Top Albums of the Year 1985: Masterpieces and More

Though Prog Is Alive and Well in the 21st Century, I have decided to go back and "fill in" the years upon which the 21st Century is built, and not just the "classic" years of 1967-76. Each year will be given its own page, containing reviews of the albums I determine are worthy of recognition (both positive and negative). As usual, these pages will be works in progress, to which I'll be adding information as it comes my way.

My Favorite Albums from 1985:

1. COCTEAU TWINS Tiny Dynamine/Echoes on a Shallow Bay
2. THE DREAM ACADEMY The Dream Academy
3. TEARS FOR FEARS Songs from the Big Chair
4. PREFAB SPROUT Steve McQueen
5. DIF JUZ Extractions
6. KATE BUSH Hounds of Love
7. PROPAGANDA A Secret Wish
8. YELLO Stella
9. MINIMAL COMPACT Raging Souls
10. DEAD CAN DANCE Spleen and Ideal

11. EVERYTHING BUT THE GIRL Love Not Money

12. KIP HANRAHAN Vertical's Currency
13. CLANNAD Macalla
14. THE STYLE COUNCIL Our Favourite Shop
15. SADE Promise
16. PHAROAH SANDERS Shukuru
17. LOREENA McKENNITT Elemental
18. JANE SIBERRY The Speckless Sky
19. THE SMITHS Meat Is Murder
20. SUZANNE VEGA Suzanne Vega

21. RY COODER Paris, Texas
22. ANNE PIGALLE Everything Could Be So Perfect
23. SIMPLY RED Picture Book
24. PENDRAGON The Jewel 

25. RUN-D.M.C. King of Rock
26. BIG AUDIO DYNAMITE This Is Big Audio Dynamite
27. GENE LOVES JEZEBEL Immigrant
28. PAUL HARDCASTLE Paul Hardcastle
29. BRIN FERRY Boys and Girls
30. CLAN OF XYMOX Clan of Xymox

Honorable Mentions:
PRESENT Le poison qui rend fou

Five Star Prog Masterpieces 

(Ratings of 100 to 93.34) 

COCTEAU TWINS  (1985 EPS):

Echoes in a Shallow Bay

1. "Great Spangled Fritillary" (4:02) (9.75/10)

2. "Melonella" (4:02) (9.5/10)

3. "Pale Clouded and White" (5:01) (10/10)

4. "Eggs and Their Shells" (3:06) (10/10)

Tiny Dynamine

1. "Pink Red Orange" (4:38) (10/10)

2. "Ribbed and Veined" (3:56) (10/10)

3. "Plain Tiger" (4:01) (9.5/10)

4. "Sultitan Itan" (3:51) (9.5/10)

Aikea-Guinea

1. "Aikea-Guinea" (3:56) (9.75/10)

2. "Kookaburra" (3:19) (9/10)

3. "Quisquose" (4:12) (10/10)

4. "Rococo" (3:06) (8.5/10)

96.25 on the Fishscales = A/five stars; a masterful collection of songs from 1985 that were, for whatever reason, released on three separate vinyl LPs within in days of each other. I have always compiled them together and treated them as one album. This must surely be the peak of the Shoegaze sound, it couldn't get any better than this--I know the Cocteau Twins didn't (this was their peak).

2. KATE BUSH Hounds of Love

Kate's most popular album--I remember it debuting (both album and first hit release, "Running Up That Hill") at number one in England and staying there a long time (despite pressure from The Pet Shop Boys' debut arrival). But, the songs are still a bit too foreign for this Yankee's ears and brain (and the videos all but ruin some of the songs for me). The so-called album long "suite," "The Ninth Wave," has awesome effects and melodies and shifts and sounds but somehow fails, to my mind and ears, to blend musically into a cohesive epic. A story told in seven successive songs, that I can accept, but I find it difficult to consider this one long prog epic. In its day I remember no mention to this being a side-long "epic" though I'd read of its concept theme. Today it is regarded as both. Still feels a bit like seven songs to me.

Favorite songs: "Under Ice" and "Waking the Witch" (10/10), "The Big Sky" (8/10), and the unforgettable "Running Up That Hill" (9/10).

Line-up / Musicians:

- Kate Bush / vocals, Fairlight CMI, piano, producer
With:
- Alan Murphy / guitars (1,3,8)
- Brian Bath / guitar (11), backing vocals (5)
- John Williams / guitar (12)
- Paddy Bush / balailaka (1), didgeridoo (3,10), violin & fujara (12), backing (5) & harmony (7) vocals
- Dónal Lunny / bouzouki (6,11), Irish bouzouki (10), bodhrán (10)
- Kevin McAlea / synthesizer (8,12)
- Jonathan Williams / cello (2)
- The Medicci Sextet / strings (5)
- Dave Lawson / string arrangements (5)
- Liam O'Flynn / Uilleann pipes (10,11)
- John Sheahan / whistles (6,10), fiddle (10)
- Del Palmer / bass (1,10), Fairlight bass (8), Linn programming (1,8,12), backing vocals (5)
- Eberhard Weber / bass (4,11,12)
- Martin "Youth" Glover / bass (3)
- Danny Thompson / double bass (9)
- Stuart Elliott / drums (1,2,4,5,9-11)
- Charlie Morgan / drums (2,3,5,8,10)
- Morris Pert / percussion (3)
- John Carder Bush / backing vocals (5), spoken voice (10)
- The Richard Hickox Singers / chorus vocals (11)
- Richard Hickox / choir master (11)
- Michael Berkeley / vocal arrangements (11)
- Michael Kamen / orchestral arrangements
- Bill Whelan / Irish arrangements

