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 1986:
1. ANITA BAKER Rapture
2. RYUICHI SAKAMOTO Illustrated Musical Encyclopedia
2. RYUICHI SAKAMOTO Illustrated Musical Encyclopedia
3. DAVID SYLVIAN Gone to Earth
4. THE MOON AND THE MELODIES The Moon and the Melodies
5. COCTEAU TWINS Victorialand6. ROSIE VELA Zazu
7. JULIAN BREAM, JOHN ELIOT GARDINER and THE MONTIVERDI ORCHESTRA Rodrigo's Concerto de Aranjuez
8. EVERYTHING BUT THE GIRL Baby, The Stars Shine Bright
9. ASTOR PIAZZOLLA Tango: Zero Hour
10. XTC Skylarking
10. XTC Skylarking
11. PETER GABRIEL So
12. PET SHOP BOYS Please
13. THE BEASTIE BOYS Licensed to Ill
14. TALK TALK The Colour of Spring
15. CLAN OF XYMOX Medusa
16. CLAIRE HAMMILL Voices
17. IT'S IMMATERIAL Life's Hard and Then You Die
18. JANET JACKSON Control
19. CAMEO Word Up!
14. TALK TALK The Colour of Spring
15. CLAN OF XYMOX Medusa
16. CLAIRE HAMMILL Voices
17. IT'S IMMATERIAL Life's Hard and Then You Die
18. JANET JACKSON Control
19. CAMEO Word Up!
20. CROWDED HOUSE Crowded House
21. THE HOUSEMARTINS London 0 Hull 4
22. THIS MORTAL COIL Filigree and Shadow
23. HERBERT VON KARAJAN / BERLIN PHILHARMONIC ORCHESTRA Beethoven: Symphony NO. 9 "Choral"
24. CHRIS REA On The Beach
25. HERBIE HANCOCK & Others 'Round Midnight Movie Soundtrack
26. UNIVERS ZERO Heatwave
27. AIN SOPH Hat and Field
23. HERBERT VON KARAJAN / BERLIN PHILHARMONIC ORCHESTRA Beethoven: Symphony NO. 9 "Choral"
24. CHRIS REA On The Beach
25. HERBIE HANCOCK & Others 'Round Midnight Movie Soundtrack
26. UNIVERS ZERO Heatwave
27. AIN SOPH Hat and Field
28. NEWS FROM BABEL Letters from Home
29. THE LOVER SPEAKS The Lover Speaks
30. WHAM! Music from the Edge of Heaven
Honorable Mentions:
CAMBERWELL NOW The Ghost Trade
SHUB_NIGGURATH Les Morts Vont Vite
THE BLOW MONKEYS Animal Magic
ROBERT CRAY Strong Persuader
Five Star Prog Masterpieces
(Ratings of 100 to 93.34)
1. RYUICHI SAKAMOTO Illustrated Musical Encyclopedia
Originally released in Japan and Germany in 1984 as 坂本龍一 (Ongaku Zukan), this album came available in the United States in 1986 under this title. To this day, it remains one of the most inventive and refreshing albums in my music collection. Ryuichi is a master of all trades, all styles, and nowhere is it so apparent as on the masterful mélanges that permeate these grooves. A wonderful study--contemporaneous to the work that Thomas Dolby was doing (Aliens Ate My Buick).
1. "Field Work" (4:05) avec Thomas Dolby. Unforgettable. (10/10)
2. "Etude" (5:15) almost Steely Dan! (8.75/10)
3. "Paradise Lost" (5:24) great groove with several hook-melodies. I especially love the spacious "park" like interludes that serve as the B part or chorus. (10/10)
4. "M.A.Y. in the Backyard" (5:38) almost minimalist or Gamelan with awesome ART OF NOISE-like editing! Amazing! (9.25/10)
5. "Steppin' into Asia" (5:19) One of my favorite songs from the 1980s bar none! I LOVE the sexy Japanese vocals, the incidental electronic percussives, and then the deep thrum of the chorus sections. (10/10)
6. "Tibetan Dance" (5:02) (8.75/10)
7. "Zen-Gun" (4:32) quite obtuse and angular--much like a lot of David Sylvian's experimentation on this own album of 1986, Gone to Earth--except with a very Asian flavor. (8.75/10)
8. "In a Forest of Feathers" (5:40) another absolutely brilliant and haunting earworms with Ryuichi's heavily-treated voice masking his heavily-accented and quite unique voice. (10/10)
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
2. THE MOON AND THE MELODIES The Moon and the Melodies
The Cocteau Twins (guitarist Robin Guthrie, vocalist Elizabeth Frazier, and bassist Simon Raymonde) collaborating with renowned ambient pianist, Harold Budd. An aspect of this union would be re-born in the 2000s as Robin Guthrie (post-Cocteau Twins and post-Violet Indiana) would collaborate with Harold on six albums over the space of ten years.
1. "Sea, Swallow Me" (3:09) beautiful Treasure-like song with Elizabeth performing her vocal acrobatics to mesmerizing stupefaction. (9.5/10)
2. "Memory Gongs" (7:28) Robin takes a back seat, provides the cushy fabric, over which Harold's heavily treated electric piano plays. (12.75/15)
3. "Why Do You Love Me?" (4:52) a Harold Budd-Robin Guthrie duet, electric piano and infinity guitar. Amazingly pacifying. (9.75/10)
4. "Eyes Are Mosaics" (4:10) spacious electric piano chords are soon joined by a full-on Cocteau Twins song--albeit, in a lighter, more spacious form (which puts no limitations or restraints on Elizabeth--as evidenced by her multiple vocal tracks, sometimes working their amazing magic all at once.) Portends of things to come (i.e. 1988's Blue Bell Knoll). (9/10)
5. "She Will Destroy You" (4:18) another CT piece of perfection left over from their 84-86 run of stellar recordings, Treasure, Echoes in a Shallow Bay, Tiny Dynamine, Aikea-Guinea, and Victorialand. Excellent use of saxophone at the end. (10/10)
6. "The Ghost Has No Name" (7:36) Harold Budd low key piano (quite similar to the gentle, lower octave play of Plateuax of Mirror's "Fading Light") with heavily reverbed saxophone, bass, and electric guitar gently adding to the ambient instrumental palette. Beautiful and relaxing. (13.25/15)
7. "Bloody and Blunt" (2:13) what sounds like a gorgeous little ambient lullaby is highlighted by the surprise fade in of CT "drums" at the very end. (5/5)
8. "Ooze Out and Away, Onehow" (3:39) very ethereal floating guitar echo-notes are accompanied by Elizabeth's sultry whispers for the ambient yet-tension laden first two minutes but then at 2:33 the drums, bass, and electric piano kick in and we end with a very powerful, very Elizabethan multi-voiced masterpiece. (10/10)
I know that most prog lovers like the Cocteau Twins but do not consider them to be truly among the "progressive rock" fold. I do include them--especially since the experimental and "progressive" sound and studio experiments that Robin Guthrie was doing created such huge ripples in the music world. I would argue that both the prog, ambient, Goth, trip hop, and, of course, Shoegaze movements would have all failed to gain the momentum they did without the 1984 to 1987 output of this band and its members (and the 4 A.D./Beggars Banquet labels). Also, I'd like to add props to DIF JUZ saxophonist Richard Thomas to some invaluable touches to several of the songs.
93.23 on the Fishscales = A/five stars; a masterpiece of unique and innovative sound collaboration and an essential contribution to the progress and catalogue of progressive rock music.
3. UNIVERS ZERO Heatwave
The band has expanded and stuck with the electronic inputs and the results are as stunning as ever. This may be their most accessible album ever.
Line-up / Musicians:
- Michel Delory / guitar
- Andy Kirk / piano, synthesizer, vocals
- Jean-Luc Plouvier / piano, synthesizer, vocals
- Dirk Descheemaeker / clarinet, bass clarinet, soprano sax
- Patrick Hanappier / violin, viola
- Christian Genet / bass, nailskake (?)
- Daniel Denis / drums, percussion, vocals
With:
- Chantal Smets / vocals (2)
- Andy Kirk / piano, synthesizer, vocals
- Jean-Luc Plouvier / piano, synthesizer, vocals
- Dirk Descheemaeker / clarinet, bass clarinet, soprano sax
- Patrick Hanappier / violin, viola
- Christian Genet / bass, nailskake (?)
