Lehto & Wright are cohorts also found playing with The Galactic Cowboy Orchestra featured recently here at Progmeister. Children’s songs album is a beautifully packaged two disc set comprising of a CD and a DVD which includes live footage in the studio and an interview. Art work and layout I thought intriguing and like the music gives little to make the listener and observer think for one moment that bands origins are American. Indeed listening to the traditional English arrangements you would be forgiven for thinking that the band weren’t a major player in the British folk/rock scene.
Well, what’s folk/rock got to do with progressive music I hear you say? I would have you say that Lehto & Wright escape the perimeters of folk despite the inclusion on the album of Dave Swarbrick and Martin Carthy versions of one song and an excerpt from Led Zeppelin’s The Rain Song, These two extraordinary musicians plow headlong into some compositions by Chick Corea. This sets the album apart from most things a have ever heard and whilst not being able to pigeon hole the band into any one genre suspect it is what makes them progressive.
I found this album to be a breath of fresh air. Steve Lehto along with John Wright really do cross a lot of boundaries on this superb musical adventure. Lovers of free form music will simply lap it up. There seems to be little to no constraint in technique or direction.
Very little is written about King Crimson at Progmeister, yet I can’t stress enough how important they were in the whole ethos of prog rock music. I bring this to your attention because I can’t stop thinking that this is what they would have sounded like had they added a folk element to their music. Steve Lehto bares all the hallmarks of the lamented Robert Fripp who could also reach from 0 to 60 miles per hour in three seconds on his guitar.
In addition to Steve Lehto on all manner of guitars/vocals and John Wright on all manner of all things bass/vocals including pedals, there is Matt Jacobs who’s kick drum really does lend a dimension all of it’s own to the proceedings. Matt’s drumming really adds to the pace of many pieces on this album and really does provide a solid platform for the two key players.
Children’s songs comprises of four quality pieces “Wasn’t That A Time”, “The Broomfield Hill”, “Children’s Songs” and “Betsy Bell and Mary Gray”
The title track “Children’s Songs” is without doubt an opus crafted by esoteric musical craftsman and can loosely be described as a medley. Containing twenty elements it incorporates many traditional songs from both sides of the Atlantic as well Ireland, Scotland and Wales. This may be folk/ rock, though, by this tracks very format it can be described as having traces of prog. So too does the story telling opener “Wasn’t That a Time” which is as tight as a drum and demonstrating the musical cohesion present throughout the whole performance. Not bad for the shortest song on the album. The sumptuous beginning of “The Broomfield Hill” demonstrates fully the deft of hand given to the Fender bass by John Wright and from its delicate intro soon explodes into a powerful folk tirade. The coup de gras of the album is “Betsy Bell And Mary Gray”. It showcased the band as a whole, playing with seamless synergy. Vocal harmonies and delightful acoustic guitars make this song very special, though it’s not long before the spirit of Robert Fripp takes over and folk gives way to a Crimson tide.
By the clock on my aging digitalia I make this album out to be one hour and twelve minutes of barnstorming folk/rock at its very best. Lovers of Jethro Tull, Fairport Convention, Et al look no further. With a drought of new output from such bands, this wonderful take on some traditional folk songs and some astounding musical excursions should not be overlooked. Is it prog? I don’t know! But I like it.
I have to admit to writing this my concluding Camel review with a bit of a lump in my throat. A Nod and A Wink takes us into the millennium years and with many of us showing the signs of aging. Unbeknown to the majority I dare say, A Nod and a Wink take us into a fourth decade of Camel’s rich tapestry. As we ponder the universe I am unsure as to whether this is Camel’s swan song in much the way as all the rest of us.
If so, a more fitting a revelation there will ever be. This is very much an album for the devout Camel fan and for those who know of their heritage and meaning. I count myself as being one of the fortunate. Time has been spent on making this crafted presentation a very special message. The key is in the title!
A Nod and a Wink is just that…A nod and a wink to all the musical forms and influences so enjoyed by the composer of these finely penned tunes and ditties. I hear them all. Genesis, Caravan, Jethro Tull. It really does reward the listener if time is spent becoming familiar with each composition and lyric on this album.
Unlike many Camel albums A Nod and A wink can be listened to piecemeal. Individual adventures for you all to savour. Looking at the cover of this album it says everything. The silhouette of the composers faces the glance backwards at his childhood, the steam train moving forward through life and of course the sky.
On first hearing this album it give me a feeling of terminal inevitability. Dedicated to the world from someone who wanted to demonstrate their passion for their influence’s, loves and concerns to the need of composure and realization.
Loading this CD into your preferred method of delivery you will notice a more delicate feel about it. Every note on this album is played with conviction and meaning. It lays bare the soul of it’s creator and the intent to persuade the listener of its representation.
My personal view is that of an Enid Blyton children’s novel. Lashings of ginger beer and the famous five etc, of course, it’s all open to individual interpretation. What this album does have in spades is magic.
Most unlike any other Camel album A Nod and A Wink Demonstrates a cheeky view of the world and not least the musical influences it alludes to. Beginning and ending with the sound of a steam engine drawing near and then in its conclusion moving away into silence.
Glockenspiel and slide guitar, not the usual ingredients for a Camel album but very enjoyable none the less. Tearing a way through ZZ Top like slide guitar to reveal some timid synthesizer sounds from French Canadian boards man Guy Le Blanc the title track blazes it’s way to “Simple Pleasures” which is probably the most exhilarating song on the album.
“Simple Pleasures” demonstrates the benefit of HDCD encoding and is beautifully recorded. The weaving guitar in this song is bolstered by Colin Bass on fretless bass and the powerhouse drumming of Terry Carleton. It is with Terry Carleton’s huge tom toms that the track begins and thunders to a conclusion. It really is a treat.
“A Boy’s Life” begins in a very solemn mood though soon becomes a little more interesting with a little Roger Waters time sound effects and again some pyrotechnics from the drums. Finishing in rousing fashion this song possesses a huge sound stage. There is some nice acoustic guitar to be heard on this song too. I must admit to being unable to understand what this song is all about, though I would suspect it’s about childhood and how we take everything for granted at the age of fifteen yet there is always the boy in us until we die.
On a more equestrian theme the fabulous “Foxhill” is a right old romp and brings about a light hearted feel to the proceedings. A song about the joy of foxhunting! Could there be such a thing? Worry not young activists, because it’s a tale with a happy ending as the fox gets clean away. Genesis meets Jethro Tull here. Wonderful English feel to it this piece. It makes you want to take up riding. There is some fantastic guitar/keyboard interplay on display which is only to be expected. It is something at which Camel in their many forms excel at.
“A Millers Tale” and the following piece “Squigely Fair” seem to fit nicely side by side as if the latter was a continuation. “A Millers Tale” begins with some full bodied acoustic guitar and appears very dark and moody. This is further enforced by the rasping cello and oboe samples and invoking a Lord Of The Rings type atmosphere. “Squigely Fair does much the same, though in a happier more breezy type of way. All the fun of a fair is here in spades. And all thee rides and attractions are represented by the multitude of talent playing guitars, flute and some great percussion. A fitting high on which to end and allow the Ice like tones of the concluding and thought provoking “For Today” begin.
To me this beautiful piece of music is almost hymn–like. When you consider it’s subject matter which I believe to be the tragedy that befell the world in September 11th 2001, you realize that it is probably the post powerful and emotional song that Camel have ever recorded. Should this album indeed be the bands swan song it is a fitting one. With an eerie message the song climbs from its subtle piano intro into to burning guitar crescendo backed with a chorus “never give a day away, always live for today”. Stirring stuff. A fitting conclusion to what may as yet me the last Camel album. The guitar sound on this song could easily be mistaken for Pink Floyd should you be unaware of whom you were listening to.
I was also very pleased to see that a dedication had been given to the late and very great Peter Bardens on the CD booklet.
