the Genesis Live album, with Peter Gabriel wearing a cape and some strange box contraption on his head – intrigued me. At any rate, I had an inkling that this show was going to be something special, so I remember buying tickets for the balcony rather than the stalls so I could soak it all in.

I wasn’t disappointed. Within seconds of Tony Banks’ eerie mellotron introduction to ‘Watcher of the Skies’, I was spellbound, despite the best efforts of a fellow audience member who thought it would be a good idea to try and break the mood by throwing a toilet roll, football-hooligan style, into the crowd below. And when Peter Gabriel finally arrived on stage, bat wings strapped to his head and his luminous eye makeup piercing through the dim, black-lit stage, I was on the edge of my seat wondering where this journey was going to take me.

For the next ninety minutes, it took me to another world, inhabited by Britannia, lawnmowers, murder victims coming back to haunt their killers, Victorian explorers and modern-day London gangsters. And just when I thought the show couldn’t get any better, Gabriel told a silly story about worms writhing on wet grass and the 12-string introduction to ‘Supper’s Ready’ began.

Seeing and hearing that piece of music unfold for the first time was overwhelming, visually and musically. Out front there was Gabriel, transforming himself into a flower (‘A flower?’) then Magog with that ridiculous box on his head before the final quick change out of his black catsuit into a silver lamé suit during a blinding magnesium flash. Behind him, the song twisted and turned through pastoral melodies and singsong silliness before arriving at the heavy ‘Apocalypse in 9/8”’crescendo and ending with its transcendent coda. Never, before or since, have my loves for literature, music, theater, mythology and spirituality been synthesized like this into one sublime moment in time.

I went on to see Genesis five more times, including twice more at the De Mont (21 January 1977 and 15 April 1980), but that 1973 show will always remain with the Bowie show a few months earlier as the greatest musical highlights of my life.

Got a story or scans to contribute to We Know What We Like? Want to contact Bruce about this or his other projects? Use the form below!

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Where Did the Fox Go? (Part Two)

At the end of January 2021, I moved out of Rochester and back to Central New York, leaving behind some great friends and the routes I had grown to love: the Durand Eastman arboretum, the scenic shores of Lake Ontario, the River Trail from the port in Charlotte up to Lake Avenue, the canal trail from Perinton to Pittsford. No more training around Mount Hope cemetery with Drew and the Rochester Running Company folks, or around Josh Park at the back of the Hudson Avenue Wegmans with Kelly and her group. No more running with the iRundequoit crew. Routines and habits that grounded and stabilized me in the end all disappeared in just a handful of days.

Not for the first time in my life, it was time to begin again.

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Where Did the Fox Go? (Part One)

Well, now. That’s a good — and reasonable — question. It’s also a difficult one for me to answer, first because I am not sure I can provide a clear answer and, second, because part of any answer I may have will be very personal in nature.

I’ve always regarded the purpose of the Flat-Footed Fox blog is to document my running, simply and purely. I will do my best to make these posts no different. But the separation between the physical and the mental — if there is one — is paper thin. And these posts, as much as I don’t want them to, will bear testimony to that.

The simple version of the story as I understand it is this: two years’ accumulated stress took its toll on my mental and physical health. It affected my ability and desire to run, which, in turn, increased my stress levels, creating a feedback loop that I am only just starting to break.

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Goin’ Down De Mont

Welcome to the page for

Goin’ Down De Mont: A People’s History of Rock Concerts at Leicester’s De Montfort Hall

by author and rock historian Bruce Pegg.

*** ORDER INFORMATION ***

Cover

Spenwood Books is now taking orders for Goin’ Down De Mont! Order before 28 October 2022 and receive a free hardback copy of Cream – A People’s History (retail price £19.99).

Go to https://spenwoodbooks.com/product/demontforthall/ and get your copy today!

**********************

De_Montfort_Hall

ABOUT GOIN’ DOWN DE MONT

In 2015, I started to write down my memories of rock concerts I had attended at the De Montfort Hall when I was a teenager growing up in Leicester during the 1970s.