- Daniel Denis / drums, percussion, vocals
With:
- Chantal Smets / vocals (2)
1. "Heatwave" (8:34) brilliant and accessible (do I detect some melody?), this one is fairly straightforward and surprisingly spacious (though the subtleties are present--deceptively so). The electric guitar gives it a little more MAGMA-like edge. As usual, great sound engineering capturing and organizing the sounds of this weave and there's even a section in sixth minute that would probably make Sir Robert of Fripp envious. (18.5/20)
2. "Chinavox" (4:49) evoking the sounds and melodies of its namesake from the opening note, there is, however, a pacing that is fully European (industrial). In the third minute it becomes more Euro-carnivale. Unfortunately, the title and opening set the band up for a quite challenging task--which I feel they came up short on. (8.75/10)
3. "Bruit Dans Les Murs" (8:25) (/20)
4. "The Funeral Plain" (20:24) opens with great chord held for over two minutes before eerie KARDA ESTRA-like piano chords support synths and woodwinds carrying a chromatic melody. Tensions build until at 4:44 there is a dramatic entrance of drums and deep bass thrombosis. Towards the end of the sixth minute, the rhythmic pulse becomes a back-and-forth affair between the piano's two chords. intensity and speed begin to move forward in the seventh and eighth minutes before a kind of door is entered in which everybody is allowed to spill out and create a broad weave instead of the concise, controlled one. But just as soon as this happens an explosion of percussion instruments leads into a very industrial-sounding rhythm pattern until the nine minute mark when other winds and viola join in and add their own little diversionary melody. The winds, strings, and percussives take turns moving up and down in the octaval spectrum as the insistent funereal march continues to push them on. Voice and searing electric guitar take the fore in the thirteenth minute before the guitar starts going Belew in the fourteenth. Winds and synths take their turns at this, too, until the guitar takes over as a more "normal" guitar in the fifteenth. "Normal" starts to tip into the Frippian crazy/barely-in-control and continues doing so for over a minute of soloing before turning to discordant cord "progressions" in the seventeenth minute. Most of the band then gels back into a hypnotizing unit for the final minutes but then goes crazy, running each their own way in the finale. Wow! I love this! (38/40)
Total Time: 42:12
2. "Chinavox" (4:49) evoking the sounds and melodies of its namesake from the opening note, there is, however, a pacing that is fully European (industrial). In the third minute it becomes more Euro-carnivale. Unfortunately, the title and opening set the band up for a quite challenging task--which I feel they came up short on. (8.75/10)
3. "Bruit Dans Les Murs" (8:25) (/20)
4. "The Funeral Plain" (20:24) opens with great chord held for over two minutes before eerie KARDA ESTRA-like piano chords support synths and woodwinds carrying a chromatic melody. Tensions build until at 4:44 there is a dramatic entrance of drums and deep bass thrombosis. Towards the end of the sixth minute, the rhythmic pulse becomes a back-and-forth affair between the piano's two chords. intensity and speed begin to move forward in the seventh and eighth minutes before a kind of door is entered in which everybody is allowed to spill out and create a broad weave instead of the concise, controlled one. But just as soon as this happens an explosion of percussion instruments leads into a very industrial-sounding rhythm pattern until the nine minute mark when other winds and viola join in and add their own little diversionary melody. The winds, strings, and percussives take turns moving up and down in the octaval spectrum as the insistent funereal march continues to push them on. Voice and searing electric guitar take the fore in the thirteenth minute before the guitar starts going Belew in the fourteenth. Winds and synths take their turns at this, too, until the guitar takes over as a more "normal" guitar in the fifteenth. "Normal" starts to tip into the Frippian crazy/barely-in-control and continues doing so for over a minute of soloing before turning to discordant cord "progressions" in the seventeenth minute. Most of the band then gels back into a hypnotizing unit for the final minutes but then goes crazy, running each their own way in the finale. Wow! I love this! (38/40)
Total Time: 42:12
92.86 on the Fishscales = A-/five stars; another masterpiece of envelope-pushing progressive chamber rock. Five masterpiece albums in a row! How many bands can make that claim?!
4. DAVID SYLVIAN Gone to Earth
The peak of the Sylvian-Fripp collaboration, a double album filled with melodic gems as well as abrasive avant garde experiments like 3. "Before the Bullfight," 6. "River Man" and the title song, 4. Some of David's greatest vocal and songwriting exploits were realised on this album. Plus, you will be privileged to hear three of the greatest Robert Fripp guitar songs he ever recorded. AND the sometimes hidden or under the radar presence of the great Bill NELSON. The tour that followed this album included a lot of improvisation due to the amazing stage presence of trumpeter/synth genius Mark ISHAM and experimental guitarist David TORN--as well as Sylvian and his brother, drummer Steve Janzen. While I liked much of the first album, it was the more ambient second disc that I played to death.
Favorite songs: 1/5. "Wave" (9:11) (19/20); 2/10. "Upon This Earth" (6:30) with the most heart-wrenching Robert FRIPP solo ever! (10/10); 2/2. "Answered Prayers" (3:10) (10/10); 1/1. "Taking the Veil" (4:40) (10/10); 2/6. "Campfire: Coyote Country" (3:46) (10/10); 2/1. "The Healing Place" (5:34) (9/10); 1/6. "River Man" (4:54) (9/10); 2/5. "Silver Moon Over Sleeping Steeples" (2:22) (4.5/5); 2/3. "Where the Railroad Meets the Sea" (2:52) (4/5); 1/7. "Silver Moon" (6:19) (8/10), and; 2/8. "Home" (4:33) (8/10).
Line-up / Musicians:
- David Sylvian / vocals, keyboards, guitar, electronics (1), Fx (2), co-producer
With:
- Robert Fripp / guitar (1, 4-7, 13, 17-20), electronics (4-7)
- Bill Nelson / electric (3, 5, 7, 8, 16) & acoustic (3, 9) guitars
- Phil Palmer / acoustic guitar (1)
- B.J. Cole / pedal steel guitar (7, 12)
- John Taylor / piano (2)
- Steve Nye / piano (10), co-producer, mixing
- Kenny Wheeler / flugelhorn (2, 3)
- Harry Beckett / flugelhorn (5)
- Mel Collins / soprano saxophone (6, 7, 18)
- Ian Maidman / bass
- Steve Jansen / percussion, drums, sampled bass (6, 18)
With:
- Robert Fripp / guitar (1, 4-7, 13, 17-20), electronics (4-7)
- Bill Nelson / electric (3, 5, 7, 8, 16) & acoustic (3, 9) guitars
- Phil Palmer / acoustic guitar (1)
- B.J. Cole / pedal steel guitar (7, 12)
- John Taylor / piano (2)
- Steve Nye / piano (10), co-producer, mixing
- Kenny Wheeler / flugelhorn (2, 3)
- Harry Beckett / flugelhorn (5)
- Mel Collins / soprano saxophone (6, 7, 18)
- Ian Maidman / bass
- Steve Jansen / percussion, drums, sampled bass (6, 18)
- Richard Barbieri / Fx (3, 5)