Well, there you have it. Four decades of Camel’s music represented by Moonmadness, Stationary Traveller, and Harbour Of Tears and last but certainly nowhere near least A Nod and a Wink. This then is the conclusion of my look at Camel and their influence on me, my friends and colleagues. I can only hope that there is more to come and this dear friend’s is a hope of which I will never let go.
The third album under scrutiny as part of the Progmeister Camel feature is Harbour Of Tears. It’s not until you reflect upon the huge body of work that Camel have recorded since 1972 until 2002 that you realize the diversity of their whole output. From their raunchier beginnings to the sophistication of the latter HDCD recordings, everything from blues to light hearted pop songs cross the range. For such things you only need to listen to Breathless and I Can See Your House From Here.
Many of Camel’s albums however were to be taken a little more seriously, None more so than
Harbour Of Tears. Of all the albums recorded under the Camel guise this is perhaps one of the most passionate, emotional and personal projects that Andrew Latimer ever recorded. Apart from being ambitious, the bleak story expressed in at times Gilbert and Sullivan fashion is quite simply astounding.
A brief synopsis of the tale portrayed is to be found on the back CD cover. It tells of a deep water port in
county Cork, Ireland, from where many fractured families left to seek fortune or fate in far off places. The album is dedicated to Pan, who ever she may be (answers on a post card please) and leaves the listener to put their own interpretation on the tale.
From the opening traditional Gaelic lament of “Irish Air” to the haunting conclusion of rolling waves at it’s conclusion,
Harbour Of Tears is one of the most beautiful and compelling albums that Camel recorded. “Irish Air” is delicately sung by Mae McKenna and the song is reprised immediately following it’s conclusion by the most bleeding and heartfelt flute and guitar intro’s I have ever heard on any album. In true operatic and of course progressive style there is only one pause between tracks throughout the whole of the performance.
Following such a wonderful opening the story is told in very concise terms in the title song. Singing in descant messrs Latimer and Bass describe the sorrow of a passenger setting sale and his father on the quayside bidding them farewell, very eloquently done.
Moving into the next piece “Cobh”, Mickey Simmonds with his talent for timbre and motive brings about the first of a few symphonic elements to this fabulous opus and leads in quirky fashion to the jaunty and almost shanty-like “Send Home the Slates”, sung with aplomb by David Paton and Andrew Latimer which sets the nautical feel for the remainder of the album.
“Watching The Bobbins” is very much in blues tempo which gives way for some of Andy’s most soulful guitar playing and stirring keyboard orchestration. “Last Eyes Of Ireland is the beginning of perhaps the most powerful and emotional segments of the album and at one stage gets eerily close to sounding like Genesis.
Last of the songs on this what I now consider to be a masterpiece is “End Of The Day”. It is a tranquil lament, this time with the more masculine tones of Andy Latimer himself. Coming of age is Camel at their best with the distinctive signature that gives the essence of what they are all about. Drama, poise and excitement are all contained herein.
Which brings me to the concluding piece, “The Hour Candle”? Something tells me that although this blistering guitar tells not only the tale of heartache and sorrow for the people portrayed in the story, but of the grieving of a musician who at the time had lost his father Stan to whom the song is dedicated. This beguiling suite is further augmented by the inclusion of the afore mentioned sounds of the ocean lapping at the shore. A fitting end methinks.
I have mentioned not a jot about the supporting musicians on this album of which there were many. The two people that by now had become the nucleus of Camel, Andrew Latimer and Colin Bass who were ably joined by the extremely talented Mickey Simmonds on keyboards, David Paton/bass (Pilot/Alan Parsons Project) and John Xepoleas on drums. As well as some snappy dudes on Violins, Cello, Oboe, Sax, French horn and Harmonium, I think you get the picture? For further information buy the album and read it for yourself!
When in 1996 this album hit the shops it was being closely compared to its predecessor “Dust And Dreams” which too was grossly symphonic. At the time I suspect that many Camel fans were craving a return to the individual song format that would not return until Rajaz. As a result I believe that “Harbour of Tears” didn’t get the appreciation it so rightly deserved.
I would describe Harbour f Tears as Camel’s most organic album, and you really must get within its skin to enjoy it. It’s about mood, atmosphere and passion unlike any other Camel record. It represents the struggle and suffering of the many people in the story and to a huge degree the feelings at that time of its author.
Over the years I have heard so many Camel fans list this excellent album so far down their list of favourites it leaves me baffled. I am always loathed to express a favourite Camel album and I have to say that Harbour of Tears hold its own in the company of the rest. With the benefit of maturity and a healthy appreciation of life, health and a broader understanding, I would consider this a must have Camel album. But then again, aren’t they all
LOOKING FOR A LITTLE STRANGE - The Galactic Cowboy Orchestra. 2009
New Folk Records. NFR7022. 10 tracks, total playing time 48:58. Star Rating * * * *
Personel - Dan Neale - guitars, electric and acoustic.
John Wright - bass guitar and bass pedals.
Elisa Wright - fiddle.
Mark O'Day - drums and percussion.
Looking for a little different ? this album could be just what your looking for. ''The Intergalactic Cowboy Orchestra'' are (on this album) a four piece instrumental band who play an eclectic blend of music ranging from folk to progressive, esoteric to grunge and country to raga.
As the band were unknown to me before I received the album to review, I played the album a few times to get the feel of what the band were about. At first, I struggled with the album but after the third listen I began hearing a plethora of nuances in the music. I have to add here that the musicianship on the album is of a very high standard and is not overplayed or pretentious in any way shape or form. I can honestly say that every track on this album is unlike the next. The range of musical styles is vast, this has the listener wanting to know where the band are taking them next.
I'm not wanting to write a blow by blow sort of review but the highlights of this album are ''Minor Scrape'', ''Slow Pour'', ''Raga Piloo'', ''The Biscuit Breakdown'', Odd Men Out'' and the very out there ''Dark Matter''.
As a progressive rock fan who clearly remembers the classic seventies progressive scene, listening to the music on this album reminded me of how many bands from that era who I love that have violins, violas or fiddles in their line-ups. I don't know if the band are influenced by any of the bands of this era but in this album I have heard similarities to Caravan, King Crimson, Jerry Goodman and Jean luc Ponty all pioneers or progressive, jazz fusion and experimental music. This is why I feel the album may be of interest to fans of progressive music. I feel that this band would be a great live act.
Mmmmmm! Being as i am a lover of most things prog i was inrigued to receive this album which pins it's colours firmly to the metal prog mast. Listening to the album for the first time makes you wonder if this is what Gentle Giant would have turned into had they survived the triles and tribulations of the music industry. Be under no illusion that this album slows down much at all in the course of it's playing time. Very much a buckle up and enjoy the ride type of album. I was instantly reminded of Dream Theatre when i first listened to the album. Not surprising then that ex Dream Theatre keys man Derek Sherinian is providing the textured landscapes for the other musicians on the album, albeit in a special guest capacity. Hailing from Germany this is the bands first album and frequently exceeds the boundaries of what we have come to know as prog. Relocator bare little or no resemblance to other bands skirting around this genre. As well as the afore mentioned Mr Sherinian the line up consists of Stefan Artwin (Guitars & programming), Michael Pruchniki (Bass), Frank Tinge (Drims & Percussion) and Bartek Strycharski (Electric Violin).
No doubt about it these guys rock. From the opening few bars of "Red Vibes" the race is on. Huge power chords and a beat to rival any heavy metal band it propells along in a very dramatic fashion. Though Stefan Artwin's guitar is the main instrument here it is carried along beautifully by Sherinian's nightmare orchestration. "Biosphere" is a keyboard lead assault which from time to time slips into the East coast sound and becomes very ecclectic drawing in many styles. It does include some extremely good interplay and gives your hi-fi a thorough workout. The title track "Relocator" is in my opinion the best track on the album and despite the heavy guitar presence it showcases Michael Pruchniki's sublime bass playing whilst giving a little more air to the talent of Frank Tinge who's drum technique shone through throughout the whole piece.
