tag:blogger.com,1999:blog-85985044518384566222024-02-20T16:20:24.496+00:00Flight of the SkypilotThe random ramblings of a Prog-loving Methodist ministerJohn Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.comBlogger321125tag:blogger.com,1999:blog-8598504451838456622.post-12803102980965567532021-12-31T16:50:00.001+00:002022-01-09T22:36:28.067+00:00Music of 2021<div><p>That time of year again, when I look back over the past 12 months from a musical perspective - or what passes for music in my warped imagination!</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiAqIV_fm96QuZSDpmSD7vbMQHUND-Z2jwwkPbxFzWz76MEYqtJEmx9KmpwRLYVYBwsiq3UFu1xj-Hj3-ExLs87wBsaj-Ny6dppbJemJ8pG1Smm_NLz9VyHtKC3VpCP1uE3rWX8Yjm8jpd173y1Pd0U_Pja3B8ADVlOnxA_0SS8T5L2AryQuexTlKu5jw=s3780" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3780" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEiAqIV_fm96QuZSDpmSD7vbMQHUND-Z2jwwkPbxFzWz76MEYqtJEmx9KmpwRLYVYBwsiq3UFu1xj-Hj3-ExLs87wBsaj-Ny6dppbJemJ8pG1Smm_NLz9VyHtKC3VpCP1uE3rWX8Yjm8jpd173y1Pd0U_Pja3B8ADVlOnxA_0SS8T5L2AryQuexTlKu5jw=w512-h640" width="512" /></a></div> <p></p><p>It doesn't need to be said - but I'll say it anyway - that 2021 has been another difficult year for music and musicians, though I have managed to get to a few live events this year, including Hannah Moule & the Moulettes, and a female-fronted (ooh err...) covers band by the name of Led Zeppelina at my local pub, The Greystones, here in Sheffield, and some excellent jazz gigs by Fergus McReadie, George Crowley and Yazz Ahmed, organised by Sheffield Jazz at Crookes Club. The first of these, in July, was my first live music since November 2019. And there was also HRH Prog X, also here in Sheffield, with some excellent sets particularly from Franck Carducci, Arthur Brown, and Colosseum.</p><div class="separator" style="clear: both; text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_s7afLODDUlP4d72b_81sRdzyBDguT8ylzywAm-QppmH4ly52kcNpYra-mGoiStIsCGIwMNkTCKVxurhlfhWEMDYvpD1nWLoNFIuWL1tBUgbzFafoFVawTbYZJ-M5n8ZUhxXb4-oJCwZ4IDhSa8yFwLfc2MxJEoobETHhhn1WwDSVfKVKqQR6sOLbeA=s4032" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Fergus McReadie Trio" border="0" data-original-height="3024" data-original-width="4032" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_s7afLODDUlP4d72b_81sRdzyBDguT8ylzywAm-QppmH4ly52kcNpYra-mGoiStIsCGIwMNkTCKVxurhlfhWEMDYvpD1nWLoNFIuWL1tBUgbzFafoFVawTbYZJ-M5n8ZUhxXb4-oJCwZ4IDhSa8yFwLfc2MxJEoobETHhhn1WwDSVfKVKqQR6sOLbeA=w200-h150" title="Fergus McReadie Trio" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Fergus McReadie Trio<br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEihuOW7K_xU8n_EwyPNyPuj8mf87e7rSjP3mT8WTRs8FW4REF74e3ackUPgXzDRCb0Z5ML_3AuDQejW2A7y2e-THdfqPS75C7E0gfgpzxKshjMPNCJLpUNPv7kQ-RaY7r-10E4olmW6kmtq40gcJpSt5NstfPEL-7ny0RtWstWPdUxxjXL_NbqqUTWUxQ=s4032" style="margin-left: auto; margin-right: auto;"><img alt="Chris Farlowe with Colosseum" border="0" data-original-height="4032" data-original-width="3024" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEihuOW7K_xU8n_EwyPNyPuj8mf87e7rSjP3mT8WTRs8FW4REF74e3ackUPgXzDRCb0Z5ML_3AuDQejW2A7y2e-THdfqPS75C7E0gfgpzxKshjMPNCJLpUNPv7kQ-RaY7r-10E4olmW6kmtq40gcJpSt5NstfPEL-7ny0RtWstWPdUxxjXL_NbqqUTWUxQ=w150-h200" title="Chris Farlowe with Colosseum" width="150" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chris Farlowe with Colosseum<br /></td></tr></tbody></table><br /></div><br /><p>I've managed to amass 93 albums released this year, a number boosted by having joined the broadcasting team at Progzilla Radio during the year, presenting a monthly show for 2 hours on the 3rd Sunday evening of the month, sharing some of my musical favourites and discoveries. The show tends to reflect my own preferences, so is dominated by jazz, Progressive rock and Classic Rock.</p><p>I've drifted more, over the past few years, towards the jazzier side of the musical spectrum, and this is reflected in the albums I've purchased and acquired during the past 12 months. When it comes to ranking them in any order, this proves, year on year, to be more and more difficult, but there have been some albums that I have returned to more often than others... but more on them to come.</p><p>Here's an alphabetic list of 45 albums that have resonated with me over the year:</p><p>
</p>
</div><p><b>Lee Abraham</b><span style="mso-tab-count: 1;"> </span><i>Only
Human</i><br /><b>Accordo dei Contrari</b><span style="mso-tab-count: 1;"> </span><i>UR-</i><br /><b>Alco Frisbass</b><span style="mso-tab-count: 1;"> </span><i>Le
Mystere du Gue Pucelle</i><br /><b>Argos</b><span style="mso-tab-count: 1;"> </span><i>The Other
Life</i><br /><b>Big Big Train</b><span style="mso-tab-count: 1;"> </span><i>Common
Ground</i><br /><b>Cosmograf</b><span style="mso-tab-count: 1;"> </span><i>Rattrapante</i><br /><b>Graham</b><b> Costello </b><span style="mso-tab-count: 1;"> <i> </i></span><i>Second
Lives</i><br /><b>Miles Davis</b><span style="mso-tab-count: 1;"> </span><i>The
Lost Concert</i><br /><b>Elephant9</b><span style="mso-tab-count: 1;"> </span><i>Arrival
of the New Elders</i><br /><b>The Emerald Dawn</b><span style="mso-tab-count: 1;"> </span><i>To
Touch The Sky</i><br /><b>Floating Points</b><span style="mso-tab-count: 1;"> </span><i>Promises</i><br /><b>Fractal Mirror</b><span style="mso-tab-count: 1;"> </span><i>Beyond
Borders</i><br /><b>Hasse Froberg Musical Companion</b><span style="mso-tab-count: 1;"> </span><i>We Are The Truth</i><br /><b>Frost*</b><span style="mso-tab-count: 1;"> </span><i>Day and Age</i><br /><b>Garden of Live Flowers</b><span style="mso-tab-count: 1;"> </span><i>Sticky,
Sweet and Dirty</i><br /><b>Glacier</b><span style="mso-tab-count: 1;"> </span><i>Isalnd In
The Sky</i><br /><b>Steve Hackett</b><span style="mso-tab-count: 1;"> </span><i>Surrender
of Silence</i><br /><b>Daniel Herskedal</b><span style="mso-tab-count: 1;"> <i> </i></span><i>Harbour</i><br /><b>John Holden</b><span style="mso-tab-count: 1;"> </span><i>Circles
In Time</i><br /><b>Dave Holland</b><span style="mso-tab-count: 1;"> </span><i>Another
Land</i><br /><b>Iron Maiden</b><span style="mso-tab-count: 1;"><b> </b> <i> </i></span><i>Senjutsu</i><br /><b>Kalman Filter</b><span style="mso-tab-count: 1;"> </span><i>Moons
of Neptune</i><br /><b>Gary Kemp</b><span style="mso-tab-count: 1;"> <i> </i></span><i>In
Solo</i><br /><b>Lazuli</b><span style="mso-tab-count: 1;"> </span><i>Dénudé</i><br /><b>Amanda Lehmann</b><span style="mso-tab-count: 1;"> <i> </i></span><i>Innocence
and Illusion</i><br /><b>Lifesigns</b><span style="mso-tab-count: 1;"> </span><i>Altitude</i><br /><b>John McLaughlian</b><span style="mso-tab-count: 1;"> </span><i>Liberation
Time</i><br /><b>Fergus McReadie</b><span style="mso-tab-count: 1;"> <i> </i></span><i>Cairn</i><br /><b>Pat Metheny</b><span style="mso-tab-count: 1;"> </span><i>Side
Eye NYC V1.IV</i><br /><b>Mobius Strip</b><span style="mso-tab-count: 1;"> </span><i>Time
Lag</i><br /><b>Monarch Trail</b><span style="mso-tab-count: 1;"> </span><i>Wither
Down</i><br /><b>Nova Casade</b><span style="mso-tab-count: 1;"> </span><i>Back
From The Brink</i><br /><b>Octarine Sky</b><span style="mso-tab-count: 1;"> </span><i>Close
to Nearby</i><br /><b>Pasajero Luminoso</b><span style="mso-tab-count: 1;"> <i> </i></span><i>Pujol</i><br /><b>Chris Potter</b><span style="mso-tab-count: 1;"> <i> </i></span><i>Sunrise
Reprise</i><br /><b>Ske</b><span style="mso-tab-count: 1;"> </span><i>Insolubilia</i><br /><b>Tom Slatter</b><span style="mso-tab-count: 1;"> </span><i>Escape</i><br /><b>Slowly Rolling Camera</b><span style="mso-tab-count: 1;"> </span><i>Where
The Streets Lead</i><br /><b>Smalltape</b><span style="mso-tab-count: 1;"> </span><i>The
Hungry Heart</i><br /><b>Gerard Smith</b><span style="mso-tab-count: 1;"> </span><i>Lullabies
in an Ancient Tongue</i><br /><b>Snowpoet</b><span style="mso-tab-count: 1;"> </span><i>Wait
For Me</i><br /><b>Soup</b><span style="mso-tab-count: 1;"> </span><i>Visions</i><br /><b>Three Colours Dark</b><span style="mso-tab-count: 1;"> </span><i>Love's
Lost Property</i><br /><b>Trifecta<span> </span></b><i>Fragments</i><br /><b>Steven Wilson</b><span style="mso-tab-count: 1;"> </span><i>The
Future Bites</i></p><p>... and if there was to be a Top 5 for the year - in reverse alphabetical order:</p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiO_8-5-uXX8jSq49avouBgTgQ7uvtfauY5WfTA78ONXyg5jqadc0BSnqF-VEWDflfpljMgCYwdpdHTgqiZN0LGNYOXf3vEi1wlSehJRmqJoinQmp5stLs_QIf2JJMnPcsNyocBCUXwHGTbronL-5XjzmDUTQoJ_GOniF3242A92gb56BewFxFuvCFBDA=s2500" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2429" data-original-width="2500" height="194" src="https://blogger.googleusercontent.com/img/a/AVvXsEiO_8-5-uXX8jSq49avouBgTgQ7uvtfauY5WfTA78ONXyg5jqadc0BSnqF-VEWDflfpljMgCYwdpdHTgqiZN0LGNYOXf3vEi1wlSehJRmqJoinQmp5stLs_QIf2JJMnPcsNyocBCUXwHGTbronL-5XjzmDUTQoJ_GOniF3242A92gb56BewFxFuvCFBDA=w200-h194" width="200" /></a></b></div><b><br />Theo Travis</b> - <i>Songs From The Apricot Tree</i><p></p><p>An evocative and stunning work with Theo where he uses an Armenian Duduk, and ancient double-reed instrument made from a single piece of wood from the apricot tree. Mainly instrumental pieces, he includes a version of David Sylvian's 'Brilliant Trees', sung by the sadly late David Longdon.</p><p><br /></p><p><br /></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjqpaOOhzwGJryb16GQMMoZOWQYkmH9TBEkfHxv31HrXGLFHYSudYqWICcjfIFzo7R2ixBPKlp8Gi99N31Qt4DOdkDfaYrk9r1G7XdhqhU_3Tag-xCnVSuwau3XKTqnQ5i-HPptB9sxj8lwC6k9LaINC14MN9-2cpXgaoj7Sjc7wmzx9o1Rd4AX5EH7yQ=s500" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEjqpaOOhzwGJryb16GQMMoZOWQYkmH9TBEkfHxv31HrXGLFHYSudYqWICcjfIFzo7R2ixBPKlp8Gi99N31Qt4DOdkDfaYrk9r1G7XdhqhU_3Tag-xCnVSuwau3XKTqnQ5i-HPptB9sxj8lwC6k9LaINC14MN9-2cpXgaoj7Sjc7wmzx9o1Rd4AX5EH7yQ=w200-h200" width="200" /></a></b></div><b><br />Tillison Reingold Tiranti</b> - <i>Allium: Una Storia</i><p></p><p>A homage to a band whose day never came - a band that Andy Tillison heard in a camp in Italy in the 1970s and whose life was changed as a result - lovingly presented in RPI-style by Andy, Jonas Reingold & Roberto Tiranti.</p><p><br /></p><p><br /></p><p><br /></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhh27ROr1wbxxSWTaTbyLFAa2w4mXlILzNBq5KdxM2tS_vrOmhaM6sfQRb-_4El8fIcO0cZ07pLm_nNQutC-i_s_K2jjDW47gz_tbatyfy7MPeZmW71rOM7Icc35VjdfEwacwNBFX7WxGBEsbx7T0Re7x2BUY6O-e1BcLijZQDlrQrwKZkzJl2xBEVjmg=s1500" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEhh27ROr1wbxxSWTaTbyLFAa2w4mXlILzNBq5KdxM2tS_vrOmhaM6sfQRb-_4El8fIcO0cZ07pLm_nNQutC-i_s_K2jjDW47gz_tbatyfy7MPeZmW71rOM7Icc35VjdfEwacwNBFX7WxGBEsbx7T0Re7x2BUY6O-e1BcLijZQDlrQrwKZkzJl2xBEVjmg=w200-h200" width="200" /></a></b></div><b><br />James Francies</b> - <i>Purest Form</i><p></p><p>Francies is a young American keyboard playerwho has come to the fore in the jazz world over the past few years, working with Chris Potter and Pat Metheny (both of whose albums on which he appears featuring above). This is his second solo album, and shows a rich and rewarding diversity of style and dynamic throughout.</p><p><br /></p><p><br /></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjx7zjzHjPpaQWxZbN7JnRlJgxobpO0whnfaCRtYuVjeKv-7tiGs32ixffuV-o97bXjBmCA4TliXT7uG5cAL4eE2to-MJCKW3xrRSTCUpZ6XSkjQpvizRHHyBmmdrKBM54o2Sv2ucFxH8lFWKkbWEn3MD4F8xsBPjqyZxeSL2x-4yVjpYI4gGaWZQxbRw=s1000" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEjx7zjzHjPpaQWxZbN7JnRlJgxobpO0whnfaCRtYuVjeKv-7tiGs32ixffuV-o97bXjBmCA4TliXT7uG5cAL4eE2to-MJCKW3xrRSTCUpZ6XSkjQpvizRHHyBmmdrKBM54o2Sv2ucFxH8lFWKkbWEn3MD4F8xsBPjqyZxeSL2x-4yVjpYI4gGaWZQxbRw=w200-h200" width="200" /></a></b></div><b><br />Rachel Flowers</b> - <i>Bigger on The Inside</i><p></p><p>Quite simply an outstanding piece of work from a young lady who does not let her blindness hold her back in terms of dexterity and virtuosity. A stunning collection from an amazing and talented multi-instrumentalist who I have no doubt will go from strength to strength in the coming years.</p><p><br /></p><p><br /></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiYExkwZENSU4DB8Uud3qkXpgwD7id-A_wjGoTA0mL6LwT60NoewFojWSPjTlvlf8H9T6Hs-5U8Z2g_pQ3eiomb89QpX1hgSwA3xwAeSDSH6PKFQlSYtiiybn4Rs4O7zUNUN2LXmPZs2kmoaxMvvzkHzQ87Y4x0nZmpWGOx0RzzMA0YNF3iUKuPsoqa4g=s457" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="457" height="199" src="https://blogger.googleusercontent.com/img/a/AVvXsEiYExkwZENSU4DB8Uud3qkXpgwD7id-A_wjGoTA0mL6LwT60NoewFojWSPjTlvlf8H9T6Hs-5U8Z2g_pQ3eiomb89QpX1hgSwA3xwAeSDSH6PKFQlSYtiiybn4Rs4O7zUNUN2LXmPZs2kmoaxMvvzkHzQ87Y4x0nZmpWGOx0RzzMA0YNF3iUKuPsoqa4g=w200-h199" width="200" /></a></b></div><b><br />Nick Fletcher</b> - <i>Cycles of Behaviour</i><p></p><p>I have had the pleasure of seeing Nick play many times of the last few year, both as a member of the John Hackett Band and as a solo performer, chiefly on classical guitar. On this, his first rock solo offering, Nick demonstrates his obvious skill in rock, blues and jazz rock in songs and tunes self-penned and in colaboration with John Hackett. John's brother, Steve, says that "Nick... is probably the best jazz rock guitarist in the country. His fluency is astounding... I consider [him] to be an absolute star.", and I have to say that I agree.</p><p><br /></p><p>So, that's my take on 2021 musically. But what do you think? What have I missed? Let me know, either here or on Facebook.</p><p>Here's to 2022!</p><p><br /></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
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<![endif]--></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-30039419856674397472021-09-14T22:42:00.000+01:002021-09-14T22:42:07.482+01:00Nova Cascade - Back From The Brink<p>I'm sure I've read somewhere - probably on some cheesy inspirational meme somewhere - that out of adversity comes strength. Cheesy though it may be, there is certainly some truth in those sentiments when it comes to this, the third album from the ambient progressive collective known as <b>Nova Cascade</b>.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwkpOxgSGOmPBaHWdyeT2477wYWMZORP4G0engkLEquWY7RzplXNX_ddZEB2i4hPNFjnag893qzDepeMBR7eNDaT-X6mAgtfvrCQJA66kYN12IuxQo0LTyw-Z4NuEtRMoHowKRfsFo2zt/s1676/Front+Cover.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1518" data-original-width="1676" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwkpOxgSGOmPBaHWdyeT2477wYWMZORP4G0engkLEquWY7RzplXNX_ddZEB2i4hPNFjnag893qzDepeMBR7eNDaT-X6mAgtfvrCQJA66kYN12IuxQo0LTyw-Z4NuEtRMoHowKRfsFo2zt/w400-h363/Front+Cover.png" width="400" /></a></div> <p></p><p>Following on from their earlier albums - 2018's '<a href="https://flightoftheskypilot.blogspot.com/2018/09/nova-cascade-above-all-else.html">Above All Else</a>' and 2019's '<a href="https://flightoftheskypilot.blogspot.com/2019/08/nova-cascade-dictionary-of-obscure.html">A Dictionary of Obscure Sorrows</a>' - comes '<i><b>Back From The Brink</b></i>', a collection of songs, vocal and instrumental, forged in the white heat of the past 18 months or so of pandemic and lockdown: a task made all the more onerous as Dave Hilborne, the keyboardist and vocalist, was struck down by the virus and still endures the long-term effects of it. The title, 'Back From The Brink', is, therefore, apposite.</p><p>Dave, together with his usual associates Dave Fick on bass, and Charlie Bramald on flute, are joined by Eric Bouillette (who played with them on the last album) on violin & guitars, and Lorenzo Poliandri on drums & percussion. As with their previous recordings, the music is immersive, atmospheric and thoughtful; keyboard-driven, yet benefiting from the textures that the violin, flute and guitars bring. This is once more music from the ambient as well as progressive schools, and Dave Hilborne's vocals have an almost harsh yet ethereal quality to them. It is fascinating in that it is both music to soak yourself in, yet also music to engage the mind and spirit; that washes over you and carries you along to new places.<br /></p><p>Musically, there are hints for me of the Moody Blues in 'The Minutes After', and of Peter Gabriel's 'Intruder' in 'The Hill', and the epic title track is a well-constructed, multi-sectional piece with reggae rhythms at times. There is a clear progression in all the band's work, with this being the most accomplished of the three albums to date, which I would highly commend to any and to all.</p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-48803518968049807632021-08-05T11:42:00.004+01:002021-08-05T11:42:29.791+01:00Big Big Train - Common Ground<p> For around the last 12 years, <b>Big Big Train</b> have been at the forefront of the UK Progressive Rock 'scene', since the release of their 'breakthrough' album, The Underfall Yard (recently remastered and re-released). During that time the band has developed a line-up of musicians who have produced a steady stream of consistently well-crafted albums, and a trade-mark sound that has delighted and enthralled 'passengers' and others (and has been a bone of contention to others, too.)</p><p>The imminent release of a new album from any well-established band gives rise to much speculation and anticipation, none more so when that band has recently undergone substantial personnel changes. Since the warmly-received 'Grand Tour' in 2019, and partly as a consequence of the ensuing pandemic, three key members of the band - Dave Gregory, Danny Manners and Rachel Hall - have departed: all of whom contributed much to the overall sound of Big Big Train. How would their departure affected the feel of the music?</p><p>The release of '<i><b>Common Ground</b></i>' answers some of those questions: and maybe the forthcoming tour in 2022 will provide further insights.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0SlzF5VXKRF9Pa7lbq0A4T8q9rx6buNyWKLXXxDJlrD8ssWum1ir2MiX6mzqhooMGxU2Q7m9egcPVkyB64l79LMRChrJr0OhQ4ytx-CU40akvi9CWphGAuAY31I54TZ448ooP-AU0gYpt/s1400/BBT.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="1400" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0SlzF5VXKRF9Pa7lbq0A4T8q9rx6buNyWKLXXxDJlrD8ssWum1ir2MiX6mzqhooMGxU2Q7m9egcPVkyB64l79LMRChrJr0OhQ4ytx-CU40akvi9CWphGAuAY31I54TZ448ooP-AU0gYpt/s320/BBT.png" width="320" /></a></div><br /><p>Common Ground has been for me a bit of an enigma. It is clearly Big Big Train, yet there are clear and obvious differences in the musical 'feel' of the album. For me, Danny's keyboards and Dave's guitars were an essential part of BBT's sound, as was Rachel's violin in recent years, and that just isn't there any more. Rikard Sjoblom brings his own touch to the keyboards, as do Dave Foster and Aidan O'Rourke to guitars and violin, but it's not the same to me.</p><p>Nick D'Virgilio is given more space to showcase his songwriting on the instrumental '<i>Apollo</i>', and on '<i>All The Love We Can Give</i>', but there is more than just a hint of Spock's Beard showing itself for me - maybe a direction of travel for the band as the composition duties are more widely shared in future? Big Big Beard, anyone?<br /></p><p>David Longdon's voice continues to show great maturity and character, and on '<i>All The Love We Can Give</i>' he finds a new register which put me in mind of Scott Walker (others mentioned Phil Oakey). His voice harmonises very well with Nick's and with Carly Bryant's, who brings a more forceful female voice to that of Rachel Hall. Greg Spawton's bass seems, to me, just a little more prominent on this album, which is never a bad thing.</p><p>The song-writing throughout is what you would expect, in that it is high-class, musically and lyrically. Opener '<i>The Strangest Times</i>' is David Longdon's take on the past 18 months; similar in style to 'Alive' (from Grand Tour), and bringing in the BBT memes of fields, brooks and woods. '<i>Apollo</i>' and '<i>Endnotes</i>' both give space to the Brass ensemble to fill out the sound as only they can. '<i>Headwaters</i>', the other instrumental track, gives Rikard some scope to explore the piano, though it doesn't quite have the jazz-tinged edge that previous piano pieces have had. '<i>Atlantic Cable</i>' - a song about the laying of telecommunication links between the UK and US - also picks up the theme of Common Ground and our common humanity that echo through the collection: "we see the same stars/ walk the same ground/ lit by the same sun/ we could be one" [Black with Ink]; "we make new common ground/... we look up at the same stars/ see further as one." [Atlantic Cable]</p><p>And am I alone in spotting that the last line of the lyrics to '<i>Endnotes</i>' - "down the river/ to the sea" almost echo the title of the band's first album, 30 years ago...?