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.
1983 was, in reality, a great year for progressive music.
My Favorite Albums of 1983:
1. THE FIXX Reach the Beach
2. AZTEC CAMERA High Land, Hard Rain
3. TEARS FOR FEARS The Hurting
4. BARBRA STREISAND Yentl
5. BRUCE COCKBURN The Trouble with Normal
6. XTC Mummer
7. GENESIS Genesis
8. RE-FLEX The Politics of Dancing
9. AMENOPHIS Amenophis
5. BRUCE COCKBURN The Trouble with Normal
6. XTC Mummer
7. GENESIS Genesis
8. RE-FLEX The Politics of Dancing
9. AMENOPHIS Amenophis
10. JEAN-LUC PONTY Individual Choice
11. ROBERT PALMER Pride
12. MARK ISHAM Vapor Drawings
13. THE STYLE COUNCIL Introducing The Style Council
14. U2 War
15. A FLOCK OF SEAGULLS Listen
16. MARIANNE FAITHFULL A Child's Adventure
17. JAH WOBBLE, THE EDGE, HOLGER CZUKAY Snake Charmer
18. THE CHURCH Seance
19. KING SUNNY ADÉ Synchro System
20. WILLIAM ACKERMAN Past Light
16. MARIANNE FAITHFULL A Child's Adventure
17. JAH WOBBLE, THE EDGE, HOLGER CZUKAY Snake Charmer
18. THE CHURCH Seance
19. KING SUNNY ADÉ Synchro System
20. WILLIAM ACKERMAN Past Light
21. MONSOON Third Eye
22. THE POLICE Synchronicity
23. MADONNA Madonna
24. JAPAN Oil on Canvas
25. GANG OF FOUR Hard
26. AL DI MEOLA Scenario
27. KAJAGOOGOO White Feathers
24. JAPAN Oil on Canvas
25. GANG OF FOUR Hard
26. AL DI MEOLA Scenario
27. KAJAGOOGOO White Feathers
28. THOMAS DOLBY Blinded by Science
29. DIVINYLS Desperate
30. YES 90125
Honorable Mentions:SHADOWFAX Shadowdance
THE MANHATTAN TRANSFER Bodies and Souls
CODONA 3
PINK FLOYD The Final Cut
ESKATON Fictions
JOHN CAFFERTY AND THE BEAVER BROWN BAND Eddie and the Cruisers OST
KLAUS SCHULZE - Trancefer
THE MANHATTAN TRANSFER Bodies and Souls
CODONA 3
PINK FLOYD The Final Cut
ESKATON Fictions
JOHN CAFFERTY AND THE BEAVER BROWN BAND Eddie and the Cruisers OST
KLAUS SCHULZE - Trancefer
MORAZ - BRUFORD Music for Piano and Drums
TEENA MARIE Robbery
TEENA MARIE Robbery
FLIM & THE BBs Tricycle
DEF LEPPARD Pyromania
STEVIE RAY VAUGHAN Texas Flood
Five Star Prog Masterpieces
(Ratings of 100 to 93.34)
None
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
1. AMENOPHIS Amenophis
A by-product and, it turns out, stalwart representative of the German prog scene. Too bad this band couldn't get the exposure and success to keep going: they are really good!
Line-up / Musicians:
- Michael Rößmann / electric & acoustic guitars, keyboards
- Wolfgang Vollmuth / bass, acoustic guitar, keyboards, vocals
- Stefan Rößmann / drums, keyboards, acoustic guitar & synth (5-9)
With:
- Wolfgang Braun / flute
- Erwin Hillebrand / organ
1. "Suntower" (5:18) a symphonic piece in the CAMEL tradition--except for the fact that the guitarist playing the incredible Spanish classical guitar from 3:45 to 4:45 seconds may be much more talented/skilled than Andy Latimer. (9/10)
2. "The flower" (7:31) (13.25/15):
- a) The appearance - intricate and delicate instrument play over which singer Wolfgang Vollmuth sings with a pleasant voice not unlike a higher-pitched Greg Lake. A bit of a Camel, Eloy, Novalis, and perhaps Focus feel. (4.25/5)
- b) Discovering the entrance in the shadow of a dying bloom - The heavier, more dynamic part of the song with sounds and riffs reminding me of some of prog's giants--even some of those from Italia. Nicely composed and rendered; these are some very skilled and cohesive musicians! (9/10)
3. "Venus" (7:03) Wow! Do they know how to capture the eery lonely feeling of space! The vocal performance is a little out of the pocket--even pitchy--and the band does not seem to be quite as tightly synchronized on this one. Meanders a bit until the final minute when it settles into a driving instrumental section similar to other German prog bands of the era. A little to disjointed and uncentered for my ears and brain. (13/15)
4. "The last requiem" (24:32) (46.75/50):
- a) Looking for refuge (12:00) opens with solid wall of complementary rock instruments presenting the first themes--with flute helping out on one of them. The opening three minutes feel like either the presentation of multiple themes to be developed later or else a succession of ideas patched together in order to be dynamic and eclectic. I count seven separate, different motifs! And it keeps on going--keeps on being added to! I hear a lot of Camel and Focus in these themes and instrument sound choices--with John Wetton-like vocals As a matter of fact, at times I think I'm listening to an interpretation of the "Hamburger Concerto." Interesting how often I hear the rhythm section fall into familiar patterns but then they're gone, moved on, with a couple of measures. (24/25)
- b) The prince - opens with a standard prog rock drum track with Andy Latimer-like lead guitar singing over the top. Then, suddenly, everybody switches: into air raid readiness mode. The ensuing high speed section is straight out of STEVE HACKETT's instrumental masterpiece, "Spectral Mornings." (Maybe he's the prince?!) After a couple brief recapitulations we move into a gentle, very melodic, almost AMERICA-like, acoustic guitar-based section over which the Latimer guitar picks up his beautiful wailing with a new melody. After a brief vocal section we move back into some more multi-speed instrumental passages. It's like we're driving an emergency vehicle through the cluttered city streets of a city that's under attack. (14/15)
- c) Armageddon (3:40) at 20:40 we move into the final section of the suite, a quiet, spacious, almost Ambient/electronic VANGELIS/SYNERGY-like soundscape which finally bursts into full flower after about a minute only to proceed into a continued electronic analog synthesizer exploration of some heavenly Bar-do we do not remember. Nice. (8.75/10)
The real positives about this album are the extraordinary quality of musicianship, quality of composition, and the high quality of sound engineering--all of which are notable for remaining true to the original examples set by the original "masters' of the "classic" era of prog in general--not falling into the trappings that many German prog bands did of succumbing to the pop pressures to simplify and uniform as well as to temper or dilute of the displays skills--not to mention the choice to buck the trend to adopt 1980s computerized technologies to take over some of the work.