The next piece entitled "Proxima" maintains the pace of things quite nicely and could very easily lend itself to film score. This track opens with some sinister sounding keyboard voicing which reminded me of an early Alan Parsons piece. Not for long though, as things swiftly move up a gear and regains the high octane speed and performance. Indeed this is an album meant to be played in a performance car whilst driving at break neck spead through the desert. "Aavishkar" is perhaps one of the most interesting tracks on the album and invokes a very Arabian feel about it as it begins. There are some wonderful textures on this piece and i think as with some of the other tracks the subtle use of Bartok Strycharski's electric violin sound sets the whole album apart from being simply "Prog Metal". As a package it is very difficult to catagorise. I think lovers of both traditional progressive music and those preferring a little more of an edge to their music will get something out of this album. The electric violin leads the way into the next supercharged foray "13 Reasons" and makes for some intersesting and and differing textures throughout. The remaining tracks "Urban Blue" and "The Alchemist" keep the pedal to the metal all the way through to the albums conclusion.
Beautifully packaged with some striking artwork, i would recommend this album to those who like their prog with a bit of zest. I think this album may drawer music lovers of two camps from differing directions. Those looking for something a little different and those who simply enjoy a raunchier aspect. Either way Relocator is a worthy addition to your collection and fails to disappoint. Devoid of any lyrical content this is very much an album for music lovers. Sound them out and don't be surprised if you find yourself reaching for your credid card.
The second album review as part of the Camel feature takes us from 1976 into the 80's with 1984's Stationary Traveller. As with my previous review i will for the reasons of nostalgia be refering to the vinyl copy of this album and not the remastered and extended CD et al.
However, i do feel it a great shame that "In The Arms Of Waltzing Fraulines" did not appear on the record or indeed until much later on an afore mentioned format. On first listening to this album i did feel that the subject matter was a little stuffy and to a degree insular. As i became a little more enlightened and more interested in modern history i became hooked on both it's sentiment and values. The cover itself invokes a very desolate, desporate and despondent post war Germany. A solitary young woman amidst the aging architecture of a city scarred by war and it's numerous effects.
"Pressure Points" is a fabulous way to open such a theme. Full of technique and technology of the day like the Fairlight sampler etc, which Camel borrowed from Kate Bush. Though many new and interesting people appeared on the album Andy latimer's blistering guitar style shone through like a diamond cutting through glass. And this opening barrage of highly strung guitar and emulated clavinet/Mandolin sounds soon gives way to a warm and seductive Wal fretless bass played by the genius that is Andy Latimer himself. "Refugee" moves on a pace with the first of the songs on the album that Andy Latimer's voice slips into a Bob Dylanesque type slurr. I think it became one of the first albums on which he sung in such a way. It did give the song a very protesting feel about it. The song itself is very much a protest and is conveyed as such. The song includes a guitar break in which Andy uses the volume knob on his Fender Strat to swell the tones in the same way as some others used to use pedals of varios designs. This would late become a signiture sound in Andy's style.
The next track takes a sinister turn. "Vopos" is about the unforgiving border type German police which to a degree carried on the mantel of the Gestapo and contains some of Andy's best guitar licks. "Cloak And Dagger Man is the first time you get to hear Chris Rainbow's voice on the album and i think he's absolutely great. I don't know why but Scotsman always seem to make the best singers. This shamelessly synth driven song is catapaulted skywards by Ton Scherpenzeel's twent five finger exploits on the Roland Juno synth. The very first time i have heard such an E.L.P. type keyboard sound on a Camel album and it was quite refreshing.
Finishing the first side of the album is the title track. It is one of the most haunting that Camel ever recorded. As well as one of the bost beautiful guitar pieces the band recorded Andy plays Pan Pipes which add to the Europeam mood of the album and plays out with a rousing guitar cressendo. Turning the record over and listening to the B side, "West Berlin maintaines the Michael Caine espianage feel of 50's and 60's poat war Europe. Made so by the many keyboard textures and imaginative voicings there of. "Fingertips" is one of my very favourite Camel songs and brings back happy memories of me dancing with my daughter who then but a baby. Mel Collins superlative saxophone augmented by a clutch of the best musicians in the business.
"Missing" and "After Word" are two instrumental tracks again utilising sounds and textures befitting the history portrayed. "After Words in particular being a very haunting, piano lead slowing the album down sufficiently for the opening of the final song "Long Goodbyes". Only Chris Rainbow could have performed this song with such aplomb. The shear beauty of this song is carried along by the innocence of the acoustic guitar in comparison to the many items of electronica used on the album. A fitting cressendo to a brilliant album and a fair one for camel to represent their limited output in the 80's. I urge you all to revusit this album. It's quite simply a treat.
Larsen who i hear you say? Exactly! I have never heard of them either. I happened across these guys whilst attending a China Crisis gig in Newcastle recently and they were terrific. You will be correct in thinking that China Crisis and most associates of do not a prog band make and you would be correct. However, so good were Larsen B i felt compelled to write down my thoughts. As they finished there spot as support band i managed to get to chat with them and pay them a few compliments and by doing so i ended up buying their album Musketeer, music from which i had just heard them play. My impression of the band is that they seem somewhere between The Divine Comedy and Keen. Indeed the second song on the album "Marilyn" has all the hall marks from the intro of "Something For The Weekend" by the said Divine Comedy. I played the whole album twice on the way home in the car. The following few days had most of the songs swimming around in my head and humming quite enthusiastically. My favorite song on the whole album however is without doubt "Robots Learn To Love" which is so simple and interesting. Mmmm, I could maybe get away with including this wonderfully simple clutch of songs on a prog site by promoting the fact that they are all short stories and have some kind of concept to them. This album has a certain retro feel about it that i find very comforting. Had it been in film i think it would have been black and white. Indeed somewhere on the cover is written old radio tunes. It is a joy to listen to. Eleven well played quality songs in a beatifully presented card sleeve. Well worth investigating. Sound out Larsen B on facebook. Progmeister
As promised, the first of Camel's incredible albums to be reviewed is Moonmadness. Please don't read anything into that because as i said in my recent article i cannot possibly nominate a favorite. Such notions would ignite personal mental anguish, turmoil and indeed, guilt.
Available in many forms with extra tracks and remastered options for CD, let's stick with the one that i bought from a record shop in 1976 shall we? Having already attended the promotional gig only nights before at Newcastle City Hall before, i had a rough idea of what to expect. What i didn't expect was such a quality item from such a relatively unknown band. From the quality of the sleeve to that of the production. I found myself quickly addicted to this album, literally tearing me away from the hot new releases of Genesis and other such bands.
From the burgeoning march of opening piece "Aristillus" lasting just over a minute and a half to the closing emulation of aircraft terminating the seat of the trousers ride ofLunar Sea, I was smitten. What was this music i was listening to? Rock, space rock, prog, blues? Label it what you will, at this stage in life i didn't much care. What ever it was i was listening to, i was simply blown away.
Having the benefit of information that we all now have, i am now aware that differenttracks on the album represent their owners, but in 1976 i cared not a jot. Listening to The opening bars of Aristillus lifts you into a higher plain of wanting more and that's just what you get. The first half of "Song Within A song is a lilting flute driven melody giving way to a very early incarnation of a string synthesiser being played through some kind of device giving the whole impression of space. The whole piece culminating in Pete Bardens Mini Moog/String synth cressendo. Fabulous.
Next through the crackles and pops is Chord Change. Three if i'm not mistaken? Furious jazz beginnings mellowing out at it's mid point to a gorgeous blues down tempo middle section only to be mesmerised by the guitar,organ, drums and bass synergy at the end. Spirit Of The Water is an airy Pete Bardens tune that i didn't fully appreciate until i got older. It's a haunting melody that i think was a fitting conclusion the the first side of the LP. Up off me bum and turn the record over.