</p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com2tag:blogger.com,1999:blog-8598504451838456622.post-7631207759324306982021-07-03T13:19:00.000+01:002021-07-03T13:19:06.832+01:00Gerard Smith - Lullabies in an Ancient Tongue<p> As a genre, Progressive Rock has been around now for over 50 years: many hold that King Crimson's 'In The Court of The Crimson King' was the first album of that genre - others go back a little further and cite The Beatles' 'Sergeant Pepper...' or The Moody Blues' 'Days of Future Passed' as the nascent release. Wherever it started, the genre has been growing and developing - progressing, perhaps - over the years, with each generation drawing from the past and influencing the future in their own particular way.</p><p>Into that great succession comes the new album from <b>Gerard Smith</b>, a Michigan native of Irish roots and a founder member of Bill Grogan's Goat, who gives us a wonderfully eclectic selection of songs that takes as its title a line from the aforementioned King Crimson album - "<i><b>Lullabies in an Ancient Tongue</b></i>."</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg81vqBXlH_DJx2sxikl4T8-xYwhCtHzHyVGWBcfDVRNeOe2HHd2ailJctau6zfv8x52ig1cyjtU5rAzqCOgYw60WdBWYMMj0iYYExIo1-8RiW7nSHUXEgms8PvYkOizIRRlg3OreRFJMtE/s1400/Gerard+Smith+LP+Cover+Bandcamp+June+2+2021.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg81vqBXlH_DJx2sxikl4T8-xYwhCtHzHyVGWBcfDVRNeOe2HHd2ailJctau6zfv8x52ig1cyjtU5rAzqCOgYw60WdBWYMMj0iYYExIo1-8RiW7nSHUXEgms8PvYkOizIRRlg3OreRFJMtE/s320/Gerard+Smith+LP+Cover+Bandcamp+June+2+2021.jpg" /></a></div><p></p><p>Don't let the title fool you, though: this is not collection of sleep-inducing tunes - far from it! The opening track, '<i>Standing Stone</i>', comes in with a bang, and carries on with a driving rhythm and almost growl-y vocals, and the album proceeds with shifts in tempo, time-signatures and texture within and between songs, which is uplifting and keeps you on your toes. The nearest any of the songs come to a lullaby is '<i>Sweet Dreams and Soft Mornings</i>' (which appears in two versions on the album), but even this, with its multiple time-signatures, would make rocking a child to sleep difficult!<br /></p><p>Drawing on the Progressive tradition, there are hints of Hawkwind, Genesis, and (of course) King Crimson in the music, but the 'ancient tongues' go further back too, with folky tinges in the guitars, mandolin, whistles, and even Uilleann pipes, and it's that mix of traditional and more contemporary musical themes that makes this a very alluring album of excellently written and constructed songs, and one that I would heartily recommend.</p><p>To listen to, or even to buy, the album go to <a href="https://gerardsmith2.bandcamp.com/album/lullabies-in-an-ancient-tongue">Bandcamp</a>.</p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-17089533129111109032021-06-07T10:37:00.000+01:002021-06-07T10:37:37.281+01:00Always There...<p>On Friday evening, 4th June, my Dad passed away. As I have reflected on his life, one phrase has struck me - 'always there...', and what follows is my further reflection and meditation on those words as they relate to Dad. I leave them with you as a testament to his impact on my life and those of others.</p><p>
</p><p class="MsoNoSpacing"><b><i><span style="font-size: 14.0pt;">Always There</span></i></b></p>
<p class="MsoNoSpacing" style="text-align: left;">Always there: or so it seemed – at work,
</p><p class="MsoNoSpacing" style="text-align: left;">extra shifts and overtime, to ensure that we had the life he wanted for us; a good education, a good holiday, a good home.</p>
<p class="MsoNoSpacing" style="text-align: left;">Always there: or so it seemed – in the chair,</p>
<p class="MsoNoSpacing" style="text-align: left;">in the corner; before work, after work, sleeping off the excesses in front of the TV – but don’t turn it off, ‘cos “I was watching that!”</p>
<p class="MsoNoSpacing" style="text-align: left;">Always there: or so it seemed – at Chapel,</p>
<p class="MsoNoSpacing" style="text-align: left;">care-taking, setting the heating; Property Committee and Trustees’ Meeting; making sure all was in hand for worship; preaching to hundreds, and to just two.
</p><p class="MsoNoSpacing" style="text-align: left;">Always there: or so it seemed – a Father’s eye and a Father’s heart,</p>
<p class="MsoNoSpacing" style="text-align: left;">offering advice and proffering discipline, yet always with good intention and with that twinkle; always willing to help – as long as it didn’t cost him
<i>too</i> much (he was a Yorkshireman, after all <span style="font-family: "Segoe UI Emoji",sans-serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-char-type: symbol-ext; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin; mso-symbol-font-family: "Segoe UI Emoji";">😉</span>).
</p>
<p class="MsoNoSpacing" style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtbCBSVOcqMpRmPyDC96c4KpeoqZNZ8DCMXKu6v9IIJwSdXMYNmuL4OmGAyaBoEjekSUVAyulaVKLw3Oet_N9HTFUnKrMb0o8_RakPuqEK5fa3t-wHSDssFVvifgKocZhwfRqxrTUtmisW/s2048/IMG_2642.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtbCBSVOcqMpRmPyDC96c4KpeoqZNZ8DCMXKu6v9IIJwSdXMYNmuL4OmGAyaBoEjekSUVAyulaVKLw3Oet_N9HTFUnKrMb0o8_RakPuqEK5fa3t-wHSDssFVvifgKocZhwfRqxrTUtmisW/s320/IMG_2642.jpg" /></a></div>Always there...<p></p>
<p class="MsoNoSpacing" style="text-align: left;">but the work clothes have been hung up; the pulpit vacated, the chapel closed;
</p><p class="MsoNoSpacing" style="text-align: left;">and the chair, sitting in the corner, is empty now.</p><p class="MsoNoSpacing" style="text-align: left;">But he’s always there:</p>
<p class="MsoNoSpacing" style="margin-left: 36pt; text-align: left;">glimpsed in a mirror or a
memory;</p>
<p class="MsoNoSpacing" style="margin-left: 36pt; text-align: left;">in hearts loved and loving;</p>
<p class="MsoNoSpacing" style="margin-left: 36pt; text-align: left;">in minds stretched and
informed;</p>
<p class="MsoNoSpacing" style="margin-left: 36pt; text-align: left;">in lives enabled and
transformed;</p>
<p class="MsoNoSpacing" style="margin-left: 36pt; text-align: left;">in love remembered and
rejoiced over;</p>
<p class="MsoNoSpacing" style="margin-left: 36pt; text-align: left;">in stories told with laughter
and tears.</p>
<p class="MsoNoSpacing" style="text-align: left;">In his Saviour’s presence, in the place prepared:</p>
<p class="MsoNoSpacing" style="text-align: left;">Always there…</p>
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<![endif]--></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-43864897838323036382021-05-21T12:47:00.001+01:002021-05-21T12:47:59.563+01:00Things to do when you turn 60 - The Bucket List: 1 - Become a DJ<p> For some reason, reaching a 'certain age' - particularly one wholly divisible by 10 - causes many to take stock of their lives. What have I done over the last <i>n</i> years? What have I <b>not</b> done that I've always wanted to do? This reflection often leads to the establishment of the 'bucket list', and I have to confess that, having recently reached the tender age of 60, I have begun to draw up such an item.</p><p>Part of the reason for doing so was predicated by a birthday present from my eldest son, who gifted me a USB microphone. This led to experiments with recording software, and the production of a 'trial' show of covers versions, which was subsequently posted on Mixcloud. Here it is...</p><p><iframe frameborder="0" height="120" src="https://www.mixcloud.com/widget/iframe/?hide_cover=1&light=1&feed=%2Fjohn-simms5%2Fflight-of-the-sky-pilot-weve-got-it-covered%2F" width="100%"></iframe><br /></p><p>This subsequently led to my being invited to put together a 2 hour show to be broadcast of Progzilla Radio, which happened on 16th May...</p><p></p><p><iframe frameborder="0" height="120" src="https://www.mixcloud.com/widget/iframe/?hide_cover=1&light=1&feed=%2Fjohn-simms5%2Fmaiden-solo-flight-progzilla-radio-16-may-2021%2F" width="100%"></iframe></p> ...and a further invitation to make another show for the following fortnight.<p></p><p>The bucket list has begun to be ticked off...</p><p> <br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-73895240425055824812021-04-22T17:35:00.000+01:002021-04-22T17:35:28.792+01:00Nick Fletcher - Cycles of Behaviour<p>I first came across <b>Nick Fletcher</b> a number of years ago now when he was playing classical guitar alongside flautist John Hackett in a Methodist Chapel in Sheffield, and I must say I was impressed by his musicianship and his ability then. That respect has only grown as he stepped up as the guitarist with John's eponymous band, playing electric guitar then, and over the last few years I have seen Nick's confidence and competence flourish in this role.</p><p>His new album, <i><b>Cycles of Behaviour</b></i>, comes out of a most unprecedented year, due to the restrictions placed upon us all by the global Coronavirus pandemic. It had, apparently, started life as another collaboration with John Hackett, following on from their 2018 offering, 'Beyond The Stars', but the logistic difficulties brought on by Lockdown led to it being more of a solo project, though John does share some song-writing credits alongside his contributions on voice, flutes and some keys. Nick & John are joined by Dave Bainbridge on Hammond & Mellotron, Caroline Bonnett on Keys & backing vocals, Tim Harries on bass and Russ Wilson on drums.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhURvmW5OsZ5XAg8zIergnCSdXkIUJCupOqBXf2RsYQubws86kVaZ0e45hnhl7E7-UAc33pKtYJvZ0O1nHZtoUNkERs7S-3Uiw9Y3ABRosRS_2Q9tSYUtsIxjlXGQL72zKlcXhXIm9aavMr/s457/cyclesofbehaviour.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="457" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhURvmW5OsZ5XAg8zIergnCSdXkIUJCupOqBXf2RsYQubws86kVaZ0e45hnhl7E7-UAc33pKtYJvZ0O1nHZtoUNkERs7S-3Uiw9Y3ABRosRS_2Q9tSYUtsIxjlXGQL72zKlcXhXIm9aavMr/w400-h398/cyclesofbehaviour.jpg" width="400" /></a></div><br /><p>The opening instrumental title track comes in with a bang and settles into a jazzy groove with some dextrous experimental flourishes and sweeping Hammond chords. Musically it is strongly reminiscent of the jazz rock of Bruford, with some exhilarating guitar and keyboard fills: a great start! Next comes '<i>Heat is Rising</i>', the first John Hackett collaboration, and a rockier tune with some pop overtones, but a strong riff-driven base and a soaring solo midway through. '<i>Hope in Your Eyes</i>' is a stunning piece: gentle, reflective and reminiscent of Steve Hackett's Spectral Mornings for me in many places, with some beautiful flute work from John, but also where Nick demonstrates his influence from the late Alan Holdsworth, particularly in the solo from about 4:30 in - soul-stirring! '<i>Tyrant and Knave</i>' is a harder-hitting tune, with a strong beat and heavier guitar, but losing none of the lyrical quality of the whole album. A gentler, blues-y section in the middle of the song gives the listener a breather for a while, before the main theme is restated at the end.</p><p>'<i>Desolation Sound</i>', the shortest track in the collection, opens the second half of the album with a mournful drone and a plaintive flute, with synthesised guitar chords and a sound that brought to my mind early Steve Hackett again. '<i>Interconnected</i>' is another co-written piece, and is a complete change of tempo, with up-beat flute and some Byrds-like jangly guitars, and some quite quirky lyrics. Again, midway through there's a shift down in tempo and some haunting alto flute before the beat re-launches. '<i>Annexation</i>' sees the classical guitar appear in the opening section, alongside the flute, and strings on the keyboards, before a heavier, more riff-laden electric motif emerges which drives along quite magnificently with an almost Eastern European feel to it. The album closer is the epic '<i>Philosopher King</i>', the third Fletcher/ Hackett composition, and a driving blues-fuelled monster it is, with a strong David Gilmour flavour to it in the vocal passages and in the mind-blowing guitar work, but with its own distinctive moments such as the skip-y section at about 4:00 which almost seems to have a nod to Supper's Ready at one point. The last 5:00 of the song is just stunning, as first the flute and then the guitar build in a way similar to Comfortably Numb - jaw-dropping, goose-bump inducing sublime beauty, which feels like it could go on for eternity, and just fades away soaring in flight...</p><p>On the CD sleeve, Steve Hackett writes that "Nick... is probably the best jazz rock guitarist in the country." Having seen the two of them on stage together, when Steve guested with John's band at a CRS show in Maltby a few years ago, I can only concur, and I may be bold enough to say that there were times on stage when Nick not only held his own with Steve but possibly surpassed him. Along with Steve, I would say that "I consider Nick Fletcher to be an absolute star", and this album underlines his quality. My album of the year so far...</p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com1tag:blogger.com,1999:blog-8598504451838456622.post-62764690419056290992021-04-12T10:33:00.000+01:002021-04-12T10:33:10.559+01:00The Final Frontier...<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLHWPpgugzRDfYAcVTW_FXpKJTpIriMrX9myGT_c3H-O4i6yXVlN7KVHoLBuuX5g7RJeUVVFc8XRXikwwH5MZNTB7KdYYxrBTq1lSsDp8Mpl-NKHB01oppS_JlaOtIAsi_txD-chEChFj8/s1000/800px-Yuri_Gagarin_%25281961%2529_-_Restoration.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLHWPpgugzRDfYAcVTW_FXpKJTpIriMrX9myGT_c3H-O4i6yXVlN7KVHoLBuuX5g7RJeUVVFc8XRXikwwH5MZNTB7KdYYxrBTq1lSsDp8Mpl-NKHB01oppS_JlaOtIAsi_txD-chEChFj8/s320/800px-Yuri_Gagarin_%25281961%2529_-_Restoration.jpg" /></a></div><br /><p></p><p>Today, April 12th 2021, marks the 60th anniversary of humanity's first venture into what would become known as 'The Final Frontier', as Russian cosmonaut <b>Yuri Alekseyevich Gagarin</b> piloted his Vostok 1 craft on its brief voyage beyond the earth's atmosphere and completed an orbit of the earth before returning to <i>terra firma</i>.</p><p>Not the first living creature to be launched into space - he was preceded by such notables as Albert the monkey in June 1949, and Laika the dog in November 1957 - his venture set in motion events which would lead to humanity setting foot on the moon in July 1969, and now beginning to talk about going further into the Solar System, to Mars and who knows where after that.</p><p>The events of April 1961 have a special significance for me in that they happened two weeks to the day before I was born! I am, and have always seen myself as, a child of the Space Age. But the implications were much wider: within 23 days Alan Shepard had become the first American in space, and 10 years later he would go on to be one of those who would set foot on the moon as a member of the crew of Apollo 14. In June 1963 Valentine Tereshkova became to first woman in space, and it would take a further 20 years for the USA to send their first woman, Sally Ride. The United Kingdom had to wait until 1991 for Helen Sharman to become out first astronaut.</p><p>The 1960s were a time of great hope and opportunity as the 'space race' dominated much of the thinking of the major super-powers, and I wonder whether Gagarin knew what his tentative steps into the unknown would bring about. Sadly, he was not to see the next step, as he died in a flying accident in March 1968, but his legacy will live on after him.</p><p>Sixty years on, the human race are now beginning to make tentative steps further into the 'Final Frontier': will Science Fiction be proved right in where it leads us? only time will tell.</p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-8161672511534531862021-03-25T14:38:00.000+00:002021-03-25T14:38:55.182+00:00Checking For Echo Project - Life & Other Short Stories vol. 1<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmxlNZ3TKSuNNRvx7pjlW_9NpO6V7O20lOTpqjvujoYBX7yKE3onanr3HZ_Myo06N6cnhCX2N5rTmd41h44aygmBjWDa8JbAOY02VDBYJ8SsXYbm8VwDDp2pADodzPecVcMpM8VFNP-oa/s2048/AlbumArt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmxlNZ3TKSuNNRvx7pjlW_9NpO6V7O20lOTpqjvujoYBX7yKE3onanr3HZ_Myo06N6cnhCX2N5rTmd41h44aygmBjWDa8JbAOY02VDBYJ8SsXYbm8VwDDp2pADodzPecVcMpM8VFNP-oa/w400-h400/AlbumArt.jpg" width="400" /></a></div>Following on from his debut solo album project of last year - <a href="https://flightoftheskypilot.blogspot.com/2020/03/checking-for-echo-war-is-never-won.html">The War is Never Won</a> - Jon Farley has used the last year of lockdown to good effect and produced Volume 1 of his new project, <i><b>Life and Other Short Stories</b></i>, a collection of 6 new songs alongside 3 covers and a spoken word coda. Alongside his own contributions as songwriter, drummer, bassist, guitarist and keyboardist, Jon elicits the help of ten other musicians to produce a thoughtful, evocative set of songs, chief among whom is Suzi James (Fearful Symmetry) whose guitar work throughout is exemplary.<p></p><p>The covers included are of Frost*'s '<i>Saline</i>', IQ's '<i>Red Dust Shadow</i>', and Long Earth's '<i>My Suit of Armour</i>', and each of these brings a new depth to the overall feel of the album, and I find Freedom To Glide's Andy Nixon's vocals on '<i>My Suit of Armour</i>' particularly well-suited and quietly powerful.</p><p>It would be fair to say that this is not a Friday night party album: the general mood is one of reflection, and Jon's piano-led writing lends itself to this. That mood does lift occasionally, when Suzi "lets go" in '<i>Stillborn</i>' and '<i>Seen But Not Heard</i>' (and these, to me, seem to be when there is a need for escape in the song), but it is generally subdued. The subject matter overall is, for me, about escape and longing; trauma; the barriers that we erect to get through life; and the hot-button topic of mental health, and these are approached through the lenses of relationships, childhood, homelessness and the delicate subject of stillbirth.</p><p>The album opener, '<i>Stillborn</i>', is, for me, the strongest song in the collection - certainly the one that touched me the most. In my working life as a Christian Minister, it was a subject that I'd had to confront on a small number of occasions, and it is handled so sensitively here. The song starts with a gentle heartbeat in the background, and has a quiet, soothing melody as the mother waits expectantly, but then an abrupt change of dynamic with loud and slightly off-beat guitars breaking the peace, as if there's a battle going on (maybe there is...). The climax is back to the quiet , but a different quiet, and the heartbeat slowly slows and stops.</p><p>One of the strengths of this album is the use of 8 different vocalists, who each bring their own distinctive 'voice' to Jon's songs and arrangements; another is the guitar work throughout of Suzi James (as already mentioned). But without the song-writing these would count for nothing, and Jon is both thoughtful and thought-provoking is his lyrics, and wistful and stirring in his melodies. This is music which makes you think.<br /></p><p>All proceeds from the sales will go to support the work of <a href="https://www.helpmusicians.org.uk">Help Musicians</a> and <a href="https://stagehand.org.uk">Stage Hand</a> ,and the album is available at <a href="https://checkingforecho.bandcamp.com/album/life-other-short-stories-vol-1">Bandcamp</a> from 7th April 2021, with vol. 2 hopefully available later this year.<br /></p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-11720373457356251072021-02-26T16:54:00.001+00:002021-02-26T17:09:11.680+00:00John Holden - Circles in Time<p> Over the past few years, <b>John Holden</b> has gained a much-deserved reputation for producing some finely-crafted Progressive music, in the vein of the classic era of the genre, on the strength of his first two albums: '<i><b><a href="https://flightoftheskypilot.blogspot.com/2018/03/john-holden-capture-light.html">Capture Light</a></b></i>' (2018) and '<i><b><a href="https://flightoftheskypilot.blogspot.com/2020/02/john-holden-rise-and-fall.html">Rise and Fall</a></b></i>' (2020). That reputation is now further enhanced with the imminent release of his third offering - '<i><b>Circles in Time</b></i>'.