Wilton Said... Review
CD Release November 26th 2011 at The Black Swan.

Wilton Said appeared last night at the Black Swan on the Danforth. It was the CD release party for his new work, `Half Life'. I was a bit concerned with things; after all, there has been a long layoff between shows for them. However, there was no need to worry. The band was as great! Chris Reid on guitar was as sharp as ever, blazing through solos with inspiration, and adding to the pieces with masterful precision. Nothing you wouldn't expect from this master craftsman.
Richard Rizzo on drums was superb, as well. Perhaps the most fiery of Wilton's band mates, he played with power last night, accentuating the songs where needed, and adding flare where wanted. He is a delight to watch, and a pleasure to listen to.
On bass the usual member Frank Heisler was missing in action. I suspect he has been kidnapped by aliens who have demanded Wilton perform songs from the `Sound Of Music' during the second set. Wilton has refused, thanks in part to artistic integrity, and thanks in part to a threat from Frank to place his bass guitar in the same position as the name of one of Wilton's earlier albums. This could be understood if one could imagine Frank's alien abductors to be gorgeous vixens with no moral inclinations whatsoever.

Actually, I have no idea why Frank wasn't there, but whatever the reason, it can't be as much fun as my explanation. However, his replacement was Debashish Ray. He had to follow along by using sheet music, and, at times, seemed to be lost in Wilton's extensive and elaborate arrangements. However, his playing was strong and supportive, as a good player must be. In fact, his playing was excellent, and brought some nice bass lines to Wilton's music.
Wilton himself was his usual delightful stage persona. His voice seemed to be a bit weak at times, especially early on, but by the end he was singing as well as ever. He told his usual delightful story at the start of `Pretty'; and I've always thought the album should have had the introductory story at the beginning.
As for the sets, he played a few surprises. Of course, a few of the songs included things from the new album. For me the star of the opening set was `Endorphin Crash', a masterpiece from `Half Life' that is delightful. He also played an odd piece, `Bydlo'; one of the songs from Mussorgsky's `Pictures At An Exhibition'. He felt, (rightly so, I must agree) that Emerson Lake and Palmer were remiss in not including in their famous prog work of so many years ago. Richard's drumming on this one was superb!

The second set included a few new songs. The song `Half Life' itself was incredible! I may have to rethink my favourite Wilton Said songs list! Another stand out was `City On The Water', a piece Wilton played by himself, and did extremely well. He also, unfortunately, played the Beatles song `Why Don't We Do It In The Road?', which he kindly dedicated to yours truly. Admittedly, the song is about as popular with me as itching powder in an athletic supporter, but that's just me.
However, there is one thing I must take umbrage with. There is a song in this world that is just plain evil. He played it on kazoo, of all things. The name of this Hymn To Horror, this Anthem to Angst, is `Manaha Manaha'. I say unto thee, such an evil little ditty has been heard during Black Masses, human sacrifices, and The Muppet Show. Of all the songs to get stuck in one's head, it is the most insidious. It has no lyrics to speak of, and has the effect of going around and around in the mind until insanity is the only possible result. Thank you, Wilton. I'll get you for it.

Which brings us to the difficult point of the day. For his final number, Wilton played `Empty Sky' the opus from `The View'. In introducing it, he dedicated it to the victims of 9/11, saying they died because of the U.S. government. Dead silence followed this announcement; a very uncomfortable silence. I can't help but wonder if this was wise. It may have had the effect of alienating possible fans, a course which is anything but wise. To my mind letting the songs do the expressing is adequate, but you certainly cannot question Wilton's musical integrity, so your mileage may vary. I vehemently disagree with him; but then, I think `Manaha Manaha' was written by Satan's hairdresser, so each to their own opinion.
In all another great night of music, as always, extremely enjoyable, and, as always, very, very entertaining.