Side two. "Another Night" Apart from representing the character of Doug Ferguson the first Camel bass player, it's a bit of a rocker. Probably the only one on the record. Leading into what i think is the most beautiful track on the album, "Air Born". At a guess i would say that this is about Andy Latimer. This is the track that swayed the album away from full blown prog and placed it on the fringes of space rock. If you take the time to listen to the swathe's of string synthersiser and bleeding guitar notes eminating from the flute and piano intro, you will know where i am coming from.
Just when you thought you were astounded, you are greeted with the mighty "Lunar Sea". Little can be said of this track other than "Pheeeeewwwww". Difficult to pick out the star of the show in this amazing tour de force. It's very easy to site Latimer's olympic standard guitar and Pete Bardens extraordinary keyboardtextures but for me too much praise can't be given to the rythmn section. Without doubt holding the whole piece together was Andy Ward on drums and Doug Ferguson on a big old Fender bass of whom praise cannot be offered high enough. With all the oodlings of people blowing down tubes and making bubbling noises and a bit of jiggery pokery, this album is nothing other than special. In many ways i think it is Camel's most intimate of their early albums.
In many ways it is a trip to Ronny Scott's via the Sea Of Tranqulity and should be treated with reverence. Whether you listen to Moonmadness on a big all valve hifi system or a superfast all solid state bobslay hi-f, it just sounds fantastic. The newer CD options are all well worth the money and contain lots of bonus material. Any which way you get to listen to this album it still sounds amazing. Diamond status.
First of all i have to thank Alf who regularly supplies me with introductions to new artists. Not least Karfagan. Karfagan is to all intents and purposes Antony Karlugin who also goes under the guises of Sunchild and Hoggwash.
On this latest Karfagan album Antony has brought together many fabulous musicians from The Ukraine. I was first smitten by Karfagan after listening to the album Continium which i would whole heartedly recommend. The first thing that i noticed about this album when i recieved it through the post is the wonderful presentation. Like all Karfagan albums the artwork is fabulous. When you handle an album like this you can understand why fans of the humble LP prefer them. To imagine the Karfagan albums on a 12"X12" LP cover would be a site to behold. Musically the album has all the complexity of Gentle Giant through the wonderful guitar of Camel to the Elizabethan pomposity of Focus.
Indeed on track 3 Silent Anger part 2 i had the overwhelming want to shout a hay nolly nolly and find a Maypole to dance around. I am surprisedat just how English the album sounds considering that the personnel are mostly if not all from Ukraine. It is only when the gorgeous Marina Zakharova begins to sing that the game is up. I didn't find the tracks on which Antony sung quite as appealing. Although the final track Mystery on which he is supported by Marina was a little better.
The final track in true prog tradition is a little over 22 minutes long and split into 5 parts. I hear a lot of Snowgoose in this track. All in all the album is 75 minutes long so yo get a lot for your 9 quid. On first listening i didn't think that the recording qualitly was as good as Continium which i still prefer. That's not to say that this album isn't as good. It's all down to personal preference. I fully intend to obtain all of Antony's albums as i think they have a lot of bang for the buck. There are so many brilliant elements to this album, not only some great keyboard sounds but guitar, drums ,bass as well as the myriad of other musicians playing flute,bassoon,cello,viola and accordian,oboe,sax, the list goes on. If you like constant musical reprisals and continuing themes Karfagan might not appeal.
If you enjoy a more freeform feel about your music you will simply adore this album. Background music this aint. It demands to be listened to. It may not smack you in the face on first listening but i think it's a cracking piece of work. Buy with confidence.
Solitary Sandpiper Journey and other Karfagen related albums are available from www.caerllysimusic.co.uk
Gothenbourg's finest have put together a fabulous excursion of high octane prog on this their third album. Openimg with the 14:45 minute scene setting extraviganzor "Suddenly The Rain" it is obvious from the outset that band have fused all known prog entities and taken them to the wire. Early amphetamine driven Genesis meets Yes. ELP and King Crimson. This track is laden with extremely grungy sounding Hammond and fabulous Emersonesque synth swathes. Fabulous stuff! Tardigrade the second track is more in the Gentle Giant ilk and with the exception of the albums concluding flourish is one of the shorter tracks on the album. The the third song "The Chosen One" begins a little more lilting replete with beutiful Mellotron strings and acoustic guitars. It isn't long before the roller coaster starts up though and it's every prog heads dream. I can't think of anything negative to say about this album though i suspect it would be unacceptable to those who believe that true prog stayed within the perimeters of the 70's and all else is just fake. Moon Mountain is a beautiful acoustic and electric neo classical piece which really lends a touch of class to the whole album. As The River Runs finds the band in full bloen opus mode again and has you listening to some classic analogue synth sounds. I am unsure if the majority af keyboards are soft synths or the real thing. What ever they are they had me fooled. I can only think that the incusion in the band of Magnus Paulsson in 2002 was an extremely good idea. All such responsibilities fell on the shoulders of founder member Stefan Renstrom before Magnus arrived. All would be forgiven for thinking that the seventh offering on the album "Strawbwrry Jam" has been an omissin from Yes's Relayer album,wow! Keep your hands inside the ride at all times. My favourite track however is "The Cicles End" which leads into the mighty 26:29 minute epic "Brother Where You Bound" which with the inclusion of "Beautiful New Day" conludes the story of Tardigrade. And if you fancy a Lamb Lies Down On Broadway Moment click on the Simon Says website www.paradisesquare.net and read the story in full. Art work/packaging, content and entertainment factor make this album shine. Shear unadulerated prog at it's most pompous best. An enjoyment factor off the scale. Go for it Progsters.
In the very unlikely release of a new Pink Floyd album in the future or indeed ever, disciples need look no further. This is about as close as you are going to get. This wonderful offering manages to fuse Waters and Gilmour era Pink Floyd extremely well. Like many albums of this nature it is down to the listeners own interpration as to what it's all about. Given the state of the world's climate economically, politicaly and environmentaly there is plenty for you to put images to.
Hole In The Sky opens the proceeding in two parts, part three being reprised later in the album. It really is a very suitable beginning for an album with such a title. I think it fair to warn those with small children that the F word is used in the opening sample. A very worthy,guitar lead opener and certanly memorable. I found this one dancing round my cranium for weeks.
Moving onto Who Do They Think We Are has a certain Beatles feel to it and along with a few of the tracks on this album is going to make it RPWL's Dark Side Of The Moon. I think it's going to be very difficult for them to better this one. In Your Dreams see's the band in full Floyd mode with what sounds to me like a re-hash of Sorrow. A little bit too close for comfort methinks.
The vocals on the album are very good and at times i thought i was listening to David Gilmour himself, however, towards the end of the album there is definately the angst of Roger Waters kicking in especially on the closing acoustic piece God Has Failed which brings everything down and puts the album neatly to bed. RPWL are a class act of that there is little doubt. God Has Failed can only be described as a peak in what they have achieved to date. The bands most recent concert DVD along with this excellent album should be high on any prog fans shopping list. It's terrific.
At this moment in time there is an abundance of great prog bands and music around. However, only very few capture the essence of the genre enough to allow listener to become immersed in the mood or atmosphere of the music's intention. Journey of the Yak is one of the few. For the lovers of Steve Hackett from Acolyte to Spectral Mornings will find this album a dream to listen to. No mean feat when you concifer the scarcity of guitar on this album. Martin Morgan's wicked pitch bending and clever keyboard voicing has all but the most critical nerd fooled into thinking that he has a Strat in there somewhere.
When i first listened to this album i kept waiting for the singing to start and after i listened to these crafted pieces for the second and third time i was glad that it didn't. So many band are making albums now that brim with fantastic musical events yet marred by poor vocals, especially none English speaking bands. Yak's music stands up on it's own and does not need the accompanyment of vocal and lyric. It's nice too to hear real drums as so many musicians now place reliance on the virtual/software technology to represent their rhythm.