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCXUK-0zMfsZFmnJ3k8CJwXQluBt0RskrFGyXWljKEoEqd6AlvTRAznDi1onrSD9oZp1o52fruJNPEohk3ROM1RtJJIWrJFb8t3uk8tLmtX5kBggjA6HAFcbncfktUrfu6FgmA_R7X3qx/s1400/cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCXUK-0zMfsZFmnJ3k8CJwXQluBt0RskrFGyXWljKEoEqd6AlvTRAznDi1onrSD9oZp1o52fruJNPEohk3ROM1RtJJIWrJFb8t3uk8tLmtX5kBggjA6HAFcbncfktUrfu6FgmA_R7X3qx/w400-h400/cover.jpg" width="400" /></a></div><br /><p>Like its predecessors, the songs on this album are written mainly by John, with lyrics by John and his wife Elizabeth, but the realisation of John's vision is enhanced, as ever, by a stellar cast of musicians and others, some of whom have worked with John in the past - Marc Atkinson, Zaid Crowe, Oliver Day, Nick D'Virgilio, Peter Jones, Sally Minnear, Jean Pageau, Joe Payne & Vikram Shankar - while others are new to John's work on this album - Robin Armstrong, Frank van Essen, Eric Potapenko & Henry Rogers.</p><p>The album opens with '<i>Avalanche</i>', and opens with drive and pace - crashing, tumbling drums and cascading guitars - before settling into a steady pace as Jean Pageau's vocals enter. The chorus is a good hook, and gives a memorable structure to the song, which explores the the odious habit of trolling on the internet, and the impact that such activity can have.</p><p>'<i>High Line</i>' is a contemporary romance, set in the heart of New York City. Musically it puts me firmly in mind of Steely Dan, with a wonderful jazzy vibe and stirring vocal harmonies, both ably provided by Peter Jones, whose sax playing really sets the mood. We end with interplay between Peter's sax and Frank Van Essen's violin.</p><p>Inspiration for songs comes in many ways, and '<i>The Secret of Chapel Field</i>' was sparked by the discovery of a gravestone in a village church commemorating the life of a young girl who was the victim of a 19th century murder/suicide. The story unfolds like a Victorian ghost story, as Marc Atkinson narrates and Sally Minnear takes the role of Mary, the young victim. There's a sombre, pastoral feel to the music, perhaps fitting bearing in mind the subject matter, but evocative, nonetheless.</p><p>'<i>Dreams of Cadiz</i>' is an instrumental track, rooted in the flamenco tradition of Spain,and Oliver Day brings some emotive acoustic guitar to add to, and dance with, the piano. There's a tantalising light and shade in the music, that builds as the music grows and bass, keys & drums are slowly added to the mix. Not a typical flamenco tune, but one that evokes the Andalucian spirit quite delightfully.</p><p>'<i>Circles</i>' is, I suppose, the nearest we get to a title track, and it focusses thematically and lyrically on thee drudgery at times of coping with recurring ill health: physical, emotional or mental. A nagging heart-beat seems to pervade the song, and the use of echo helps to reinforce the incessant nature of pain and dis-ease, yet Sally Minnear's voice brings a gentler and more 'manageable' air to the theme. And I'm left wondering whether the support the song references towards the end is solely human, or if there's some spiritual element there too (but maybe that's just me...?). </p><p>The final track, '<i>KV62</i>', is an epic of just short of 20 minutes that tells the story of the discovery in 1922 of Tutankhamun's tomb in the Valley of the Kings in Egypt by Howard Carter. For someone of my 'vintage' this evokes memories of the exhibition in London in 1972, which was fascinating for an 11-year old boy. The opening chords evoke the Middle East and take us to the burial some 3,300 years ago, with the richly sonorous tones of Jeremy Irons, as we accompany the young King on his journey to the afterlife. From there we are whisked away to the 1920s, as Carter and his sponsor, Lord Caernavon, wrestle with the decision whether to continue their search for the tomb. Joe Payne & Peter Jones tell the tale well, as the search bears fruit and the inevitable media circus ensues. The music continues to set the mood for the tale, building to a stirring crescendo as the site is opened and the treasures revealed, and moving to a melancholy conclusion as Carter is left to die in obscurity.</p><p>As always, John tells a wonderful story - or series of stories - and this collection is a delight, lyrically, conceptually and musically. It has been a pleasure to listen to this new set of songs, and I would commend it to any who appreciate fine musicianship at the quieter end of the Progressive spectrum. I can see this album featuring highly in lists in 10 months time, and if this is a sign of what 2021 has in store, it should be another classic year.</p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com1tag:blogger.com,1999:blog-8598504451838456622.post-3765924696957408762021-02-19T15:27:00.002+00:002021-02-19T15:27:52.336+00:00So, how's 2021 shaping up?<p> Last year was, I think I mentioned in my last post, a strange year for most if not all of us. Many of the effects of 'Lockdown' on us - as individuals and as a society - are yet to be fully realised, but one thing I've noticed about myself is what I can best describe as an increased 'meh' to most things. The tedium of spending so much time in the same space, with little interaction with anyone other than the one closest to me, and very little change in scenery other than for my daily walk - usually over the same route - is perhaps beginning to have consequences for my overall mood and demeanour.</p><p>There have been some positives to this almost house arrest: I've got a lot more reading done than in previous years; I've spoken to my mother on the phone more frequently than I have done; I've explored more of Derbyshire during the brief respites between lockdowns. But I've missed just popping out for a day trip somewhere, or to visit family; I've missed going to gigs and meeting friends for a drink and a chat; heaven help me, I've even missed shopping!</p><p>As we have seen recently with the demise of Debenhams & Arcadia Group stores from what's left of our High Streets, shopping is now increasingly, and perhaps irreversibly, happening more on-line - as is meeting, working and worshipping. Will a return to 'normality' see that change back? Only time will tell.</p><p>Music has not totally stopped: new music has arrived this year, and there are four albums so far this year that have aroused my interest in some shape or form.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcuUIUZoGsX26i201QvJmCa6q95T9d2n6_GQekpfx9Vek02d2pUNz1Dt0IVF_abU3yotbCEkjyz2y7Bt7FNd86Y9ROjJlnh0VhLQljBZuizihWrG8GAe4gBTcXXn3ssBUzga4BHmsq2pXk/s1200/Hibernal.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcuUIUZoGsX26i201QvJmCa6q95T9d2n6_GQekpfx9Vek02d2pUNz1Dt0IVF_abU3yotbCEkjyz2y7Bt7FNd86Y9ROjJlnh0VhLQljBZuizihWrG8GAe4gBTcXXn3ssBUzga4BHmsq2pXk/w214-h214/Hibernal.jpg" width="214" /></a></div>The first is the latest from Australian Mark Healy, who records under the name '<i><b>Hibernal</b></i>', a sci-fi post rock project from Brisbane. The albums are a combination of instrumental, cinematic music and dystopian sci-fi stories which are always a delight to listen to, the music enhancing the tale very effectively. So far there have been seven such stories, and '<b>Infiltrators</b>' the latest, is both disturbing, engaging and heart-warming in content. I would highly recommend any or all of them for your listening pleasure.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs1oEdubK917DisLxrx3_Trbu1nIJXet8_uyEAmGcDVkIPtuX6u8yRMCP9ILK3DloazIBhFZur7pIhAJYWBVrEEXXGXhDAUvyX4LhH4ycPxsjESbwLwQjqTY_eKoAE6la0RvW7JZBZzUkb/s316/Transatlantic.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs1oEdubK917DisLxrx3_Trbu1nIJXet8_uyEAmGcDVkIPtuX6u8yRMCP9ILK3DloazIBhFZur7pIhAJYWBVrEEXXGXhDAUvyX4LhH4ycPxsjESbwLwQjqTY_eKoAE6la0RvW7JZBZzUkb/w215-h215/Transatlantic.jpg" width="215" /></a></div><p>Secondly is the fifth album, and the first since 2014, from Prog 'supergroup', <i><b>Transatlantic</b></i>. Their latest offering - <b>The Absolute Universe</b> - comes as a 65-minute single CD, subtitled '<i>The Breath of Life</i>' (Abridged Version) and/or as a 91-minute double CD, subtitled '<i>Forevermore</i>' (Extended Version), and as a 97-minute 'Ultimate' blu-ray version. Only a Prog band would feel that 65 minutes is abridged, and needs extending to 91 minutes, or even 97! The music is typically Transatlantic, with clear vocal contributions from ex-Spock's Beard front-man Neal Morse and Flower Kings' Roine Stolt. There's nothing to my ears particularly surprising about this collection: it is cinematic, epic prog, emotively played and sung, and Neal manages to work his spirituality in as expected, but not in an overtly cloying way. There are subtle differences between the two versions, other than the running time which, for the completist, probably means that both are needed. The only oddity for me is that the closing track on both - a song called 'Love Made A Way' - has a closing chord that lasts almost 2 minutes (with other stuff happening over it)! If you like Transatlantic, you'll probably like this...</p><p><i><b></b></i></p><div class="separator" style="clear: both; text-align: center;"><i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvzsoLuTKJ2V8oLzprIRG0wOzPqiX7Z_z5IUglQ7TUA2D0JhrclKjwIf0a_zdIR0w29rDbtYfODKrBJKG8_1wZiAW4vvLKzEQjhglZG7fNRhJ5JhzYe_W0WaIUe_doh0vtM2BmMGQZ8F2T/s316/Hackett.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvzsoLuTKJ2V8oLzprIRG0wOzPqiX7Z_z5IUglQ7TUA2D0JhrclKjwIf0a_zdIR0w29rDbtYfODKrBJKG8_1wZiAW4vvLKzEQjhglZG7fNRhJ5JhzYe_W0WaIUe_doh0vtM2BmMGQZ8F2T/w200-h200/Hackett.jpg" width="200" /></a></b></i></div><i><b><br />Steve Hackett</b></i> has been nothing short of prolific over the past 10 years, with 5 studio albums, regular tours and 6 live albums from those tours, and he has now released his first collection of classical guitar music since 2008's 'Tribute' - '<b>Under A Mediterranean Sky</b>'. This is wonderfully evocative - perfect for a dank, drizzly February afternoon - conjuring-up as it does the warm sun and azure skies of Italy and Spain.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYNo0e1zFCbz_vtZlMvzWi7lodGsxqExBr5HzZGBiXLmx91cvaau0V4TpgfsQhHOT3x8DVO8tnMoCniFaB-fGFyS4yinyWARHyx0-rD18si0Ep5mBMxTMF4WttLRwzrCUWTx1EMqVfuwyS/s300/Steven_Wilson.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYNo0e1zFCbz_vtZlMvzWi7lodGsxqExBr5HzZGBiXLmx91cvaau0V4TpgfsQhHOT3x8DVO8tnMoCniFaB-fGFyS4yinyWARHyx0-rD18si0Ep5mBMxTMF4WttLRwzrCUWTx1EMqVfuwyS/w225-h225/Steven_Wilson.png" width="225" /></a></div><br />And finally comes one of the most anticipated albums so far of this year, and one, like its predecessor, of the most 'Marmite' albums: <i><b>Steven Wilson</b></i>'s '<b>The Future Bites</b>'. Wilson has a way of managing to attract and repel equally; to strike both anticipation and disdain in the hearts of his listeners. The issue for many (I venture to state) is that his more recent albums haven't sounded like Deadwing, or anything else that Porcupine Tree recorded, but then if Progressive music continued to sound like it always has done, would it be 'progressive'? Wilson, it seems to me, is pushing the door (and sometimes the walls as well) of 'progressive' music, and perhaps taking it a step or two further. In The Future Bites there are 'flirtations' with Pop, and with EDM, but there are also - particularly in the Deluxe Edition 3-disc set (a concept that he wickedly appears to send up in the excellent 'Personal Shopper') some clear echoes of PT at their best. This is a telling critique of (post)modern life and its (at times) obsession with celebrity, 'retail therapy' and social media. It is a record which grows with listening: yes, one that jars at times musically, if one is not used to the different styles and genres used, but a forward-thinking piece of progressive music in a time of uncertainty and stagnation.<p></p><p>There has been other music this year, but there'll be time for that later (some of it's not released until March!). But let me know what you think...</p><p><br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com1tag:blogger.com,1999:blog-8598504451838456622.post-43300557009827578482020-12-31T12:53:00.000+00:002020-12-31T12:53:38.081+00:00Music of 2020<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OgodSfOCSP2DSpCgPX4nBcUtQBCEYLn3Am1rauXYm1srND7IEoblKUk-N2TpfhE_xs6lqQB_jGVS9F2LNxlCTFIt6J04vnuUfQp0tVw20PblYtHV9iB8-6MrCNYrhJCf4ZXGGo1UwKo7/s3586/IMG_2295.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="3586" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OgodSfOCSP2DSpCgPX4nBcUtQBCEYLn3Am1rauXYm1srND7IEoblKUk-N2TpfhE_xs6lqQB_jGVS9F2LNxlCTFIt6J04vnuUfQp0tVw20PblYtHV9iB8-6MrCNYrhJCf4ZXGGo1UwKo7/w484-h119/IMG_2295.JPG" width="484" /></a></div><br />It would be fair to say that 2020 has been the strangest of my 60 years of life. Most of the time has been spent confined to home, which should have given me more time to devote to listening to music in all its variety and wonder. However, this has not been so - my consumption of music seems to have been constrained by Lockdown, rather than enhanced. Add to that the total lack of any live music this year - when I should've been enjoying Nick Mason, Jeff Beck, Brand X, Summer's End and a couple of iterations of HRH Prog, among many others I'm sure - and you begin to see how different the year has been.<p></p><p>So, it's been a quiet year - I've only managed to acquire 67 albums this year: my lowest tally since 2011, and some of them have left me feeling a bit flat to be honest. But of those 67, here's 20 that have stayed with me and left more than a fleeting impression on me this year. Putting them into any kind of rank seems somewhat churlish, as my particular 'favourite' seems to fluctuate depending on my mood/ sobriety/ particular whim, so they are simply listed alphabetically.</p><div style="text-align: left;"><b>Abel Ganz</b> - <i>The Life of the Honey Bee</i></div><div style="text-align: left;">Six years on from their spellbinding eponymous album, this is a beautifully touching collection of songs that reminds me of just what great songsmiths these guys are.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Sepia & White</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Anubis</b> - <i>Homeless</i></div><div style="text-align: left;">An album from this Australian band is always worth the wait, and this offering doesn't disappoint.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Home.</span> <br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Dinosaur</b> - <i>To The Earth</i></div><div style="text-align: left;">Having been nominated for the Mercury Prize with their debut, <i>Together , As One</i>, jazz quartet Dinosaur continue to produce stunning contemporary jazz, rooted in tradition but pushing boundaries.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - To The Earth</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Dyble Longdon</b> - <i>Between a Breath and a Breath</i></div><div style="text-align: left;">Two of the most distinctive and distinguished vocalists in the UK - Big Big Train's David Longdon and former Fairport Convention member Judy Dyble - produced a touching collection of songs which was, sadly, to be Dyble's epitaph. Truly heart-wrenchingly beautiful.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Whisper</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Fish</b> - <i>Weltschmerz</i></div><div style="text-align: left;">Another epitaph of sorts, as Fish draws to a close a career that spans nearly 40 years, as part of Marillion and as a solo artist. His lyrical dexterity is still as strong as ever, and he finishes on what is probably his strongest album to date.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Garden of Remembrance</span> <br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>John Holden</b> - <i>Rise and Fall</i></div><div style="text-align: left;">Proving, with the 'difficult second album', that his critically-acclaimed debut was not a flash in the pan, John Holden brings another exceptional collection of songs to birth (with a third due to land early next year).</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Leap of Faith</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>I Am The Manic Whale</b> - <i>Things Unseen</i></div><div style="text-align: left;">Another strong album, touching thematically and musically on the 'classic' Prog of the 1970s but picking up themes a little more contemporary in a way that is sometimes twee, sometimes tongue-in-cheek, but always entertaining.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Celebrity</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Lionel Loueke</b> - <i>HH</i></div><div style="text-align: left;">One man (and his guitar)'s tribute to his mentor, Herbie Hancock. Loueke gives his own particular interpretation of Hancock's music, with a couple of self-penned homages. An understated yet stellar project.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Watermelon Man</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Lunatic Soul</b> - <i>Through Shaded Woods</i></div><div style="text-align: left;">Riverside bassist Mariusz Duda's side project goes from strength to strength with this seventh outing. Stunning, atmospheric music.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Summoning Dance</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>John McLaughlin, Shankar Mahadevan, Zakir Hussain</b> - <i>Is That So?</i></div><div style="text-align: left;">Heavily influenced by Indian musical forms, this is a trippy exploration of meditative music from the musical maestro.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - The Beloved</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Pat Metheny</b> - <i>From This Place</i></div><div style="text-align: left;">Metheny continues to produce complex, atmospheric, cinematic music of the highest quality in his own distinctive style.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - America Undefined</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Pendragon</b> - <i>Love Over Fear</i></div><div style="text-align: left;">The neo-Prog stalwarts produced a set of great songs, possibly their best for many years, to show that there's still life and creativity around.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Truth and Lies</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Verneri Pohjola</b> - <i>The Dead Don't Dream</i></div><div style="text-align: left;">A solid collection of modern jazz magic, at times clearly (to me) channelling the spirit of Miles Davis.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Monograph</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Chris Potter</b> - <i>There is a Tide</i></div><div style="text-align: left;">Tunes written and performed solely by Chris during Lockdown. <span class="tojvnm2t a6sixzi8 abs2jz4q a8s20v7p t1p8iaqh k5wvi7nf q3lfd5jv pk4s997a bipmatt0 cebpdrjk qowsmv63 owwhemhu dp1hu0rb dhp61c6y iyyx5f41">This
is such a wonderful, uplifting collection of tunes, and just what we
all need on these dark winter days as we wait for an end to this year of
isolation and misery.</span></div><div style="text-align: left;"><span class="tojvnm2t a6sixzi8 abs2jz4q a8s20v7p t1p8iaqh k5wvi7nf q3lfd5jv pk4s997a bipmatt0 cebpdrjk qowsmv63 owwhemhu dp1hu0rb dhp61c6y iyyx5f41"><span style="color: #2b00fe;">Stand-out track - Like A Memory</span> <br /></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Pure Reason Revolution</b> - <i>Eupnia</i></div><div style="text-align: left;">In a year that saw the re-release of their seminal album, The Dark Third (with extra tracks) we also were delighted to receive new material in their inimitable Proggy/ psychedelic/ dance style.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Silent Genesis</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Sanguine Hum</b> - <i>A Trace of Memory</i></div><div style="text-align: left;">Atmospheric, intelligent, thoughtful Prog, played as only this band can. They should be a lot bigger than they are, imho.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Still as the Sea</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Tangent</b> - <i>Auto Reconnaissance</i></div><div style="text-align: left;">An album from The Tangent is always worth waiting for, and this year's offering was no exception. As always, a stunning collection of songs from Andy & the rest. Further reflection <a href="https://flightoftheskypilot.blogspot.com/2020/08/thetangent-auto-reconnaissance.html">here</a>.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - Jinxed in Jersey</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Alexa Tarantino</b> - <i>Clarity</i></div><div style="text-align: left;"><span class="a-size-base review-text review-text-content" data-hook="review-body"><span>Excellent,