- Hounds Of Love -
1. "Running Up That Hill" (5:03) (9.5/10)
2. "Hounds Of Love" (3:03) (8.75/10)
3. "The Big Sky" (4:41) (9.25/10)
4. "Mother Stands For Comfort" (3:08) (8.75/10)
5. "Cloudbusting" (5:10) (9/10)

- The Ninth Wave - "The Ninth Wave" (26:25) (48.5/50) 
6. And Dream Of Sheep (2:45)
7. Under Ice (2:21)
8. Waking The Witch (4:18)
9. Watching You Without Me (4:07)
10. Jig Of Life (4:04)
11. Hello Earth (6:13)
12. The Morning Fog (2:34)

Total time 47:27

93.75 on the Fishscales = A/five stars; a masterpiece of progress, creativity, and innovation that though hasn't stood up as well over time as some of her other albums is rated up for quality and creativity.

The "Minor" Masterpieces

(Ratings of 93.33 to 90.0)

3. DEAD CAN DANCE Spleen and Ideal

First time hearing this album, I can't help but remark on the "youthfulness" of both Lisa and Brendan's voices. I'm also rather blown away at the way the music (if not the vocal tracks) has aged so well. Using instruments from the period, I would have expected more moments of cringing and embarrassment. But no: Nary a one! (Must be the 4 A.D. magic.)

Line-up / Musicians:

- Lisa Gerrard / vocals, performer
- Brendan Perry / vocals, performer
With:
- Andrew Hutton / soprano vocals (1)
- Richard Avison / trombone
- Simon Hogg / trombone
- Carolyn Costin / violin
- Martin McGarrick / cello
- Gus Ferguson / cello
- James Pinker / timpani
- Tony Ayres / timpani

1. "De Profundis (Out of the Depths of Sorrow)" (4:00) I can see this awesome song that conjures up so much of ancient times being the opener for many a Wiccan and pagan ceremony! (Now I know where/why ANNA VON HAUSSWOLFF sounds so familiar to me!) (Lisa sounds so young!) must've been shockingly fresh for its time. (10/10)

2. "Ascension" (3:05) awesome instrumental that pretty much continues to lay down the theme of ancient and/or medieval (though majestic) from the opener. I'm in disbelief at how well they got these antiquated instruments to blend so well and how they were able to create a sound that doesn't sound so dated. (10/10)

3. "Circumradiant Dawn" (3:17) moving from the majestic and courtly to the chambers of the religious/wily women. (10/10)

4. "Cardinal Sin" (5:29) Brendan's voice is already strong and steady! Nice, thick music backing him, too. (8.75/10)

5. "Mesmerism" (3:53) She sounds so young! (8.5/10)

6. "Enigma of the Absolute" (4:13) a song that rather plods along is saved by the presence of the strings. (8.25/10)

7. "Advent" (5:19) with that BUGGLES-like bass line, this one moves the band a little more into the realm of New Wave. It is, in fact, a nice, pretty pop ballad. (9/10)

8. "Avatar" (4:35) finally, some Middle Eastern sounds and stylings (zither and vocal)! Shades of what is to come! (Again, I hear Anna von Hausswolff so clearly!) (9.5/10)

9. "Indoctrination (A Design for Living)" (4:16) piano, cheezy pseudo-jazz drum, and deep sustained synth bass over which Brendan sings somehow engages and mesmerizes. (9/10)

Total Time: 38:11

92.22 on the Fishscales = A-/five stars; a minor masterpiece of progressive folk-rock music.  

4. ART ZOYD Le mariage du ciel et de l'enfer (Musique du ballet de Roland Petit, 1985)

Line-up / Musicians:

- Theirry Zaboitzeff / vocals, bass, cello, keyboards, percussion, tapes
- Patricia Dallio / Steinway piano, Yamaha electric piano, keyboards
- Gérard Hourbette / viola, violin, Steinway piano, Yamaha electric piano, keyboards, percussion
- Jean-Pierre Soarez / trumpet, percussion
With:

- Didier Pietton / soprano sax (3-5)

1. "Sortie 134 - Part 1" (11:00) beautiful, tension-filled chamber prog that must have produced some very angular ballet dancing. Some parts are fairly straightforward and more easily accessible, others more mathematic and industrial-sounding while others even feel minimalistic. I like Theirry Zaboitzeff's idea of using his real voice over the piano and Mellotron-like banked voices & strings in the ninth minute. (17.75/20)