Dave Speight on drums along with Gary Bennett playing bass make a huge difference to the album taking the soundstage away from being of the modern manufactured sound. It can be heard that a great deal of attention to detail has been made especially to the careful selection of Mellotron sounds portrayed via Martin Morgan's Kurzweil.
From the opening drones of Gates Of Moria to the grand Hackett like outro of the title track "Journey Of The Yak" the whole disc seems to brim with gems. So many albums of this nature sound at their best when listened to via a good Hi-Fi and this one is no exception. However, i found that Yak's music lends itself equally to the car, i-pod or discman.
Litening to "Entangled In Dreams" reminded me of when i rushed home with a copy of Spectral Mornings and slammed it onto the turntable and was then transported to a better place. Yes folks it really is that good. "March Of The Huorns" begins with a little more of a sedate pace yet still manages to explode into an organ lead barrage of shear joy. Gary Bennett's bass playing on this track really carries the whole piece along beautifully. I was caught a couple of times in the kitchen playing air key's to this track. "Dearly departed" is the most sombre piece on the album openingwith a very warm solitary piano and moving into a slow and enjoyable conclusion with some great Mellotron sounds, not least the flute pad that brings it to a close.
I make no apologies for perhaps too many references to Mr Hackett who incidentilly said of this album "that it was beautiful music". But i am firmly convinced in my own little world that this is the album that Genesis should have made following Wind and Wuthering instead of trying to attract ladies. I was told by the gentleman who sold me the disc that proceeds from the sale go to the tower Hill animal sanctuary and that all production costs have been met privately. A brilliant cause methinks as it cost a fortune to keep the animals fed and clean. Check out fiona@towerhillstables.com should you like to make a contibution via paypal.
All in all this album has a feel good factor in that it transports you back to better days. If you want a quick try before you buy click onto Yak's myspace site www.myspace.com/yaktunes and have a listen.
In the present world we seem to be no longer kings with regard to football, cricket,industry,politics or economy. Yak reminded me of a time when we where and that somethings can only be imitated. Prog rock as we know it is predominantly English and Yak demonstrate this point admirably. I hope that Martin and the boys don't sit on their hands and let this talent go to waste. I for one would pre-order any forthcoming Yak album.
Every now and again a little gem comes your way. A few weeks ago i recieved a consignment of discs from an old friend of mine which included a CD by a Dutch band called Leap day. Their debut album entitled "Awakening The Muse" is quite simply wonderful.
Some of the tracks from the album take a little longer to sink in, though some are instantly lovable and you will find yourself humming them soon after listening. Of these instantly lovable tracks i would site "What Would You Do", " Secret Gardener" and "Eyes Wide Open" as stand out songs that draw in the listener. Gert Van Engelenberg's keyboard work is terrific as is Eddie Mulder's gripping guitar. in fact the musician's who appear on this album are all of the very highest quality.
I would thoroughly recommend anyone who enjoys Camel, Pink Floyd and the older stadards of prog should order a copy of this album. The album comes beautifully packaged with some great artwork.Sit back and enjoy the muse.
They say that all good things are worth waiting for and the new album "Children Of Another God" by prog stalwart Nick Magnus is no exception.Beautifully packaged including impressive art work the album is without doubt a prog masterpiece. For those of you au'fait with Nick's earlier work you will know that Nick's music invokes atmosphere. His latest opus relies more on direct communication of lyric and melody rather than atmospheric soundscape.
I will attempt to draw not one comparison to others though i am sure that many listeners will identify the obvious. Though all of the retro keyboard sounds are faithfully replicated utilising modern software technology the authenticity is startling. It would be very easy to imagine Mr Magnus betwixed his elaborate 70's/80's keyboard rig armed with Mellotron, Moog, organ, etc,etc.
Children Of Another God is an operatic production in my opinion. This is the most song based album Nick has made to date, Hexameron being very close behind. This is no doubt to convay in full the story on which the album is based. Having been briefed on the idea behind the album by the man himself i have to confess that i am still as wise as anyone else. I am sworn not to give the game away even if i did fully understand it.
Between the the superb artwork and clarity of the songs all is laid bare for the listener's own interpretation. The songs themselves are a dparture from them to be found on previous albums due to their descriptive nature though none the less impressive. The opening song "Children Of Another God" sets the pace and indeed the stage for the rest of the album. Tony Patterson's voice is a little more on the mellow side on this particular piece yet brilliantly sets the foundation for all that follows.
Tony Patterson along with Pete Hicks, Andy Neve, and last but definately not least Linda John Pierre do a fantastic job of the vocals. Nick himself makes his oral debut (Oo er matron) On the sumptuous "Identity Theft" ably accompanied by the ex Enid man Glen Tollett playing upright bass. This really is an oasis of tranquility in the big tapestry of textures and overlayed songs and musical pieces like Doctor Prometheus, The Colony Is King, and Crimewave Monkeys. The brothers Hackett make their contribution to the afore mentioned The Colony Is King playing their now famous guitar and flute swathes. This is without doubt with perhaps the exception of Crimewave Monkeys the most powerful song on the album. I can definately hear echoes of Tigermoth in this track too (sorry Nick) which brought a smile to my face.
"The Others" brings to the fore the lilting yet powerful voice of Linda john Pierre who brings about a West End feel about this particular song. I could imagine this song being indluded in a stage show. The final two songs Babel Tower and Howl The Stars Down See Tony Patterson doing what he does best, giving notation and poise to the songwriters craft. A fitting if not explicit ending to a powerful story. To don my water repellant hooded jacket for a while. The piece that i enjoyed the most was the one that i have yet to mention, "Twenty Summers". Quite simply Progtastic pop pickers. This piece finds Nick playing as he does without restriction of vocal content. Twenty Summers is one of those musical pieces that you used to find on every Prog album that were probably there to fill up the vinyl tracks and ended up swimming around your head as one of the best tracks on the album. Hats off to Dick Foster who provided the fantastic narrative for this album and being bold enough to use the words needed to conclude the tail. Nick Magnus is without doubt a virtuoso of the digital age.
The work that has gone into the making of this album is evident from the first few bars. Exsisting fans will love this new offering and those seeking something to bring out the best of their expensive h-fi equipment will be well pleased. I have had as much pleasure listening to Children Of Another God in the car, i-pod and even the bath. Ladies and gentlemen, purses and wallets at the ready. Make your way to the counter.
The Progmeister Says...What the hell are you waiting for?
A CD sized packaged from The Netherlands his my hall mat the other day and when i opened it there was a nicely presented disc within baring the moniker Nine Stones Close. What a lucky boy i hear you say, having CD's sent to him! The truth is, i knew it was coming. The man behind NSC is Ade Jones. I have heard Ade's guitar work elsewhere and thought it was excellent.
I think it fair to describe this very dark sounding album as atmospheric prog metal. (Have i just invented a new genre? Atmospheric is just what it is. there is some fabulous pieces on this album which at times can startle you if listened to as i did on headphones. Powerful chords can eminate from very dark, inky atmospheres and shock you back into reality. many of the tracks seem inpired by somekind of hospital or emergency event. This is not only evident by the actual effects in the various recordings, an elaborate thank you to all manner of medical personnel is contained within the slipcase notes.
As no track list was included i cannot indicate which tracks sounded like what other than a numerical reference. Therfore i will wait until i have such information. Being as i am a very safety concious lover of prog rock i would say that this album is for the adveturous and not for the more stayed. However, I found it a compelling listen. An album that although would benefit the employment of a more soulful singer gets it's dark, moody message across very well. Some nice big chords in there for the metalic side of prog too. Check out www.myspace.com/ninestoneclose
Wow! It's been a while since i attended a tribute band gig. I think it is a an injustice to describe Retrogenesis as a tribute band. Having been fortunate enough to have seen The real Genesis during their hay day with Peter Gabriel and unfortunate to be old enough to remember, i can't imagine that the original band could have performed any better than Retrogenesis.