1. "Taking The Veil" (4:39) (9.5/10)
2. "Laughter & Forgetting" (2:40) (8.75/10)
3. "Before The Bullfight" (9:45) (17.5/20)
4. "Gone To Earth" (3:02) (8.25/10)
5. "Wave" (9:11) (20/20)
6. "River Man" (4:54) (9/10)
7. "Silver Moon" (6:08) (8.5/10)
8. "The Healing Place" (5:35) (9/10)
9. "Answered Prayers" (3:11) (10/10)
10. "Where The Railroad Meets The Sea" (2:53) (8.75/10)
11. "The Wooden Cross" (5:01) (8.75/10)
12. "Silver Moon Over Sleeping Steeples" (3:00) (9.5/10)
13. "Camp Fire : Coyote Country" (3:41) (9.5/10)
14. "A Bird Of Prey Vanishes Into A Bright Blue Cloudless Sky" (3:00) (8.25/10)
15. "Home" (4:31) (8.75/10)
16. "Sunlight Seen Through Towering Trees" (3:00) (8.5/10)
17. Upon This Earth (6:24) (10/10)
Total time 80:35
91.32 on the Fishscales = A-/five stars; a minor masterpiece of very adventurous, boundary-pushing progressive rock music. This is for me one of the most important albums of the 1980s and one of the few true masterpieces of true progressive rock during that decade.2. "Laughter & Forgetting" (2:40) (8.75/10)
3. "Before The Bullfight" (9:45) (17.5/20)
4. "Gone To Earth" (3:02) (8.25/10)
5. "Wave" (9:11) (20/20)
6. "River Man" (4:54) (9/10)
7. "Silver Moon" (6:08) (8.5/10)
8. "The Healing Place" (5:35) (9/10)
9. "Answered Prayers" (3:11) (10/10)
10. "Where The Railroad Meets The Sea" (2:53) (8.75/10)
11. "The Wooden Cross" (5:01) (8.75/10)
12. "Silver Moon Over Sleeping Steeples" (3:00) (9.5/10)
13. "Camp Fire : Coyote Country" (3:41) (9.5/10)
14. "A Bird Of Prey Vanishes Into A Bright Blue Cloudless Sky" (3:00) (8.25/10)
15. "Home" (4:31) (8.75/10)
16. "Sunlight Seen Through Towering Trees" (3:00) (8.5/10)
17. Upon This Earth (6:24) (10/10)
Total time 80:35
- Peter Gabriel / lead & backing vocals, piano (1-6, 8, 12), Prophet (1-8), Fairlight CMI (1-9), Yamaha CS80 (6), Synclavier (9), Linn drum machine (3, 7, 9), percussion (4), horns arrangements, co-producer
With:
- Kate Bush / vocals (3)
- Youssou N'Dour / vocals (5)
- Ronnie Bright / bass vocals (5)
- Laurie Anderson / vocals (9)
- P.P. Arnold / backing vocals (2, 7)
- Coral Gordon / backing vocals (2, 7)
- Dee Lewis / backing vocals (2, 7)
- Michael Been / backing vocals (5)
- Jim Kerr / backing vocals (5)
- David Rhodes / guitar (1-5, 7, 8), backing vocals (1, 5)
- Daniel Lanois / guitar (1, 2, 4), "surf" guitar (7), 12-string guitar (9), tambourine (2), horns arrangements, co-producer
- Nile Rodgers / guitar (9)
- Richard Tee / piano (3, 5-7)
- Simon Clark / Yamaha CS80 (3), CMI & Hammond & bass (7)
- Mark Rivera / processed (6), alto, tenor & baritone saxophones (2, 7)
- Wayne Jackson / trumpet (2, 7), cornet (7), horns arrangements
- Don Mikkelsen / trombone (2, 7)
- Lakshmi Shankar / violin (4, 8)
- Tony Levin / bass (1-5), drumstick bass (7)
- Larry Klein / bass (5, 6)
- Bill Laswell / bass (9)
- Jerry Marotta / drums (1, 5, 8), drumstick bass (7)
- Manu Katché / drums (2-5), percussion (3-5), talking drum (5, 9)
- Stewart Copeland / Hi-hat (1), drums (7)
- Djalma Correa / surdo, congas & triangle (6)
- Chris Hughes / Linn drum programming (1)
- Jimmy Bralower / Linn drum programming (7)
1. "Red Rain" (5:39) (8.667/10)
2. "Sledgehammer" (5:16) one great pop tune. It deserved to be #1--and still does (despite the borrowed horn motif--from Stevie Wonder's "Superstition", of course). (9.25/10)
3. "Don't Give Up" (6:33) Even the presence and participation of the great Kate Bush can't make this more than a soppy ballad. (8.667/10)
4. "That Voice Again" (4:53) set up as a pop-schlock, the rhythm section render this on a par with some of Pete's best: it's the vocal and lead melodies that weigh it down. Still, incredible work Tony and Manu. (8.75/10)
5. "In Your Eyes" (5:30) A great concert song; heck, it's a great crowd-pleaser wherever you are when you hear it. (9.5/10)
6. "Mercy Street (for Anne Sexton)" (6:21) a quiet understated masterpiece. (9/10)
7. "Big Time (Success)" (4:29) too much pop and bombast. (8.667/10)
8. "We Do What We're Told (Milgram's 37)" (3:22) an experimental construct of odd sounds that is oddly befitting the subject matter--and what a great subject matter it is! Genius. (10/10)
Total Time 46:21
Many now iconic songs that have imbedded themselves deep in the Western collective unconscious (psyche), but to me this is more of a pop album than progressive rock music. One cannot simply deny the genius of Tony Levin, Manu Katché, and Peter Gabriel.
90.625 on the Fishscales = A-/five stars; a minor masterpiece of crossover prog rock. Though it pains me to say it (because I really don't like the fact that the pop music world adopted and swallowed a prog icon of mine), at this point in his career, PG was still on a "progressive" track as a leader/innovator in the music world.
6. SHUB-NIGGURATH -- Les morts vont vite
This music has both haunted and impressed from my very listen--so much so that I have resisted writing a review for over eight years--partly out of fear, partly out of respect, partly out of feelings of inadequacy and inferiority. With this, my 1111th review, and the end of my participation as a reviewer here at ProgArchives, I am seeking to put the finishing touches on what ends up being a ten-year excursion into the introspective world of music evaluation. I have chosen to stop at the number 1111 because the repetition of the number one has been significant to me and my wife as representative of the oneness that our re-union reflects for ourselves and for all things in the Cosmos.
With Les morts vont vite Shub_Niggurath has provided me with a message of the discord, chaos, and menace that humankind is capable of ---but more, this music is starkly beautiful for exactly the reason of the projection of "evil" or "menace" or perhaps "toil" and "hopelessness" that the band seems intent upon suggesting. That Earth has been plagued by this particular adaptation of the "human" experiment is without question or doubt; that we have been a plague to one another is debatable but less certain. Humans have been very creative at devising all kinds of methods of celebrating their individual perspectives, beliefs, and values. The manifestations of expression that many of us call "evil" are just one end of the spectrum of creative potential (which, I would argue, is a circle, perhaps even a moebius strip, as all actions, events, and circumstances can be devised as having opposing effects and consequences). The music recorded herein--and released for public display, consumption, and reaction--affects me with the conjuring of sadness--the kind of visceral imagery and emotions representative of the toil of human subjugation and enslavement. The drudgery of the bass and plodding pacing, the dissonance of the chords evoked from the piano and vocalist, the terrified screams (or is it sadistic laughter?) of the electric guitar shredding (literally, shredding), all evoke within me the most cynical concepts and feelings as relatable to the hopelessness incurred and endured by the individual under conditions of abject slavery. Hell.
"The dead are going fast" says the title of the album. "Insipid tragedy" says the title of the opening song.