2. "Cryogenèse - Rêve Artificiel" (18:12) laughter and clock ticking with syncopated bursts of horns open this one before piano, strings, and sustained trumpet bursts begin popping their heads in. At the 3:00 mark it moves into an almost MILES DAVIS-like section with rolling arpeggi beneath eerie voice bank and horn notes (both real and artificial). Then, at the five minute mark, everything cuts out and we're left with an echoed click track within which an odd low piano chord seems to be trying to find its place. Occasional high-end piano chords begin making their surprise contributions in the seventh minute. This continues into the eighth as "distant" other instruments (cows looing, sustained trumpet notes) begin being added to the sparsely decorated weave. At 8:37 the low end piano chord changes while the others continue doing what they were doing until 9:15 when multiple MILES-like trumpet tracks begin throwing their elephantine weight around. The airy tapestry begins to smooth and thicken in the eleventh minute until at 12:00 there is a real shift in thickness with regulated trumpet bursts and sustained church organ chords. Definitely some polyrhythmic action going on here. (It's really cool!) At 14:29 "bird" calls take over the treble side from the horns and organ. It's just weird--and gets creepier when the heavy sigh/sobs of a man join in--really up close and foreward! (31/35)
3. IO 1 (3:51) *
4. IO 2 (2:15) *
5. IO 3 (5:15) *
6. Mouvance 2 (3:34) *
7. Mouvance 1 (5:54) *
8. "Cryogenèse - Les Portes du Futur" (14:30) fast hits of mid-range piano chords with lots of space between triplets opens and sets the pattern for drums and electric piano--until 1:15 when sustained organ chord and trumpet force us to take a gander to our left (or right). This becomes the A-B pattern for the first five minutes with different instruments taking turns between the syncopated A section and the smoother B section while male screams of pain or indignation fly around over the top. Another click-track (this one horse-like) provides pacing for the next section of organ and piano playing off one another in the syncopated chord hits established by the first section. At 7:15 we get a radical shift in both pacing (4/4 click-track) and instrumental weave. Piano and sax-like bass note provide counter-rhythm while organ and trumpet blasts do their own thing in their polyrhythmic way over the top. The organ play here is almost calming! Weird "alien" synth and chunky bass-pedal sound join in the twelfth minute. This is pretty cool! almost early-Genesis-like! Organ, alien synth sound, and new heavy bass chords begin to strengthen and get more ominous or crazed in the final 90 seconds as trumpet seems to be petering out. Wow! Definitely a part of something bigger, but some very cool, mezmerizing music! (28/30)

9. "Sortie 134 - Part 2" (3:48) nicely paced driving music with a rhythm track sounding a lot like a TANGERINE DREAM song. Horns, vocalise, and children's laughter samples  (/10)

* Not on LP (not even original double LP?)

Total Time: 68:19

90.29 on the Fishscales = A-/five stars; a minor masterpiece of boundary-pushing progressive rock music.

4.5 Stars; Excellent Additions to Prog World

(Ratings 89.99 to 86.67)

5. PENDRAGON The Jewel 

Another prominent British band that has remained fairly true to its Neo Prog roots (over a career spanning nearly 40 years and eleven studio albums), this is one of the bands whose sound has, in my opinion, improved with age--especially since 2004 when they chose a heavier sound (which is oddly out of character for me)--though most critics have acclaimed the decade of 1991 to 2001 as their "masterpiece" era. The Jewel was the album that started it all.

Line-up / Musicians:

- Nick Barrett / vocals, guitars
- Rik Carter / keyboards
- Peter Gee / bass, guitar, bass pedals
- Nigel Harris / drums, percussion
With:
- Clive Nolan / keyboards (10,11)

- Fudge Smith / drums (10,11)

1. "Higher Circles" (3:29) organ intro is joined by the others by the end of 30 seconds. Nick Barrett's PAUL WELLER/JOE STRUMMER-like "protest singing" voice starts off this anthemic song before being joined by the others in the chorus. Sounds like such a teen tough boy song! Maybe this is a remnant from where the band started; it is no indication of where they are about to take me. (7.75/10)

2. "The Pleasure Of Hope" (3:43) jumps full into power jam like a STARCASTLE opening before shifting to a MARK JOHNSON/THE THE-like song. The sound of the multiple voices singing the "Welcome home" shouts is awesome! Matter of fact, the multi-layered vocal approach throughout this song is very cool! A nice change. I like this! (9.5/10)

3. "Leviathan" (6:13) opens with a kind of RUSH/STARCASTLE/YES weave before vocals enter to give it it's own shape and sound. I don't think I've heard a "neo prog" band with a non-imitative singer before. The music is definitely in the neo prog realm but that singer is not! Nick Barrett sounds more like a 1975 East End punk rocker! I like it! And he can play a pretty cool guitar, too! Wow! I am impressed far more than I expected to be. (This is literally my very first ever listen to a Pendragon song!) The music begins to sound a little too derivative in the second half (Genesis), otherwise this might be a 10-10 song! (9.5/10)

4. "Alaska" (8:39) (18.5/20)
- a) At Home With The Earth - a gentle, romantic synth and electric guitar picking opening until 0:55 when a very nice GENESISian weave is launched. Love the fretless bass! The high flute-like synth dancing in front as Nick begins to sing is a little distracting (and disappointing). The vocal is mixed strangely "out" of the soundscape and Nick's vocal has pitch issues. The chorus is a step back in the right direction, though the vocals are still pitchy. The instrumental section which follows is okay, best for the whole-band cohesiveness. (I just don't like that synth soloing.) (8.5/10)
- b) Snowfall - picked 12-string guitar with very dynamic fretless bass starts off this section. Thirty seconds in it takes on a JEAN-LUC PONTY feel, sound, and pace (think of some of the cooler uptempo jams in either Cosmic Messenger or A Taste for Passion). Awesome CAMEL-esque synth soloing over this instrumental jam! (10/10)

5. "Circus" (6:34) guitar arpeggi, drums, and bass are soon joined by APP Usher keyboard arpeggio before the song shifts into third gear as a kind of CLASH/PAUL WELLER jam. The lyric is powerful and I like it's monotone shout delivery. The song then speeds off into an extraordinary instrumental jam with great driving bass and drums while Nick and Rick Carter take turns soloing and supporting each other. In the fourth minute odd upper-register major seventh chord strums sound like harps as Nick sings. The chord progressions are heavenly throughout this song, with every musician locked in on full power and tightly united throughout. GREAT song! My favorite from this album--and that's saying a lot cuz there are a lot of fine songs here! (10/10)