As the project developed, I invited a number of my old friends to contribute, and I eventually published the stories here on brucepegg.com as a series of blog posts under the heading Aya Gooin’ Down De Mont?

Fast forward to 2021. Richard Houghton, my old college friend from Loughborough University and himself an author of numerous people’s histories of well-known rock bands, contacted me and asked if I would like to turn the blog posts into a book to be published by his company, Spenwood Books.

I readily agreed and began work on Goin’ Down De Mont.

The De Montfort Hall has enjoyed an incredibly rich history, playing host to the greatest names in modern popular music. From Buddy Holly’s appearance on 16 March 1958 through to legendary shows by The Beatles, The Rolling Stones and Bob Dylan in the early sixties; from groundbreaking performances by Pink Floyd and Genesis in the early 70s to cutting-edge appearances by The Clash and Blondie later that decade; and from numerous Marillion shows recorded at the venue to Kasabian’s triumphant homecoming gigs in the 2000s, the Hall’s stage has been graced by the famous and the influential alike.

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Goin’ Down De Mont documents that history by collecting hundreds of stories from concert goers who attended rock shows at the Hall from the late 1950s to today. Some of those stories are from rock celebrities including Ian Hunter (Mott the Hoople), Steve Hackett (Genesis), Kathy Bushnell (Emily Muff), Baz Warne (The Stranglers) and Leicester’s own Rich Barton (Diesel Park West), Jon Lord (Deep Purple, Whitesnake), Roger ‘Chappo’ Chapman (Family, Streetwalkers), Tony Byker (Gaye Bykers on Acid), Tom Meighan (Kasabian) and Dave Bartram (Showaddywaddy),

In addition to stories, there are never-before-seen pictures of performers during shows at the hall and scans of memorabilia from the shows, including images of ticket stubs, setlists, autographs, and more.

These stories are accompanied by

  • An essay documenting the Hall’s history, the ways rock tours in the UK changed from the package shows of the 50s and 60s to the full-blown multimedia productions of the mid 70s, and the Hall’s acoustics and ambience, features that endeared it to generations of concert goers and musicians alike.
  • A gigography documenting almost 1,000 rock shows going back to 1957
  • A discography of all live songs known to have been recorded at the Hall and released on legitimate labels.

You can access an older version of the gig database here. The version in the book has added over 100 more dates.

You can access an older version of the discography here. Again, the version in the book has numerous additions.

Got questions about Goin’ Down De Mont? Want to contact Bruce? Use the form below!

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Review: Steve Hackett (Riviera Theater, Tonawanda NY. September 12, 2019)

It took me a long, long time to catch up with Steve Hackett.

Forty-two years, 7 months, and 22 days to be exact. Continue reading

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Review: Iron Maiden (KeyBank Center, Buffalo NY. August 13, 2019)

The last time I saw the Mighty Maiden, in Toronto on their 2017 Book of Souls tour, I marveled at the energy they still generated on stage after delivering almost 40 years of uncompromising in-your-face metal to the masses.

This time, though, catching up with Eddie and the boys wasn’t quite so satisfying.

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#runstreak day 475: The End of the Streak and a European Runcation (Photoessay)

On April 20, at around 5:30 in the evening, I finished a lazy two-mile run around the neighborhood.

It was an unremarkable way to end a remarkable sequence. A 475-day #runstreak, encompassing 2,285.52 total running miles, had come to an end.

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Review: Coheed & Cambria/Mastodon (Stone Pony Summer Stage, Asbury Park NJ. June 4, 2019)

As any runner will tell you, catching up always brings its own set of problems.

Especially when you’re really behind. Continue reading

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CD Review: THE COFFIN TRAIN – Diamond Head (Silver Lining, 2019)

Make no mistake. The Coffin Train isn’t your father’s Diamond Head album.

This eighth album by the Stourbridge metal warriors may feature plenty of nods to the bands’ now forty-year-old roots. But at the same time, it points toward an altogether different future — hard rocking, of course, but also more progressive and complex than its forebears.

Which is in no way a bad thing. Continue reading

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