Line-up / Musicians:
- Ann Stewart / vocals
- Franck W. Fromy / guitar, electric percussion
- Jean-Luc Hervé / piano, church organ, harmonium
- Véronique Verdier / trombone
- Alain Ballaud / bass
- Franck Coulaud / drums
With:
- Michel Kervinio / drums & percussion (5, 6)
- Franck W. Fromy / guitar, electric percussion
- Jean-Luc Hervé / piano, church organ, harmonium
- Véronique Verdier / trombone
- Alain Ballaud / bass
- Franck Coulaud / drums
With:
- Michel Kervinio / drums & percussion (5, 6)
1. "Incipit Tragaedia" (15:46) a song of such hopelessness and despair whose music does a masterful job of sucking one into the doldrums of its "insipid tragedy" that I cannot help but admire at the creative mastery of this piece of art expressed by representatives of my own human tribe. The piano solo is great in its expression of power and fear-induction, the bass not so much, but the electric guitar is the best: diabolical! (29/30)
2. "Cabine 67" (5:55) the dissonant piano work is quite enough to get under one's skin, but then the chunky bass chords and guitar screaming and squealing are added. Yeow! The flaw here is the oddly straightforward, hopalong "Radar Love"/CountryWestern drumming choices. As a matter of fact, I would go so far as to say that the song would be quite perfect without the driving force of the drums (as it was in the beginning)! Even the wild cymbal play in the final minute serve more to take away from the menacing mood that the other four instruments (no vocals here) seem so focused upon generating. Too bad! An incredible start gone wrong! Franck Fromy is a genius on the level of (or beyond) that of Adrian Belew. (8.5/10)
3. "Yog Sothoth" (12:27) the least engaging song on the album as it's prolonged expression of doom and gloom are drawn out so long as to seem almost comical or at least absurd--not unlike a 19th Century Gothic horror novel. Again, it is the brilliant, otherworldly manipulations of sound cast by M. Fromy via his electric guitar that provide the song's highlight moments. I wish Ann Stewart's voice had been used less as a counterpoint to the piano and bass, been given more jazzy free reign. (20/25)
4. "La Ballade De Lénore" (8:58) opens softly, respectfully, circumspectly, almost majestically or reverently with organ, trombone church-like vocal of Ann Stewart projecting their religious offering to us until 2:40 when drums, bass, and squealing, wailing, wrenching guitar jump out of the shadows to affront the holy From this point on, the band uses the music to simulate or express a kind of battle between forces of "Good" and "Evil." The use of instruments common to traditional Christian religious worship (organ, voice, and brass horn) feel like the representatives of "Good" while the cacophony unleashed by the bass, drums, and electric guitar represent those of "Evil"--at least that's how we listeners might make sense of it coming from our society's Christian traditions. Perhaps Lénore was haunted by this same internal struggle--on either a religious/spiritual level or in the form of a kind of bi-polar disorder. Another masterful rendering. (19.5/20)
Total time 43:06
2. "Cabine 67" (5:55) the dissonant piano work is quite enough to get under one's skin, but then the chunky bass chords and guitar screaming and squealing are added. Yeow! The flaw here is the oddly straightforward, hopalong "Radar Love"/CountryWestern drumming choices. As a matter of fact, I would go so far as to say that the song would be quite perfect without the driving force of the drums (as it was in the beginning)! Even the wild cymbal play in the final minute serve more to take away from the menacing mood that the other four instruments (no vocals here) seem so focused upon generating. Too bad! An incredible start gone wrong! Franck Fromy is a genius on the level of (or beyond) that of Adrian Belew. (8.5/10)
3. "Yog Sothoth" (12:27) the least engaging song on the album as it's prolonged expression of doom and gloom are drawn out so long as to seem almost comical or at least absurd--not unlike a 19th Century Gothic horror novel. Again, it is the brilliant, otherworldly manipulations of sound cast by M. Fromy via his electric guitar that provide the song's highlight moments. I wish Ann Stewart's voice had been used less as a counterpoint to the piano and bass, been given more jazzy free reign. (20/25)
4. "La Ballade De Lénore" (8:58) opens softly, respectfully, circumspectly, almost majestically or reverently with organ, trombone church-like vocal of Ann Stewart projecting their religious offering to us until 2:40 when drums, bass, and squealing, wailing, wrenching guitar jump out of the shadows to affront the holy From this point on, the band uses the music to simulate or express a kind of battle between forces of "Good" and "Evil." The use of instruments common to traditional Christian religious worship (organ, voice, and brass horn) feel like the representatives of "Good" while the cacophony unleashed by the bass, drums, and electric guitar represent those of "Evil"--at least that's how we listeners might make sense of it coming from our society's Christian traditions. Perhaps Lénore was haunted by this same internal struggle--on either a religious/spiritual level or in the form of a kind of bi-polar disorder. Another masterful rendering. (19.5/20)
Total time 43:06
90.59 on the Fishscales = A/five stars; in my humble opinion Les morts vont vite is a high masterpiece of human creativity. I love and respect this album yet it is not an album I seek out very often: mostly when I want to be reminded of and marvel at the genius of the human fabrications of "evil" and "despair."
7. AIN SOPH Hat and Field
Wonderful Canterbury-inspired instrumental jazz fusion from Japan featuring some highly skilled (and classically trained) musicians in this reboot of the 1980 band that released the highly acclaimed (but more classically-oriented) A Story of Mysterious Forest.
Line-up / Musicians:
- Yozox Yamamoto / guitars
- Kikuo Fujikawa / keyboards
- Masahiro Torigaki / bass, arrangements
- Taiqui Tomiie / drums, arrangements
- Kikuo Fujikawa / keyboards
- Masahiro Torigaki / bass, arrangements
- Taiqui Tomiie / drums, arrangements
1. "The Swan Lake" (5:45) quite CAMEL-esque (and quite nice). (9.5/10)
2. "Little Pieces part 1" (1:34) Fender Rhodes and synth washes. Pretty. (4.25/5)
3. "Suite - Hat and Field" (10:02) a beautiful and highly engaging suite. (18.5/20):
- a) Triple Echo - opens with a FOCUS feel--with some tinges of Spanish and classical influences.
- b) Hat & Field - other than the Jan Akkerman-like guitar play, this movement does have some Hatfield and the North feel to it.
- c) Deep Feelin' - like this section with its acoustic guitar lead and rich keyboard and bass support (a little like something from Narada Michael Walden solo albums of the late 70s/early 80s)
- d) Triple End - keys (Fender Rhodes) get the triple effect this time.
- e) Spanish Channel - Not to sure about the "Spanish-ness" of this movement--other than a kind of tribute to Santa Esmeralda.
4. "Mizzle" (3:41) very tight whole-band jazz-rock fusion with everybody showing their skills and discipline. The drums are especially awesome but the bass track feels a little off-set. (8.75/10)
5. "Canterbury Tale" (for Pye Hastings & Richard Sinclair) (2:57) sounds rife for some Richard Sinclair vocal whimsy. (8.5/10)
6. "Magic Carpet" (6:57) some sophisticated time and polyrhythms conjure up the tighter songs on KING CRIMSON's Discipline but then move more into the realm of RETURN TO FOREVER. Nice melodies and performances throughout. The keyboardist's sounds and styles bear a striking resemblance to those of Chick Corea while the guitarist is more akin to Larry Coryell (to my ears). (13.5/15)
7. "Little Pieces part 2" (2:31) repeat configuration of the previous "Little Pieces" piece with a little more developed ABACAB structure. (4.25/5)
8. "Pipe Dream" (7:53) though starting out leaning to some of the more serious jazz-oriented Canterbury artists (like Hatfield, Gilgamesh, and later Soft Machine), the second section that begins at 3:50 is something straight out of a Camel album. Interesting amalgam! (13.75/15)
Total Time: 41:20
While all the players are deserving of praise and superlatives, I kept finding my ear paying attention to the drums and bass play. Great mastery of cymbal play from the former and nice melodic lines from the latter. The guitarist and keyboard player feel more chameleonic--prone to be more imitative of others.
90.0 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music with a Jazz-Rock Fusion orientation.
8. TALK TALK The Colour of Spring
My introduction to the band. (My brother played this album to death!)
Line-up / Musicians:
Line-up / Musicians:
- Geoff Tate / lead vocals, keyboards
- Michael Wilton / guitars, backing vocals
- Chris DeGarmo / guitars, backing vocals
- Eddie Jackson / bass, backing vocals
- Scott Rockenfield / drums, percussion
With:
- Bradley Doyle / Emulator computer programming
- Neil Kernon / keyboards, production & mixing
2. "Little Pieces part 1" (1:34) Fender Rhodes and synth washes. Pretty. (4.25/5)
3. "Suite - Hat and Field" (10:02) a beautiful and highly engaging suite. (18.5/20):
- a) Triple Echo - opens with a FOCUS feel--with some tinges of Spanish and classical influences.
- b) Hat & Field - other than the Jan Akkerman-like guitar play, this movement does have some Hatfield and the North feel to it.
- c) Deep Feelin' - like this section with its acoustic guitar lead and rich keyboard and bass support (a little like something from Narada Michael Walden solo albums of the late 70s/early 80s)
- d) Triple End - keys (Fender Rhodes) get the triple effect this time.
- e) Spanish Channel - Not to sure about the "Spanish-ness" of this movement--other than a kind of tribute to Santa Esmeralda.
4. "Mizzle" (3:41) very tight whole-band jazz-rock fusion with everybody showing their skills and discipline. The drums are especially awesome but the bass track feels a little off-set. (8.75/10)
5. "Canterbury Tale" (for Pye Hastings & Richard Sinclair) (2:57) sounds rife for some Richard Sinclair vocal whimsy. (8.5/10)
6. "Magic Carpet" (6:57) some sophisticated time and polyrhythms conjure up the tighter songs on KING CRIMSON's Discipline but then move more into the realm of RETURN TO FOREVER. Nice melodies and performances throughout. The keyboardist's sounds and styles bear a striking resemblance to those of Chick Corea while the guitarist is more akin to Larry Coryell (to my ears). (13.5/15)
7. "Little Pieces part 2" (2:31) repeat configuration of the previous "Little Pieces" piece with a little more developed ABACAB structure. (4.25/5)
8. "Pipe Dream" (7:53) though starting out leaning to some of the more serious jazz-oriented Canterbury artists (like Hatfield, Gilgamesh, and later Soft Machine), the second section that begins at 3:50 is something straight out of a Camel album. Interesting amalgam! (13.75/15)
Total Time: 41:20
While all the players are deserving of praise and superlatives, I kept finding my ear paying attention to the drums and bass play. Great mastery of cymbal play from the former and nice melodic lines from the latter. The guitarist and keyboard player feel more chameleonic--prone to be more imitative of others.