6. "Oh Divineo" (6:51) opens with Nick's plaintive guitar soloing, as if in a distance, as organ lays a romantic fabric beneath. The full band joins in at the end of the first minute with a swinging rhythm base as Nick continues soloing melodically over the top of a GENESIS-like "Misunderstanding" structure. When things finally break down at 2:28 to allow for a nice vocal, the lyric is surprisingly political, not romantic. The "where does the fire burn" lyric and following section are nice though quite derivative of earlier GENESIS themes. (13/15)

7. "The Black Knight" (9:57) the (by now) usual guitar arpeggi with lone synth intro with singer Nick Barrett joining in after half a minute. Nick's vocals here are better, the melodies more engaging. Full band kicks in with some power around the two minute mark. After a second verse of vocals time and key structure shift ushers in a new more insistent vocal approach. Nice earworms from the lead guitar in the instrumental section. (17/20)

Total time 45:26

Nick Barrett's guitar playing--especially his lead soloing--is sublime; it is amazing to me how he can continually create new and always pleasing, adrenaline pumping guitar solos year after year, song after song, even multiple times within one song (even here on their debut album)! His voice, however, is an acquired taste.

89.74 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and a surprisingly eclectic albeit derivative collection of Neo Prog songs. Great debut album! 

6. PRESENT Le poison qui rend fou

Music that is more jazz-rock like than their avant/RIO contemporaries UNIVERS ZERO and ART ZOYD were at this time--this is due, in part, I think, to the presence and influence of drummer Daniel Denis as well as the very jazzy sound and style used by guitarist Roger Trigaux.

Line-up / Musicians:

- Roger Trigaux / guitar, FenderRhodes
- Alain Rochette / piano, Yamaha electric grand piano, synth
- Ferdinand Philippot / bass
- Daniel Denis / percussion
With:

- Marie-Anne Pollaris / vocals (1)

1. Le Poison Qui Rend Fou, Part 1: Ram Ram Va Faire "Pif Paf" (15:23) (/30)
2. "Ersatz" (5:09) jazzy like YUGEN and FACTOR BURZACO will imitate and expand upon 20 years later. (9/10)
3. Le Poison Qui Rend Fou, Part 2: Didi, Dans Ta Chambre! (9:41) (/20)
4. Samana (9:14) (/20)

Total Time: 39:27

on the Fishscales = / stars; 

Other Very Good Albums

(Ratings of 85.0 to 87.66)

7. RUSH Power Windows

Rush's response to the techno-pop dominated "prog" of the mid-1980s (including The Fixx, Frankie Goes to Hollywood, Simple Minds, Re-Flex,  and Trevor Horn's ever-expanding posse of production clients)--and to YES' 90125.

Line-up / Musicians:
- Alex Lifeson / electric & acoustic guitars
- Geddy Lee / bass, bass pedals, synthesizers, vocals
- Neil Peart / drums, acoustic & electronic percussion
With:
- Andy Richards / keyboards, synth programming
- Jim Burgess / synth programming
- Andrew Jackman / choir arranger & conductor
- 25-piece choir
- Anne Dudley / strings arranger & conductor
- 30-piece orchestra
- Peter Collins / co-arranger, co-producer

1. "The Big Money" (5:34) nice bass play. Nice SIMPLE MINDS-like guitar sound & solo in the fourth minute. Definitely a demonstration that Rush have joined the techno-80s. (8.667/10)

2. "Grand Designs" (5:05) nice keys, bass, vocal performance (and lyrics); weird to hear all those gated drums and FIXX/FLOCK OF SEAGULLS-like effected guitar sounds. Weak "oh-oh-oh" section in the last 90 seconds (filler/a waste of time). (8.667/10)

3. "Manhattan Project" (5:04) a more quiet, subdued sound palette, despite the "big" synth sounds/fills. More FIXX-like sounds from Alex after the stylistic shift in the second minute. I like the melodies used throughout. (And I LOVE the Fixx!) A top three song for me. (8.75/10)

4. "Marathon" (6:09) bombastic start before some fretless jazz bassline and FIXX-like guitar strums take over. SIMPLE MINDS synths fill a lot of the spaces. A relaxed and effective vocal performance from Geddy. Very nice guitar, synth and drum performances in the instrumental "C" part. Some cool atmospheric effects help fill the audiosphere. Another top three. (9/10)

5. "Territories" (6:18) another song that sounds like someone else (SIMPLE MINDS, ABC, FRANKIE GOES TOI HOLLYWOOD immediately come to mind), yet there is a cool vibe and pace to this one--with some of my favorite percussion work from Neil. Horrible chorus--both musically and vocally. (8.75/10)

6. "Middletown Dreams" (5:15) another FRANKIE GOES TO HOLLYWOOD beginning before the Jamie West-Oram FIXX guitar sounds and strums enter. Otherwise, a solid Rush song more in the vein of true Rush-ness. (8.667/10)

7. "Emotion Detector" (5:10) interesting 80s entrance and intro with some sad, totally synthed music--even the drums are electronically effected! Still, mature (if imitative) songwriting (SIMPLE MINDS, THE FIXX). Nice guitar and bass play during the instrumental passage in the fourth minute. (8.5/10)

8. "Mystic Rhythms" (5:53) from the studios of JIMMY JAM & TERRY LEWIS? Or THE RE-FLEX? If you like the musics of either of the aforementioned artists, you'll love this song. The overly familiar (derivative) video of this song confirms the band's desire to fit into the techno-pop era of the 1980s. My final top three song. (8.75/10)

Total Time 44:28

The effects used on Geddy's voice, Alex's guitar, and even Neil's percussives, have become so processed and effected (so 80s). Can't really blame them for joining the party--trying out some new clothes: FRANKI, THE FIXX, and SIMPLE MINDS had been really successful (and sounded really good). The sound is still good--the compositions polished and the lyrics relevant and impactful. It even stands up okay over time.