proficient, melodic - would love to see what she does with the songs
live, and the pianist blows me away! My only criticism (if it is such)
is that it can seem a little like 'jazz by numbers' at times - hence the
desire to hear it played live. I'm not denying the obvious talent on
show, just how it's allowed to express itself (if you see what I
mean...)</span></span></div><div style="text-align: left;"><span class="a-size-base review-text review-text-content" data-hook="review-body"><span><span style="color: #2b00fe;">Stand-out track - Through </span><br /></span></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Wobbler</b> - <i>Dwellers of the Deep</i></div><div style="text-align: left;">Norwegian masters who tap into the soul of classic Prog, whilst bringing their own particular take to it, this continues the fine tradition that has been present throughout their catalogue.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - By The Banks</span><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Zopp</b> - <i>Zopp</i></div><div style="text-align: left;">Clearly and lovingly influenced by the 'Canterbury' sound of the 1970s, this is a wonderfully evocative collection of songs that thrills and excites.</div><div style="text-align: left;"><span style="color: #2b00fe;">Stand-out track - V</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;">So, there we have it. Another year over, a new one just beginning (to almost quote Mr Lennon...). Despite the constraints placed upon us by the blessed virus, there has still managed to be some outstanding music produced, and these are just some of the offerings I've enjoyed over the past 12 months. My list may not appeal to everyone, but maybe there's something here that you've missed - as I'm abundantly sure there's lots I've missed.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Farewell 2020, and let's see what delights 2021 brings us!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-44745994721646226652020-08-24T15:16:00.000+01:002020-08-24T15:16:44.891+01:00TheTangent - Auto Reconnaissance<p>What can one say about a new album from The Tangent? That's what's been going through my mind these past few hours, as I've listened again to this, their 11th official studio album.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVASlZmN_WMHRriyCSzFhCxQ7LP-K_xM-sNtgxXQFijz2GN7kaGHYGmnS8PlEKBJKLdFOPNKWA4X3BooIAXZC6pzXVqyFq-XUtKe7CQHFGgrGvxexdbvxfljSuABRGQiZtdyhmMnwCltLC/s2048/Album_Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVASlZmN_WMHRriyCSzFhCxQ7LP-K_xM-sNtgxXQFijz2GN7kaGHYGmnS8PlEKBJKLdFOPNKWA4X3BooIAXZC6pzXVqyFq-XUtKe7CQHFGgrGvxexdbvxfljSuABRGQiZtdyhmMnwCltLC/w400-h400/Album_Cover.jpg" width="400" /></a></div><p>Well, it's The Tangent, so that (for me at least) means that there's going to be musical virtuosity throughout; that it's going to be music rooted in the Progressive tradition yet drawing on other genres to produce their own inimitable yet distinctive style; that it's going to be entertaining, that it will put a huge smile on my face, and that, at times, it will make me think and even stop and take a good look at myself.</p><p>Once again graced by stunning artwork by Ed Unitsky, the album opens with '<i><b>Life on Hold</b></i>', an apt title during a time of global lockdown, but not really about that. It's a quite up-beat opener, almost pop-y in feel, yet, as this is The Tangent, it's pop with Sartre! There's quite a funky edge to the song, and the rhythm section of Jonas Reingold & Steve Roberts hold the song together throughout.</p><p>Andy Tillison has a wonderful knack for telling stories, and this is illustrated so well in the 'Lost in...' series of songs. After two trips to London and one to Paris, he now finds himself '<i><b>Jinxed in Jersey</b></i>' as he relates his adventures trying to visit the Statue of Liberty on foot, starting on 'the wrong side of the bay'. Trying to do anything on foot in the States is problematic as I discovered when I visited there in 2016 - the USA is not built for pedestrians! - and Andy's narrative takes us through the streets of New Jersey very evocatively, with cultural references from TV, music etc, overlaid by a distinctly jazzy vibe and some exquisite textures to the music and some stunning shredding from Luke Machin on guitar.</p><p>'<i><b>Under Your Spell</b></i>' is quite captivating: my first thoughts on hearing it was Tangent meets Mowtown. It is a smooth, soulful love song, but without the cliches, with Andy's keys underpinned by some moving and expressive guitars and sax.</p><p>So, this Progressive Rock album has had funk, jazz, Mowtown, and now, with '<b><i>Tower of Babel</i></b>' we have almost dance music! Dance music with a rocky edge, which takes a pop at our online life and the 'bullshit bingo' that gets played every day in our corporate lives (says he who hasn't worked in an office for over 35 years!).</p><p>Of course, it <b>IS</b> a Progressive Rock album, and now comes 'the epic'. I suppose technically 'Jinxed...' was an epic too, clocking in at almost 16 minutes, so this is the epic epic! Andy has never fought shy of nailing his political colours to the mast, notably in 'A Few Steps Down The Wrong Road', and there's even a hint of it in 'Jinxed...' but in '<i><b>Lie Back & Think Of England</b></i>' they are, as one would expect, there - though not, to my mind, offensively in your face. As befits a 28-minute song, this is quite thoughtful political analysis. There are echoes, not only in the length but in the sentiments, of 'In Earnest', and the rose garden verse has me finding something in my eye every time I hear it. Musically varied, from quiet pastoral piano to angry rock band, this is a song that took me some time for it to 'click' - there's very few whistle-along hooks (if you know what I mean), but sticking with it paid off. (I remember feeling the same way about their last album, 'Proxy' - maybe I'm just a bit thick...)</p><p>After this intensity, '<b><i>Midas Touch</i></b>' provides just the lift one needs, and the sing-along chorus too! '<b><i>Proxima</i></b>' - billed as a bonus track - is a piece of electronica somewhat akin to the stuff Andy released as Kalman Filter, a piece that builds nicely and draws things to a fitting climax.</p><p><br /></p><p>To my mind this album continues the fine tradition of the band, and underlines their status as one of the foremost ensembles in the current Progressive 'scene'.<br /></p>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-25646836314466865852020-04-18T18:02:00.000+01:002020-04-18T18:03:27.484+01:00Fearful Symmetry - Louder Than WordsEvery so often strange coincidences happen to me. The other day two new albums arrived in the post, both of which had drawn on interesting literary sources for their inspiration. One was the eponimous debut from The Bardic Depths, which looks lyrically to The Inklings - notably Tolkien & Lewis - something that many outside the progressive community would tend to expect of the genre. As Mike Barnes observes in the recently published magnum opus on the genre in the 1970s, 'A New Day Yesterday': "Progressive Rock - isn't that about wizards?"<br />
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The other albums was another debut recording by Suzi James & Jeremy Shotts, who go by the name of <b>Fearful Symmetry</b>, who look to William Blake as their muse. Blake is not a poet that I am very familiar with: I know Jerusalem, of course, and am aware of 'Auguries of Innocence', which begins with the lines "To see a world in a grain of sand, and heaven in a wild flower; hold infinity in the palm of your hand, and eternity in an hour." And there is The Tyger, which gives us the phrase 'Fearful Symmetry'.<br />
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Like The Bardic Depths, Fearful Symmetry are what I would call an enhanced duo. Jeremy is the lyricist, plays bass on one track and provides vocals on the opening song and backing vocals throughout, and Suzi plays guitars, bass, keyboards and backing vocals throughout. They are joined by Sharon Petrover on drums and a variety of others on vocal and instrumental duties.<br />
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They describe the album as 'an affectionate homage to classic prog', and this they manage to achieve without producing a copy or a pastiche. They list their influences as including Yes, Genesis, King Crimson, Camel, Steve Hillage, Steely Dan, Return to Forever, Mahavishnu Orchestra, Van der Graaf Generator & Dream Theater, and there are times when these are clear, but also where others are (to me at least) equally apparent.<br />
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The album opens with the title track, '<i>Louder Than Words</i>', and Blake's influence is underlined from the off as the strains of Parry's setting of Jerusalem, before some strident guitar. There are shifting rhythms at times, and good interplay between keyboards and guitar. Melodically it reminded me of 'I Am The Walrus' at times, and lyrically it is a little obscure: this could be due to the Blake theme, rather than a nod to Jon Anderson, though.<br />
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'<i>Form And Substance</i>' is the first of four songs to feature Yael Shotts on vocals, and her voice suits the style and content of the album well. There is a strong boogie element to this song - it rocks well - and leaves me with a smile.<br />
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'<i>Innocence</i>' may be a nod to the Auguries that I referred to earlier, but it is a gentle, almost pastoral song most of which is the work of Ian Stuart Lynn, who provides, vocals, piano, soprano sax and strings along with Matthew Rutherford (double-bass) and Amanda Truelove (cello). This has a delightful 'hippy' feel to it, reminiscent for me of early Moody Blues, with jazz influences in the instrumental break, and gorgeous lyrics: "In our Gethsemane there's no betrayer, Here is no enemy; In No Sense; In A Sense; Innocence." Perhaps my favourite track on the album...<br />
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'<i>Ceaseless Strife</i>' harks back to Jerusalem - "Ceaseless strife/ expands my life/ in mental fight/ we seize the light.". Vocals are provided by Ray Livaat, and the intro riff put me in mind of Steve Hackett's 'Myopia'. The chorus has some odd timings, but has a jazzy feel, particularly in the piano solo.<br />
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'<i>Rule of Reason</i>' sees Yael back on vocal duty, some lilting piano arpeggios to open up and strong bass, and two guitar solos of contrasting style back-to-back, one by Suzi and the other from Ben Azar.<br />
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'<i>Damn, braces; bless relaxes</i>' is the enigmatic title of the only instrumental track on the album, a tune which shifts from 7/8 to 6/8, and has for me a distinct Hatfield & the North feel in the guitars.<br />
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'<i>Orc And Luvah</i>' is a slower song, with perhaps a Libertarian theme, and some tight and appealing vocal harmonies in the chorus.<br />
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'<i>City of Art</i>' is the song with Jeremy on bass, and features some echoing, almost duelling guitars that sounded to me very reminiscent of Steve Hillage.<br />
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Suzi says of the album: "We wanted to create something from past - and some current - influences that would be new but would feel familiar", and this they have done. There are echoes of the heyday of Progressive music, but not in a way that overpowers the music and gives it an unnecessary air of nostalgia. There is a sufficient 'rock' element to please a wider audience, while not being afraid to plough more adventurous furrows. Like much 'prog' it benefits from repeated exposure and reveals more layers with each listen.<br />
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You can listen to, and even buy, a copy <a href="http://fearfulsymmetry.bandcamp.com/album/louder-than-words">here</a>.<br />
<br />John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-38740305678585674812020-04-18T14:41:00.000+01:002020-04-18T14:41:06.213+01:00My All-Time Top 50 Albums - Part 5: 10-1<div class="separator" style="clear: both; text-align: center;">
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And finally, the Top 10!<br />
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
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/* Style Definitions */
table.MsoNormalTable
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mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
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mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
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10. <b>Tangerine Dream</b> – <i>Force Majeure</i> </div>
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In the field of electronic music, Germany looms large,
mainly through the work of Kraftwerk and Tangerine Dream, and while Kraftwerk
were the ones perhaps to catch the public imagination more in the UK, it’s
Tangerine Dream that appeal more to me. Their early recordings were very
atmospheric, more soundscapes than tunes, and were (as we used to say at
school) a little ‘hard to get into’. By the mid-70s they’d developed a more
rhythmic sound, while still not losing the experimental sounds of their early
days. Phaedra was probably their breakthrough album sound-wise, as the line-up
settled down to Edgar Froese, Chris Franke and Peter Bauman and the group
signed to Virgin. Their sound involved long sequenced rhythms overlayed by
various guitar, flute and organ lines. They majored on long-form tunes,
allowing themes to develop. Bauman left in 1978 but Froese and Franke continued
and in 1979 produced Force Majeure which, for me, is their most appealing
album. Three tunes, all full of variety, grandeur, melody and substance, with
the atmosphere of their earlier material but a little more approachable too.
Coming as it did in 1979, in the afterglow of Punk and the birth-throes of
electro-pop, this could be seen as a seminal album for the music that was to
dominate the charts for the next few years: instrumental (in more ways than
one), innovative and not losing its progressive edge.</div>
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9. <b>Steely Dan</b> – <i>Aja</i> </div>
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In those moments that I sometimes have for quiet
reflection and musing, I have often wondered what it must have been like, back
in 1972, to hear Steely Dan’s debut, Can’t Buy a Thrill, for the first time,
not knowing who the band were or what they were capable of musically. What did
those opening bars of ‘Do It Again’ stir within you? As a callow 11-year-old at
the time that wasn’t where I was musically: it was Slade and Sweet for me, and
by the time I got to Steely Dan a few years later the initial element of
surprise had dissipated. The music of Steely Dan as always been eclectic,
drawing from many different styles to produce the band’s own unique style: Do
It Again and Reelin’ In The Years, to give a couple of examples from that debut,
demonstrate that, with an almost Latin feel giving way to a good, solid rocker.
By the time they released Aja in 1977 – that year again! – their jazzier sound
had come to the fore, along with some quite funky vibes too. This is a very
laid-back album, an ‘end of the evening’ collection rather than for the heat of
the night, and it just oozes class and style for me. As good as Can’t Buy a
Thrill was, you can’t beat this for sheer class, and the appearance of Wayne
Shorter on the title track is a wonderful bonus. But maybe my stand-out track
is Deacon Blues, possibly the first song I heard
from the album, for its upbeat, sunny outlook – it never fails to put a smile
on my face when I hear it.</div>
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8. <b>Pink Floyd</b> – <i>Dark Side of the Moon</i> </div>
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I suppose you always remember your first, and for me the
first album I bought for myself with my own money was Dark Side of the Moon.
Back in the golden days of vinyl it was such an iconic item. That stark black
sleeve with the prism; the way that the spectrum unfolded on the inner sleeve,
with the heartbeats in the green line picking up the opening sounds of the
album; the posters and stickers that came with it, both of which I still have,
though the stickers are firmly attached to my father’s demob suitcase which I
use to carry my vestments in. And then the music: simple, yet complex; mysterious,
powerful, experimental, not just from Gilmour, Waters, Wright & Mason but
also the sax of Dick Parry and the voice of Clare Torrey. A seamless continuum,
with no discernible break between the tracks, addressing large themes of time,
money, social inequality, madness and eternity. And giving us some of the most
memorable and iconic rock music of all time: Gilmour’s solos in Time &
Money, Waters’ bass riff in Money, and Clare Torrey’s improvised vocalising on
Great Gig in the Sky. And it introduced Alan Parsons to the world. This album
truly deserves its plaudits as one of the greatest albums of all time.</div>
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7. <b>Joni Mitchell</b> – <i>Hejira</i> </div>
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Canada has given some quite impressive musical gifts to
the world, chief among which must rank Rush, Neil Young and Roberta Joan (or
Joni) Mitchell. Joni came to prominence during the 1960s, when she moved to
California with her songs and was soon ‘picked up’ by David Crosby who shared
her music with as many as he could. Predominantly a folk singer at the
beginning, she brought her lush melodies, unconventional tunings and hypnotic
voice to bear on a wonderfully poetic lyrical style. After a run of 5
folk-oriented albums, Joni went through a change musically and began to embrace
a more jazzy style, and hit what many see as her purple patch with a string of
three exceptional recordings: Court & Spark, The Hissing of Summer Lawns
and Hejira, but it was to be Hejira that captivated me most. For some of the album
Mitchell invited Jaco Pastorius to play his distinctive bass sound, and that
may be what swung it for me, along with Mitchell’s own dreamy edge and
arrangements. These are songs that never age for me, and ones that I never tire
of, and for me she never quite reached the heights of Hejira again.</div>
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6. <b>Supertramp</b> – <i>Crime of the Century</i> </div>
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For a number of reasons, chiefly due to my Secondary
School being all male, and my being the only one from my area to attend there,
one of the places that I got the most social interaction during my early teens
was at a Youth Club run by the local Methodist Church – not the one I attended
on Sunday, but the nearest one to home. I have warm memories of the table
tennis and the tuck shop, (and the close proximity of young females!) but one
of my lasting memories of that place was the music that was available to listen
to, which was copies of Crisis, what Crisis? and Crime of the Century by Supertramp.
I’d heard Dreamer on the radio, but this was something else, something
different. There was an attractive complexity to their music – even in the
single – that repaid repeated listens. This wasn’t your basic rock ’n’ roll,
though there were elements of that: it was thoughtful, both musically and
lyrically, with a wonderful mix of Richard Davies’s keyboards, Roger Hodgson’s
guitars and John Anthony Helliwell’s saxophones building some exciting and
exhilarating music with the steady rhythm section of Bob Benberg & Dougie
Thomson. Of the two albums it was Crime that stood out for me: maybe it’s the
combination of at times quite cheery music tackling some dark themes, I’m not
sure, but it’s a collection that seems still very relevant almost 50 years on.</div>
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5. <b>Big Big Train</b> – <i>English Electric: Full Power</i> </div>
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Following on from their ‘breakthrough’ album, The
Underfall Yard, Big Big Train released an EP, ‘Far Skies Deep Time’ (longer
than many classic LPs) and then two albums under the title ‘English Electric’.