By Doug LeBlanc
Canadian Progressive Music Society
http://launch.groups.yahoo.com/group/canprog/

Review of Wilton Said...'s CD Release Show for "The View".
“The place was called the Artist’s Play Theater, on Carlaw Avenue in East Toronto. A small place, with lots of room for everyone. The band was Wilton Said..., a Toronto based prog band. This was a CD release party, for their newest venture entitled ‘The View’. Those are the bare facts about what went on. For those who were there, though, there was much, much more.
This was a progressive music performance. The real thing. Genuine prog, not an imitation, not a pretence. Not a tribute to excellence of days gone by, but genuine progressive music in all its glory. The music is multi-faceted, like a diamond. Every song hit from a different angle, and presented a new outlook. I felt an excitement watching them perform; like I was seeing Yes again for the first time. Like experiencing Genesis in their youth. There was a brilliance, a fire about what they can do. They loved it, and we loved it.
The band is made up of four members, all of them accomplished musicians. Wilton Said is the leader; he played keyboards and sang lead vocals. Chris Reid played guitars with the wizardry of Steve Hackett, and the polish of Mike Oldfield. He provided back-up vocals, and did so well. But it was his virtuoso on the guitar that made him so powerful. The power of the drum and bass set were magnificent! Andrew Buntain on bass is a big man playing a big sound. He played a solo effort that blew the crowd away with a style I found very original. The drummer was the colourful Richard Rizzo, the man from Malta. When he needed to be, he kept the band in the strict timing that is essential to good prog. At such times he was in the background, subtle and driving. But when he came to the foreground, he was delightfully entertaining to watch! I’ve seen literally hundreds, if not thousands of drum solos in my life. I usually find them boring, but Richard made it exciting and interesting. As a good drummer should. Yet there was more. So much more. That would have been enough for good prog, but this was something more. For the essence of good prog is that it is an art form, art that reveals, art that demonstrates, art the laughs at human foibles and cries at its follies. This is the heart of what is Wilton Said. This is music that cries out to be listened to, to be seen in all its kaleidoscopic glory.
As the band played I could easily imagine a Muse stepping onto the dance floor. Her face was the face of Satan, but her body was the body of God. Her face was the face of pain, but her body was the body of joy. Her face was one of tears, but her body was one of laughter. She danced for joy, but her movements were of sorrow.
Those who left the theatre last night were very impressed with the performance. There were, sadly, far too few of us to have experienced true progressive rock in all its power and its glory. But all of us left with something special. All of us had the gift of music that is so important to us. And that’s what Wilton Said...”
Doug LeBlanc
Canadian Progressive Music Society
http://launch.groups.yahoo.com/group/canprog/
==========================================

Wilton Said: The Butterfly Plague
[self-released]
http://www.leftoffthedial.com/Wilton_Butterfly.htm

Wilton Said returns with a fresh back-to-school style with this LP, The Butterfly Plague. The dizzying rock opera vibe on this record is at full strength in its instrumental parts, as are man rock operas. Initially, Said’s voice does not gel enough with the carnival-esque theme of the record. For fans of Said’s softer acoustic brand of pop, only the recurring raindrop sequences would fit their perception of the musician. Said and his backing band efficiently execute the different genres featured on this record, especially considering the difficulty of playing prog-rock. Then he briefly returns to his softer, subtle form for “Mom,” which is a song about his uncle… or his mom… or himself.

The most difficult part about listening to this record is getting rid of the associations one has with Said’s prior recordings. Comparing this record to his previous work, all that came before seems scattered when trying to identify his influences. With The Butterfly Plague, he hints at the Talking Heads, Frank Zappa and Andrew Lloyd Webber, and they can be heard all at once in “Bar.” Said is accustomed to impressing listeners with his mastery of musical compositions, but the lyrics on this album point to a man who is hurt when he is at his most introspective. A song such as “Outside” captures this essence perfectly and demonstrates the dichotomy necessary when looking inward. The crooning on this song is reminiscent of Morrissey’s earlier work, and on this track, he embodies the Morrissey/Marr dynamic of songwriting. I would not go so far as to say that he is as influential as are the two lads from Manchester, but he certainly does an impressive job at creating a lush atmosphere, be it musically or lyrically. The Butterfly Plague flows beautifully albeit at the enormous musical risks Said takes throughout the album. By the end of the record, Said makes his vision clear, but it is the listener’s duty to decipher it.