87.19 on the Fishscales = B/four stars; not bad--especially if you're a fan of some of the better, more proggy techno pop of the mid-1980s. A nice, if dated, addition to any prog lover's music collection.

8. OZRIC TENTACLES Erpsongs

The very first release from Ed Wynne and the Ozrics. The band wasn't even signed to a label yet--these homemade song collections were released as self-made cassette tapes. A very obvious intention to copy/carry forward the torch of GONG.

Line-up / Musicians:
- Ed Wynne / guitar 
- Gavin Griffiths / guitar 
- Joie Hinton / synthesizers 
- Tom Brooks / synthesizers 
- Roly Wynne / bass 
- Tig (Nick van Gelder) / drums 
- Paul Hankin / percussion

1. "Velmwend" (4:38) a blues-rock based space jam that not even poor sound recording can hinder or hold back. (8.75/10)

2. "Fast Dots" (3:48) a little funk bass propels this one into Egypt's era of ancient astronauts. (8.5/10)

3. "Thyroid" (5:05) now using a slow, spacious reggae rhythm foundation to space out over. (8.5/10)

4. "Spiral Mind" (3:33) opens like a 1960s heavy blues-rock classic before the synths and two guitars take us from classic rock into alien space communiqués. A cool, cool song despite not really preview things to come for this band. (8.75/10)

5. "Synth On a Plinth" (1:59) solo synth play for the first 40 seconds until second keyboard joins in with a single repeated arpeggiated chord progression. (4.25/5) 

6. "Dharma Reggae" (4:56) feels like a late 1970s/1980s TANGERINE DREAM opening--even with the big, thick bass notes thrown intermittently into the mix. In the second minute drums start throwing their own hits and flourishes into the mix over the synth track until bass and drums finally emerge and sync up at 1:40 to provide a cool rhythm track beneath the still-streaming synth. At 2:39 more instruments start being thrown into the mix: first a wailing synth, some sample hits, rising synth chords, and, eventually, guitar strums and notes. Very cool experimental song construct. A top three song for me. (9/10)  

7. "Tidal Otherness" (5:41) nice weave of multiple space synths and searing background guitar find congealment with the arrival of bass and regular synth arpeggio around 1:15. Guitar continues to screech away back there as the rest of the weavers continue to remain fairly steadfast. Keyboard arpeggio comes forward a bit as guitar frenetics peak and then disappear. They return with a friend--a Richard Wright synth (VCS3?) soloing up front. More synths come and go as the sonic field fills and then fades. Pretty cool soundscape. (8.75/10)

8. "Erp Riff" (1:36) driving rock rhythm track with wah-guitar(s) and, later, synths. (4.25/5)

9. "Descension" (5:01) pensive JAN AKKERMAN-like guitar sound and chord sequence builds into spacey, distorted fullness before settling back and repeating itself. At 1:28 the guitar backs up to perform rhythm duties (with another guitar or two) while VCS3 takes the lead--but only for a short time before giving way to the AKKERMAN-like guitar again. Structured in an A-B-A-C-A-B format, the song proceeds as predicted--but there are some nice blues guitar solos. (8.75/10)

10. "Misty Gliss" (4:33) floating synth notes offer a kind of "Star Trek Theme" motif when, mixed with Steve Hillage GONG floating guitar and then Tangerine Dream percussive synth sequencing, establishes a foundation over which a VANGELIS-like synth solos. Later, the TD sequence becomes the lone foundation for the Gong-floating guitars and space synths to solo simultaneously. (8.75/10)

11. "Dots Thots" (2:49) a precursor to some of the stuff on Jurassic Shift. (4.25/5)

12. "Clock Drops" (2:49) true to its title, this Gamelan-imitational song establishes a minimalist weave that sounds like a clock (or room of clocks). The second half adds another TD-familiar sound and guitar style that will become integral to the entire Ozrics future. (4.25/5)

13. "Five Jam" (6:53) starts out with over a minute of solo heavily effected guitar strumming chords and notes away. Synthetic drums, two basses, and "distant" synth soloing provide backdrop for continued guitar soloing and experimentation. Halfway through, one of the guitarists gets serious: stepping up for some more front-and-center soloing. Nice bass behind. (13/15)

14. "Oddhamshaw" (6:18) from a live recording (cuz of the drum sound)? More raw Ozrics sound. (8.5/10)

Total Time: 59:39

Using some very fundamental song styles to build upon and experiment over, the band displays its own signatory sounds--many of which continue even to today. Just like the Ozrics of today (now operating under Ed Wynne's name) the band likes to make music. 14 songs; 60 minutes was a lot back in the cassette era.

86.40 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection. The Ozrics at their beginning are very much as they are now, only more raw and less polished. 

9. MARILLION Misplaced Childhood

A very decent album of fresh Genesis material. If only I hadn't grown up on Peter Gabriel, Steve Hackett, and Tony's masterful keys. 