91.11 on the Fishscales = A-/five stars; a minor masterpiece of "classic" analog progressive rock music--and this, in 1983! Definitely a must have for any self-proclaimed lover of progressive rock music!
91.11 on the Fishscales = A-/five stars; a minor masterpiece of "classic" analog progressive rock music--and this, in 1983! Definitely a must have for any self-proclaimed lover of progressive rock music!
After a series of more pop-oriented albums, the trio surprised me (and, I think, everyone) with this Phil Collins-influenced proggy album. Phil's solo career had produced mega-hits (including "In the Air Tonight") and two multi-platinum selling albums, so, why not?
Line-up / Musicians:
- Phil Collins / lead vocals, drums, percussion, trumpet (5)
- Mike Rutherford / guitars, bass, Linn LM1 drum machine (1), backing vocals
- Tony Banks / keyboards, backing vocals
1. "Mama" (7:25) (14.5/15)
2. "That's All" (4:23) (8.875/10)
3. "Home by the Sea" (4:52) (9/10)
4. "Second Home by the Sea" (6:20) (9.5/10)
5. "Illegal Alien" (5:13) (8.667/10)
6. "Taking It All Too Hard" (3:55) (8.75/10)
7. "Just a Job to Do" (4:45) (8.33/10)
8. "Silver Rainbow "(4:28) (9.25/10)
9. "It's Gonna Get Better" (6:25) (8.875/10)
Total Time 47:46
90.26 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music--a minor miracle for coming out in the mid-1980s!
3. JEAN-LUC PONTY Individual Choice
The beginning of the downward spiral that Jean-Luc had after peaking with that incredible run of albums from 1975 (post Mahavishnu Orchestra) through 1984.
Line-up / Musicians:
- Jean-Luc Ponty / Violin, organ (5), synthesizer, synth bass (3,5,6), rhythm programming (3), orchestrations & producer
With:
- Allan Holdsworth / guitar (5,7)
- George Duke / MiniMoog synthesizer (3)
- Randy "The Emperor" Jackson / bass (2,7)
- Ray Griffin / drums (2,7), percussion (6)
2. "Far From The Beaten Paths" (5:58) classic JLP electronic J-R-Funk Fusion. With that all-star lineup of support staff, who could expect otherwise? Gets a little muddy in parts--and other parts are extended a bit too long, but, overall, an excellent Ponty song. (8.875/10)
3. "In Spiritual Love" (7:00) Cool electro-funk smooth jazz groove over which pizzicato and other means solo. Nice melodies from the sustained violin notes as well as George Duke's MiniMoog play. The whole-band congealing choruses are my favorite parts. (13.25/15)
4. "Eulogy To Oscar Romero" (2:34) amazing, if brief, journey JLP takes us on with his reverb, echoes and delays. Respect! A top three song. (4.75/5)
Total Time 37:05
A very good album--with truly great performances from Ponty, Allan Holdsworth, George Duke, Randy Jackson, and Ray Griffin--but something is missing . . . something cohesive and human--this despite the very emotional tribute to Oscar Romero and the awesome synth-violin "duet" on "Computer Incantations for World Peace." Most of J-L's previous albums had a kind of warm, engaging continuity to them--and maybe a better feeling of whole-band gelling. Again, I loved this album when it came out and felt little or no connection to the next one, Open Mind. Maybe it was just me--as I was moving into different directions musically (though Pat Metheny was still at the center of my world . . . ) It took Rites of Strings for me to reengage with J-L (and Al Di and Stanley). No doubt that Ponty and company are all virtuosi of their instruments. And mysterious axeman Holdsworth has one of his better (i.e., more accessible and engaging) outings here. Check it out!
90.24 on the Fishscales = A-/4.5 stars; a near-masterpiece of 1980s Jazz-Rock Fusion (or such as it was in that decade) and excellent addition to any prog and Jazz-Rock Fusion lover's music collection.