-Nessim Halioua
11/29/04
==================================================

Left off the dial review - Broken

http://www.leftoffthedial.com/WiltonSaid_Broken.htm

Find this album and buy it right now. It's the most amazing thing I've listened to since the day my friend introduced me to the Hives. I usually don't promote anyone to this extent, but Wilton Said has a captivating voice. He's one of those singers that when you see him in concert, you most likely won't be able to get your eyes and ears away from him. Nowadays, most singers are like background to the music and only stand out when they're screaming. But Said has a way of letting his voice give a whole new perspective to the music being played.

The first track on this EP is "Broken Mind". Even before it jumps into a scorching guitar solo, you can hear the song's creativity. The second song, "The Gap" is really thoughtful; it seems as though Said is making a social statement about how The Gap designed for the masses with no style of its own. It's sad, but I don't know very many people who don't own at least one item from The Gap. I would brag about being one of those people, but it's not the time or the place. What is funny is that it seems meta-musical to talk about clothing in songs. Usually rock and roll influences the clothes that people wear, and then the clothes that they wear influence a performer's attitude onstage and the music that he's attempting to convey to the audience. Said has purposely turned all this around. Wilton Said is a multidimensional singer. Not only that, he's also a phenomenal guitarist. Another talented musician is his creep-scout friend, Chester, who plays kazoo on the barbershop quartet inspired, "All For You" Track five, "In a People Bar" is a social commentary of sorts. The way it usually works with geniuses is that they have trouble in settings where they are expected to participate in dialogue. This is very reminiscent of the Doors' "Whisky Bar" until the break of the song where Wilton Said turns into Black Francis' alter-ego. It really is one of the best tributes to the Pixies I've ever heard. The two ballads on this EP, "One" and "Confess," definitely sound like homages to either your ex-girlfriend or your favorite grandmother. I'm not sure; it could be both. Either way, this six-track sampling from Wilton Said has me foaming at the mouth for more.

-Nessim Halioua - Left off the Dial
===============================================

Member: jlneudorf (Profile) (All Album Reviews by jlneudorf)
Date: 7/16/2008
Format: CD (Album)

Wilton Said are a Canadian progressive rock outfit from Toronto and have been around since the late 90’s. This is the first I have heard of them, and it has been a pleasure listening to their latest album The View. This is pretty interesting stuff. I can hear bits and pieces of artists like Queen, Roxy Music, and David Bowie but in no way are they derivative. They have infused a classic guitar sound from the 70’s with a modern sensibility that sounds fresh and exciting. I found myself having a sense of nostalgia while listening to this record, but I did not find this to be a bad thing.

The album starts with a short carnival-like intro with interesting voicings which leads directly into the second song “Heavy Motion”. The song has a pounding bass and guitar that took me back to the 1970s. Wilton Said’s vocals are excellent with some nice falsetto that somewhat reminded me of Freddy Mercury, and that is not a comparison to be made lightly as we all know how tremendously talented he was. Also included is a neat little synth solo that made me think of Manfred Mann.

“Merry-go-Round” is a straight-ahead rocker which almost sounds like 1970’s Blue Oyster Cult during the chorus. The song ends with the same carnival-like sounds that opened the CD. “Pretty” features nice keys, and again has a BOC feel during the chorus. I can also hear Bowie in this one. Please do not get the wrong impression with some of my comparisons. These guys are not copycats and have developed their own unique sound by taking influences of the past and making a style all their own.

Tracks 7, 8, and 9 form the three-part epic, “The Empty Sky”. This is probably the most progressive song on the album and also my favourite. Very good keys, drumming, guitar, and nice tempo changes add to your listening pleasure. This one is not to be missed and makes for a rewarding listen.