Line-up / Musicians:

- Fish / vocals
- Steve Rothery / guitars
- Mark Kelly / keyboards
- Pete Trewavas / basses
- Ian Mosley / drums, percussion

1. "Pseudo Silk Kimono" (2:13) great vocal but those keyboard strings are so dated! (4/5)

2. "Kayleigh" (4:03) I always liked this song despite its pop formula. (8.5/10)

3. "Lavender" (2:27) love the way this one builds. (8.75/10)

4. "Bitter Suite" (8:53) great instrumental intro with Hackett-like guitar leads into Andy Summers texture behind Fish's narrated story prep. Then we transition into a rumba-like dance groove for an excellent Rothery solo (maybe the first one I've ever been impressed by). A little bit borrowed from "As Sure Is Eggs Is Eggs" for the next section (which I was expecting to be the song's finale). The final slowed down/softened section is curious--how it belongs--and why it bleeds/feeds directly into the next suite is a mystery to me. (9.25/10)
- I. Brief Encounter
- II. Lost Weekend
- III. Blue Angel
- IV. Misplaced Rendez-vous
- V. Windswept Thumb

5. "Heart Of Lothian" (6:02) Really! Getting excited about singing about "wide boys"?!?! The continuous wailing of Rothery's guitar feels quite at conflict with Fish's impassioned vocal. They may be expressing their passion about the same thing, in different ways, but it's like putting apples with onions. (8.25/10)
- I. Wide Boy
- II. Curtain Call

6. "Waterhole (Expresso Bongo)" (2:12) interesting drum & percussion. Glad to have that guitar in the background:  This mix works! Nice dynamic music--and appropriate vocal/lyric. (4.75/5)

7. "Lords Of The Backstage" (1:52) (4.25/5)

8. "Blind Curve" (9:29) a very well constructed/designed prog epic that helps me see, for perhaps the first time, this band's own unique vision. The talents and personalities still seem very built upon the members of GENESIS, but they've finally come up with a song that, for the most part, feels as if they might be breaking free of the themes and motifs of their inspirateurs. (17.75/20)
- I. Vocal Under A Bloodlight
- II. Passing Strangers
- III. Mylo
- IV. Perimeter Walk
- V. Threshold

9. "Childhoods End?" (4:32) What?! Where's the prog? (8/10)

10. White Feather (2:23) Oh, good! They found a little more prog (though there's a little FLOCK OF SEAGULLS/early SIMPLE MINDS in here as well) (4.25/5)

Total Time: 41:05

I like the flow and connectivity of the album (after "Kayleigh") and the rhythm tracks are outstanding but the guitar play and vocal performances are often a bit incongruous with the music--which makes me wonder if, at times, the band members are all on the same page; how much tension was there within the band at this time? Even so, the sound engineering is definitely a step up from their debut album (I can hear everything!) 

86.39 on the Fishscales = B/four stars; an excellent Neo Prog contribution to Prog World. 

10. ALLAN HOLDSWORTH Metal Fatigue

One of Allan's more universally-acclaimed solo albums. 

Line-up / Musicians:
- Allan Holdsworth / guitar, producer
With:
- Paul Williams / vocals (1,4)
- Paul Korda / vocals (6)
- Alan Pasqua / keyboards (5)
- Jimmy Johnson / bass (1-4,6)
- Gary Willis / bass (5)
- Chad Wackerman / drums (1-4)
- Gary Husband / drums (5)
- Mac Hine / drum machine (6)

1. "Metal Fatigue" (4:54) despite the blues-rock baseline and technologically relevant synth support and a lot of space given to Paul Williams' vocals, you can definitely hear, feel, and sense the genius of both Allan's guitar skill as well as his compositional skill. Just wish it were more about his guitar, less about fitting into the rock world. P.S. Nice drumming and drum sound, Chad Wackerman! (8.75/10)

2. "Home" (5:29) strolling into the realm that Pat Metheny was making up at the time, we have a nice instrumental chord-walk down some interesting jazz-rock phrasing using some leading-edge guitar sound. Gentle, with an unusual sense of melody and (!) Allan playing some acoustic guitar (!), this is a decent song but nothing to really write home about. (Again: Pat Metheny had been doing this stuff for almost a decade.) P.S. I really like Jimmy Johnson's bass sound and playing style. (8.667/10)

3. "Devil Take The Hindmost" (5:33) using the same synth guitar sound as the previous song, Allan steps it up a notch in terms of speed and jazziness--that is, until he slows it down in the second minute. At 1:45, the real Allan steps into the limelight to display the melodic technical skill we've all come to know and love him for. Again, great work from Chad Wackerman. Jimmy Johnson's funky bass work feels a bit contrary to both Allan's guitar play and Chad's drumming. Too bad. (8.667/10)

4. "Panic Station (3:31) incredible chord play from Allan's Robert FRIPP/SIMPLE MINDS-sounding rhythm guitar over which Paul Williams sings innocuously and Allan riffs on his lead guitar in between. A top three song for me. (8.75/10)

5. "The Un-Merry-Go-Round" (14:06) great rolling bass play among Pat Metheny Group-like music (and sound palette) over which Allan plays between and against Alan Pasqua's keyboards and Gary Husband's drum clinic. As impressive as Gary is, I really came to this to hear Allan's guitar genius. 

A solid stop at the 4:30 mark allows for a reset. The new, fully-formed song coming out the break is really nice. At 5:34, however, they change style and tempo--quite radically, actually--and then again at the six-minute mark. This kind of bait and switch tactic is used so extensively--ad distraction and confusion--throughout the song that it finally sends me away. This is a song? Not even multi-movement classical music pieces are as fragmented and disjointed as this. Too bad cuz some nice motifs and instrumental performances, just not a cohesive, coherent song. Can't denigrate the instrumental talent here but I can't rate this song very high as a memorable, engaging, "put on replay" kind of piece. (24.667/30)

6. "In The Mystery (3:49) in the funk-jazz-pop style that was popular at the time (popularized by the likes of Al Jarreau, Narada Michael Walden, Hiram Bullock, Manhattan Transfer, and many Soul R&B acts in the early 1980s) -sound alike Paul Korda sings over some really nice bass play from Jimmy Johnson, computer drums and R&B-styled rhythm guitar. Allan takes a solo in the requisite "C" part of this ABACAB-formatted song. (8.5/10)

Total Time: 37:22

Finally, Allan seems to be gelling with a cast of collaborators--all of whom seem to be on the same page with his musical ideas and needs. It's too bad he hasn't yet found the confidence or support to move totally into his preferred experimental jazz-rock fusion realm of instrumental music because one of the things detracting from these songs are the vocals--not so much the performances or messages but the space that is required to give up for the vocalists to do their job--space that could be filled by Allan and his amazing guitar playing. (See 1989's Secrets to understand better what I mean. 