90.0 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music with a Jazz-Rock Fusion orientation.
8. TALK TALK The Colour of Spring
My introduction to the band. (My brother played this album to death!)
Line-up / Musicians:
- Mark Hollis / lead vocals, guitar (8), keyboards (1), organ (4), piano (3, 5-7), Mellotron (6), melodica (8), Variophon synth (4, 7), cello (1)
- Paul Webb / bass (2, 5, 6, 8), backing vocals (3, 5)
- Lee Harris / drums, percussion
With:
- Tim Friese-Greene / piano (1, 2, 4, 8), organ (3, 6, 8), Mellotron (3), Kurzweil electric piano (1), Variophon synth (4, 7), producer
- Robbie McIntosh / guitar (1, 2, 5), dobro (4, 6), acoustic guitar (8)
- David Rhodes / guitar (3, 5, 6)
- Ian Curnow / keyboards
- Steve Winwood / organ (1, 2, 5)
- David Roach / soprano saxophone (2, 4, 5)
- Mark Feltham / harmonica (5)
- Alan Gorrie / bass (1)
- Danny Thompson / acoustic bass (1)
- Gaynor Sadler / harp (2)
- Martin Ditcham / percussion (1, 3, 5, 6, 8)
- Morris Pert / percussion (1, 2, 5, 8)
- Phil Reis / percussion (1)
- Children From The School Of Miss Speake / chorus vocals (1)
- Ambrosia Choir / chorus vocals (8)
- Paul Webb / bass (2, 5, 6, 8), backing vocals (3, 5)
- Lee Harris / drums, percussion
With:
- Tim Friese-Greene / piano (1, 2, 4, 8), organ (3, 6, 8), Mellotron (3), Kurzweil electric piano (1), Variophon synth (4, 7), producer
- Robbie McIntosh / guitar (1, 2, 5), dobro (4, 6), acoustic guitar (8)
- David Rhodes / guitar (3, 5, 6)
- Ian Curnow / keyboards
- Steve Winwood / organ (1, 2, 5)
- David Roach / soprano saxophone (2, 4, 5)
- Mark Feltham / harmonica (5)
- Alan Gorrie / bass (1)
- Danny Thompson / acoustic bass (1)
- Gaynor Sadler / harp (2)
- Martin Ditcham / percussion (1, 3, 5, 6, 8)
- Morris Pert / percussion (1, 2, 5, 8)
- Phil Reis / percussion (1)
- Children From The School Of Miss Speake / chorus vocals (1)
- Ambrosia Choir / chorus vocals (8)
1. "Happiness Is Easy" (6:30) great song with multiple tracks of interest: tabla, children's chorus, Danny Thompson and his double bass, Victoria, and over course the brilliantly spacious piano chord play. (9.25/10)
2. "I Don't Believe in You" (5:02) (8.5/10)
3. "Life's What You Make It" (4:28) Catchy hooks abound but run a bit long. (9/10)
4. "April 5th" (5:51) shades of Post Rock to come. Nice and spacious--even when other layers are added. (8.75/10)
5. "Living in Another World" (6:58) drivin' New Wave with a jazzy flavor lurking beneath--with a couple additional sections making it seem like a Mark Johnson (THE THE) EP. (13.25/15)
6. "Give It Up" (5:17) a slight variation on the "Life's What You Make It" format. (8.75/10)
7. "Chameleon Day" (3:20) very interesting chamber exercise in space tolerance--Isham-esque. Excellent! (9/10)
8. "Time It's Time" (8:14) awesome BLUE NILE-like pulsing rhythm track over which Mark pulls out one of his more amazing vocal performances. With the opener and "Chameleon Day," the best song on the album on the album--my favorite. (14.5/15)
Total Time: 45:40
90.0 on the Fishscales = A-/five stars; a minor masterpiece of truly progressive rock music--blending together several styles from chamber to jazz to New Wave.
2. "I Don't Believe in You" (5:02) (8.5/10)
3. "Life's What You Make It" (4:28) Catchy hooks abound but run a bit long. (9/10)
4. "April 5th" (5:51) shades of Post Rock to come. Nice and spacious--even when other layers are added. (8.75/10)
5. "Living in Another World" (6:58) drivin' New Wave with a jazzy flavor lurking beneath--with a couple additional sections making it seem like a Mark Johnson (THE THE) EP. (13.25/15)
6. "Give It Up" (5:17) a slight variation on the "Life's What You Make It" format. (8.75/10)
7. "Chameleon Day" (3:20) very interesting chamber exercise in space tolerance--Isham-esque. Excellent! (9/10)
8. "Time It's Time" (8:14) awesome BLUE NILE-like pulsing rhythm track over which Mark pulls out one of his more amazing vocal performances. With the opener and "Chameleon Day," the best song on the album on the album--my favorite. (14.5/15)
Total Time: 45:40
90.0 on the Fishscales = A-/five stars; a minor masterpiece of truly progressive rock music--blending together several styles from chamber to jazz to New Wave.
Other Recommended Prog Albums
9. QUEENSRŸCHE Rage for Order
Hailed as the "thinking man's metal band"'s transition from guitars-only to synth-integrated, the band's sophomore effort is no drop off or disappointment; it is in fact an improvement and a step into their future mantle as leaders of the Prog Metal sub-genre.
Line-up / Musicians:
- Geoff Tate / lead vocals, keyboards
- Michael Wilton / guitars, backing vocals
- Chris DeGarmo / guitars, backing vocals
- Eddie Jackson / bass, backing vocals
- Scott Rockenfield / drums, percussion
With:
- Bradley Doyle / Emulator computer programming
- Neil Kernon / keyboards, production & mixing
1. "Walk In The Shadows" (3:37) clearly a big arena favorite. Sounds like ever other hairband anthem from the 1980s. (8.5/10)
2. "I Dream In Infra Red" (4:17) a lot in common with DEF LEPPARD. (8.667/10)
3. "The Whisper (3:37) sounds like OZZIE. Though on the polished, higher-skilled level of the pile, this is still pretty straightforward hairband music to my ears. (8.667/10)
4. "Gonna Get Close To You" (4:37) the first fairly interesting song I've heard. (8.75/10)
5. "The Killing Words" (3:56) another unusual and unique soundscape over which singer Geoff Tate delivers a commanding stage-centric performance. Unfortunately, the chorus brings us back into stereotypic hairband territory. Very cool instrumental passage in the third minute. (9/10)
6. "Surgical Strike" (3:19) an anti-war song that predates the high tech battle tactics of our modern "remote control" military. This is another mostly-pure metal song in the same world as Ozzy and Iron Maiden. (8.5/10)
7. "Neue Regel" (4:54) another unique (for its time) and unusual song construct (with lots of cowbell) and another masterful OZZY-like performance from frontman Geoff Tate. The chorus is, unfortunately, a bit of a step down from the verses and instrumental passages. (8.75/10)
8. "Chemical Youth (We Are Rebellion)" (4:14) another more circumspective social commentary rendered in a different, even clever way. (8.667/10)
9. "London" (5:07) nice DEF LEPPARD-like soundscape over which to deliver a eulogy of London town. The best chorus on the album. (8.875/10)
10. "Screaming In Digital" (3:36) another more creative song construct--using more effects and odd techniques than most metal bands ever use--but then the choruses are straight metal. I like the melodies here (but not the sound of the drum's snare). (8.875/10)
11. "I Will Remember" (4:27) acoustic guitar delicately picked over low basso profundo drone. Speaks a little of the future hit, "Silent Lucidity." Quite an unusual vocal style and range on this one. Is it still Geoff Tate? Great use of the acoustic guitar--especially the Spanish guitar as the solo instrument in the third minute's instrumental passage. Geoff's voice is almost choir-boy angelic. Nice! (9.25/10)
Total Time: 45:41
A 1980s hairband with a conscience. It's still bombastic 80s hairband metal.
87.73 on the fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you have leanings or loyalties toward the 80s metal scene.
10. FATES WARNING Awaken the Guardian
The Connecticut-born band's third album release is definitely its coming out / arrival piece--announcing a new type of metal music, one that combines the virtuosity of bands like Metallica with the story-telling of bands like Genesis and Blue Öyster Cult; even more than the entry and arrival of Seattle's Queensrÿche, I think it's this album and this band that announces the arrival of Progressive Metal music! It's official! It's a thing!