90.24 on the Fishscales = A-/4.5 stars; a near-masterpiece of 1980s Jazz-Rock Fusion (or such as it was in that decade) and excellent addition to any prog and Jazz-Rock Fusion lover's music collection.
4.5 Star Near-Masterpieces
(Ratings 89.99 to 86.67)
4. KLAUS SCHULZE Trancefer
Some people beleive Prog Electronic music went terrible wrong (or downhill) in the 1980s--due to the influence and popularity of New Age music. Here is an album that proves an exception to the rule.
Line-up / Musicians:
- Klaus Schulze / performer (Yamaha CS-80, G.D.S. computer, ? ), producer
With:
- Wolfgang Tiepold / cello
- Michael Shrieve / percussion
1. "A Few Minutes After Trancefer" (18:20) (36.5/40)
2. Silent Running (18:57) (34/40)
Total Time: 37:17
88.125 on the Fishscales = B+/four stars; an excellent addition of 1980s Prog Electronic music to any prog lover's music collection.
5. ESKATON Fiction
After the near miraculous perfection of 1981's 4 Visions I had been quite hesitant to try this follow up release--this despite its high rating. My review below follows the song order as present on the 1983 release.
Line-up / Musicians:
- Paule Kleynnaert / vocals, synth
- Amara Tahir / vocals
- Gilles Rozenberg / guitar, organ, synth
- Marc Rozenberg / piano, synth, vocals
- André Bernardi / bass, guitar
- Amara Tahir / vocals
- Gilles Rozenberg / guitar, organ, synth
- Marc Rozenberg / piano, synth, vocals
- André Bernardi / bass, guitar
- Gérard Konig / drums
1. "Automute" (4:20) driving, simple rhythm with female vocals through which male vocalist Marc Rozenberg pierces through with straight singing as well as metal-boxed treated dictation. This music has many more influences from outside the Kobaïan world--King Crimson, techno pop, Talking Heads, even Canterbury. Interesting evolution! (8.75/10)
2. "Simplicius" (7:03) opens like a softly jazzed world music song--something Joe Zawinal, Freddy Hubbard, or Micky Hart might pull together. AS the synths and treated electric guitar jump in they create a great sound, but then they back off for a bouncy Fender Rhodes passage over which the two women try to scat a quite intricate melody line in unison. It's cool but doesn't always work. At 4:20 the two separate and launch into some pretty vocalise in two different octaves. The delay-echoed fuzz guitar follows with a nice solo--which is then followed by a nice display of rapid fire bass playing. The song base remains pretty simple and sparse as the instruments and voices take turns soloing each for about 20 seconds before handing off to the next. Still, a great, very engaging song. (13.5/15)
2. "Simplicius" (7:03) opens like a softly jazzed world music song--something Joe Zawinal, Freddy Hubbard, or Micky Hart might pull together. AS the synths and treated electric guitar jump in they create a great sound, but then they back off for a bouncy Fender Rhodes passage over which the two women try to scat a quite intricate melody line in unison. It's cool but doesn't always work. At 4:20 the two separate and launch into some pretty vocalise in two different octaves. The delay-echoed fuzz guitar follows with a nice solo--which is then followed by a nice display of rapid fire bass playing. The song base remains pretty simple and sparse as the instruments and voices take turns soloing each for about 20 seconds before handing off to the next. Still, a great, very engaging song. (13.5/15)
3. "Plus Et Moins" (3:40) opens with a funky beat and female vocal presentation quite similar to Belgian Canterbury artists COS. Even the accompanying second, lower harmonizing female voice sounds a lot like Pascale Son. Catchy song, interesting vocal, and funky sound make for an above average song but it never really does anything extraordinary to make it stand out or make it memorable. Nice drum, bass, and guitar work. (8.25/10)
4. "Parenthese" (2:10) opens with subdued Fender Rhodes before catching speed with bass in tow. The duet is augmented in the third section as the two work beautifully off of one another. (4.5/5)
5. "La Danse Des Feux" (4:03) Led by a Mike Oldfield-like fuzz guitar in the lead, Gilles has strong support from from the drums (as well as bass and keys). This one drives along through a couple of nice movements--mostly in which guitar and bass change leads while keys do a little fill'n'flash. In the fourth minute the Mike Oldfield guitar is even double tracked. (8.75/10)
6. "Le Cinema" (3:30) more Canterbury-like humor with male and female vocal recitations backed with some dated 70s techno-pop keyboard sounds and playing (think Devo or "Rock Lobster"). (9/10)
7. "La Mort De Tristan" (4:20) a soft, sensitive vocal presentation sounding like a respectful funereal event that is interspersed with some synthesizer flourishes and electric piano passages consistent with the theme of respect and honor. (9/10)
8. "Les Deux Trucs" (4:13) 1980s French rap? No, but almost! (8.5/10)
9. "F.X." (7:18) nice jazz fusion with some interesting bass and keyboard play but nothing really very special to make this one stand out. (12/15)
Total time 40:37
6. TANGERINE DREAM Hyperborea
As we get deeper into the 80s, there are some who believe TD's best is now behind them.
Line-up / Musicians:
- Edgar Froese / ?
- Christoph Franke / ?
- Johannes Schmoelling / ?