I have to confess that despite a very slight technical glitch at the beginning, the hair on the the back of my neck stood to attention as the first few bars of "Watcher Of The Skies" rang out. It would be very difficult to say what my favourite song was as so many old favourites were given a new lease of life. The rendition given of "Entangled" was simply the best that i have heard. If pressed i would have to say that my favourite songs of the whole evening were not Genesis pieces but Peter Gabriel songs. Snapshot and San Jancinto blew me and all like minded people in the audience away.
The whole evening was Fun, quality, nostalgic and a shear pleasure. I would recommend any Genesis or Peter Gabriel fan to check this band out. I would have happily paid twice the ticket price.
Fans of The Rotter's Club please form an orderly que. If you were growing a little bored waiting for a new Caravan album and needed a Canterbury fix then you're luck is in. It's just arrived. The Tangent have been around for a while now and are without doubt the best exponent of the ecclectic Canterbury sound since the late seventies. If like me you are a fan of the fat analogue sounds of The Mini Moog etc then you will simply adore this album, It's not for the faint hearted though. If you cast caution to the wind and want to hear some "all out prog" then this is very album for you.
Opening with the 10;10 minute opus "Where Are They Now" everything from King Crimson to caravan can be heard and most things in between. I must admit to feeling in need of a lay down after listening to this track, it certainly moves on swiftly. Paroxetine - 20mg has some nice keyboard texture in it though i was bemused by it's lyrical content. I think it fair to say that this is an album to me enjoyed more for it's musical content than it's messages. a difficult subject to get your head round really. Paroxetine, better known as "Seroxat" went through a fair bit of controvercy as anti depressants go and to attemp to put lyrics to such a subject within such musical accompanyment just lose's the point. Having said that it's a cracking piece of music as is the rest of the album.
Perdu Dans Paris is what you could probably say is the nearest thing to the title track. Head honcho "Andy Tillson dons his finest french accent to sing this cheeky little number. In fact this track had me comparing Andy to Rupert Hind in the heady days of "Quantum Jump". Andy really is a superb musician and his keyboards on this album sound the best they have ever sounded. Paul Burgess (ex Camel/10cc etc) too sounds magnificent playing the best drums i have heard him play. The Company Car is yet another diamond which is probably the most accessable track on the album for those unable to cobat the more complicated and lengthy pices on the album.
My copy of this album was a limited edition and contained a bonus track entitled "Everyman's Forgotton Monday". It contained fairly strong language and was decribed as being "In Memory Of Richard Wright". Why? i don't know! I could find little reference in the lyrics to suggest any thing about Richard or comment about his life. I suppose it must be dedicated in the same way that you would a park bench to someone recently past away.
The final 12:55 minute track needs no description. The simply title "The Canterbury Sequence Volume 2 concludes where volume one began on the Tangent's first album and is given the full Caravan with the brakes off treatment. Absolutely wonderful. Send your better half to the Bingo, crank up the CD player have a beer and enjoy!
I am constantly amazed by the advances in musical technology. This wonderful album by Steve Hackett is testiment to just how far things have come in that respect. Recorded without the elaborate surroundings of a studio it suffers no ills what so ever. If anything the recording quality puts to shame a couple of Steve's earlier albums. I sense that some of the lyrics are of a personal nature none more evident than the opening track "Fire On The Moon". All the traits of a bygone era are here with a different edge to them. Gone are the huge soft Mellotron passages and fat bass pedal sounds. This is a cleaner more focused sounding album majoring on variation. Something of which Mr Hackett does extremely well.
There's something in here for everyone. Listen to Nomads and you realise that Steve has blended his virtuoso classical style directly to his more rock influenced style, rather than individual classical or rock pieces. Nomads takes you from a haunting round a campfire, through flamenco, to rousing drum cressendo. Emerald And Ash reviels a gentle side to Mr Hackett, whilst heard before he captures a new grace. The following Tubehead is just to make sure that you know you're listening to a Steve Hackett album. No finery here, this is not to be listened to as back ground music. Not for the faint hearted. Sleepers on the other hand brings about a dimention to Steve that was explored on the Wild Orchid album.
I honestly think it's the violin and viola playing of christine Townsend that make the first part of this song a little special. It does however change pace with Steve's nightmare sequence type playing halfway through. The following "Ghost In The Glass" seems to have taken over where "Spectral Mornings" left off. A showcase of Steve's abilities. The penultimate Still Waters reminds all that Mr Hackett does the blues. With a little help from his more feminine friends he manages to cut through iron bars with the searing nature this wicked tour de force. Last but not least, "last train to Istanbul". heavily influenced by Turkish music a dark mood of Eastern promise is set by Roger King's deep impacting drum pads and patches and Rob Townsend's eary soprano saxaphone.
The guest list includes, Chris Squire, Nick Beggs ( Kajagoogoo), Anthony Phillips, John Hackett, and not forgetting the superb Roger King.
Musically there has been no tunnel's for Steve to imerge from, though it seems he has suffered some personal dark times. This album is a credit to his professionalism and determination to continue recording and playing quality music. It goes without saying that this album is a must for all Hackett fans but in my opinion it has a much wider appeal than some of his other work. It's a diamond. If youv'e just bought yourself some new hi-fi equipment and want something to play on it, look no futher. Well, what yer waiting for?
Mark Blake. Pigs might fly. The inside story of Pink Floyd.
I got book for Christmas and i am still reading and re-reading it. Like many floyd fans i own just about everything written about the band and it's history. However, this rather understated little paperback purchased from zavvi just before it's demise is by far the best. I have alway's thought that i know most things there is to know about Pink Floyd until i read this book. It is without doubt the best and most in depth literature yet published about the band that i have read. An absolute steal for £5. From the early days at the UFO club through the Barrett years right up to the turbulence of more recent times. The best Chronicle of the band yet. An essential item for any Pink Floyd fan.
IQ Frequency Special Edition !
I procured the Frequency special edition album on it's release and to be honest on first hearing it i was disappointed to say the least. However, in the fullness of time and many reappraisal's my opinion is shifting. This album may well have been too much for the older, more seasoned IQ fans to adapt to though it has many merits. The title track Frequency and Stronger than friction (Previously entitled crashed and burned) are known to the many and have become standards in the live set. The lesser known songs on the album are of the usual high standard and many of us will make of the lyrics what we will. I think anyone would be forgiven for thinking that the second cut "Life Support" is about recent events and parting of the ways of crucial and original band member. Musically the album is very good though this particular track contains one of the worst synthesizer breaks i have ever heard from the band. I was reminded of the statement that the late Eric Morcombe made to Andre Previn "I'm playing all the right notes, not necessarily in the right order. With that said, a minor quibble, the rest of the album is very musically pleasing. As i have already said, the lyrics are all open to interpration and i am reminded of the movie "Tatal Recall" whils listening to Ryker Skies. For me the track that maintains IQ's prog status is "The Province". Classic Genesis for the 21st century as far as i am concerned. Classic use of organ and Mellotron sounds (No matter who is playing them) and great time signitures.
The concluding piece "Closer", would not be out of place on a Peter Gabriel album and demonstrates a maturity in the band. Dark Matter was always going to be a hard act to follow and the move in direction was a wise one though i fear may have been at the price of losing an important band member. Interestingly Martin Orford wasn't credited on the album and yet he had contributed to the album quite significantly before his departure. An oversight perhaps???
The accompanying DVD with the special edition version of the album is definately worth having. Picture quality is hardly Blue Ray standard though it is a good visual record of the bands live show at the time. Of the tracks on the DVD, The very last song "The darkest hour is absolutely brilliant. It's worth mentioning the artwork and packaging too. It's the best that IQ have produced.Go for it Progster's. Swich cards at the ready!