These were then combined and augmented to produce ‘English Electric: Full
Power’ in 2013 – 2 hours and 15 minutes of English Progressive rock of the
highest calibre, once again drawing on rock, folk and brass, and digging into
English industrial heritage, country life, social history and advances in
transport, as well as the usual fare of love, loss and the excitement of making
music together. The breadth of scope, both musically and lyrically, of this
album is astounding. The band take up the reins of the likes of Genesis in
bringing their narrative style of song-writing up to date, telling tales not of
Greek mythology and apocalyptic visions but of ship building on the Tyne, boy
miners, art forgery, and the record-breaking run of Mallard. They paint musical
pictures of ancient Cistercian abbeys, leafy hedgerows and of the views from
Upton Heath and St Giles’ Hill; nostalgically looking back to both
pre-industrial and industrial pasts, and the legacy of the changes that have
come as a result of the decline of traditional ways of living, both in rural
and urban settings. The band have since gone on to explore mythic and folkloric
elements, and taken us on a Grand Tour that encompassed da Vinci’s mind and the
farthest reaches of the galaxy, but these two discs, for me, stand as the
pinnacle of the band’s stunning output. Picking any particular track for
special mention is almost akin to choosing your favourite child, as from ‘Make
Some Noise’ and ‘The First Rebreather’ to ‘East Coast Racer’ and ‘Curator of
Butterflies’ and all points in between there’s hardly any let up in the sheer
excellence.</div>
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4. <b>Steve Hackett</b> – <i>Spectral Mornings</i> </div>
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Steve Hackett was brought into Genesis following the
inability of founder member Ant Philips to cope with stage fright, joining them
for their 3<sup>rd</sup> studio album, Nursery Cryme in 1971 and remaining a
key member of the band for 6 studio albums and two live albums before departing
in 1977. By the time of his departure Steve had begun his solo career,
releasing ‘Voyage of the Acolyte’ in 1975. 1978’s ‘Please Don’t Touch’ was my
first introduction to his solo material, but it was his third release,
‘Spectral Mornings’ that really brought home to me the scale and scope of his
talent. Whereas the first two albums had relied on guest musicians – Phil
Collins and Mike Rutherford on the first, and Richie Havens, Randy Crawford,
Chester Thompson, and Steve Walsh & Phil Ehart from Kansas on the second –
here he assembled a core band who had toured Please Don’t Touch with him and
who went on to make this and the subsequent album ‘Defector’ – Nick Magnus, Dik
Cadbury, John Shearer, Pete Hicks and Steve’s brother John. Here we have a
varied collection of almost pop-y prog in ‘Every Day’, a ballad in ‘The Virgin
& The Gypsy’, the George Formby-esque ‘The Ballad of the Decomposing Man’,
the ghostly and atmospheric ‘Tigermoth’, and the varied instrumental offerings
of Japanese Koto on ‘The Red Flowers of Tachai Bloom Everywhere’, rocking
guitars and booming bass pedals on ‘Clocks – The Angel of Mons’, classical
guitar and flute in ‘Lost Time in Cordoba’, and the sublime title track, so
wonderfully enhanced in 2015 by David Longdon’s lyrics and his and Christina Booth’s
voices. This album was released just as I was completing my A-Levels, and marks
a significant point in my life, but also in Steve’s career. There are so many
memorable moments in this collection, but the extended solo at the end of
opener ‘Every Day’ and the strains of the closing title track bookend this
album so well it leaves me simply knowing that I have been party to a time of
musical brilliance.</div>
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3. <b>Yes</b> – <i>Going for the One</i> </div>
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I think I knew what my Top 3 albums were going to be
before I started pulling this selection together, and I very quickly settled on
the order, though that is more or less arbitrary: any of the Top 3 albums could
have been number 1, and at times they are! But in the end, it is as it is.<span style="mso-spacerun: yes;"> </span>Yes have already featured in this list, but
for me their best album came in 1977 – a year of musical change with the advent
of punk and yet, as I have noted already, a year of some classic and lasting
albums from our beloved Progressive canon. Going for the One was as different
to Relayer as Relayer was to Tales, and as Tales was to Close to the Edge, and
saw a return to what many see as the ‘classic’ line-up of the band: Anderson,
Howe, Squire, Wakeman & White. The music is varied, from the driving rock
of the title track, the dreamy acoustic delight of Turn of the Century, the
soaring church organ and booming bass of Parallels, the jangly pop of the
surprise (for a Prog band) hit single Wondrous Stories, and the stunning symphonic
grandeur of Awaken. Lyrically the album is poetic, narrative, heart-warming and
enigmatic in equal measure, but then it is Yes, and what more would one expect!
A few years ago, I wrote this about the album: “Parallels was my early pick on
the album, mainly because I just didn't 'get' Awaken for a while. It is deep,
complex, obtuse at times; Jon Anderson's mystical lyrics do take some time to
coalesce (maybe not as long as those on Tales From Topographic Oceans) and that
may be what took my time, but eventually... oh boy! A truly symphonic piece,
with changes of tempo and texture, and all the band playing at their virtuosic
best throughout… This album has stood the test of time like few others. For me
it still has the ability to entice and thrill and delight and bewilder as it
did 40+ years ago.”</div>
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2. <b>Miles Davis</b> – <i>Kind of Blue</i> </div>
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Jazz, like Prog, is a broad field of music, with
everything from the be bop of Charlie Parker and others in the mid-40s, the
cool jazz of the 1950s, and the fusion of the 70s and beyond. Into all these
fields, and many others, stepped the genius that was Miles Davis. Miles
excelled wherever he played, and whatever he played, whether it was jazz to
dance to, jazz to be disturbed by, or jazz to chill to. He worked with giants
of the scene over his many years: Charlie Parker, John Coltrane, Bill Evans,
John McLaughlin, and alongside classics of the genre such as ‘Birth of the
Cool’, ‘Milestones’, and the ground-breaking ‘Bitches Brew’, he notably gave us
what is his finest album – indeed many see it as the finest jazz album of all
time – 1959’s ‘Kind of Blue’. The sextet for this recording is Davis on
trumpet, Coltrane on tenor sax, Julian ‘Cannonball’ Adderley on alto sax, Bill
Evans (or Wynton Kelly on one track) on piano, Paul Chambers on bass and Jimmy
Cobb on drums, and what they produce is nothing short of magical. It’s very
much what I would call a late-night sort of album – this is music to chill to,
but to do so with your mind, ears and heart wide open to experience the full
joy of this creation. Other than ‘So What’ and ‘All Blues’, which had been
performed live to audiences earlier, the album was created and recorded in the
studio, and the whole recording process was done in two days in the studio.
From the opening bars of ‘So What’, with piano and bass sparring with each
other before the bass brings the familiar riff, the six of them play so tight
and controlled, each taking their turn in the metaphorical spotlight to develop
the theme magnificently. There’s nothing brash or harsh about any of this
music, it washes over you and immerses you in its warmth and beauty. “More than
a milestone in jazz, Kind of Blue is a defining moment of twentieth century
music, one of those incredibly rare works of art that achieve equal popularity
among musicians, critics, and the public at large. The rest of us might tend to
agree with Jimmy Cobb, the drummer on the album, who commented… that it ‘must
have been made in heaven’.”</div>
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1. <b>Genesis</b> – <i>Selling England by the Pound</i> </div>
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And so, to number 1! Have you guessed what it is
yet?!<span style="mso-spacerun: yes;"> </span>As I mentioned earlier, if I had a
favourite band growing up it was Genesis, and over the course of their career
they have produced many outstanding albums, that I still return to on a regular
basis – more so from their time as a five- and four-piece than latterly as a
trio, I must confess. I’ve already included two of their catalogue in this
countdown – Foxtrot and Wind & Wuthering – but there is one album that tops
them, in fact tops them all, and that is… We Can’t Dance!<span style="mso-spacerun: yes;"> </span>Ha, fooled you – no it’s 1973’s magisterial
‘Selling England By The Pound’, to my mind still the most perfect platter ever
produced. Four years ago, I commented: “The album certainly marks a quantum leap
by the band in terms of musical invention and lyrical creativity, assisted by
the broadening of Tony Banks's musical palette with the introduction of an ARP
synthesizer alongside the Mellotron & Hammond organ. The band are still
telling stories, an enduring and endearing feature of the band's output, and
continue to exhibit an abundant virtuosity in their playing. It was the first
of their albums to break into the Top 10 in the UK, peaking at number 3, and
spawned the band's first hit single, I Know What I Like (In Your Wardrobe),
which was itself inspired by the cover art produced this time by Betty
Swanwick. In its sequencing, the collection alternates between long and short
songs, though whether this was a deliberate move I'm not sure, but as all the
long songs are of such high quality it is perhaps good for the listener to have
a brief respite between them.” Those short songs were: a kind-of nonsense song
over a four-note riff that (as I’ve said) gave the band their first hit single;
an almost anti-love song which gave Phil Collins his second (and first
credited) solo vocal stint; a rare instrumental piece (only the band’s second
at this point); and the outro piece, reprising the album opener. The longer
songs have remained epics of the progressive canon for the past 47 years: <i>Dancing
with the Moonlit Knight</i>, a song bemoaning the diminution of British
uniqueness in contemporary life as transatlantic influences begin to take hold
- perhaps prophetic in the McDonaldised, Starbucked, Disneyfied and Wal*Marted
towns and cities of today; <i>Firth of Fifth</i> opens with a blistering solo
piano piece from Tony Banks, who shows just what a consummate performer and
composer he is: sheer sublime beauty, yet full of energy and panache! As the
band come in it feels a little awkward musically as the momentum that has built
up seems to falter and the tempo slows. But this song is here to showcase
Banks, and after a flute passage from Gabriel we are back to keyboards, first
piano then synth, picking up themes from the opening section. This then leads
us to Steve Hackett picking up those themes and others with a soaring solo.
This is truly breath-taking symphonic music at its finest, rising to a series
of crescendi before finding resolution as the vocals return (not quite as
awkwardly as previously): it is, to my mind, the band's finest piece of work; <i>The
Battle of Epping Forest</i> is a great song, almost in the English music-hall
or pantomime tradition with its varied voices, pun-laden lyrics and changes in
musical style, and fits nicely alongside 'Harold The Barrel' and 'Get 'Em Out
By Friday' from their earlier canon; and <i>Cinema Show</i>, the last of the
long songs, begins with 12-string guitars backing the vocals, which grows
slowly as the rest of the band joins in for the chorus. There then follows an
extended instrumental passage with Gabriel providing flute and oboe motifs
before more vocal interplay between Gabriel & Collins leads us back to the
chorus. Hackett restates the vocal line on electric guitar, before an extended
synth solo from Banks builds to a crescendo.</div>
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This is, to me, one of the sublimest 53½ minutes of
progressive rock ever recorded. It's very difficult to say anything about this
album without sounding overly gushing in praise (as you may have noticed): it's
just that good! In the 47 years that have passed since its release nothing to
my mind has come close to bettering it in the field, and it continues to grow
on me with every listen.</div>
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Thanks for sticking with me (assuming
anyone has) and exploring with me what makes me tick musically. It’s been a
fascinating project putting this list together, and then trying to think why I
like this music, and why I like some more than others. There are a number of
bands and artists missing from the list, that have been important to me over my
life: Deep Purple, Black Sabbath, Iron Maiden, Emerson Lake & Palmer,
Jethro Tull, Gentle Giant, Be Bop Deluxe, Pat Metheney… just to name a few, but
that’s the way it is with lists like this – you always leave someone out. Music is life, and life is music, and
sharing it gives me life and hopefully enhances your lives too. Now I’d better
stop before I get too soppy or pretentious…</div>
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John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-80492330983114405602020-04-18T14:40:00.000+01:002020-04-18T14:40:23.649+01:00My All-Time Top 50 Albums - Part 4: 20-11<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy6ILd39YNRPdA1ApfUVZzaGEX7q6pj2CSufyxuwBmRa7mD_DL8drhRwDJcHDvrv1MUZE3CvyFz1reVzh2lUmlYlb68W-Jm1CJqzl8eHX-xm71gGcgeyQU6vwzqW9yU7p5ruRdIInSWyYH/s1600/IMG_2156.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy6ILd39YNRPdA1ApfUVZzaGEX7q6pj2CSufyxuwBmRa7mD_DL8drhRwDJcHDvrv1MUZE3CvyFz1reVzh2lUmlYlb68W-Jm1CJqzl8eHX-xm71gGcgeyQU6vwzqW9yU7p5ruRdIInSWyYH/s200/IMG_2156.JPG" width="150" /></a></div>
<br />
Into the Top 20...<br />
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
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<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<div class="MsoNoSpacing">
20. <b>Nick Drake</b> – <i>Bryter Layter</i> </div>
<div class="MsoNoSpacing">
The title of ‘tortured genius’ is one that a number of
artists, poets and musicians have had thrust upon them over the years, and one
such recipient is the enigma that is Nick Drake. Much of his ‘torture’ came
from the lack of commercial success he achieved for his work, and it is to some
extent understandable when you consider the quality of that work, but that
angst was to lead him to take his own life at the tender age of 26. He produced
three albums during his short life: Five Leaves Left, Bryter Layter and Pink
Moon. The latter of the three is very stark in its arrangements, and reflects
Drake’s descent into depression and melancholy. Of the first two, I am drawn
more to the second, mainly for its poetry (Drake was reading English Literature
at Cambridge at the time) but also for the outstanding guitar work, mostly
using anything but standard tunings, the instrumental interludes and the subtle
but poignant orchestrations, which are more in evidence here than on the debut.
Although I only came across his work through a friend in the late 1980s, the
songs have become part of my inner soundtrack in a way that usually only
happens with stuff from my teens.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
19. <b>Peter Gabriel</b> – <i>3 (Melt)</i> </div>
<div class="MsoNoSpacing">
Following his departure from Genesis in 1975, people were
watching both the band and Peter Gabriel to see where their musical trajectory
would take them. By 1980 Genesis were a 3-piece and Duke was to catapult them
to huge stadium-filling success, whereas Gabriel was exploring more
experimental and progressive pathways. By his third (technically untitled)
album he had started to gather a wide selection of musicians to help make his
increasingly varied music, including Phil Collins and other members of Brand X,
and Robert Fripp, Paul Weller & Dave Gregory. By this album Gabriel was
also beginning to explore more overtly political themes, notably on Biko but
also on the relatively successful single Games Without Frontiers. It also
explores psychological themes in No Self Control, I Don’t Remember, Lead a
Normal Life and even Intruder. But for me the stand-out track, and possibly my
all-time favourite of his, is Family Snapshot with its tale of political
assassination and the deep-seated trauma that led to the action – a coming
together of the two themes. Much of it, 40 years on, is still hugely relevant
to us today (Not One Of Us, Games Without Frontiers, Lead a Normal Life…), and
that’s what makes it stand out for me.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
18. <b>Marillion</b> – <i>Script for a Jester’s Tear</i> </div>
<div class="MsoNoSpacing">
There are certain albums that I can remember buying more
than others, and the debut by Marillion is one such album. Shuffling through
the shelves at my local independent record store (as one did in the early 80s)
I came across the album and thought ‘This looks just like the kind of stuff I
was listening to before punk killed it off!’ Mark Wilkinson’s artwork was
simply stunning and promised so much for the music, so I had to have it. The
material was just as alluring, conjuring up memories of music from 10 years
earlier, particularly Fish’s voice, so warmly redolent of Gabriel’s. Here were
songs about love, drug abuse, class, war and even the cliched ‘wannabe actress
drifts into prostitution’ – and not a concept in sight (just yet…). As a debut
this has rarely been surpassed, to my mind, and the band only came close to
matching it in overall quality with Misplaced Childhood (which did have a concept…)
and I am unrepentantly in the Fish-Marillion camp as regards the band’s better
line-up. Lyrically Fish has been at the forefront for the best part of 40
years, and this is a sublime example of his art.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
17. <b>Yes</b> – <i>The Yes Album</i> </div>
<div class="MsoNoSpacing">
I’ve mentioned earlier about how changes to a band’s
personnel can have a huge impact on their style, and this is never more ably
illustrated than by looking at Yes’s catalogue. The arrival of Patrick Moraz on
Relayer, the Buggles on Drama and of Trevor Rabin on 90125; the departure of
Jon Anderson after Magnification – all these had a profound effect on the
band’s music. But maybe the most significant for me was the arrival in 1970 of
Steve Howe as guitarist, to replace Peter Banks. Howe brought his own
particular style to the band, along with his song-writing and his vocals which
contributed to what would be know by some as ‘The Yes Choir’ – Anderson, Howe
& Squire. The band’s third album – The Yes Album – was the first to feature
Howe, and included a live classical guitar tune, ‘Clap’, recorded shortly after
he’d joined the band in June 1970, at the Lyceum Theatre, London. The songs
demonstrate the band’s developing sound, with three almost epic-length pieces:
Yours is No Disgrace, Starship Trooper and Perpetual Change; a slightly
punchier (just under 7 minutes) I’ve Seen All Good People – all of which
quickly became, and remain, live favourites – along with the aforementioned
Clap, and A Venture, a shorter and quieter song by Jon Anderson. This record remains
for me a decisive turning-point for the band musically, perhaps their most
important album in terms of their development as a band, because for me it was
here that their distinctive sound was first displayed, and was subsequently
honed on their next 3 albums.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
16. <b>John Martyn</b> – <i>Solid Air</i> </div>
<div class="MsoNoSpacing">
John Martyn is somewhat of an enigma musically. His early
albums are pretty much firmly in the folk genre, with some blues influence, but
by the mid-70s he was beginning to move more in a rock & blues direction,
which led to experimenting with soundscapes, collaborating with Phil Collins –
that sort of thing. It was probably his 6<sup>th</sup> album, 1973’s Solid Air,
that marked the transition for him. The title track, his homage to Nick Drake,
who’s downward spiral was causing his friends much concern is moody and
reflective, with Martyn’s mumbled vocals and Danny Thompson’s stellar upright
bass playing adding to the overall mood wonderfully, as they do on <i>Go Down
Easy</i>. <i>Over The Hill</i> is good old-fashioned folk, helped by Richard
Thompson & Simon Nichol from Fairport Convention and Sue Draheim, an
American fiddler who’s played with John Renbourn & The Albion Country Band.