1. "No Mans Land" (9:08) quite a few similarities with the foundation of this song to Thief-era stuff. It's the lead instruments' sound choices over the top (sampled world music instruments) that raise some eyebrows. Never really satisfies or surprises. (17/20)
2. "Hyperborea" (8:31) drum machine with thick, Alan Parsons-like synth washes!? And then synth bass!? Could be a Simple Minds song! Nice melodic sense in the lead instruments over the first three minutes, but then the tempo starts to get to me: I just want a different gear! Edgar Froese's guitar is just to flanged out--more like washed out.
At the 4:30 mark there is a radical shift--as if an entirely different song is starting. Still slow, still surprisingly simple, synth saw gets the new lead. Cool drum effects introduced at 6:15 soon followed by bouncy synth string chord play. Me like. In the ninth minute all coherence gets a bit lost, muddled, until they finally decide to just fade it out and cut it. Weird. (17.25/20)
3. "Cinnamon Road" (3:54) cool synth rhythm track not unlike Robert Palmer's 1983 "Silver Gun" (only RP's song is much better). Weird pop chord sequence for the "chorus." Are TD attempting to go Top o' the Pops? Not sophisticated enough. (8/10)
4. "Sphinx Lightning" (20:01) (36.5/40)
Total Time: 41:34
87.50 on the Fishscales = B/four stars; an excellent addition of Prog Electronic music to any prog lover's music collection--especially because of the Side 2 epic, "Sphinx Lightning."
Not As Good As Advertized
YES 90125
Quite the sensation when it came out--even to me.
Line-up / Musicians:
- Jon Anderson / lead vocals
- Trevor Rabin / guitars, keyboards, vocals
- Tony Kaye / keyboards
- Chris Squire / bass, vocals
- Alan White / drums, percussion, Fairlight CMI, vocals
With:
- Dipak Khazanchi / sitar & tambura (3)
- Graham Preskett / violin (6)
- Trevor Horn / backing vocals, producer (excl. 2, 10-13)
- Jonathan Jeczalik / keyboard programming
- Dave Lawson / keyboard programming
- Steve Lipson / remix (10, 15)
- Trevor Rabin / guitars, keyboards, vocals
- Tony Kaye / keyboards
- Chris Squire / bass, vocals
- Alan White / drums, percussion, Fairlight CMI, vocals
With:
- Dipak Khazanchi / sitar & tambura (3)
- Graham Preskett / violin (6)
- Trevor Horn / backing vocals, producer (excl. 2, 10-13)
- Jonathan Jeczalik / keyboard programming
- Dave Lawson / keyboard programming
- Steve Lipson / remix (10, 15)
1. "Owner Of A Lonely Heart" (4:27) (9/10)
2. "Hold On" (5:15) (8.5/10)3. "It Can Happen" (5:39) (8.667/10)
4. "Changes" (6:16) (8.75/10)
5. "Cinema" (2:09) (4.5/5)
6. "Leave It" (4:10) (8.667/10)
7. "Our Song" (4:16) (8.25/10)
8. "City Of Love" (4:48) (8/10)
9. "Hearts" (7:34) (13.5/15)
Total Time: 44:34
An inconsistent yet innovative album with some real high points. Though it is not the Yes of old, there are some very good songs.
87.19 on the Fishscales = B/four stars; an interesting transitional album for Yes; something a prog lover may or may not like--you'll have to try it for yourself!
PABLO EL ENTERRADOR Pablo "El Enterrador"
This 1983 release from Argentinian band PABLO has a pop-GENESIS sound and feel to it--due primarily to the Tony Banks-like keyboard sounds and styles used by the two keyboard players. As a matter of fact, this album could very well be treated as a companion to the Brits' 1980 release, Duke. The album's weakness comes in its poor quality of sound.
Line-up / Musicians:
- Jorge Antun / Oberheim OBX synth, Hammond organ
- Marcelo Sali / drums
- Jose Maria Blanc / electric & acoustic guitar, bass, vocals
- Omar Lopez / Yamaha CP 70 electric piano, ARP pro synth, Minimoog synth
- Marcelo Sali / drums
- Jose Maria Blanc / electric & acoustic guitar, bass, vocals
- Omar Lopez / Yamaha CP 70 electric piano, ARP pro synth, Minimoog synth
2. "Elefantes de Papel" (5:06) opens with strumming electric guitar and cymbol play while José sings a plaintive tune. By the time the chorus comes, the rest of the band have joined in at full volume. How like Tony Banks is the sound and play of this Yamaha CP 70 electric piano! The lyrics sound as if they could be powerful but the song never really gets too complex or dramatic in support. (8/10)
3. "Quien Gira y Quien Sueña" (5:45) a sedate, fairly quiet ballad sung in a higher male register with masterful sensitivity and emotion. (9/10)
4. "Ilusion En Siete Octavos" (4:51) an instrumental with a rather straightforward rhtyhmic structure over which some truly wonderful soling occur from the guitars and keys. Nice way to end Side One. (8.5/10)
5. "Accionista" (3:17) opens Side Two with the theatricity and sounds of Duke. Too bad for that murky sound-- especially for the drums. The vocal here is more similar to those of BANCO DEL MUTUO SUCCORSO's frontman, Francesco di Giacomo but I don't like it so well as the previous song's approaches. (8/10)
6. "Dentro del Corral" (6:03) this song has trouble engaging me. From the opening strains the business of the instrumental layers feels too busy, more than is truly necessary. Plus, the murkiness of the sound is really getting to me on this one. The band is trying to be powerful and dynamic, I can tell the instrumental performances are strong, but the sound is . . . really bad! (7.5/10)
7. "Espiritu Esfumado" (3:53) more Duke-like sound and structure, this song would fit right in next to "Duchess" or "Duke's Travels." Nice work, great instrumental performances and cohesiveness. (Too bad about that sound!) (9/10)
8. "La Herencia de Pablo" (7:17) organ, synth, cymbol play, and MiniMoog bass open this one. Great intricacies and weaves of difficult multiple instrumental passages--including bandoneon! Very impressive and upbeat end to very nice album. (13.5/15)
Great songwriting in the Genesis/Tony Banks tradition with top notch performances from all musicians but THE SOUND is TERRIBLE! I find it quite difficult to separate this fact when rating these songs. Were they clear and crisp it might be a different listening experience.