The saying, “good things come in small packages”, is appropriate as this is a short record (about 35 minutes). In this day and age of 75 minute long concept albums this may not be such a bad thing and dare I say almost refreshing? I really enjoyed the time I spent with this disc and recommend you give it a listen, especially if you like any of the artists I previously mentioned. Being a Canuck myself I am proud to say this is one I highly recommend!

Rating: 8 (out of ten)
Reviewer: Jon Neudorf
Link - http://www.progressiveears.com
=====================================================

The Butterfly Plague
This is my first exposure to the music of Wilton Said. I must admit I never heard of him before but that soon has changed upon several spins of his latest release, 'The Butterfly Plague'. It's by far one of the better, dare I say slightly more original progressive pop-rock bands to come cross my hands in a long while.. Wilton voice strongly reminds me of the late Geoff Mann especially on 'Circus alive', 'Mom', Halos' for example, other than that his voice is very fresh and unique.

The main styles that can be found on 'The Butterfly Plague' are rock, pop, prog and theatrical. The music isn’t that complex that even non proggrers can get into it. It’s slowly becoming one of my favorite releases of 2004. If you’re looking for something with more originality than most releases and less metal based, then give Wilton Said’s The Butterfly Plague a try. Highly recommended and in my top favorites of 2004.

Reviewed by Ron Fuchs on Novemeber 30th, 2004
Link - http://www.prognaut.com/reviews/wilton-said.html
===============================================================

The View

Wilton Said returns in 2006 with the release of The View. This release contains some of most eclectic styles ranging from hard rocking to some dissonant singing to symphonic & art rock. On The View, the band explores several themes which makes up humanity and the way we view ourselves. All songs are sung with a flare that still reminds me of a blend of Geoff Mann and Freddie Mercury.

I enjoy each and every track on this album but to me the highlight is the 3 part of The Empty Sky. This one will surely lure in the symphonic and neo prog fans. Wilton Said has always, to my ears, has always thrown out the rule book on progressive rock and re-written it to suite their musical ideals. While, they stay within the song-based format, they stretch it out to include things that make up progressive rock.

With each release, Wilton Said refines themselves and while I enjoy their other releases, The View seems to be their defining moment to date. Wilton Said really brings back the fun and adventure in both the music and vocal aspects. Joining Wilton’s madness are Guitarist Chris Reid, Bassist Andrew Buntain and Drummer Richard Rizzo.

In closing, I would definitely say The View is highly recommended independent or otherwise release for 2006!

Reviewed by Ron Fuchs on October 17th, 2006
Link - http://prognaut.com/reviews/wilton-said3.html
===========================================================

Broken/World up my Ass
I had the extreme pleasure to review Wilton Said’s 2004 release Butterfly Plague and was given the opportunity to review his previous works World Up My Ass and Broken. I decided to combine those reviews since Broken is rather short (under 30 minutes). Upon listening to both of these releases, I got a chance to hear how well Wilton Said’s music sounded early on in their career.

Wilton Said’s music is one of the most enjoyable progressive pop-rock bands to come cross my hands in a long while. Their music even has nods to the art and glam rock scene of the 70's like Queen, Roxy Music, Genesis, David Bowie and Be Bop Deluxe. The vocals are rather unique for this style of music, that’s usually plagued by Peter Gabriel and Jon Anderson wannabees. Even on these recordings Wilton voice strongly reminds me of the late Geoff Mann with small hints of Freddie Mercury.

If you’re tired of what the more popular bands are releasing these days, then I’d highly recommend that you explore this band’s albums as soon as you can. Your ears will thank you many times over. This is one of my favorite independent bands of all time.

Reviewed by Ron Fuchs on May 10th, 2005
Link - http://www.prognaut.com/reviews/wilton-said2.html
=========================================================

Below is a review from the latest Progression magazine.