<i>Don’t Want To Know</i> brings Martyn’s percussive guitar sound and some moody
piano. Then there’s <i>I’d Rather Be The Devil</i>, which showcases Martyn’s
heavy use of Echoplex tape delays to produce a multi-layered sound that he
would later develop further on Small Hours on his 1977 offering One World. <i>May
You Never</i> is perhaps his best-known and most iconic song - certainly the
one that more people will know from his extensive catalogue – but this album is
so much more than that one song. There’s a touch of anger in <i>Dreams By The
Sea</i>, there’s melancholy in places, there’s joy but also introspection. For
me it’s a complete album, certainly his best, and one that has stood and will
stand the test of time.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
15. <b>Steve Hillage</b> – <i>Fish Rising</i> </div>
<div class="MsoNoSpacing">
I knew nothing of Steve Hillage when I was introduced to
his music in about 1977. My introduction came through a club I used to frequent
in Harrogate, run by Paul Gerrett, the former keyboard player with Harrogate
band Wally. One of the songs that was played frequently was The Salmon Song
from Hillage’s debut solo album, Fish Rising, and for a young impressionable
wannabe hippy like I was, its New Age, trippy, Aquarian vibes struck an
immediate chord. The follow-up album, L, had recently come out, and I lapped
that up too, but it was Fish Rising that kept drawing me back. It revolves
really round 3 epic-length tracks and a couple of much shorter pieces. <i>Solar
Musick Suite</i> has a meditative edge to it before rocking out, showcasing
Hillage’s dexterity on the fretboard. <i>Fish</i> is just a short piece of
silliness. <i>Meditation of the Snake</i> is an almost ambient track with
looping, swirling keyboards with some atmospheric bluesy riffing over the top. <i>The
Salmon Song</i>, my ‘entry drug’ to Hillage, is another looping, swirling song
that leaps about and rocks and send me back to those heady, hairy days of my
youth! <i>Afterglid</i> is another more meditative mostly instrumental piece
(apart from The Lafta Yoga Song), with looping guitars, quiet acoustic
passages, swirling keyboards and an over-riding Eastern feel, concluding with
The Golden Vibe. It was an almost inexpressible joy for me to see these and
other songs performed live by Steve and his band (the latest incarnation of
Gong) late last year – it sent shivers up my spine as the opening bars were
played.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
14. <b>Neil Young</b> – <i>American Stars & Bars</i> </div>
<div class="MsoNoSpacing">
Back to Neil Young, and to what remains for me his best
album. The music is an interesting mix of Young's different styles. '<i>The Old
Country Waltz</i>' fits into the 'Don't Let It Bring You Down' school of
depressing maudlin songs, with fiddle and slide guitar to ramp up the feeling
of woe in another 'my girl's left me' outpouring. '<i>Saddle Up The Palomino</i>'
is a little rockier, with a memorable electric riff to open with, but continues
the country feel. '<i>Hey Babe</i>' is jollier and more acoustic, but still
with Young's distinctive nasal whine - not a criticism, just an observation! '<i>Hold
Back The Tears</i>' takes us back to 'O woe is me' territory, which his voice
seems to suit, but this is a song with a hopeful edge - 'Just around the next
corner may be waiting your true love' he sings. Side One ends with '<i>Bite The
Bullet</i>', a hard, simple rocker to lift the mood a little. For a Canadian he
does the Southern rock thing quite well! Side Two is a different kettle of fish
altogether from Side One, with 2 longer songs bookended by two shorter ones. I
must confess, too, that forty years on I still chuckle to myself at the opening
line of '<i>Star of Bethlehem</i>' and how my teenage mind reacted to 'Ain't it
hard when you wake up in the morning...' (I'm a bad man...) The song itself is
a simple acoustic song, with the bonus of an appearance by Emmylou Harris on
harmony vocals. '<i>Will To Love</i>' is the only song that features Young on
his own, and is a dreamy, ethereal song with acoustic guitars and occasional
piano that always gives me the impression of being recorded around a campfire
somewhere in the middle of nowhere. This is, for me, serious chill-out music. '<i>Like
a Hurricane</i>' on the other hand is solid electric guitar-led rock that Neil
Young does best, on a par with 'Southern Man' or 'Cortez The Killer'. This was
the first song I'd heard from the album, probably on Alan Freeman's show one
Saturday afternoon, and it sold me on the album. Simple, but powerful, as is
the album closer, '<i>Homegrown</i>', in a different way. And any drug
references are purely coincidental... It's albums like this one that continue
to convince me that 1977 was a classic year for the kind of music that has
accompanied my life for the ensuing forty years. There is a permanence, a
longevity, a timelessness about this music. 1977 was a key year for me
personally, and also musically in forging tastes that have stayed with me, but
have developed over those years.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
13. <b>Jeff Buckley</b> – <i>Grace</i> </div>
<div class="MsoNoSpacing">
There are times when everything comes together with an
album - melody, lyrics, musicianship, structure, voice – to produce something that
is superlative, transcendent, almost beyond description. Jeff Buckley’s only
solo album, Grace, comes very close to that. From the opening bars of drone
building in crescendo as Buckley’s falsetto and the jangly guitars fade in, you
are taken on a journey of discovery, of adventure; into unexpected, vibrant
places. Jazz, soul, blues, folk, rock all vie for your attention, but not in
any competitive way. Buckley’s voice soars and swoops in tone, texture and
timbre effortlessly, another instrument in the symphony of the songs. This is
really good stuff! Many, if they know Buckley at all, will do so for his
seminal rendition of Leonard Cohen’s Halleluiah; others may be aware of his
tragic end at the age of 30, only 2 years older than his father, Tim, when he
died. But it is for his music that he deserves to be remembered: for its sheer
passion, energy, depth and soul. The tragedy is that, like Hendrix or Morrison
before him, he wasn’t able to take this music further.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
12. <b>Pink Floyd</b> – <i>Animals</i> </div>
<div class="MsoNoSpacing">
Withing Pink Floyd’s canon, Animals is one of those
albums that can be easily missed, which is a great shame. Coming as it did in that
time of great flux for the UK music scene, it is an interesting album. For many
at the time, particularly in the pro-punk media, this was a perfect example of
what they were fighting against: long, ponderous songs with seemingly endless
guitar solos, lacking the immediacy and energy of the new bands. Coming as it
did, though, at the start of 1977, it caught me on the cusp, and still was able
to thrill this then young rocker with its complexity and dexterity. The album
sleeve, the work of Aubrey Powell and the team at Hipgnosis, has become iconic,
with the inflatable pig tethered over what was then Battersea Power Station. It
is hard not to see this landmark and not think of the album. For the band this
album is, it seems to me, a transitional one. It draws on many of the musical
ideas in the 'big' albums, and there's a particular hark back for me to the
title track of Wish You Were Here in the 'book-end' acoustic tracks, 'Pigs on
the Wing 1 & 2', just perhaps a little simpler as a song. But between these
short songs come the three epics, each in their way pointing to what the band
would become over the next two to five years. 'Dogs' is for me the stand-out
track, and the only one that Roger Waters lets anyone else have a part in
writing. It seems to be a prophetic statement of how the UK would develop over
the coming decade under the influence of Thatcherism and rampant capitalism,
and its inevitable consequences. In 'Pigs' and to a certain degree in 'Sheep'
too, Waters is starting to get his angry head on. Maybe not yet as outspoken as
he would be in The Wall and to a greater degree in The Final Cut and his solo
material that followed, but it is still there. His targets are greed,
hypocrisy, censorship, and that fact that perhaps you can only keep people down
for so long before they take back what is theirs. This may well be seen as a
coming of age album for the band, as they graduate from the spacey, psychedelic
soundscapes of their early days, and the grand symphonic swathes of their pomp,
to a more outspoken protest rock, almost. Perhaps it began to sow the seeds of
the band's transition to stadium-filling mega stars and the inevitable
self-destruction of the old order that accompanied it. This is, for me, one of
the band's best works: different from what preceded it and what followed, but
transitional and perhaps seminal for the band's ultimate direction.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
11. <b>The Tangent</b> – <i>A Place in the Queue</i> </div>
<div class="MsoNoSpacing">
One of the trickiest parts of putting this list together
was trying to work out which albums to leave out: if I wasn’t careful this
could’ve been dominated by a number of albums by a small number of bands, but I
didn’t want that to happen because it wouldn’t have adequately portrayed what
makes me ‘tick’ musically (which I felt it should). When I came to consider the
output of one of my favourite contemporary bands it was such a hard decision
working out what order to put them, because they’re all so good! The Tangent
have gone through some changes over the 17 years since their debut, but Andy
Tillison’s compositions have consistently spoken to me, probably because we are
roughly from the same background and era, and think very much alike on many
things. So, I suppose I’ve slightly taken liberties here in choosing just one
album from the band’s repertoire, but I’ve done so because they had to feature,
and feature fairly highly, but I just couldn’t narrow it down other than by
choosing a representative. A Place in the Queue is that representative: it has
the epics – the magisterial In Earnest, the title track, and the ‘rock-out’
that is GPS Culture; it has the nostalgia that Andy loves so much in Lost in
London and The Sun in my Eyes; it has Andy’s evocative and poignant lyrics, and
musical virtuosity in spades; it has nods to Tangerine Dream, Canterbury, Van
der Graaf Generator, Keith Emerson, jazz, disco, rock – this is complete
progressive music. For me The Tangent are one of the pre-eminent bands of the
current Progressive scene, and as a band continue to stretch the envelope of
what ‘progressive’ music is, while never losing sight of where they’ve come
from and the traditions in which they stand, I hope that their following will
continue to expand. Andy’s continuing encouragement of younger musicians such
as Luke Machin as well as stalwarts of the stature of Jonas Reingold and Theo
Travis augurs well for the future of this music.</div>
<div class="MsoNoSpacing">
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John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-12864430944225934432020-04-18T14:39:00.000+01:002020-04-18T14:39:43.564+01:00My All-Time Top 50 Albums - Part 3: 30-21<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_jscu-cqzXZyJnWDnQTtYl1wmaDfoEepA-dnF1iYIyO6yhYh10gTZYlWZ2RF7-H6QnOXz-FATMpGKPFQzggJ4ki4Lknvt9q982uNgIMly3BfxkSqI6Vz4fAIMQUia92f0NwKd1tfyAQn/s1600/IMG_2156.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_jscu-cqzXZyJnWDnQTtYl1wmaDfoEepA-dnF1iYIyO6yhYh10gTZYlWZ2RF7-H6QnOXz-FATMpGKPFQzggJ4ki4Lknvt9q982uNgIMly3BfxkSqI6Vz4fAIMQUia92f0NwKd1tfyAQn/s200/IMG_2156.JPG" width="150" /></a></div>
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The list goes on...<br />
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<div class="MsoNoSpacing">
30. <b>Donald Fagen</b> – <i>The Nightfly</i> </div>
<div class="MsoNoSpacing">
Walter Becker & Donald Fagen brought their particular
brand of music to our ears in the early 70s, and over the course of the decade
Steely Dan brought us seven albums mostly of exceptional quality, before the
band went into hiatus in 1981. They reformed in 1993, and produced two further
albums in the early noughties, the excellent Two Against Nature and the
slightly sub-par Everything Must Go. But shortly after their breakup, Donald
Fagen released what I still consider to be his best solo effort. There’s a much
clearer jazz influence here than with Steely Dan, and it was one of the first
albums to be completely digitally recorded. There is a kind of naïve nostalgia
to many of the songs, as well as a bright, optimistic feel which fitted the
mood of the 1980s well.</div>
<div class="MsoNoSpacing">
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<div class="MsoNoSpacing">
29. <b>Weather Report</b> – <i>Heavy Weather</i> </div>
<div class="MsoNoSpacing">
To call Weather Report a ‘supergroup’ may be stretching a
point, but they certainly drew in some of the best performers from the jazz
world during their years of operation. Constant members Joe Zawinul and Wayne
Shorter could trace their pedigree back to Cannonball Adderley, Art Blakey
& Miles Davis, both in his ‘pure’ jazz and fusion years, and they drew in others
including Alphonso Johnson, Chester Thompson and Jaco Pastorius. The band’s
style adapted to many changes in their line-up, but for me they peaked
musically and compositionally with Zawinul, Shorter, Pastorius, Alex Acuña
& Manolo Badrena on the band’s 8<sup>th</sup> studio release, Heavy Weather.
Pastorius brought his own unique way of playing electric bass to the band’s
sound in a way that transformed them, and brought them huge critical and
commercial success. <i>Birdland</i>, the opening track, was my introduction to
their music and it has always brought me much joy, but the album contains other
gems too: the sublime A Remark You Made, and Jaco’s two compositions, Teen Town
and Havona, particularly stand out, but it’s all good!</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
28. <b>Janis Joplin</b> – <i>Pearl</i> </div>
<div class="MsoNoSpacing">
The legendary 27 Club gave Rob Reed the inspiration for a
collection of songs for the band Magenta. This album commemorated a number of
musicians who have all lost their lives at 27 years old: Robert Johnson, Brian
Jones, Kurt Cobain, Jim Morrison, Jimi Hendrix and Janis Joplin. Others sadly
have been added to the list, notably Amy Winehouse, who became only the second
female member after Joplin. It’s probably fair to say that Joplin has been a
great influence on a number of female rock vocalists: Florence Welch, Stevie
Nicks & Pink all cite her as an enormous influence, and her affect on
Winehouse and on Christina Booth of Magenta is clear. Tina sang of Janis on the
song Pearl, Janis’s nickname and also the title of her final album, released
posthumously in 1970. There is so much power and passion in her voice here; a
heady mix of blues and soul from a young lady in love with life yet
paradoxically tortured by her drug and alcohol addictions and her traumatic
childhood back in Texas. But this pain and pathos has left us a legacy of some
of the most powerful songs I know.</div>
<div class="MsoNoSpacing">
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<div class="MsoNoSpacing">
27. <b>Brand X</b> – <i>Unorthodox Behaviour</i> </div>
<div class="MsoNoSpacing">
As a teenager, I was drawn to Brand X for one reason, and
that was the presence of Phil Collins in the band. I was an unashamed
‘completist’: anything that the band or its members were involved in I wanted
to listen to. So I gave Unorthodox Behaviour a listen, and it was quite unlike
anything that I’d heard before, and certainly not at all like Genesis! This
was, I suppose, my introduction to fusion, and it showed just what a varied
genre it is: conventional rock band make up of guitar, bass, drums &
keyboards, yet a very different groove. Collins was joined by John Goodsall on
guitars, Percy Jones on bass and Robin Lumley on keyboards in a collection of
quite stunning tunes that go all over the place musically, from the sublime
Euthanasia Waltz to the scatty Running On Three,<span style="mso-spacerun: yes;"> </span>and demonstrate the sheer versatility and
virtuosity of all concerned.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
26. <b>King Crimson</b> – <i>Red</i> </div>
<div class="MsoNoSpacing">
King Crimson are seen by many as having been at the
vanguard of what we now call Progressive Rock, with their first album - In The
Court of the Crimson King - regarded as the first of that genre (though there
are cases to be made for Sergeant Pepper and Days of Future Passed to hold that
honour). Robert Fripp certainly never wanted to stay in one place musically,
and consequently the band went through many changes in personnel over the
years. They were gradually whittled down to a trio by 1974 – Robert Fripp, John
Wetton and Bill Bruford, and for me produced their best work in ‘Red’. The
almost metal feel of the opening instrumental title track assaults you from the
off; Fallen Angel brings things down a little, but the intensity soon builds
again, and One More Red Nightmare carries it on, albeit with a slightly funky
edge. Providence is a much more thoughtful, almost ambient in places,
instrumental piece featuring David Cross on violin as well as the others, and
Starless, the album closer, is perhaps one of the best things Crimson have ever
done. The band would go into a hiatus immediately after the album’s release,
due to Fripp’s disillusionment with the music business, and if this was to have
been their Epitaph, there could have been no finer one.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
25. <b>Yes</b> – <i>Close to the Edge</i> </div>
<div class="MsoNoSpacing">
The term ‘epic’ is used frequently in Progressive circles,
usually in reference to a song of around 10 minutes or more, and Yes have had
their share of these throughout their career, notably on their sixth studio
album, Tales From Topographic Oceans – a double album with 4 tracks in total.
The band had been developing this longer form of song over the course of a few
albums, but it took off on Close to The Edge which had one song on side one and
two on side two, all 9 minutes-plus. This gave the band more scope to explore a
more symphonic style of rock music, and opened the door for Jon Anderson to
experiment with some very esoteric lyrics – something that would become a
trademark of the band’s style in years to come. Close to the Edge as an album,
and as a song, is considered by many to be the band’s pinnacle, but I actually
think that they have done better albums both before and after this one – as
will become clear. So, this one sits mid-table for me, but among such great
company that that shouldn’t be seen as in any way disparaging the album.</div>
<div class="MsoNoSpacing">
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<div class="MsoNoSpacing">
24. <b>Caravan</b> – <i>In the Land of Grey & Pink</i> </div>
<div class="MsoNoSpacing">
As a resident of Sheffield, I’ve noticed that the city
has been a particularly productive place for music over the years: Joe &
Jarvis Cocker (not related); Paul Carrack; ABC, Human League & Heaven 17;
Def Leppard; Arctic Monkeys, to name just a few. All good and popular in their
own particular way, but apart from their place of origin there’s no obvious
musical link. Canterbury in the late 60s and early 70s however produced a slew
of bands with a quite distinct ‘sound’, possibly due to their being able to
trace their origins back to The Wilde Flowers: Matching Mole, Soft Machine,
Hatfield & the North, National Health (among others) all had a particular
‘Canterbury’ sound, but perhaps the most original and enduring were Caravan.
Their third album, In the Land of Grey & Pink, is a wonderful example of
this originality: quirky, inventive, sublime song-writing; at times quite
pop-y, at times quite surreal, and the epic on side two – Nine Feet Underground
– is a jazzy, rocky, symphonic, mellotron-heavy delight.</div>
<div class="MsoNoSpacing">
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<div class="MsoNoSpacing">
23. <b>Led Zeppelin</b> – <i>Houses of the Holy</i> </div>
<div class="MsoNoSpacing">
Growing out of the Yardbirds towards the end of the
1960s, Led Zeppelin brought the guitar talents of Jimmy Page from a blues
background to the burgeoning heavy metal scene that was growing around the West
Midlands, and coupled them with Robert Plant’s soaring vocals and the
rock-steady rhythm section of John Paul Jones & John Bonham. It was this
mixture of rock and blues along with some psychedelic elements that grew the
band’s fan base over the course of their first four albums, culminating in the
trippy epic that is Stairway to Heaven. By then the band’s repertoire was
diversifying, and on the follow-up fifth album, Houses of the Holy, they
clearly demonstrated that diversity, placing the rocking ‘The Song Remains the
Same’ alongside the mellow ‘The Rain Song’, the silliness of ‘The Crunge’ with the
almost pop-y ‘Dancing Days’, and the cod reggae of ‘D’yer Mak’er’ with the
trippy ‘No Quarter’. I don’t think there’s as much variety on any other of the
band’s albums, and that’s what attracts me to it: for the thrash of Immigrant
Song on Zep 3 and the pomp of Kashmir on Physical Graffiti, there is the
subtlety of No Quarter and The Rain Song. For me their best album.</div>
<div class="MsoNoSpacing">
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<div class="MsoNoSpacing">
22. <b>Genesis</b> – <i>Wind & Wuthering</i> </div>
<div class="MsoNoSpacing">
Losing a key member is always a defining moment for a band:
it can make or break them, because for some the band just isn’t ‘complete’
without a certain individual. Witness the debates over Yes without Jon Anderson
or Chris Squire; Marillion without Fish; or in this case Genesis without Peter
Gabriel. The internal discord that surfaced during the recording of The Lamb
Lies Down on Broadway came to a head during the album’s tour, and Gabriel
departed to a diverse and successful solo career, but where did that leave the
band? As we know, Phil Collins stepped up to the mic, and the rest, as they
say, is history. As a four-piece Genesis produced two very good albums, A Trick
of the Tail and Wind & Wuthering, but it has always been the latter which
has appealed more to me, possibly due to Steve Hackett’s greater prominence
musically on the album. It’s not a perfect album: Your Own Special Way is a bit
twee, and why they opted for Wot Gorilla? ahead of Inside and Out I have no
idea! But the openers of Eleventh Earl of Mar and One for the Vine always send
a shiver down my spine, and similarly the closers of Unquiet Slumbers for the
Sleepers…, …in That Quiet Earth, and Afterglow – the perfect end to an almost
perfect album. And I’ve not mentioned the comic relief of All in a Mouse’s
Night, or the sublime beauty of Blood on the Rooftops. As a swan song for
Hackett, there couldn’t have been a more fitting end, and musically the band as
a threesome never scaled these heights again.</div>
<div class="MsoNoSpacing">
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<div class="MsoNoSpacing">
21. <b>Big Big Train</b> – <i>The Underfall Yard</i> </div>
<div class="MsoNoSpacing">
Proving that it can sometimes take an age to become an
overnight success, Big Big Train finally broke out of obscurity and into the
Prog mainstream – admittedly not much more than a shallow trickle in the grand
musical scheme of things – with their eighth studio album, The Underfall Yard,
in 2009. By then their music had evolved and achieved a distinct and unique
sound, combining as it did the style of English bands of the 1970s, most
noticeably Genesis, with tales of English history, cultural and industrial
heritage, and, most strikingly, the English brass band. All of this gave the
band, clearly, a very ‘English’ feel, but with it was a technical mastery, a
wonderful narrative ability to tell stories, and the newly acquired vocal
talents of David Longdon, which lifted than band to a different level from
their previous works. The band’s reach and popularity began to flourish from
this point, helped in no small measure by them allowing the almost 23-minute
title track to be distributed free on the cover disc of Prog magazine. This is
music on a grand scale, multi-layered both musically and vocally, and although
the band are only credited as a three-piece, most of the songs are enhanced by
those who would soon be recognised as full members of the band, notably Dave
Gregory & Nick D’Virgilio. Almost 20 years from their first recording, this
album would see them grow in stature and creativity.</div>
John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-45070925387547914712020-04-18T14:38:00.000+01:002020-04-18T14:38:56.684+01:00My All-Time Top 50 Albums - Part 2: 40-31<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheawwYlhLwFBqcbOTnaZR9oNaKU9BEQ4mU5Wu9J2dPFq2X3bB1RI7VCtNEuvVxIuiDX27A4PmlM1us5HI5_9lZ-fgO7DeTgSwQyBpSvvQaBpfONghp3sJqvUVWjlB0U0H8oo3EMUtXzjFo/s1600/IMG_2156.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheawwYlhLwFBqcbOTnaZR9oNaKU9BEQ4mU5Wu9J2dPFq2X3bB1RI7VCtNEuvVxIuiDX27A4PmlM1us5HI5_9lZ-fgO7DeTgSwQyBpSvvQaBpfONghp3sJqvUVWjlB0U0H8oo3EMUtXzjFo/s200/IMG_2156.JPG" width="150" /></a></div>
<br />
Continuing my Top 50...<br />
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<br />
<div class="MsoNoSpacing">
40. <b>Woodstock</b> <i>Soundtrack</i> </div>
<div class="MsoNoSpacing">
The Woodstock Music & Arts Fair of 15-18 August 1969
was probably one of those era-defining moments that will never be repeated
(even though many have tried…). It captured the zeitgeist of late 1960s
American sub-culture so well, and became the definition of the Hippie movement
for many. I was one of those ‘many’: although too young to have appreciated the
event at the time, I was aware of it through adverts in the American comics I
was reading at the time, and as I grew more musically and politically aware the
hippie ideals and modes of dress appealed more and more to me. This album and
the accompanying film remind me of the event and the possibility for human
living that was, however briefly, demonstrated over those 4 days. And there is
some great music: Joan Baez, Arlo Guthrie, Sly Stone, Joe Cocker, Canned Heat,
Santana, The Who, Ten Years After, Jimi Hendrix, Crosby Stills Nash &
Young, Country Joe MacDonald, John Sebastian, and some great music missing from
Janis Joplin & The<span style="mso-spacerun: yes;"> </span>Grateful Dead.