GENESIS 1970-75 vinyl box set
I must admit to being a little disappointed when my five album box set of the most essential Genesisalbums arrived well after their planned release date. I was expecting something a little more elaborate. I was torn as long standing fan of the band which box set to buy, and in some respects may still have made the wrong decision. Given the fact that the SACD/DVD box set contains not only the afore mentioned albums with differing audio options, but rare DVD footage of the band and a book. Some 13 discs in all. In my naivety i thought that despite being a vinyl box set, it would have included the DVD's with the footage and extra tracks on them. A little remiss of the record company i have to say given the difference in price. The retail price of the vinyl set was originally £160 echoing what must be manufacturing costs and the SACD?DVD set £89. However, i made my choice and i will probably end up buying the SACD set too at some point. The albums have all been remixed by Nick Davies and have been half speed mastered. As written elsewhere in other reviews, i was also a little surprised that Genesis live was not included in the new sets. Though it wasn't the best of recordings it was an important document of the bands live sound at the time. After deciding to listen to the albums in chronological order i settled myself with a nice glass of scotch and removed the first of the LP's "Trespass" from it's heavy card sleeve. These beautifully crafted pressings are 200g and benefit significantly from it. I must admit that when the first few bars of "looking for someone" first rang out i was simply smitten. As a 50 years old prog head i was transported back to the most exciting years of my life musically. Having worked my way through Trespass and being totally blown away by the rich textures of organ and Mellotron, i unloaded "Nursery Cryme from the sturdy slip case and give it a spin. Whilst the obvious favorites on this album sounded every bit as incredible as the previous album, it was songs like "Harold the barrel, Harlequin, and for ascent friends" that seem to have been given more impetus and given the same status as the epic pieces on the album. Just one more before bed i thought. Out came "Foxtrot". Simply fantastic! From the first of the massive Mellotron chords of "Watcher of the skies" to shimmering crescendo of "Supper's ready" The whole album was a joy to listen to. It was when i listened to "Foxtrot" that i became even more disappointed that "Genesis Live" hadn't been included. There is something about "Get em out by Friday" on the live album that simply can't be bettered. Bedtime came and went so what the hell, Time for my favorite Genesis album, "Selling England by the pound" (and they certainly have). I must say that despite this album still sounding excellent, it seemed to benefit the least from the half speed mastering and heavier vinyl. A testament to just how good the original product was. "The cinema show" still makes the hairs stand up on the back of my neck and no other version of it more so than the original. This is now the best version of it and should be heard on a good turntable to be fully appreciated.
A week or so went by before i revisited the 1970-75 vinyl box set to complete my journey down memory lane by listening to "The lamb lies down on Broadway". Having listened to the album in it's entirety i compared the new version to my trusty old somewhat well traveled copy. Sonically the 200g copy has an extra octave of bass and much more information to be heard. The whole album was a dream to listen to. From the delicate, crisp piano intro to the pacey climax of "it", the recording has been injected with life and energy. Notable tracks being "Fly on a windshield", "In the cage", "Hairless heart", "The chamber of 32 doors" and "Lillywhite Lilith".
Having heard the SACD recordings of the above and all their modern worth, they don't have the sheer musicality of this beautifully presented and sonically superior offering. Apart from the nostalgic interaction of hearing, handling, and enjoying the use of this product, the ability to see the images and graphics are a boom for people of a certain age who are optically challenged. This is an item of kudos for those who are a little more serious about the musical nature of the sound rather than the more mechanical and less organic sounding alternative.
In my view, most of Genesis's best work is contained herein and brought the end to an era of great importance to the whole genre of music. With the exception of "Trick of the tale" and "Wind and Wuthering", These albums are the culmination of an interesting, theatrical and ground breaking music that dissipated in order to give way to a larger audience. To enable Genesis to outlive the punk era and survive market forces they thrived on mediocrity and will never regain the originality of these first five pioneering albums.
Not for the faint hearted then? It's expensive and doesn't include all the bonus material of the SACD/DVD set. However, For those more serious about music than gimmick, i would heartily recommend this exquisite box set.
The Progmiester says Yes. yes, yes!!!!
Combination Head revisited
For those of us whom enjoyed the Hammond and fat Moog sounds of ELP in days of yore, a modern alternative is currently available. And having lived through the golden era of Emerson Lake and Palmer and other bands of a similar ilk, i can confirm that Combination head are a very pleasant update of the old vanguards. To date "The Heads" have recorded two excellent albums and play a wicked live set. Their first album simply entitled "Combination Head" is a music only event and a tonic to listen to. It contains eight beautifully crafted pieces of which it is very difficult to to form a preference. If pushed i would site "Fourteen" and the title track "Combination Head" as stand out tracks though the rest are as appealing and all very memorable tunes. The driving force behind the band is keyboard man and writer Paul Birchall. Paul get's about as close to the Emerson sound as you are going to get without actually being the man himself. Paul's compositions are quite simply refreshing in todays diet of benarl prog impressions and does not suffer from the digital home studio sound as extolled by so many up and coming Eastern block artists trying to get themselves heard on a limited budget. None of that evident here. Excellent production, seamless playing and the benefit of real drums courtesy of Phil Knight and Paul Burgess (Ex 10cc/Camel). Ranging from the simplistic piano of "Blue Waters" to the erratic organ chops of "The Bonk" The album represents all that is good about this type of music without lending itself to the pomposity of it's inspirations.
Their second album simply entitled "Progress" is a diamond. In contrast to the first offering this is a really up market item. Excellent art work and slip case c/w business card. The inclusion of some rather wonderful songs on this album prevent The Heads" from sounding stayed as so many bands do when attempting to create their own sound and image. It really is a breath of fresh air. The opening track "New City" could well have been included on a follow up to ELP's "Brain Salad Surgery" such is the pace and similarity of their "3rd impression". "Glass and Steel is probably my favorite song on the album and beautifully sung by Gareth Moulton. Of the ten tracks on this disc not one lets the side down. Once again just like the first album i struggled to find a piece that stood out amongst the others. If like me, you are a fan of the late Pete Bardens, then you will adore "liquid". Reminiscent of early Camel it is a perfect example of the CH sound. Interestingly Paul Burgess (Ex Camel) plays drums on it. It is when you listen to the rousing "Anthem" that you hear Paul Birchill's influences as a previous member of M-People and the anthemic nature of Heather Smalls vocal style. In this case it is Neil Fairclough and he does a brilliant job. The album concludes with "Cloud Cover", and a very fitting conclusion it is too. It would be very easy to compare Combination Head with so many bands of the seventies era though i have to say that the bands take on things are fresh and original. Check them out on the net. I don't think that you will be disappointed.
Progmiester says "Credit cards at the ready" Form an orderly Que. *****
IQ at the Bury Met
How Pete Nicholls must have been feeling post event one can only imagine. His determination, courage and sense of humour pulled him through what must have been one of the most torturous IQ gigs that he has ever played. Plagued with a flu virus and obviously battling with the symptoms, Pete rallied right to the bitter end with JJ's healthy lungs giving more than a helping hand. Starting with the now familiar "Frequency"from the forthcoming album of the same name it became apparent that Mark Westworth has now settled more readily into a very difficult void to fill by Mr Orford. I suspect that Widges's keyboard settings are something he likes to keep to himself as Mark's boards don't have the same deep rounded textures as the Orford years. However, it is with the new material that Mark gets into his stride.The song which i think made the gig for me was "The Darkest Hour". Played with fantastic vigor it simply re-enforced IQ to be the force to be reckoned with amongst todays prog bands. All in all a fabulous gig. hats offto the whole band, though especially to Pete Nicholls for being such a stalwart.