Wilton Said...
The View

Sound - 3, Composition - 2.5, Musicianship - 3, Performance - 3, Out of 4
Total Rating 11.5 out of 16

Wilton Said... is a Toronto based musician and also an ad-hoc quartet based around Wilton's singing and compositions, with three releases to his/its credit. The latest of which, 2006's The View, is a brief yet enjoyable visit into Wilton's world of idiosyncratic art-rock. Much like a less jazzy Land of Chocolate or more conventional Bubblemath, this band focuses on short-format tunes, but fills them to the brim with interesting material.
Lyrically, Said offers wry observations on what it's like to be human, coming to grips with our inherent foibles. Musically, the secret weapon is guitarist Chris Reid, who let's rip with a type of heartfelt, distorted angularity that made Television's Marquee Moon a classic. Reid is the rare prog guitarist who sounds more like Peter Buck than Steve Hackett, but the band is better for it as he lends grit to Said's unconventional writing.
Highlighted by "Merry-Go-Round" and album ending epic "The Empty Sky", this work should spur interest in Wilton's upcoming rock opera project. - Bob Short
====================================================

Progscape Review/Bills Prog Blog

Artist: Wilton Said
Album: The View
Label: Private Release
Website: http://www.wiltonsaid.com

Wilton Said (the band) AND Wilton Said (the musician) hail from Toronto Ontario. Said’s quirky mix of art rock influences (Queen, Bowie, Kate Bush battle with Sarah Slean and A Perfect Circle for prominence) is on full display on The View, his newest release.

Said holds a degree in Musical Composition from York University, and his contributions on vocals/piano/keyboards are joined by those of Andrew Buntain (bass), Richard Rizzo (drums) and Chris Reid (guitars). Sonically the band has forged a sound that focuses heavily on rock, with buzzing guitars, a punchy rhythm section, and Said’s dramatic, inflected vocals flitting in and out of the mix. The tracks on The View are pretty immediately accessible, but with enough quirk and twisted arrangement to move the band out of the mainstream. Art rock is quite possibly the best categorisation for their music, as it seems in many ways the logical extension of the direction bands such as Roxy Music or the Spiders From Mars took in the 1970’s.
“Carnival?” opens the album with found sound; children laughing in a sonic collage with calliope music and loops of undiscernable whispers and a strange vocal line. This shifts into “Heavy Motion,” which starts with a thick, rolling bass line and processed vocals. Wilton Said’s vocals are extremely flexible here, bending notes in a way that sounds extremely close to falling off the melodic line, before snapping back. The song itself goes through a number of changes, with heavy strummed guitar at 2:00 moving into a syncopated and brief bridge before a warped synth solo takes center stage.

“A Family Affair” opens like a restrained track, with dream like slide guitar and precious, fragile vocals, before said vocals are run through what sounds like ring modulation, moving the dream into nightmare territory. The song is an exercise in contrast, with alternating heavy sections adding tension to what is otherwise a pretty straightforward song.

Prog fans will likely go gaga over “The Empty Sky,” a 3-part mini-epic which closes out the album. The opening movement, “The View,” is a keyboard lover’s dream come true, with layers of organ, synth and piano battling over a pounding rhythm and thick rhythm guitar before the track shifts gears, bringing the speed down a notch while keeping the sonic richness as high as possible. An organ fanfare leads to clean, chorused, picked guitar reminiscent of 1980’s Alex Lifeson. “Goodbye,” the second movement, features laser beam sustained guitar lines, starting clean before adding fuzz and overdrive in ever drenching layers, over an orchestral synth foundation and militaristic drumming. The final section of this suite, “Fallen,” starts by picking up the pace with quick drumming and a propulsive organ line, before downshifting to a somber semi-dirge, with emotionally saturated guitar line and rich, mellotron-like synth textures. Said’s lyrics are sullen and somewhat distressing; a number of potential interpretations likely exist, all of which reek with finality. His vocal delivery on the three tracks that comprise this epic is the most dramatic and emotional on the album.