Line-up / Musicians:
- John Arch / vocals
- Frank Aresti / guitars
- Jim Matheos / guitars
- Joe DiBiase / bass
- Steve Zimmerman / drums
With:
- Jim Archambault / keyboards
1. "The Sorceress" (5:43) definitely using the Ozzy voice effects. I do like the interwoven two-voice parts in the middle--which are followed by a cool style and pace change--as if the car suddenly pulled off road and had to switch into 4-wheel drive. Nice lead guitar work in the instrumental passage. I have to say, after just listening to Queensrÿche's Rage for Order, that these guys are on a level of instrumental proficiency one or two notches above that of the 'rÿche: more metal and less hairband. (9/10)
2. "Valley Of The Dolls" (5:22) the musical shift sounds subtle and only nominal from the previous song despite the more tech metal guitar play, but the lead vocal performance from John Arch sounds as if one continuous performance. (It's already getting a little old/boring for me.) In fact, I must say that John's vocal range is so high that I find it even harder than usual to tune in and extract words and meaning from his singing. And, yes: these guitarists are much more impressive with both their lead and rhythm play--much more like the accomplished axemen of the future death metal and extreme/tech metal bands to come in the 1990s. (8.667/10)
3. "Fata Morgana" (5:25) more good metal over which Geoff Tate shrieks about the well known evil witch of Arthurian legend. It's good music--and actually quite an impressive vocal performance--it's just not a song or topic I have any interest in or affinity for. (8.667/10)
4. "Guardian" (7:33) gently picked acoustic guitars open this one, woven together quite beautifully. Then the metal team checks in for a bombastic bit before standing down for the slowed-down acoustic guitars to re-establish their domain. Re-enter the electric power chords, only in a well-balanced position of respect and teamwork while Geoff sings over the top. But then it's time for the chorus and here the power instruments dominate. (It's not a very strong chorus.) Aside from the intro, this is a fairly standard construct. The instrumental section in the sixth minute is rather brief as Geoff apparently has a lot to say. Not as good as I was hoping (or as the intro seemed to promise). (13/15)
5. "Prelude To Ruin" (7:23) taking a minute to run through three or four musical motifs, this one eventually establishes a fairly straightforward power metal djenty riff over which Geoff vocalises some "ahhs" before backing off. When he returns the drums are doing some interesting things beneath the djent. Unfortunately, Geoff's quite monotonous voice is by now nearly opaque to my ears and brain. Too bad! He might actually have something interesting to say (though, with this song title--massed together with all of the other song titles--I sincerely doubt it.) The song meanders this way and that over the course of its seven plus minute, but never really finds a home with me. (13/15)
6. "Giant's Lore (Heart of Winter)" (6:00) more interesting music with yet another monotonous vocal. I seriously don't think I can take much more. No shade cast upon Geoff (though with these song subjects shade might be quite appropriate)--he is obviously quite a talented singer--and, as far as I can tell, quite accurate with his pitch and diction--I just have little tolerance for the pitch range of his voice. (Maybe that's why I have trouble with Geddy Lee and Pavlov's Dog. But then, why not Jon Anderson or Ozzy Osborne?) No matter how interesting this music might be (and, to be honest, it's not really: just performed with admirable skill and dexterity), it'll never connect with me so long as that shrillness is accosting my senses. (8.667/10)
7. "Time Long Past" (1:50) actually nice--and not so metal-show-off-y. (4.25/5)
8. "Exodus" (8:31) a fairly laid back presentation of a straightforward metal chord progression over which Geoff sings (with a little more pitch variation than most of the other songs). At 3:30 the train stops and a slow guitar arpeggio establishes a new motif within which heavy drums plod and lead guitar soars above. Geoff's vocal over this section is much more palatable--perhaps slow blues music is where his gifts are best put on display. At the five-minute mark the band launches on a full-speed chase into the woods--the hunt is on! But then at 5:45 we take a trepidatious turn down a more treacherous lane (and Geoff keeps singing). This might be a prog metal masterpiece. (I wouldn't know: it just feels like it.) Definitely a top three for me. (18/20)
Total Time: 47:47
Obviously this band has fallen into the pit--under the spell of SABBATH's public image--having to write songs about the occult, the dark side, the dangerous not-so-Christian side of archetypical lore.
11. EMERSON, LAKE and POWELL Emerson, Lake and Powell
For the sake of continuity and consistent branding, Keith and Greg searched far and wide for a percussionist whose last name started with the same letter as their previous. Cozy Powell was the end result.
Just kidding.
After the original trio's foray into the world of techno pop with 1978's disastrous Love Beach, the boys decided to call it quits. The succeeding years were not particularly successful for any of the boys, so, seven years later they proposed a reformation. This time around, Carl Palmer declined. Cozy Powell was selected to fill the void.
Line-up / Musicians:
- Greg Lake / vocals, guitar, bass, co-producer- Keith Emerson / keyboards
- Cozy Powell / drums, percussion
1. "The Score" (9:07) half Karn Evil ("Welcome Back Ladies and Gentleman …") and half Leonard Bernstein West Side Story ("once you're a jet your always a jet"), the newly formed trio announce their return with admirable ELP bombast and only a few touches of 1980s technology (mostly in gated drums and some updated keyboards.) Decent for the fact that it does indeed sound like true ELP. (17.25/20)
2. "Learning to Fly" (3:50) Stolid Greg, solid Cozy, with Keith's demonstration of his adaptation to some of the newer keyboard/synth sounds and technologies (including MIDI), all enfolded into a more standard ASIA-sounding radio-friendly (with multi-voice chorus!) song. (8.5/10)
3. "The Miracle" (7:01) a very pleasant YES/WAKEMAN-like song--even jazzed up a bit--with a fairly simple, laid-back pace and sonic weave, allows Greg Lake to soar in one of his finer performances. (He is so good at sounding like the circus ringmaster!) Neither bombastic nor derivative, this is just a very good, hihgly engaging, melodic prog song--like something that ALAN PARSONS PROJECT might have done in the 1970s. (14/15)
4. "Touch and Go" (3:39) back to Keith's tendency to coopt themes from his beloved realms of classical music, a synth presentation of a familiar Celtic riff becomes the foundation over which an entire song is built--with Greg spinning an almost anthemic, militaristic effect with his exuberant vocal. Definitely injecting a couple of memorable earworms into the listener's life. (8.75/10)
5. "Love Blind" (3:11) more pop-oriented (aside from Keith's awesome synth solos), this could've come from a lot of the synth-pop bands populating the screens of MTV viewers at the time. (8.25/10)
6. "Step Aside" (3:47) Jazz piano! Now going back to 1950s jazz-oriented torch songs, it feels like a modernized recording (and rendition) of some classic . Unfortunately, it just amplifies the weaknesses in Greg's singing (as well as how unbefitting his voice is to this style). (7.75/10)
7. "Lay Down Your Guns" (4:23) As much as he tries, Greg's heavily reverbed voice actually diminishes the effectiveness of his attempt to sound emotionally-invested in this song. It's too bad cuz you can tell he really wants this to be powerful. The musical accompaniment is beautiful, never trying to usurp the spotlight from Greg's emotional appeal. (8.75/10)
8. "Mars, Bringer of War" (7:55) a true homage (or contribution) to the prog era of old: a cinematic instrumental. Definitely a reminder of an era gone by (though Hungarian band Solaris had published their symphonic instrumental "Martian Chronicles" masterpiece less than two years before). Yet this one brings little new--and certainly nothing to want to return or revive the old ways. (13/15)
9. "The Loco-Motion" (4:36) * I remember hearing this on the radio a couple of times. What were those stations/DJs thinking? Must've been a last minute "filler" added on in order to more-nearly fill out the CD's 72-minute capacity. It does, however, contain some excellent synth soloing in the second half. (8.5/10)
10. "Vacant Posession" (4:42) * This one definitely sounds like a last-minute, under-developed, perhaps unfinished, and under-produced, "demo-like" song. (8/10)
Total Time 52:11
Total Time 52:11
* CD bonus tracks
I'm definitely reviewing the full CD presentation of this album as CDs were finally a thing: vinyl purchases/sales were declining as more people were switching to the more convenient, less vulnerable digital formats.
85.83 on the Fishscales = B-/3.75 stars; an acceptable addition to any prog lover's music collection as there are some truly nice, ELP songs and performances here among the mediocre or unfortunate ones.
12. ALLAN HOLDSWORTH Atavachron
Look out people: Here it comes: Allan's SynthAxe obsession has begun.