84.71 on the Fishscales = B/four stars; an album of positive contributions to the musical lexicon of preogressive rock music whose engineering and production could have been better.
MARILLION Script for A Jester's Tear
The debut album release from the most recognized Neo Prog artist in the world. Released unto the British public on March 13 of 1983, the single "He Knows You Know" was released on the last day of January. Mark Wilkinson's distinctive artwork would grace all of the band's first eight albums.
I'll never forget the reverence with which my musical friend held this album in--it was as if the Second Coming (of PG-era GENESIS) had just happened!
Line-up / Musicians:
- Fish / vocals
- Steve Rothery / acoustic & electric guitars
- Mark Kelly / piano, harpsichord, Korg CX3 organ, synths (Mini-Moog, Roland Jupiter 8, PPG Wave, Sequential Pro One, Yamaha CS15)
- Pete Trewavas / Rickenbacker bass & Fender fretless bass
- Mick Pointer / drums, percussion
With:
- Pete James (Abbey Road) / sound effects
- Peter Cockburn / newscaster's voice (6)
- Steve Rothery / acoustic & electric guitars
- Mark Kelly / piano, harpsichord, Korg CX3 organ, synths (Mini-Moog, Roland Jupiter 8, PPG Wave, Sequential Pro One, Yamaha CS15)
- Pete Trewavas / Rickenbacker bass & Fender fretless bass
- Mick Pointer / drums, percussion
With:
- Pete James (Abbey Road) / sound effects
- Peter Cockburn / newscaster's voice (6)
- The Marquee Club parents association Children's Choir / backing vocals (6)
1. "Script For A Jester's Tear" (8:39) our initial introduction to "the new Genesis." The styling imitation is unmistakable but sound choices, engineering, and subtleties in Fish's voice make this not quite as close to the masters as one would try to have us believe. Still, an admirable construction and even higher praiseworthy performance from the lead singer. Organ and guitar are weak, drums and bass worthy. (17/20)
2. "He Knows You Know" (5:22) BABYLON-sounding electric guitar intro precedes sparse and simple foundation over which Fish's highly-theatric Peter-Gabriel-like voice tells his story. I find it hard to believe that this was well-received as a charting single in both the UK and USA. There must have been a lot of Old Genesis-starved consumers out there at the time. Gabe was never as demonstrative as Fish was. This must be where DISCIPLINE's Matthew Parmenter learned his chops. (8.75/10)
3. "The Web" (8:48) descending blues-rock chord progression (think the ending of Led Zeppelin's "Stairway to Heaven") supports opening vocal until things soften drastically in the second half of the opening minute for a more delicate story-telling section. This 100-second heavy-delicate pattern cycles through thrice before Steve Rothery is given the first instrumental solo at the four minute mark. He does show some nice chops despite his thin, mixed into the back sound. Nothing very new or exciting here. (Once again, I may be handicapped by my inability to hear/process lyrics.) There are definitely some issues with the isolation with which each track is beholden to; the music never seems to blend. (16/20)
4. "Garden Party" (7:15) sounds so much like one of GENESIS's earlier more staccato songs (think Nursery Cryme). Yes there are a few unique flourishes here and there, and, of course, a new libretto, but the song could otherwise have been stolen from the Trident Studio cutting room where Nursery Cryme was edited. Fish here displays his usual exceptional theatric story-telling acumen but shows flaws in his actual singing voice (pitch and sustain). (12.5/15)
5. "Chelsea Monday" (8:16) though the music opens sounding a little more New Wave-ish (Esp. treated drums) but the vocal and even lyric sound like they were nearly directly lifted from a Peter Gabriel Genesis performance. AT 2:10 things kick into full force with a classic blues-rock Neo Prog vengeance. Steve Rothery's guitar seers in a solo of over 90 seconds (though he cheats a bit with the addition of a second track to reinforce and harmonize some of his notes). A soft tinkling synth and picked guitar passage ensues as Fish sings. Sustained and wah-ed lead guitar notes accompany Fish's transition back into full force voice and then Rothery really begins to soar and seer despite Fish's persistent vocals and shouts of "Chelsea Monday." Pretty good song; great performance from Fish and Rothery. (17.5/20)
6. "Forgotten Sons" (8:21) surfing through televisions stations is superseded by another pseudo-New Wave passage until 0:50 when synth and staccato power chords signal a shift. The guitar solo that follows sounds as if Rothery is trying to mimic the guitar sound of Flock of Seagulls' PAUL REYNOLDS. An annoying metallic rhythm guitar remains persistent throughout, even when the music style and sounds shift in the third minute. At 4:10 there is a pause and then another shift as increasingly numerous voices read a kind of prayer or declaration of grievances and power. At 5:48 a door opens into a completely lush GENESIS soundscape over which Rothery and Fish perform with notable confidence and restraint. This final section is almost enough to salvage this otherwise forgettable son(g). Nice way to end an album--leaving the listener with a positive impression. (17/20)
Total time 46:41
To my ears, the sound production on this album was always too quiet, too compressed. With all of the subtleties that were occurring on multiple layers at any given time, I felt as if I'm always straining to hear the music. I believe that much of the power concealed in this music has been trapped within this constrained, closeted effect.