Year of the Heads
Well, What a year pop pickers. There has been some highlights i have to say that i find difficult to place as the best. Some of you may recognise my writings in the CRS blog et al and other forums. Therefore i will make no secret of my enthusiasm for Combination Head. Having seen them thrice this year and fully promote their virtuosity, i fear larger mortals should bow with grace to their expertise with regard to pitching two amazing albums right between the older listener and the new. If ever there was an ambassador for prog rock it is "The Heads". In a much maligned genre of music to purport, Combination Head represent a new order and i appeal to you good folk out there to take heed.
I last witnessed the awesome sonic barrage of CH at Stokesley town Hall( North Yorkshire) a few months ago and they ripped the place apart.
With two diamond albums behind them i have to wonder what's coming next. I strongly urge you to sound them out. www.combinationhead.com or www.combinationheaduk Very strong Hammond organ and Moog type synth sounds prevail over he majority of the Combination Head sound.
Following strongly in the footsteps of ELP, Gentle Giant and Camel etc, The Heads make it easy for younger people to access an area of music that is fast becoming taboo to all but the steadfast. i won't bore you with details here with regard to who is who. However, Paul Birchill ( ex Heather Small, M People etc) is the main man. Paul plays keyboards and sings backing vocals on their two extraordinary albums and till of late in a live performance, demonstrated just how good his lead vocal prowess is. I have reviewed both the Combination Head albums for other sites/forums etc, though i intend to revisit them for my own blog here.
Despite there being one month left of 2008, three things stick out in my mind this year. In chronological order, Asia at The Carling Academy Newcastle Upon Tyne, Combination Head on all three occasions that i managed to attend and the release of the new Martin Orford CD "The Old Road". Stay chooooooooned for a review of both CH albums coming soon. The Progmiester say's " Watch this band, they're hot".
The Progmiester
Willowglass. Book of Hours
Anyone who hasn't heard Willowglass yet are in for a treat. Willowglass is multi instrumentalist Andrew Marshall ably supported by Dave Brightman on drums. Based in Homefirth, Yorkshire, Willowglass can be safely described as sounding like Genesis from Trespass to Selling England by the pound. Book Of Hours is the second Willowglass album the first being simply entitled Willowglass. I have to say that for a small independent production the package is surprisingly good. A very elaborate 16 page booklet explains the concept of the album and is beautifully illustrated by Lee Gaskins. Lee's website is well worth checking out too. I would consider Willowglass to be chillout for prog heads and would make excellent company on you MP3 player whilst on holiday.
It is very refreshing to hear such beautiful pieces augmented with real drums. So many artists with limited recording facility opt for the e-drum route. Not Willowglass. And this is what makes this album something special. Right from the opening track Argamasilla to the heavily segmented Labyrinth, Strangely enough track 2 is simply called Willowglass, a title which i thought would have been used on the first offering. That is what i love about this genre of music, it is always steeped in mystery. The album is layered with sumptuous keyboard textures contrasted with crisp acoustic and electric guitar. None more so than the excellent "The Maythorne Cross"At first it is very easy to think that the pudding has been over egged with regard to the Mellotron sounds but after a while you are reminded that is everything you adored about early prog. The album is based upon Don Quixote and his servant Sancho Panza. A story which alas i am not familiar. Like other concept albums ( Gaudi etc) it has inspired me to want to learn more. The title track "Book Of Hours" continues the highly enriched quality every other chord and note on the album. It would be easy to say that all the tracks sound the same but when they are of this standard the listener simply can't get enough.
Where as the first album could draw on many early progressive rock influences, Book Of Hours sounds very much like Jethro Tull meets Greenslade. It would be easy to fall into the trap of thinking this album is starved of lyrical content or narration. I am a firm believer that each piece on this album is strongly represented by the music and would simply become another attempt to be Genesis should it be included. A recommendation then? Definitely. I would suggest the spouses and partners are well out of the way whilst playing this album though. It will give you the freedom to play your air synth in peace. In conclusion i would have to say that Messrs Marshall and Brightman achieve what is quintessentially a very English sound because they are British and whilst American bands like Glasshammer are superb, they fall short of an element that is quintessentially British, being British. Both Willowglass are essential purchases in my opinion. If you liked Voyage of The Acolyte (Steve Hackett) Book of Hours will blow your socks off.
Riversea
If you haven't heard of Riversea i would urge you to check them out pop pickers. I have just been listening to a demo ep given to me by their keys man Brendan Eyre. There are some wonderful moments on this disc and it's left me wondering what the forthcoming album has in store. `The first song on the ep is a piece called "all around the world". A very haunting song about the worlds decay and misery. Should you click the appropriate places on the Riversea myspace you can see the accompanying video. I defy you not to have a lump in the throat after watching it. The next song is a lilting song called "Lift your soul". Mark Atkinson's voice seems to coast through this polite and inoffensive little number and his acoustic guitar is sumptuous. Prog for the ladies methinks. If there is one particular track that steals this little demo aperitif it's track 3, Eden. An absolute stunner. Made all the better by Paul Cusick's hard edged electric guitar which steered the band away from the sedate nature of these beautifully crafted songs. The Great Divide puts the band into the slower mid years Genesis type pieces. Last but not least "out of an ancient world" would not be out of place on a Tony Banks album. Delicate, soothing, haunting with a feeling that there is a lot in reserve. These were my findings with the five beautifully sculptured tracks included on this taster of an up an coming band teetering on the edge of prog. Songs that get into your head and stay there with strong lyrical content supported by some fine guitar and nicely textured keyboard and piano. have a listen for yourself, i don't think you will be disappointed.
Richard Wright R.I.P
As a fan of progressive rock i have been shocked by the recent passing of Richard Wright. As most fans of the genre will know Richard formed the basis of the original Pink Floyd sound. As a loyal and devoted Floyd fan i can only participate in what will surely be a mass homage by Pink Floyd fans all over the globe. having read tributes on many of his peers websites not least Mr Emerson himself, it is evident that Richard's contribution to one of the most important bands and albums went largely unappreciated outside of there staunch fan base. The world and the music industry have lost a diamond, a gentleman and an unassuming innovator. His legacy remains for us all to enjoy and remember him by.
Martin Orford. The Old Road
I have been listening to this wonderful album for a couple of weeks now. And to be honest it has blown me away the more and more i listen to it. Having spoken to Widge on more than one occasion about his feelings on modern day England and all who sale in her, i was in tune with a lot of the sentiment included in most of the tracks. For those who bought Martin's first album, brace yourself. It's a step away from what he did before and though he stipulates in the the booklet that "This is not a progressive rock album" I would leave it to the listener to make up their own mind. Opening with the opus "Grand Designs" we're off at a gallop. And along with the next piece "Power and Speed" (Instrumental) John Mitchell's guitar is blinding. There are so many brilliant flavours to this album that some boarder on the west coast GRP sound whilst a passing comparison to Steve Hackett will be made by some. However, an original and full body of work it is and getting into the next song "Ray Of Hope" David Longdon's voice via eerily towards that of Mr Collins in a time when the said drummer singer sung about things that mattered. Totally exquisite! Mr Wetton Makes his entrance on the next two pieces "Take it to the sun"and "The old road" which are abridged by "Prelude" featuring Martin's able fingers on piano. John Wetton's voice on this album is the best it has been for a while. I am glad that Mr Orford performed the vocals on the title track himself as i feel that it was his message to give. The remainder of the songs are as strong as the rest though i have to admit that whilst the album came to it's conclusion i had a little lump in my throat as i listened to "Endgame". Perhaps it's because i am 50 years old and lived in better times when Genesis, Jethro Tull, Camel etc ruled our minds and souls that this album holds something a little more special for me.
With musician's like John Mitchell, John Wetton, Gary Chandler, The rhythm section of Spocks Beard and not forgetting Martin Orford himself you can't afford to miss this one. Five stars and a gold medal for the man that in my opinion has made one of the best albums of the year.