- Allan Holdsworth / guitar, SynthAxe, producer
With:
- Rowanne Mark / vocals (7)
- Billy Childs / keyboards (2, 5)
- Alan Pasqua / keyboards (3, 4, 6)
- Jimmy Johnson / bass (1-6)
- Gary Husband / drums (1, 2, 4, 6)
- Chad Wackerman / drums (3, 7)
- Tony Williams / drums (5)
1. "Non Brewed Condiment" (3:39) Allan's first SynthAxe presentation leaves us all wondering which is guitar and which is synthesizer? Mind-blowing yet only an okay song. (One that does not stand up too well to the tests of time.) (8.667/10)
2. "Funnels" (6:10) same response and verdict as the previous song. Chad Wackerman's drumming tries too hard and Jimmy Johnson's normally-enjoyable bass play just feel as if they're in different universes--from both Allan and each other. (8.33/10)
3. "The Dominant Plague" (5:41) ridiculous chord play from the ridiculous sounding SynthAxe. How can Jimmy and Chad be expected to play over this stuff? The "old" 'Allan makes an appearance for a nice solo in the fourth minute. (8.25/10)
4. "Atavachron" (4:45) Allan's SynthAxe chord sequence at least establishes a nice melody with its pleasant (non-grating) sound. Gary Husband's drums and Jimmy Johnson's bass fit a little better with this kind of straightforward, one-directional music. Another more tuned-percussive sound is MIDI-ed through Allan's Axe in the second round. Some old Allan soloing in the fourth minute (something we can grasp and sink our teeth into). Still, not a great or very engaging song. (8.5/10)
5. "Looking Glass" (4:31) Tony Williams! If that doesn't give one high expectations I don't know what does! And true to the hype, Allan gives Tony front and center for the first 90 seconds while he and the band carefully support from the wings. Then "old Allan" takes a turn in front, delivering a stunning solo while Tony continues to deliver his magic from beneath. Jimmy Johnson and Billy Childs are just lucky to be in the same room. Easily the best, most accessible and impressive song on the album. Great chord play throughout. (9/10)
6. "Mr. Berwell" (6:21) thunder greets the listener before sensitive solo SynthAxe (sounding like Pat Metheny's guitar chorus effect ramped up and fast-vibrato-echoed to the max). The full-band support team enters at 1:28 in a BRUFORD/DAVE STEWART kind of way before "old Allan" begins soloing over the top. I think an overdub of Allan's Axe is beneath, creating the chordal base, as the tempo changes from fast to slow (though Gary Husband's frenetic drumming would bely another reality), back and forth a couple times before another section starts out. I'm not sure whether the support chords are Allan's SynthAxe and the "keyboard" solo over the top Alan Pasqua's electric piano or vice versa (or all Allan)--such is the confusion created by the MIDI effect. (I remember playing an awesome piano-and-trumpet dual solo with a MIDI-ed saxophone syphoned through my brother's Mac in 1991. Listening to the tape of it you'd never know it was a saxophone that created the sounds.) (8/10)
7. "All Our Yesterdays" (5:25) vocalist Rowan Marks sound so much like Gayle Moran!
At 2:25 tuned percussion (MIDI-synth drums?) and SynthAxe begin to trade punches, but, wait! Which is which? Interesting but not so much as a pleasant listening experience; more as an experimental exercise. Then to return to the atmospheric, almost operatic motif of the opening to let Rowanne sing to the song's finish. What a Jeckyll and Hyde experience! (8.75/10)
Total time 36:32
Total time 36:32
The musics generated by Allan through his new toy are just far too foreign for our ears to take in and process--even now, 38 years on. It's as if everybody is been cheapened, sold out, for the sake of synthetics. I can't even like the keyboard, bass, and drumming paired up with Allan's domineering Axe! It just doesn't work. The album's saving grace lies in the individual performances of Tony Williams, Rowanne Marks, and "old Allan" Holdsworth.
85.0 on the Fishscales = B-/3.5 stars; interesting from an historical perspective but hardly the type of music I would recommend to any prog loving music collector. Half the time I'm not even sure it's music!
2. "Song of the Whale - Part 2: ...to Dusk (10:53) Not nearly as engaging (due to its very dated sound palette as well as the mystifying removal of all guitars from the baseline weave) as the previous part of the suite, this one sounds more like a 1980s movie soundtrack (think Axel Foley or Fletch or one of the many John Hughes films). (16.75/20)
3. "Dolphin Dance" (5:02) modern pseudo-"dance" schlock. (8/10)
4. "Ride On the Ray" (5:32) opens like some 80s folk Christmas music before cheesy drum machine enters (far in the background). I actually quite like the weave of folk-instruments and synth washes in the background, great sound and melodies. And Edgar's guitar lead is great (if not quite fitting). It's the background rhythm "instruments" and sounds I dislike. A tough one to rate. (8.5/10)
5. "Scuba Scuba" (4:24) Trevor Horn meets Harold Faltermeyer. As the song never really takes off, it makes me wonder if it was just a sound experiment that was thrown on the album/CD as last-minute filler. I like the soundscape presented--it's very cinematic--but, again, it feels unfinished--or, at least, undeveloped. (8.5/10)
6. "Underwater Twilight" (5:52) there is so little here to remind one of the TD of old; this is more like a modern New Age thing, than something from experienced masters of synthesized music. It is, however, a little more developed/realized than the previous song--with far better drum/percussion noises used. The strings synth used, however, is dated and rather annoying. (8.25/10)
Total Time 40:03
COCTEAU TWINS Victorialand
Despite Robin's backing off of the presence and power of the wonderful drum machines of their previous albums and EPs, the music here is quite wonderful. Airy, melodic, spacey, quirky, and of course still filled with the amazing (and still fresh!) vocal acrobatics of Ms. Elizabeth Fraser.
1. "Lazy Calm" (6:36) saxophone! Elizabeth is absolutely the epitome of angelic! (9.25/10)
2. "Fluffy Tufts" (3:06) Treasure-like in its layering of aggressive and etheric vocals. (9/10)
3. "Throughout the Dark Months of April and May" (3:05) very cinematic. A song that I long passed over but now see as a masterpiece. (9.5/10)
4. "Whales Tales" (2:43) despite its drumlessness, this one could've come from Echoes in a Shallow Bay. Brilliant! (9.75/10)
5. "Oomingmak" (3:26) two hypnotizing guitar chords . . . and Elizabeth. Magic. (9.75/10)
6. "Little Spacey" (3:26) a Tiny Dynamine scrap. (8.5/10)
7. "Feet-Like Fins" (3:26) long first part that really pays off once you get to the 0:42 and 1:35 marks. Wow! Shivers! Elizabeth! You've got to stop doing that to me! (9.5/10)
8. "How to Bring a Blush to the Snow" (3:50) simple guitar arpeggi over which no less than four Elizabeth vocal tracks are magically woven together. (9.5/10)
9. "The Thinner the Air" (3:16) shades of things to come with heavily treated "piano" chords sounding like Harold Budd. Great weave of multiplicities of Elizabeth's angelic sopranos. (9/10)
93.06 on the Fishscales = A/five stars; another masterpiece of atmospheric/ambient progressive rock (soon to be labeled "shoegazing" music).
XTC Skylarking
This Todd Rundgren-produced album made in America was one of Andy Partridge's most contentious but even he admits, now, years later, that this album may stand up as the best the band ever made. An album whose sound, lyrics, instruments used, orchestration, recording and mixing techniques, and melodies feel very BEATLES-esque.
1. "Summer's Cauldron" (3:15) (9.5/10)
2. "Grass" (3:05) (9/10)
3. "The Meeting Place" (3:13) (8.75/10)
4. "That's Really Super, Supergirl" (3:22) (9.5/10)
5. "Ballet for a Rainy Day" (2:50) (8.75/10)
7. "1000 Umbrellas" (3:44) (8.25/10)
8. "Season Cycle" (3:21) (8.5/10)
9. "Earn Enough for Us" (2:54) (8.75/10)
10. "Big Day" (3:32) (8.5/10)
11. "Another Satellite" (4:16) (8.75/10)
12. "Mermaid Smiled" (2:26) (4.5/5)
13. "The Man Who Sailed Around His Soul" (3:25) (10/10)
14. "Dear God" (3:39) (9/10)
15. "Dying" (2:31) (10/10)
15. "Sacrificial Bonfire" (3:46) (9.5/10)
90.52 on the Fishscales = A-/five stars; a minor masterpiece of prog-oriented pop music.
PET SHOP BOYS Please
The breakout album (and song, "West End Girls") from these pop icons.