84.52 on the Fishscales = B/four stars; a nice addition to prog world but by no means the Second Coming.
IQ Tales from The Lush Attic
The debut album release from these Neo Prog stalwarts, their signature sound and style are still forming, the band still groping for evenness and consistency. Still, there are some very nice songs here--definitely nothing "poor" or too disappointing--and even an epic ("The Enemy Smacks") reaching the heights necessary to crack the halls of Prog Valhalla (it may be even better than some of the soggy epics they've released in the 21st Century!).
Line-up / Musicians:
- Peter Nicholls / vocals
- Mike Holmes / guitars (acoustic, electric & 12-string ?)
- Martin Orford / keyboards (Mellotron, synths ?)
- Tim Esau / bass
- Paul Cook / drums, percussion
- Mike Holmes / guitars (acoustic, electric & 12-string ?)
- Martin Orford / keyboards (Mellotron, synths ?)
- Tim Esau / bass
- Paul Cook / drums, percussion
1. "The Last Human Gateway" (19:57) (31/40)
2. "Through The Corridors" (2:35) a faster paced song driven by some serious ALEX LIFESON/STEVE HACKETT-like guitar. (4.5/5)
3. "Awake And Nervous" (7:45) opens sounding like an organ and Arp Christmas ditty before the band joins in with some intricately woven drum, bass and guitar work. It threatens to sink into an ABACAB abyss before switching directions into a bit of a blatant Gabriel-era GENESIS imitation. Nice drumming. Peter Nicholls as a Peter Gabriel imitator? Who knew? (12.75/15)
4. "My Baby Treats Me Right ´Cos I´m A Hard Lovin´ Man All Night Long" (1:45) electric piano solo by Martin Orford. Kind of classical. Trying to go super fast. (4/5)
5. "The Enemy Smacks" (13:49) a solid multi-movement epic more bombastic but perhaps more infused with YES than the Marillion stuff coming out near the same time. Martin Orford was really good! (27.5/30)
Total time: 45:51
83.95 on the Fishscales = B/four stars; a solid album and nice welcome to the prog world for this long steadfast contributor of high quality Neo Prog.
BACAMARTE Depois do Fim
This album puts on display some very skilled--virtuoso--musicians doing prog in a kind of jazz fusion-FOCUS way. The Brazilian roots are often discernible just below the melody lines--in the rhythms and a few instruments used in the background embellishments.
Line-up / Musicians:
Tracks 1 - 8:
- Jane Duboc / vocals (2, 4, 6, 8)
- Mário Neto / acoustic & electric guitars, producer & mixing
- Sergio Villarim / keyboards
- Marcus Moura / flutes, accordion
- Delto Simas / acoustic & electric basses
- Marco Veríssimo / drums
- Mr. Paul / percussion
- Jane Duboc / vocals (2, 4, 6, 8)
- Mário Neto / acoustic & electric guitars, producer & mixing
- Sergio Villarim / keyboards
- Marcus Moura / flutes, accordion
- Delto Simas / acoustic & electric basses
- Marco Veríssimo / drums
- Mr. Paul / percussion
1. UFO (6:26)
2. Smog Alado (4:11)
3. Miragem (4:54)
4. Pássaro De Luz (2:28)
5. Caño (1:59)
6. Último Entardecer (9:29)
7. Controvérsia (1:57)
8. Depois Do Fim (6:31)
Total Time: 37:52
The first song, according to the order that came with my download, is "Caño" (8/10). Two minutes long, it shows off the band's seemless cohesiveness. It sounds very CAMEL-like. 2. Smog Alado (4:11)
3. Miragem (4:54)
4. Pássaro De Luz (2:28)
5. Caño (1:59)
6. Último Entardecer (9:29)
7. Controvérsia (1:57)
8. Depois Do Fim (6:31)
Total Time: 37:52
The second song, "Controvérsia" (8/10) also all of two minutes long, puts on display the keyboard player's virtuosity.
The third song, the title song (8/10), has a kind of ELP-folk feel to it?amplified by the female vocals that arrive soon into the song. This is the first song that introduces us to DICK DALE-CARLOS SANTANA-JAN AKKERMAN-like guitarist extraordinaire Mario Neto.
"Miragem" (8/10) sounds as if it came right off the early FOCUS records, and is clearly another vehicle to show off the prowess of Mario Neto.
The brief "Pássaro de luz" (8/10) is another semi-classical folk-rock tune showing the prodigious skills of the acoustic guitarists (obviously classically trained and skilled).