But what we have is a great reminder of what can be, and what might have been.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
39. <b>Bob Marley & The Wailers</b> – <i>Exodus</i> </div>
<div class="MsoNoSpacing">
It was probably Bob Marley’s appearance on the Old Grey
Whistle Test that brought reggae to a wider audience, and I have strong
memories of John Peel playing some quite challenging Dub Reggae on his radio
show towards the end of the 70s, which I found quite intriguing. Exodus is
perhaps Marley’s most successful recording, combining as it does a commercial,
danceable reggae with an unapologetic use of the spirituality of
Rastafarianism, with its resonances with the Old Testament, particularly in the
title track. While giving rise to some home-grown reggae acts in the UK in the
late 70s and early 80s, such as Aswad and Steel Pulse, Marley & the Wailers
remain the benchmark for the genre for many.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
38. <b>Camel</b> – <i>Moonmadness</i> </div>
<div class="MsoNoSpacing">
I came to Camel relatively late – possibly in the 1990s,
rather than in their heyday of the 1970s – and it was Moonmadness that was my
introduction to their music. Here was a collection replete with energy,
introspection, inventiveness and instrumental dexterity that just screamed for
repeated listens. Exploring the band’s catalogue brought more delights, but
nothing could quite top this collection of songs for their variety and
vitality.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
37. <b>10CC</b> – <i>How Dare You</i> </div>
<div class="MsoNoSpacing">
As a teenager there were a number of reasons for buying
an album, but normally there had to be a very good reason, as money was tight.
It might be on the recommendation of a friend; it might be that as a fan and
completist you just had to have the latest vinyl as soon as it was released; it
might be that, browsing the racks at the record store the album artwork jumped
out at you (Meat Loaf’s Bat Out Of Hell was one such for me). Or maybe you’d
heard the single on the radio and thought ‘You know what, I’d like to explore
this lot a bit further…’ I’d been aware of 10CC’s work since Rubber Bullets,
but there was something about ‘I’m Mandy Fly Me’ that called to me. What I
found in ‘How Dare You’ was a weird, wacky, witty ensemble of songs which,
sadly, would be the last creation of the 4-piece band of Gouldman, Stewart,
Godley & Creme. Not everyone’s cup of tea, but there’s something about this
album that has stayed with me over the past 40+ years.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
36. <b>John Coltrane</b> – <i>Blue Train</i> </div>
<div class="MsoNoSpacing">
If you were wondering when jazz would make an appearance
in this list, your wait is over! John Coltrane came to prominence in jazz
circles as a member of Miles Davis’s quintet in the mid-50s, and featured on
many classic recordings. In 1957 he took Paul Chambers (bass) and Philly Joe
Jones (drums) from the Miles Davis Quintet and along with Lee Morgan (trumpet),
Curtis Fuller (trombone) and Kenny Drew (piano) produced Blue Train. This was
in many ways a landmark album in the world of jazz, producing a number of tunes
that have become standards – Moment’s Notice, Lazy Bird, and the title track –
and here Coltrane demonstrated his chord substitution cycles which became known
as Coltrane Changes. The first (but not the only) album in my list that
pre-dates me, this is and will remain a classic.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
35. <b>Queen</b> – <i>A Night at the Opera</i> </div>
<div class="MsoNoSpacing">
There’s always been something about Queen that was
different, and difficult to pigeon-hole (if that’s what you’re into with
music…): were they hard rock, glam rock, prog rock, what? As their career
progressed their inventiveness musically came more to the fore, and to my mind
it reached its peak with A Night at the Opera – so much so that they tried
(unsuccessfully) to recreate it on A Day at the Races. What strikes me
particularly about this album is the variety: the hard rock of Death on Two
Legs and Sweet Lady; the almost vaudeville of Lazing on a Sunday Afternoon and
Seaside Rendezvous, and the ragtime feel of Good Company; the silliness of I’m
in Love with My Car; the pop simplicity of You’re My Best Friend (John Deacon could
always write a good pop song); the stomping folk of ’39; the breathy, soulful
energy of Love of my Life; and the sheer prog magnificence and staggering
pomposity of The Prophet’s Song and Bohemian Rhapsody, and all of these styles
held together by Brian May’s signature guitar tone and the band’s increasingly
complex vocal harmonies, and by Roy Thomas Baker’s exemplary production. After
45 years it still holds up as a work of art and, if I may dare say, a work of
genius!</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
34. <b>Crosby Stills & Nash</b> – <i>Crosby Stills
& Nash</i> </div>
<div class="MsoNoSpacing">
Arguably one of the first ‘supergroups’ in popular music,
drawing together David Crosby from The Byrds, Steven Stills from Buffalo
Springfield & Graham Nash from The Hollies, Crosby Stills & Nash
brought their own particular brand of harmonic folk rock to the hippie scene of
the late 1960s, and their iconic appearance at Woodstock was only their second
gig together! Their debut album is full of their trademark harmonies, and
brings together excellent song-writing from all three members and a wonderful
variety of musical styles, acoustic and electric, folky & psychedelic,
bluesy & pop-y, optimistic & apocalyptic – perhaps summing up musically
that ‘something in the air’ that Thunderclap Newman sang of at the time. The
creative energy that flows throughout this album lifts me every time I listen –
of its time, yet timeless.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
33. <b>Pink Floyd</b> – <i>The Division Bell</i> </div>
<div class="MsoNoSpacing">
The first but (SPOILER ALERT) not the last appearance by
Pink Floyd in this list brings us to their last studio album as a band, albeit
by then only a 3-piece. The band had transitioned during their 25+ years as a
recording unit from the Psychedelic house band of the UFO Club under Syd
Barrett’s leadership, to the experimental soundscapes of Ummagumma &
Meddle, the prog superstars of Dark Side … and Wish You Were Here, and the
stadium rockers of The Wall and the post-Waters era. I’d kind of lost touch
with Floyd after The Final Cut, which just didn’t do it for me (and still
doesn’t – sorry of that upsets anyone…), and was visiting family in Vancouver
when I found this album on my host’s shelf. Listening to it, to me it seemed
like the old Pink Floyd were back, perhaps a little more conventional and
bluesy, but with a challenging edge to their music. For me the standout track
was always High Hopes, with its nostalgic melancholy and trademark Gilmour
guitars.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
32. <b>Rick Wakeman</b> – <i>6 Wives of Henry VIII</i> </div>
<div class="MsoNoSpacing">
I discovered Rick Wakeman before I discovered Yes, and my
finding Rick was mainly down to a school friend, Pete. He lived quite close to
school (which I didn’t), so his house was a convenient bolthole from annoying
aspects of school life such as games! One of the records that we used to listen
to frequently on those visits was 6 Wives… and I was struck by two things
really: one was Wakeman’s manual dexterity on the keyboards (it was that that
lead me to explore Yes’s music), and the other was his amazing hair! (I know:
shallow, aren’t I!?) As a fellow blond, he became a role-model for me, though
the school authorities were less impressed and kept sending me to the barbers
every 3 weeks! Enough of this sartorial reminiscence: the music is varied,
powerful, poignant, reflective and is still perhaps (for me) the best thing
he’s done on his own.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
31. <b>Genesis</b> – <i>Foxtrot</i> </div>
<div class="MsoNoSpacing">
Genesis were the first band I really got behind, having
been ‘converted’ hearing Seconds Out. The music just grabbed 16-year-old me and
I quickly began to explore their catalogue. Foxtrot was one of their early
albums that really stood out for me: being the one that had Supper’s Ready on
it did help. So why is it only at number 31 in my list? About 4 years ago, I
wrote: ”This album marks a significant milestone in the band's development:
their song-writing has reached a new peak with each of the band's members
maturing as musicians. This would be the last album that was dominated as much
by 12-string and Mellotron, as advances in synthesiser technology were to
transform their sound in the coming months. With Foxtrot, Genesis were
beginning to make an impact on the British music scene (though not as yet in
the US) and this would continue in the next couple of years as their star rose
steadily, and Foxtrot rightly holds a place at the top table of Progressive
music as one of the best examples of the genre.” But maybe familiarity has
soured it a little for me; there are other works that I now consider of better
class, certainly from Genesis’s canon (more on that later). But it is still an
album of outstanding class, and it would be remiss of me to omit it completely.</div>
John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com1tag:blogger.com,1999:blog-8598504451838456622.post-90873248920407721772020-04-18T14:37:00.000+01:002020-04-18T14:37:42.617+01:00My All-Time Top 50 albums - Part 1: 50-41<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdniAIb2mNH_Sbc6EqmJtothaFUbdHr2QUI6swKDJjyenq12LpwA4Lodo2bYW9hK-ivf2lpsY_Kls2VTwyG0lIXfCM-LcZWC1d6tgLWrJpSGA5BPz_owO8B8-E2ozEZk99itFlH1CaJ0ju/s1600/IMG_2156.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdniAIb2mNH_Sbc6EqmJtothaFUbdHr2QUI6swKDJjyenq12LpwA4Lodo2bYW9hK-ivf2lpsY_Kls2VTwyG0lIXfCM-LcZWC1d6tgLWrJpSGA5BPz_owO8B8-E2ozEZk99itFlH1CaJ0ju/s400/IMG_2156.JPG" width="300" /></a></div>
<span style="font-family: inherit;"><span style="font-size: small;">A few months ago now I was asked by Graham Harfleet from Progzilla Radio to put together my all-time Top 50 albums for him to broadcast on his show. After some deliberation I agreed, and set about trying to whittle down my collection to the required number - not an easy task!</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">The list finally coalesced, and then came the task of explaining why I had chosen these particular discs, and why they were placed where they were - an even harder task!</span></span><br />
<br />
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<![endif]--><span style="font-family: inherit;"><span style="font-size: small;"><span style="line-height: 107%;">One
thing that will be obvious from this collection of albums is that my musical
taste is not particularly monochrome. Although this list was put together
for a Progressive Rock station there is much here that is outside that genre
(if genre distinction is important to you), although I hope much of it could be
seen as ‘progressive’ in a broad sense. This is music that has made me; that
has stayed with me over many years and many changes; and that at times
resonates with key moments in my life’s journey. There are, I think, 43
separate acts in this Top 50, which either shows my breadth of taste or my
inability to leave groups out. There may be what some consider to be some
glaring omissions in this list, but this is as fair as I could get to
demonstrate what makes me tick musically over a long period. I have to confess
that I haven’t in a lot of cases found it easy to explain why I like a
particular album, or what in particular I like about it, probably because music
is essentially a ‘heart’ thing rather than a ‘head’ thing.</span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span style="line-height: 107%;">Anyway, here we go with the first 10 albums on my list.</span></span></span><br />
<br />
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<div class="MsoNoSpacing">
<span style="font-size: small;">50. <b>Tom Waits</b> – <i>Small Change</i> </span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: small;">By his fourth album, Tom Waits’s lifestyle had taken a
toll on his voice, but had given it a unique feel that added to his appeal as a
songwriter and singer. This is a collection of songs about drinking, lost (and
found) love, the dodgier side of advertising and the seedier side of being a
performer, sung in a kind of louche lounge bar style. I find all of his first
four albums wonderful, but Small Change just tips it with its honesty,
simplicity and alcoholic haze!</span></div>
<span style="font-size: small;">
</span>
<div class="MsoNoSpacing">
<span style="font-size: small;"><br /></span></div>
<span style="font-size: small;">
<div class="MsoNoSpacing">
49. <b>The Beatles</b> – <i>Rubber Soul</i> </div>
<div class="MsoNoSpacing">
For me, this album is where the Beatles as a band started
to really develop as songwriters and began to take the band a little off the
‘pop’ route. George develops well as a songwriter, and even Ringo gets a
writing credit. But this album sees some of Lennon & McCartney’s best sub-3-minute
songs – ‘Michelle’, and ‘In My Life’ – and the start of their experimentation
with a more psychedelic sound in ‘Nowhere Man’. This was their turning point
album, which led to Sergeant Pepper and beyond.</div>
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48. <b>Todd Rundgren</b> – <i>Hermit of Mink Hollow</i> </div>
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I had the great joy of seeing Todd Rundgren play at
Knebworth in 1979, on the same bill as Led Zeppelin, and had been aware of his
music for a few years before that event. Todd is a great versatile musician,
and this album is a wonderful mix of rock, pop, soul, prog, lunacy, social
comment and apocalyptic love song, thoughtfully written and excellently played.