85.0 on the Fishscales = B-/3.5 stars; after a good start, and some great guitar, bass, and drum performances, this album only represents a legacy of flawed competence. Good but not essential.

Not As Good As Advertized

IQ The Wake

How ironic that the engineer of this terrible sounding album is given special credit alongside the musicians! A little too

Line-up / Musicians:

- Peter Nicholls / vocals, tambourine
- Mike Holmes / sitar, electric & acoustic guitars, co-producer
- Martin Orford / Roland VK1 organ, Mellotron, synths (Logan String, Oberheim SEM, Yamaha CS80 & DX7, ARP Odyssey, MemoryMoog), EMU Emulator sampler, flute, backing vocals
- Tim Esau / fretted & fretless basses, bass pedals, co-producer
- Paul Cook / drums, percussion

1. "Outer Limits" (8:15) for the first half of this song it's very 80s New Wave sounding, but when electric guitar starts its seering leads and the bass pedals kick in in the fifth minute, it becomes real prog. (16/20)

2. "The Wake" (4:11) a horrible vocal to not match the tenuous music. Weird. Nice guitar solo. (7.5/10)

3. "The Magic Roundabout" (8:18) Really? Did we really have to choose this title? And then try a "Watcher in the Skies"-like extended intro? I must admit, I rather love the tone of the lead guitar. (Kind of Flock of Seagulls-like.) Horrible vocal. What's happened to Peter Nicholls? (15/20)

4. "Corners" (6:20) "Man on the Corner"? Better vocal. (7.5/10)

5. "Widow's Peak" (9:12) nice atmosphere established by the spacious opening. Kicks into gear nicely except I hate the use of a swish cymbal for the four-beat crash hits. Otherwise, this is the best song on the album and Peter Nicholls best performance. Only problem is how totally GENESIS this sounds. (17.5/20)

6. "The Thousand Days" (5:12) another song that sounds so much like the 80s?and especially 80s GENESIS. Nice work with the keys for the final 90 seconds. (8/10)

7. "Headlong" (7:25) Opens with a gentle harpsichord-like guitar and keys with a nice, touching vocal. In the third minute, after Peter's first verse is finished, a thick bass and drums rise from below for an instrumental section. Then everything drops away for a return of the sentimental vocal's second verse. Unfortunately, there's nothing very new or fresh here. (12/15)

Total time 48:53

Bonus:  "Dans le parc du chateau noir" (7:37) Peter's first real attempt at a serious Peter Gabriel impersonation (with a little Hammill-ishness thrown in there for good measure). Sounds SO MUCH like 1978 BABYLON album. Nice drumming. Great guitar. My other favorite song on the album. (13.5/15)

79.52 on the Fishscales = C+/three stars. In its original state, without the bonus track, I give this album a C+/three stars; with the bonus track at B-/3.5 stars.

Other Highly Recommended Prog Albums

(Albums recommended by fellow prog lovers)

Other Albums on the Fringes of Prog:

TEARS FOR FEARS Songs from the Big Chair

The breakthrough pop-oriented sophomore album from techno-prog artists from Bath.

1. "Shout" (6:32) (9.75/10)
2. "The Working Hour" (6:30) (9.75/10)
3. "Everybody Wants to Rule the World" (4:10) (9.5/10)
4. "Mothers Talk" (5:09) (8.5/10)
5. "I Believe" (4:53) (9.75/10)
6. "Broken" (2:38) (4.75/5)
7. "Head over Heels/Broken" (live) (5:01) (9/10)
8. "Listen" (6:48) (15/15)

95.0 on the Fishscales = A/five stars; a resounding masterpiece of sophisticated, leading-edge prog-inflected New Wave music. Such talented singer-songwriters!

PREFAB SPROUT Steve McQueen

The sophomore release from this UK band puts on display the wonderful idiosynchratic songwriting style and poetic lyrics of Paddy McAloon, one of the most creative and soulful singer-songwriters I've ever heard (up there with AZTEC CAMERA's Roddy Frame and LOVE AND MONEY's James Grant) structure. Thomas Dolby's lush production really bolsters the songs--and album.

1. "Faron Young" (3:50) Johnny Cash style. (7.75/10)
2. "Bonny" (3:45) (10/10)
3. "Appetite" (3:56) (9.75/10)
4. "When Love Breaks Down" (4:08) (9/10)
5. "Goodbye Lucille (Johnny Johnny)" (4:31) (8.75/10)
6. "Hallelujah" (4:20) (9.25/10)
7. "Moving the River" (3:57) (9.5/10)
8. "Horsin' Around" (4:39) (9.25/10)
9. "Desire As" (5:19) (10/10)
10. "Blueberry Pies" (2:24) (8.25/10)
11. "When the Angels" (4:29) (9/10)

91.36 on the Fishscales = A-/five stars; a minor masterpiece of technology savvy prog-influenced "white dudes with soul" pop music. Great sound, production, and flow of songs (thanks to Thomas Dolby).