"Smog alado" (7/10) is quite FOCUS-plays-Canterbury-like with flutes, bass and drums holding a jam groove. But then there is a shift in speed (into overdrive) before downshifting again to support the brief vocal work of Jane Duboc. (A nice voice. Somewhat reminiscent of CURVED AIR's SONJA KRISTINA?as is the style and production sound of this album.)
"UFO" (8/10) begins with a rather medieval/Renaissance sound before shifting full modern with drums, synths and electrified guitars in a kind of SERGIO LEONE Spaghetti Western style. Next male monk chants precede a section of classical guitar, "Classical Gas" sound, and clay flutes bring us back to the Sergio Leone movie soundtrack feel.
"Último entardecer" (8/10) brings us to the dusty streets of the old West, waiting in front of the saloon for the bad guy to emerge for the final gunfight of the late afternoon. Love the background guitar strum groove over which Jane and Mario sing and shred, respectively. A beautiful classical dramatic section around the six minute mark is ended with a kind of lounge diva outro section in which Jane's voice is treated for, I believe, the first time?to great effect. (They could use more effects to enrich their sound, IMHO.)
An album of sophisticated compositions performed by some unarguably skilled musicians. My complaint with this album: Mario Neto's electric guitar sound is kind of 'old school/archaic' (hence the Dick Dale reference). I wish he'd have chosen a different sound with which to convey his bursts of light speed. Or maybe it's just that I don't really enjoy his 'one speed only' shredding.
78.75 on the Fishscales = C/3 stars. Excellent addition to any prog lover's music collection, but, I'm sorry, I do not believe that this is a five star essential masterpiece.
Other Highly Recommended Prog Albums
(Albums recommended by fellow prog lovers)
ART ZOYD Les éspaces inquiets
Line-up / Musicians:
- Theirry Zaboitzeff / vocals, bass, cello, guitars, synth, tapes
- Patricia Dallio / Steinway piano, Yamaha electric piano
- Gérard Hourbette / viola, violin, synth, percussion
- Didier Pietton / alto & tenor saxes, percussion
- Jean-Pierre Soarez / trumpet, flugelhorn, percussion
1. Légendes: La Forêt Qui Avance (3:48)
2. Cérémonie (9:08)
- Images D'Une Ville-Poussière:
3. Errance (4:47)
4. Cortège Des Officiels (4:29)
5. Au-Delà Des Vallées (4:08)
-
6. Migrations (13:08)
7. Légendes: Le Bruit Du Fer (3:04)
Total Time: 42:32
Great Albums on the Fringe of Prog World
THE FIXX Reach The Beach
The best album from a consistently top notch band who happen to possess one of the most innovative and distinctive guitar players of pop/prog history in Jamie Orem-West.
1. "One Thing Leads to Another" (3:18) (9/10)
2. "The Sign of Fire" (3:51) (8.75/10)
3. "Running" (4:26) (8.75/10)
4. "Saved by Zero" (3:41) (9.25/10)
5. "Opinions" (4:49) (9.5/10)
6. "Reach the Beach" (4:00) (10/10)
7. "Changing" (3:25) (9/10)
8. "Liner" (3:39) (9/10)
9. "Privilege" (4:16) (8.75/10)
10. "Outside" (5:25) (10/10)
92.0 on the Fishscales = A-/an innovative five star album. In its day, this was my third favorite album of the year.
TEARS FOR FEARS The Hurting
The stunning debut from Bath's dynamic duo.
1. "The Hurting" (4:17) (8.75/10)
2. "Mad World" (3:46) (9.5/10)
3. "Pale Shelter" (4:24) (9.75/10)
4. "Ideas as Opiates" (3:24) (9/10)
5. "Memories Fade" (5:05) (9/10)
6. "Suffer the Children" (3:52) (8.75/10)
7. "Watch Me Bleed" (4:19) (8.75/10)
8. "Change" (4:14) (8.75/10)
9. The Prisoner" (2:55) (8.75/10)
10. "Start of the Breakdown" (5:01) (10/10)
An innovative, five star album. In the running for Album of the Year--back in 1983 this was my favorite album--though Kate Bush's The Dreaming and The Fixx's Reach the Beach were right on its heels.
91.0 on the Fishscales = A-/five stars; a minor masterpiece of progressive techno pop music.
BRUCE COCKBURN The Trouble with Normal
How is this guy unknown to the world? One of the best singer-songwriters and guitarists I've ever encountered over the course of my lifetime.
1. "The Trouble with Normal" (3:35) (8.75/10)
2. "Candy Man's Gone" (4:00) (9/10)
3. "Hoop Dancer" (7:48) the song that hooked me into Bruce-land. (14.25/15)
4. "Waiting for the Moon" (4:22) (9.5/10)
5. "Tropic Moon" (4:38) (8.5/10)
6. "Going Up Against Chaos" (5:31) (8.75/10)
7. "Put Our Hearts Together" (4:25) (8.5/10)
8. "Civilization and Its Discontents" (4:16) (8.5/10)
9. "Planet of the Clowns (3:47) (8.5/10)
88.68 0n the Fishscales = B/four stars; a solid prog album from one heckuva singer-songwriter (and guitarist!).
XTC Mummer
After being exposed to the unusual and refreshing sound of XTC in the fall of 1980 as a resident of the UK I collected every one of their album releases for the decade. One of the most progressive bands of the 1980s.