The View is an album packed with a variety of musical twists and turns. All the more amazing is that this is done in just over 34 minutes. In a modern musical environment where quantity is held as having far more importance than quality, it is a joy to listen to an album that hits hard and fast, with no throwaway tracks. The View is just that sort of album, and positions Wilton Said (the band) AND Wilton Said (the musician) as voices to keep an eye (and ear) open to.

Reviewer: Bill Knispel
Link - http://billsprogblog.blogspot.com
==========================================

Soulshine review
Wilton Said
Album Title: The Butterfly Plague
Release Date: January 18, 2005
Rating: 3.5/5
Genre: Progressive

Brace yerselfs—Toronto indie rocker Wilton Said has just released his third CD “The Butterfly Plague” and throwing caution every which way but loose, Said has fingered the work a concept album. A freakin’ concept album! Typically a stage reserved for such dino-sours as Asia, Yes, and Spiro Agnew, it’s a gutsy move for Said and his street level chuckers but hey, I’ll be the first to admit that “The Butterfly Plague” is an oddly-affecting work. Blending elements of progressive rock, new wave and sub-Floyd poo poo, Said rigs these 13 tunes with layers of synth and sheen, buffering away the edges with belt sander-like guitar riffs and precision bravado. Sure, the level of pretense is practically through the roof, but you’ve got to give Said credit for (A) spitting out this pig on his own dime, and (B) having the guts to be making this kind of music in 2005, when the Fiery Furnaces and the Franz Ferdinand’s of the world are the pacemakers. And the best part about “The Butterfly Plague” is… the concept is utterly un-conceptual. Beats the heck outta me what links songs with titles like “Mom”, “Bar”, and “Close”. Maybe Said charges by the syllable or maybe he’s just hungry? Either way, “The Butterfly Plague” is a compacted slab of post-modern indie prog that’s heavy on heart and light on liver.

Writer: Cameron Gordon
Link - http://www.soulshine.ca/reviews
================================================

Listen to what Wilton Said
(Posted Date: Tuesday, June 8, 2004)
New songs meander in ’70s style cerebral rock

The music industry boundaries are mere ankle-high hurdles Toronto singer songwriter Wilton Said gleefully clears.

Thankfully, much of The Butterfly Plaque isn’t at all radio friendly, but its deliberate nod to ’70s progressive rock will make pals with ears belonging to most right thinking Discman owners.

And old acts like Genesis, Yes and Rush might take the familiarity offered by The Butterfly Plague as flattery and not infringement of copyright.

There are enough winding, jazz-inspired passages that linger beyond three minutes to give us all hope that not all up-and-comers or even music hobbyists are working to sound like a cooing Britney Spears or ultra-dull Sam Roberts.

Sure, some of Said’s new work might make us think of Spinal Tap ("No, we’re not going to play %@$#&* Stonehenge"), but that isn’t always a bad thing.

All of this, of course, is quite deliberate. Said purposefully steers clear of the unimaginative and mundane. He might also want to thank his band of musicians, including drummer Richard Rizzo, bass player Andrew Buntain and guitarist Chris Reid.

His last CD was recorded with a home studio and he performed his own guitars, lead and backing vocals, and keyboards. The only thing he didn’t do was play drums and manufacture the CD.

"I like to listen to and write rock music that’s a bit more challenging . . . in some cases, music that takes two of more listens to understand what’s going on," Said said.

"The same goes for lyrics. That’s what makes me happy and happiness is what it’s all about."

As for the words behind the melodies, he says most of what he has written for Butterfly is about "looking inward."

"There are so many situations where I’ve come across people who weren’t able to move forward in life because they haven’t looked inside," Said said.

"They haven’t discovered and acknowledged their own faults or perversions. As a result, they keep falling into the same pattern of unhappiness."

Butterfly follows 2001’s Broken, which followed his debut self-recorded World up my Ass.

Ho holds a degree in musical composition from York and lives in Toronto.

By Andrew Matte - The Town Crier
========================================================