1. "Two Divided by Zero" (3:34) (9/10)
2. "West End Girls" (4:45) 10/10)
3. "Opportunities (Let's Make Lots of Money)" (3:43) (8.5/10)
4. "Love Comes Quickly" (4:19) (9.5/10)
5. "Suburbia" (5:30) (8.5/10)
6. "Tonight Is Forever" (4:31) (8.5/10)
7. "Violence" (4:27) (9.25/10)
8. "I Want a Lover" (4:30) (8/10)
9. "Later Tonight" (2:46) (5/5)
10. "Why Don't We Live Together" (4:44) (9/10)
88.68 on the Fishscales = B+/4.5 stars; a near-masterpiece of proggy, leading edge New Wave.
ANITA BAKER Rapture
Detroit jazz singer Anita Baker's R&B breakthrough. All the compositions here are by Anita and there is nothing but masterpieces on this album from start to finish. This is truly one of the best albums, start to finish, that I own.
13. TANGERINE DREAM Underwater Sunlight
The membership is changing (gone is Johannes Schmoelling) but the sound continues. And for those hoping/expecting a continuity between the band's classic side-long epics of the middle 1970s, let go! This is a different era; the band has different, more melodic goals and styles to explore.
Line-up / Musicians:
- Edgar Froese / synthesizer, guitar, producer
- Christoph Franke / synthesizer, electronic percussion
- Paul Haslinger / synthesizer, grand piano, guitar
With:
- Christian Gstettner / computer programming
1. "Song of the Whale - Part 1: From Dawn... (8:20) acoustic guitars! Fairlight "breath" synth sounds! Clearly lead wailing/searing electric guitar solos! Is this really TD? Is it really progressive electronic? It doesn't matter: it's beautiful; it works; it's powerful. Edgar Froese is a really great guitarist. The computerized sounds and programs really sound great from these masters of synthetic music. (18/20)
- Edgar Froese / synthesizer, guitar, producer
- Christoph Franke / synthesizer, electronic percussion
- Paul Haslinger / synthesizer, grand piano, guitar
With:
- Christian Gstettner / computer programming
2. "Song of the Whale - Part 2: ...to Dusk (10:53) Not nearly as engaging (due to its very dated sound palette as well as the mystifying removal of all guitars from the baseline weave) as the previous part of the suite, this one sounds more like a 1980s movie soundtrack (think Axel Foley or Fletch or one of the many John Hughes films). (16.75/20)
3. "Dolphin Dance" (5:02) modern pseudo-"dance" schlock. (8/10)
4. "Ride On the Ray" (5:32) opens like some 80s folk Christmas music before cheesy drum machine enters (far in the background). I actually quite like the weave of folk-instruments and synth washes in the background, great sound and melodies. And Edgar's guitar lead is great (if not quite fitting). It's the background rhythm "instruments" and sounds I dislike. A tough one to rate. (8.5/10)
5. "Scuba Scuba" (4:24) Trevor Horn meets Harold Faltermeyer. As the song never really takes off, it makes me wonder if it was just a sound experiment that was thrown on the album/CD as last-minute filler. I like the soundscape presented--it's very cinematic--but, again, it feels unfinished--or, at least, undeveloped. (8.5/10)
6. "Underwater Twilight" (5:52) there is so little here to remind one of the TD of old; this is more like a modern New Age thing, than something from experienced masters of synthesized music. It is, however, a little more developed/realized than the previous song--with far better drum/percussion noises used. The strings synth used, however, is dated and rather annoying. (8.25/10)
Total Time 40:03
85.0 on the Fishscales = B-/3.5 stars; A good, though not great, display of TD sound and the genius of Edgar Froese and Christoph Franke for their remarkable adaptability to the new equipment and technologies available with the passage of time. Still, one great song does not make this an album that I can recommend highly to prog lovers.
CAMBERWELL NOW The Ghost Trade
Charles Hayward's first post-This Heat project. The band only put out two EPs and this one LP before disbanding in 1987.
Lineup / Musicians:
- Charles Hayward / drums, keyboards, vocals & lyrics
- Trefor Goronwy / bass, guitar, percussion, erhu
- Steve Rickard / tapes, autoharp
1. "Working Nights" (7:41) (/15)
2. "Sitcom" (4:40) (/10)
3. "Wheat Futures" (6:11) (/10)
4. "Speculative Fiction" (6:09) (9.5/10)
5. "Green Lantern" (3:11) (/10)
6. "The Ghost Trade" (11:11) (18/20)
Total time: 39:03
on the Fishscales = / stars;
Albums on the Fringe of Prog World
COCTEAU TWINS Victorialand
Despite Robin's backing off of the presence and power of the wonderful drum machines of their previous albums and EPs, the music here is quite wonderful. Airy, melodic, spacey, quirky, and of course still filled with the amazing (and still fresh!) vocal acrobatics of Ms. Elizabeth Fraser.
1. "Lazy Calm" (6:36) saxophone! Elizabeth is absolutely the epitome of angelic! (9.25/10)
2. "Fluffy Tufts" (3:06) Treasure-like in its layering of aggressive and etheric vocals. (9/10)
3. "Throughout the Dark Months of April and May" (3:05) very cinematic. A song that I long passed over but now see as a masterpiece. (9.5/10)
4. "Whales Tales" (2:43) despite its drumlessness, this one could've come from Echoes in a Shallow Bay. Brilliant! (9.75/10)
5. "Oomingmak" (3:26) two hypnotizing guitar chords . . . and Elizabeth. Magic. (9.75/10)
6. "Little Spacey" (3:26) a Tiny Dynamine scrap. (8.5/10)
7. "Feet-Like Fins" (3:26) long first part that really pays off once you get to the 0:42 and 1:35 marks. Wow! Shivers! Elizabeth! You've got to stop doing that to me! (9.5/10)
8. "How to Bring a Blush to the Snow" (3:50) simple guitar arpeggi over which no less than four Elizabeth vocal tracks are magically woven together. (9.5/10)
9. "The Thinner the Air" (3:16) shades of things to come with heavily treated "piano" chords sounding like Harold Budd. Great weave of multiplicities of Elizabeth's angelic sopranos. (9/10)
93.06 on the Fishscales = A/five stars; another masterpiece of atmospheric/ambient progressive rock (soon to be labeled "shoegazing" music).
XTC Skylarking
This Todd Rundgren-produced album made in America was one of Andy Partridge's most contentious but even he admits, now, years later, that this album may stand up as the best the band ever made. An album whose sound, lyrics, instruments used, orchestration, recording and mixing techniques, and melodies feel very BEATLES-esque.
1. "Summer's Cauldron" (3:15) (9.5/10)
2. "Grass" (3:05) (9/10)
3. "The Meeting Place" (3:13) (8.75/10)
4. "That's Really Super, Supergirl" (3:22) (9.5/10)
5. "Ballet for a Rainy Day" (2:50) (8.75/10)
7. "1000 Umbrellas" (3:44) (8.25/10)
8. "Season Cycle" (3:21) (8.5/10)
9. "Earn Enough for Us" (2:54) (8.75/10)
10. "Big Day" (3:32) (8.5/10)
11. "Another Satellite" (4:16) (8.75/10)
12. "Mermaid Smiled" (2:26) (4.5/5)
13. "The Man Who Sailed Around His Soul" (3:25) (10/10)
14. "Dear God" (3:39) (9/10)
15. "Dying" (2:31) (10/10)
15. "Sacrificial Bonfire" (3:46) (9.5/10)
90.52 on the Fishscales = A-/five stars; a minor masterpiece of prog-oriented pop music.
PET SHOP BOYS Please
The breakout album (and song, "West End Girls") from these pop icons.
1. "Two Divided by Zero" (3:34) (9/10)
2. "West End Girls" (4:45) 10/10)
3. "Opportunities (Let's Make Lots of Money)" (3:43) (8.5/10)
4. "Love Comes Quickly" (4:19) (9.5/10)
5. "Suburbia" (5:30) (8.5/10)
6. "Tonight Is Forever" (4:31) (8.5/10)
7. "Violence" (4:27) (9.25/10)
8. "I Want a Lover" (4:30) (8/10)
9. "Later Tonight" (2:46) (5/5)
10. "Why Don't We Live Together" (4:44) (9/10)
88.68 on the Fishscales = B+/4.5 stars; a near-masterpiece of proggy, leading edge New Wave.
Special Mention:
ANITA BAKER Rapture
Detroit jazz singer Anita Baker's R&B breakthrough. All the compositions here are by Anita and there is nothing but masterpieces on this album from start to finish. This is truly one of the best albums, start to finish, that I own.