DIF JUZ Extractions

Man the folks at 4A.D. are busy! (Robin and Ivo, I assume.) Some great instrumental music here!

Line-up / Musicians:
Alan Curtis
David Curtis
Gary Bromley
Richard Thomas

with:

Elizabeth Fraser - voice (5)

1. "Crosswinds" (7:43) very pleasant Cocteau Twins-like sax-led instrumental music. (13.25/15)
3. "A Starting Point" (3:39) (9.75/10)
3. "Silver Passage" (3:55) more striking instrumental music that sounded like it could've influenced or come straight off of a future Cocteau Twins album. (8.875/10)
4. "The Last Day" (4:01) hypnotic and dream-like. (9/10)

5. "Love Insane" (3:11) treated piano with elizabeth Fraser's most ethereal voice and saxophone meandering (and, later, heavily-effected guitar flourishes) over the top. (8.75/10)
6. "Marooned" (4:02) killer bass & drum tracks over which heavily-treated 12-string guitar, guitar harmonics, and harmonica dance a little weave. I love the rhythm guitar in the background. (8.875/10)

7. "Two Fine Days (And a Thunderstorm)" (2:29) (4.75/5)
8. "Echo Wreck" (4:37) (9.125/10)
9. "Twin and Earth" (4:29) (8.875/10)

(90.28 on the Fishscales = A-/4.5 stars)

(Included on the 1987 CD release:)

10. "Gunet" (5:19) (9.5/10)

11. "Soarn" (5:47) (8.875/10)

12. "Hu" (2:55) (9.125/10)

13. "Re" (4:27) (9.5/10)

an extraordinarily unique and refreshing album that totally caught me and brothers by surprise back in the 1980s. The 4 A.D. label was god-like! They could do no wrong!

90.96 on the Fishscales = A-/five stars; a minor masterpiece of techno-Dream Pop.

PROPAGANDA A Secret Wish

Trevor Horn, armed with his Fairlight CMIs, is on a roll. Teaming up with these talented songwriters proves to be a good move.

From the CD purchase.

1. "Dream Within a Dream" [extended] (9:08) one of the greatest prog epics of the decade. (20/20)

2. "The Murder of Love" (5:12) loved the synth work and amazing chorus but never liked that bass sound. (8.75/10)
3. "Jewel" (6:22) pure German techno pop typical of the era. (8/10)
4. "Duel" [CD remix] (4:43) nice bass work. (8.25/10)
5. "Frozen Faces" (4:25) more FALCO-like Euro-pop. (8.5/10)
6. "p:Machinery" (3:50) Euro-pop jazzy. Problem is, it never goes anywhere. (8/10)
7. "Sorry for Laughing" (3:25) (7.75/10)
8. "The Chase" (4:03) (8.75/10)
9. "Dr. Mabuse" [CD Remix] (10:41) (17.25/20)

86.59 on the Fishscales = B/four stars; a strong debut with some great prog-like sounds and passages. 

JANE SIBERRY The Speckless Sky

Genius Jane continues exploring new technologies as well as her very unique personal style of storytelling but ends up sounding a bit too much like her No Borders stuff.

1. "One More Colour" (4:38) (7.75/10)

2. "Seven Steps to the Wall" (5:11) (8.25/10)

3. "The Very Large Hat" (5:35) (8.5/10)

4. "Vladimir - Vladimir" (7:08) interesting exploration of post-death theories. (13/15)

5. "Mein Bitte" (4:20) (8/10)

6. "The Empty City" (6:40) (9.5/10)

7. "Map of the World (Part II)" (5:07) (8.5/10)

8. "The Taxi Ride" (5:39) (10/10)

86.47 on the Fishscales = B/four stars; another inventive, creative effort in which Jane pushes the boundaries of pop and personal musical expression.

SUPERTRAMP Brother Where You Bound

The first album after the departure of founder and principle songwriter of half the band's previous songs, Roger Hodgson.

Line-up / Musicians:

- Rick Davies / keyboards, vocals

- John Helliwell / saxophones

- Dougie Thompson / bass

- Bob Siebenberg / drums

With:

- Marty Walsh / guitar (1,2,4,5)

- David Gilmour / guitar solos (5)

- Scott Gorham / rhythm guitar (5)

- Scott Page / flute (4,5)

- Doug Wintz / trombone (1)

- Brian Banks / Synclavier programming

- Anthony Marinelli / Synclavier programming

- Gary Chang / Fairlight & PPG programming

1. Cannonball (7:40)

2. Still in Love (4:28)

3. No Inbetween (4:41)

4. Better Days (6:12)

5. Brother Where You Bound (16:34)

6. Ever Open Door (3:05)

Total Time: 42:40

Great production but one great song does not a great album make. 

JAN GARBAREK It's OK to Listen to the Grey Voice

Line-up / Musicians:

- Jan Garbarek / tenor saxophone, soprano saxophone
- David Torn / guitar, guitar synthesizer, DX7
- Eberhard Weber / bass

- Michael Di Pasqua / drums, percussion

A1 "White Noise Of Forgetfulness" (8:23) (/20)
A2 "The Crossing Place" (9:11) (/20)
A3 "One Day In March I Go Down To The Sea And Listen" (5:33) (/10)
B1 "Mission: To Be Where I Am" (8:11) (/15)
B2 "It's OK To Phone The Island That Is A Mirage" (5:51) (/10)
B3 "It's OK To Listen To The Gray Voice" (4:42) (/10)
B4 "I'm The Knife-Thrower's Partner" (0:52) (/5)

on the Fishscales = B/four stars;