1. "Beating of Hearts" (4:01) (8.75/10)
2. "Wonderland" (4:43) (9.5/10)
3. "Love on a Farmboy's Wages" (3:58) (9/10)
4. "Great Fire" (3:47) (9/10)
5. "Deliver Us from the Elements" (4:34) (9/10)
6. "Human Alchemy" (5:11) (8.75/10)
7. "Ladybird" (4:32) (9/10)
8. "In Loving Memory of the Wind" (3:16) (8.75/10)
9. "Me and the Wind" (4:16) (8.5/10)
10. "Funk Pop N Roll" (3:01) (8/10)
An innovative five star album. Ranks as my second favorite XTC album of all-time.
87.75 on the Fishscales = B/four stars;
PINK FLOYD The Final Cut
Band founder Roger Waters' swan song before leaving to start his solo career. Many feel that this album was really Roger's first solo album as it was so personal and so driven by his controlling leadership.
Line-up / Musicians:
- David Gilmour / guitars, vocals (11)
- Roger Waters / bass, acoustic guitars (?), vocals, co-producer
- Nick Mason / drums, Fx (Holophonics, track 7)
With:
- Michael Kamen / piano, harmonium, orchestrations & conductor, co-producer
- Andy Bown / Hammond organ
- Raphael Ravenscroft / tenor sax
- Andy Newmark / drums (12)
- Ray Cooper / percussion
- National Philharmonic Orchestra
- Roger Waters / bass, acoustic guitars (?), vocals, co-producer
- Nick Mason / drums, Fx (Holophonics, track 7)
With:
- Michael Kamen / piano, harmonium, orchestrations & conductor, co-producer
- Andy Bown / Hammond organ
- Raphael Ravenscroft / tenor sax
- Andy Newmark / drums (12)
- Ray Cooper / percussion
- National Philharmonic Orchestra
1. The Post War Dream (3:00)
2. Your Possible Pasts (4:21)
3. One Of The Few (1:26)
4. The Hero's Return (2:58)
5. The Gunners Dream (5:04)
6. Paranoid Eyes (3:49)
7. Get Your Filthy Hands Off My Desert (1:19)
8. The Fletcher Memorial Home (4:10)
9. Southampton Dock (2:05)
10. The Final Cut (4:53)
11. Not Now John (5:03)
12. Two Suns In The Sunset (5:17)
A solid, if disjointed, 4.5 star album.
STEVIE RAY VAUGHAN Texas Flood
Stevie & Co's debut on which he turns the rock guitar album on its head. Notice: there is a new God here and his name is Stevie Ray. Four to 4.5 stars
DEF LEPPARD Pyromania
The huge metal hit from this hair band offers a prog-leaning sound palette.
3.5 to four star album with some progressive tendencies.
THE POLICE Synchronicity
The world's most popular band came back for one more album before the three decided to go their separate ways.
1. "Synchronicity" (3:23) (9/10)
2. "Walking in Your Footsteps" (3:35) (/10)
3. "O My God" (4:00) (/10)
4. "Mother" (3:03) (/10)
5. "Miss Gradenko" (2:00) (/5)
6. "Synchronicity II" (5:04) (9.5/10)
7. "Every Breath You Take" (4:13) (/10)
8. "King of Pain" (4:59) (9/10)
9. "Wrapped Around Your Finger" (5:12) (10/10)
10. "Tea in the Sahara" (4:11) (8.75/10)
A solid four star album. Not quite as good--nor as proggy--as its predecessor, Ghosts in the Machine, this is still a very good prog-leaning album.
MARK ISHAM Vapor Drawings
The William Ackerman's Windham Hill label championed this young artist through a wonderful period of his life and development.
1. "Many Chinas" (4:05) (9/10)
2. "Sympathy and Acknowledgement" (8:17)
3. "On the Threshold of Liberty" (7:27)
4. "When Things Dream" (2:43)
5. "Raffles in Rio" (4:38)
6. "Something Nice for My Dog" (2:49)
7. "Men Before the Mirror" (6:07)
8. "Mr. Moto's Penguins (Who'd Be an Eskimo's Wife?)"
9. "In the Blue Distance" (4:06)
A very pleasant, often fresh and innovative instrumental album. Mark's immediate future is quite natrually headed into the world soundtrack music (Never Cry Wolf, Mrs. Soffel, Les Modernes) but who would ever have expected him to be teaming up with experimental guitarist David Torn and then tour with Torn and David Sylvian?
RE-FLEX The Politics of Dancing
Sucked in by the wonderful sound of the title song's big hit single, I was ecstatic to discover other worthy songs on the album--especially "Jungle"--perhaps my favorite song of the year!
Line-up / Musicians:
Baxter — guitar, lead vocals
Paul Fishman — electronic keyboards, backing vocals, computers
Roland Vaughan Kerridge — electronic and acoustic drums; percussion, programming, backing vocals
Nigel Ross-Scott — bass, backing vocals
1. "Praying to the Beat" (3:39)
2. "Hitline" (3:39)
3. "Hurt" (5:08)
4. "Couldn't Stand a Day" (4:10)
5. "The Politics of Dancing" (6:36) (9.5/10)
6. "Something About You" (3:39)
7. "Pointless" (3:50)
8. "Jungle" (5:25) (10/10)
9. "Sensitive" (3:28)
10. "Keep in Touch" (5:57)
Total length: 45:31
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