There’s a wonderful depth to this album, which repays repeated listens, which
is why I go back to it often.</div>
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47. <b>David Bowie</b> – <i>Hunky Dory</i> </div>
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The thing with Bowie is that, from album to album one was
never sure who he was going to be. This added to the interest, of course, and
affected the music that he made. Perhaps the start of his ‘chameleon’ years,
Hunky Dory has some of his most enduring songs on it: Changes & Life on
Mars were hits for him; Oh! You Pretty Things for Peter Noone; but Fill Your
Heart is just as catchy, and Quicksand & Queen Bitch are wonderful examples
of his song-writing prowess. And there’s the added attraction for some of Rick
Wakeman’s piano playing throughout the album.</div>
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46. <b>Marvin Gaye</b> – <i>What’s Going On</i> </div>
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An album that shows that the idea of ‘concept albums’
isn’t just a Prog thing. Coming from the depths of the civil rights movement in
America in the 60s but also in the heat of the Vietnam conflict and the
protests surrounding that war, this strikes at the heart of the problems felt
by many then – and sadly still now. Just a beautiful piece of work!</div>
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45. <b>Rainbow</b> – <i>Rising</i> </div>
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This is an album that takes me back to those days in my
youth when my musical taste was developing, and I was pushing a number of doors
trying to find what connected with me. Rainbow, with Richie Blackmore at the
helm, took me back to Deep Purple, but Cozy Powell’s powerful drumming and
those bellows of Ronnie James Dio connected me to the other heavy rock that was
part of my musical life. But this is music with depth, and Tony Carey’s
keyboards brought that to the fore. This is hard rock but with a progressive
edge: not a long album – it would probably be classed as an EP these days! –
but it packs so much into 36 minutes!</div>
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44. <b>Bob Dylan</b> – <i>Blood on the Tracks</i> </div>
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Dylan has always been a poet, and at times a prophet, but
always a song-writer – even if his singing voice can be a little marmite for
many. One thing he does, particularly on this album, is tell a good story, and
it’s probably this aspect that appeals to me in this collection. <span style="color: red;"><span style="color: black;">‘Lily, Rosemary and the Jack of Hearts’</span> </span>takes
me back to Sunday afternoons in my teens listening to Annie Nightingale, as she
played it often and it was this, I think, that turned me on to Dylan more than
anything else.</div>
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43. <b>Neil Young</b> – <i>After the Goldrush</i> </div>
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Neil Young’s mixture of country, hard rock and good
old-fashioned song writing and story telling is perhaps perfectly epitomised on
this his 3<sup>rd</sup> solo album. He does have a penchant for downright
maudlin – ‘O Lonesome Me’ and ‘Don’t Let it Bring You Down’ (as he described it
on 4 Way Street: ‘it kinda starts off real slow, and then just fizzles out
altogether…’) – but also for good hard rocking anthems, in ‘When You Dance You
Can Really Love’ and the timeless ‘Southern Man’. But it’s the title track, with its Sci-Fi, spaced-out
hippie-ness, that stays with me.</div>
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42. <b>Annie Haslam </b>– <i>Annie in Wonderland</i> </div>
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This was an album that I discovered through the Tuesday
night rock night at our local ‘disco’ back in the 70s. The DJ used to throw the
odd curve ball in every now and then, alongside the usual Quo, AC/DC, Sabbath,
Stairway to Heaven, Freebird etc, and one week he played <span style="color: red;"><span style="color: black;">‘Rockalise’</span> </span>from this debut solo album from
Renaissance vocalist, Annie Haslam. The combination of her voice and Roy Wood’s
production, playing and song-writing in places just amazed me, and I go back to
this album often to have my soul lifted.</div>
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41. <b>Alan Parsons Project</b> – <i>Tales of Mystery
& Imagination</i> </div>
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I remember, back in the days of the 5<sup>th</sup> form,
someone bringing this album into school with a certain excitement. ‘You must
hear this’, they said, and proceeded to put it on the common room record
player. I was first struck by the album artwork, straight out of the Hipgnosis
stable, with a wonderful linear starkness to it, and then by Orson Welles’
stentorian tones in the opening narration. The music moves from rock to funk to
classical and is all that Progressive music should be for me.</div>
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</span>John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-33431707975118177212020-03-17T17:15:00.001+00:002020-03-17T17:15:20.045+00:00Checking For Echo - The War Is Never WonWith the centenary of the end of the First World War recently marked, there have been a few attempts to analyse the experience and impact of that conflict on those who were directly involved in it, and some of those have been musical ones. Saul Blease's 2018 album '<i>The Great War</i>', and Freedom To Glide's trilogy, '<i>Rain</i>', '<i>Fall</i>' and 2019's '<i>Seed</i>' are just a couple of examples that particularly stood out for me.<br />
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So when I received a copy of <b>Checking For Echo</b>'s album, '<i><b>The War Is Never Won</b></i>', I was a little cautious: was this just going to be another version of the same story? But I was pleasantly surprised.<br />
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This is the work of Jon Farley, and touches on a number of aspects of the consequences of war in a thoughtful and poignant way. The album opens with an epic-length, multi-part song, '<i>The War Within</i>', which starts with gentle piano arpeggios before the plaintiff vocals begin, taking us on a journey from childhood innocence, through responding to ones nation's call to arms and the loss of 'friendships barely forged', the desire to return home, and the difference in home and the soldier that war has brought about. The use of the whistle at the start of 'The Whole Nine Yards' and a trumpet sound as reflection begins in 'Field of Souls' are very evocative, as is the contrast in the hope, the realisation and the consequence of 'The Homecoming'. 'The Forgotten Country' touches a little on what we now recognise as PTSD, and the change that war brings to those who fight it and to those who are fought for. One of the most powerful lines says: "The battle comes home and it takes its deadly hold in each mother’s darling son", and at times there only seems one way out from the nightmares... Thoughtful, powerful stuff.<br />
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The rest of the album then takes us on a journey through the many conflicts that have followed from 'the war to end all wars'. '<i>The Greater Good</i>' contrasts the reality with the public voices of those in charge - that this slaughter is for the greater good. Musically this reminded me a little of John Holden's work. Lyrically there's an almost restrained anger at times, without the resort to cynicism or sarcasm, which has a powerful effect. '<i>Victory's Waltz</i>' is an instrumental interlude of a sort, and it doesn't come across much like a traditional waltz! (I can't quite work out the signature at times) There is attack and drive in it, which raises the mood of the album, which has been a little subdued up to now (understandably). '<i>Heroes</i>' starts with seagulls screaming and the fleet leaving Portsmouth on its way to the Falklands, and is a tribute to all those who have given their all 'to defend British Isles'. This is not your typical anti-war song, in fact it clearly calls for support for those who serve, which is never a bad thing, however we feel about the morality of war.<br />
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'<i>It's a Crude Business</i>' is a delightfully tongue-in-cheek examination of Western (but more specifically, US) foreign policy where defending commercial interests seems to be far higher on the agenda than perhaps it should be in most decisions to go to war. The music gives a light-hearted, funky feel to what is a very serous subject. '<i>Imaginary Evidence</i>' is billed as another instrumental track, but behind it are sound clips around the controversial decision of Blair to send troops to Iraq, and the questions over Saddam's 'weapons of mass destruction'. '<i>The Falling Man</i>' is a poignant reflection on one the the most haunting images that came out of the events of 9/11, from the perspective of that man, and musically it begins with echoes for me of Pink Floyd's 'Nobody Home'. The album closer is another epic, '<i>The Greatest Freedom</i>', which moves its focus to Helmand Province. We open with the sound of helicopters, then muted keyboards, as the narrative seems to flip between a young, naive soldier and a Jihadi warrior. A muezzin's call and the sound of a dulcimer set the scene, as we settle on the soldier, as he makes his first patrol, always on the watch for ambush and IEDs - a watch he ultimately fails in: "My role in today’s patrol is to be on prime time on the BBC, to show the world the hidden danger, a victim of an IED" The soldier tells of his return to 'the land of my place of birth' where he is paraded through the streets of Wotton Bassett, draped in the Union Flag. For him, and maybe for his adversary, 'The greatest freedom it’s often said will come to us all when all else is dead.'<br />
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This is a thoughtful, keyboard-driven collection of songs that tackle to deeper issues around war in its modern context. Quite low-key overall, there are some uplifting moments, and Jon must be commended for the effort he has put into this project both in composition and performance. Every listen brings new insights and new delights, and I would heartily commend it to you. You can find it on Bandcamp <a href="https://checkingforecho.bandcamp.com/album/the-war-is-never-won">here</a>.<br />
<br />John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-83488184651906436202020-02-22T21:55:00.000+00:002020-02-22T21:56:03.467+00:00John Holden - Rise and FallIt's an age-old conundrum: when one's debut album had received such considerable critical acclaim, how do you follow it? For John Holden, whose 2018 album '<a href="https://flightoftheskypilot.blogspot.com/2018/03/john-holden-capture-light.html">Capture Light</a>' garnered much praise, that thought may well have been in his mind as he prepared to unleash his sophomore release on the unsuspecting but highly anticipatory public.<br />
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How do you follow it? Do you stick with the winning formula and give the people what they love? Well, in John's case, in terms of the ensemble of musicians, yes and no. Still there are Oliver Day on guitars; Peter Jones, Jean Pageau and Joe Payne on vocals; Oliver Wakeman on piano & keyboards; and Billy Sherwood, providing bass this time rather than guitar, but there are a while raft of new musicians added to the crowd, including Michel St-Pere, Vikram Shankar, Sally Minnear and Nick D'Virgilio among many others. This time John has shared the music writing duties in places with Vikram Shankar and Oliver Day, and as before the lyric writing is by John and his now wife Elizabeth.<br />
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But what of the music? John has a knack for story-telling, both lyrically and musically, has been evident throughout his output, and this has not changed here. He delves into the more esoteric areas of history with a story of a monk who longed to fly; into addiction, mythology, politics and 'fake news', cultural terrorism, and an overview of earth's history from the perspective of a passing comet.<br />
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The opening piano motif to '<b>Leap of Faith</b>' - a part called 'The Comet' - sets a beautiful contemplative note at the start of the album, reminiscent for me of Danny Manners' work in the opening bars of East Coast Racer (Big Big Train), but the rest of the song opens up in a less abrupt way than the tale of Mallard. The rest of the song is brought wonderfully to life by the vocal talents of Peter Jones, who can himself tell a great story, and the tune soars with the monk, until the realisation: "We can all fly, 'til we hit the ground."<br />
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'<b>Rise and Fall</b>' bring the voice of Jean Pageau from Mystery, who gives the song a heartfelt, soulful edge. There's some mournful bass from Jon Camp, a melody that doesn't always go where you expect it, and blistering guitar solos from Oliver Day on lap steel and guitar.<br />
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'<b>The Golden Thread</b>' is a quite stunning piece: gentle, lyrical, and orchestral; a love song contemplating the frailty and fragility of life, beautifully sung by Joe Payne and Lauren Nolan. I was privileged to hear this song about 6 months ago, and was struck then by its beauty and simplicity, but the words written by Elizabeth speak very clearly to me now, at a difficult time for my parents. This is just what I need right now.<br />
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'<b>The Dark Arts</b>' is a more rocky tune, opening with the wonderfully maleficent tones of Ian Richardson in the guise of Francis Urquart from the BBC's 'House of Cards', and explores the 'fake news' culture that infests modern politics. This is certainly the most up-tempo song so far.<br />
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'<b>Heretic</b>' begins with a distinctly Arabic air to it, and touches on religious extremists destroying cultural artifacts that don't fit with their world view, and the pain of those who seek to protect their heritage against such barbarism. Understandably with the subject matter, the mood is somewhat subdued, though there is a note of hope and optimism in the chorus, and an almost strident defiance in the face of the horror. This is a song of hope (as Robert Plant once said...)<br />
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'<b>After The Storm</b>' begins, unsurprisingly, with the sound of a storm, then moves into a pleasing 3/4 acoustic guitar tune with what sounds like violin, before piano and guitar take over. The melody is a simple repeated phrase, but Sally Minnear's voice gives it power and passion, with a quite dreamy mood overall. Some very fast guitar work during the instrumental section gives way to ethereal keyboards, before a return to the initial melody. A song about moving on, literally and metaphorically.<br />
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'<b>Ancestors and Satellites</b>' has a space-y feel to it to begin with, with synths taking us on a journey into distant realms, both in time and space. Peter Jones leads us from ancient camp fires into the depths of space. The chorus, with its staccato lines, has a slight vintage Yes feel to it to me, and gives a great shape to the song, and as the liner notes say, it "imagines the chants and magic of those gathered around the ancient fire and how those primitive feelings of belonging, communication and the need to share our stories is still deep within us." The song ends by drawing together the threads of the album, and quietly restating the piano motif from the opening track before an echo of 'We can all fly...'.<br />
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This, like its predecessor, is a grower: every listen reveals more depth and wonder to the listener. The songs showcase some amazing talent in the music scene at present, but also an amazing song-writing pair in John & Elizabeth. This is progressive music at its best - up-to-date yet rooted in the measures and patterns of the past. This album will, I have little doubt, be high on many lists come the end of 2020. Thank you, John, for another stunner!<br />
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<br />John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-63111571021857208182019-12-29T21:49:00.000+00:002019-12-29T21:49:09.689+00:00My Albums of the Decade - 2010-2019As we approach the end of 2019 I've been looking thought my year end reviews for the last few years with a certain amount of interest. I started doing these reviews in 2011, but that year's was very general in its approach. I started publishing a ranked list in 2012, and have done so every year since.<br />
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Looking at my Top 3 albums for those 8 years certain bands cropped up on more than one occasion - unsurprisingly to me Big Big Train and The Tangent. As there wasn't any 'list' for 2010 or 2011, I looked through my collection and came up with some albums from those years that I could include, to make a decade-wide list possible.<br />
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Three major criteria were used in drawing up this list: they had to be albums in my collection; they had to have featured in my Top 3 in the year they were released; and I would only include one album by any one band. I'm not going to try and rank these albums in any order of merit - simply alphabetically. But these are the bands/ artists & albums that have particularly appealed to me over the last 10 years.<br />
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<b>Abel Ganz</b> - Abel Ganz (2014)<br />
<b>Anderson Stolt</b> - Invention of Knowledge (2016)<br />
<b>Anglagard</b> - Viljans Oga (2012)<br />
<b>Big Big Train</b> - English Electric (2012/13)<br />
<b>Kate Bush</b> - 50 Words for Snow (2011)<br />
<b>Echolyn</b> - Echolyn (2012)<br />
<b>Freedom to Glide</b> - Rain/ Fall/ Seed trilogy (2013/ 16/ 19)<br />
<b>John Hackett & Nick Fletcher</b> - Beyond The Stars (2018)<br />
<b>Lazuli</b> - 4063 Battements (2011)<br />
<b>Pat Metheney</b> - Orchestrion (2010)<br />
<b>Moon Safari</b> - Lover's End (2010)<br />
<b>Oak</b> - False Memory Archive (2018)<br />
<b>Opeth</b> - Heritage (2011)<br />
<b>Chris Potter</b> - Circuits (2019)<br />
<b>Snarky Puppy</b> - We Like It Here (2014)<br />
<b>The Tangent</b> - Proxy (2018)<br />
<b>Colin Tench Project</b> - Hair on a G String (2016)<br />
<b>Tiger Moth Tales</b> - The Depth of Winter (2017)<br />
<b>Andy Tillison Diskdrive</b> - Electric Sinfonia No 2 (2014)<br />
<b>Tinyfish</b> - The Big Red Spark (2010)<br />
<b>Theo Travis Doubletalk</b> - Transgression (2015)<br />
<b>Unitopia</b> - Artificial (2010)<br />
<b>Steven Wilson</b> - Hand. Cannot. Erase. (2015)<br />
<b>Wintergatan</b> - Wintergatan (2013)<br />
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There's obviously much I've missed out, but that's my stab at a Decade list from my eclectic and at times quite strange taste in music. Do let me know what you think... (but please be kind...)<br />
<br />John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-43228823462338271092019-12-28T17:30:00.000+00:002019-12-28T17:30:05.016+00:00Music of 20192019 reaches its end, and here is my look back at the albums that have entranced me - or at least mildly entertained me - during the year. If you're a regular reader of my incoherent ramblings here, you will know that I've been doing a brief review month on month (apart from November & December): below are my November gigs, and then my year-end list.<br />
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2019 has been a good year for live music, thanks at a) being retired now, and b) living about 200 yards from one of the best live music pubs in Sheffield, The Greystones. As well as the gigs I've already reported on, November saw me at another seven shows. <b>Steve Hackett</b> and his band gave a stellar performance of Selling England By The Pound and Spectral Mornings, along with other stuff from his latest album, At The Edge of Light, and other solo stuff, at the City Hall. The following night I was at the Greystones for <b>Gordon Haskell</b>, briefly a vocalist with King Crimson (a part of his life he doesn't like to be reminded of, as I discovered...), who put on a great show featuring songs from his Harry's Bar album and some new material, with just an acoustic guitar and an accompanying saxophonist. Later that month, with a large amount of South Yorkshire under water, there was a trip to Kimberworth in Rotherham for the inaugural show by <b>Moonspinner</b>, a project of John Hackett & Howard Sinclair, aided and abetted by Matthew Lumb on keyboards. They performed music from John & Howard's repertoire, alongside some Steve Hackett, Genesis & King Crimson material. A real shame the weather kept many away, because it was a great night. The following week it was back to the O2 Academy for <b>Steve Hillage</b> supported by Gong. Like Al Stewart the month before, it was another spine-chilling nostalgia-fest for me, and it was well worth 4 hours standing at the front of the stage for the experience. Then the <b>John Hackett Band</b> (again), and finishing the month (and the year) with an as-always stellar show from <b>Australian Pink Floyd</b> - the next best thing to the real thing, imho, and the small matter of a trip down the M1 for the opening night of <b>DanFest</b> to see Encircled and The Emerald Dawn, both of whom were wonderful!<br />
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<tr><td class="tr-caption" style="text-align: center;">Steve Hackett</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Gordon Haskell</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Steve Hillage</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">John Hackett Band</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Australian Pink Floyd</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Emerald Dawn</td></tr>
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So, now to my top albums of 2019. I've tried to keep the number down a little, but in compiling the list I found I'd identified 26 albums worthy of note, and couldn't decide which to leave out to give you a Top 25. So here's my Top 26, with 26-11 in alphabetical order, and the Top 10 ranked.<br />
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<b>Cheeto's Magazine</b> - <i>Amazingous</i><br />
<b>John Coltrane</b> - <i>Blue World</i><br />
<b>The Emerald Dawn</b> - <i>Nocturne</i><br />
<b>Farmhouse Odyssey</b> - <i>Fertile Ground</i><br />
<b>Fat Suit</b> - <i>Waifs & Strays</i><br />
<b>Gong</b> - <i>The Universe Also Collapses</i><br />
<b>Grand Tour</b> - <i>Clocks That Tick (But Never Talk)</i><br />
<b>Steve Hackett</b> - <i>At The Edge of Light</i><br />
<b>IZZ</b> - <i>Don't Panic</i><br />
<b>Kaprekar's Constant</b> - <i>Depth of Field</i><br />
<b>Red Bazaar</b> - <i>Things As They Appear</i><br />
<b>Nad Sylvan</b> - <i>The Regal Bastard</i><br />
<b>Thieves Kitchen</b> - <i>Genius Loci</i><br />
<b>This Winter Machine</b> - <i>A Tower of Clocks</i><br />
<b>United Progressive Fraternity</b> - <i>Planetary Overload Part 1</i><br />
<b>Neil Young & Crazy Horse</b> - <i>Colorado</i><br />
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And the Top Ten...<br />
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10. <b>Rosalie Cunningham</b> - <i>Rosalie Cunningham</i><br />
The former Purson front-woman picks up on the psychedelic vibe of the Purson album and takes it further.<br />
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9. <b>Jon Anderson</b> - <i>1000 Hands Chapter One</i><br />
There's just something about this album that makes me feel better about life every time I listen to it.<br />
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8. <b>Cirrus Bay</b> - <i>The Art of Vanishing</i><br />
Gentle, melodic, symphonic progressive music, carrying on the great work of their earlier work.<br />
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7. <b>Nova Cascade</b> - <i>A Dictionary of Obscure Sorrows</i><br />
An album which should increase the band's reach into both the ambient and progressive schools of music.<i></i><br />
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6. <b>The Far Meadow</b> - <i>Foreign Land</i><br />
Some quite spectacular modern progressive tunes, rooted in the heritage of the past yet looking clearly forward to what Progressive music might become.<br />
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5. <b>Bruce Springsteen</b> - <i>Western Stars</i><br />
A wonderful example of The Boss's knack of telling moving stories through simple melodies. More Mid-West than East Coast, but some of his best material in years.<br />
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4. <b>Moron Police</b> - <i>A Boat on the Sea</i><br />
What can I say about this album other than captivating and bonkers! Some wonderful songs here, some of which go off at wild tangents, other that have echoes of Elton John for me.<br />
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3. <b>Chris Potter</b> - <i>Circuits</i><br />
Every now and then a jazz album comes along that simply astounds me by its breadth, style and musical dexterity, and in 2019 that album was Circuits. Chris Potter, with Eric Harland, James Francies & Linley Marthe, simply blew me away!<br />
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2. <b>Big Big Train</b> - <i>Grand Tour</i><br />
Ten years on from their breakthrough album 'The Underfall Yard', this is Big Big Train at their best in terms of composition, atmosphere and musicianship, and an album that was underscored by stellar live performances on their first tour this year.<br />
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1. <b>Freedom To Glide</b> - <i>Seed</i><br />
Few albums, in all my years of listening, have affected me as much as this one, from the first listen through and on subsequent visits afterwards. The third of the band's trilogy reflecting on World War 1, this is an absolutely stunning work, tinged with reality, pathos, anguish but above all hope for a better world<br />
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I hope to be able to put together a 'Best of...' for the past decade, and even for the 21st Century (so far) at some point, but that may take some time... In the meantime, have a happy new year, and I hope, like me, you're looking forward with anticipation to what 2020 has to offer musically.<br />
<br />John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-48315920778613142542019-11-27T20:37:00.000+00:002019-11-28T10:13:25.642+00:00Potter's Daughter - The Blind SideMusic is a very important part of my life, and new music always gives me a sense of anticipation and sometimes challenge. When that new music is from an act that I'm new to, those senses of anticipation and challenge are heightened. New music comes my way in a number of directions: sometimes it is from established artists that I have a strong affinity to; sometimes it's through 'browsing' music sites or stores; often it's from favoured labels (Bad Elephant Music or Edition Records being particular strengths for me); sometimes I am sent music to review by sites that I occasionally write for; and every now and then a band or artist will contact me and ask if I would be interested in reviewing their material.<br />
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This is one of the latter.<br />
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I heard about <b>Potter's Daughter</b> through a friend request on a particular social media site from their singer and pianist, Dyanne Potter Voegtlin and a subsequent conversation online. When the files arrived, I wondered what to make of something described as 'Art Rock & Jazz Folk fusion', so I gave it a listen.<br />
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'<i><b>T</b><b>he Blind Side</b></i>' is the 2018 debut album by this 5-piece band from NYC: Dyanna Potter Voegtlin - piano & vocals; Amit Chatterjee - guitar,guitar synth & percussion; Lincoln Goines - bass; Ian C Voegtlin - guitar; and Randy Crafton - percussion & drums.<br />
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The first thing that struck me about this recording is the sheer beauty it encapsulates, both musically and lyrically. The virtuosity that one comes to expect from artists on the progressive wing of the musical world is here in spades: Dyanne is a classically trained pianist and she brings all that technique and skill to the table, allied with an obvious love of the freedom and innovation of jazz. I found it at times intriguing and at times awe-inspiring, and she brings many different 'textures' of piano throughout the collection. This is a mix of instrumental and vocal tracks - they actually alternate, with the odd tracks being instrumental and the even ones vocal.<br />
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<i>City Lights</i> opens things up, with some wonderful lyrical jazz on piano, bass and drums, on a par with anything from the classic repertoire of the genre, to my mind. Electric guitar enters midway through and changes the mood of the tune, but always good. <i>She is Dreaming</i> has vocals in tight harmony, with a hint of Bjork for me. Some soaring guitars towards the end and a sense of 'shuffle'. <i>Memento</i> is quite ballad-like, with jazzier guitar than hitherto, and <i>Its Summer Night</i> brings some suspenseful chords, almost ecclesiastic harmonies and an overall ethereal feel in the voice, guitars and piano. <i>Moment IV</i> has a strong, driving rhythm that comes more from the piano than from the drums, and some wonderful heavy guitar introduced. <i>To My Love</i> is wonderfully eclectic song, with a bluesy feel to the guitar at the start, an almost eastern feel to the voice and melody, and for me a feel reminiscent of CSNY.<br />
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<i>Silver Moon</i> has for me echoes of Steely Dan in the guitar & piano intro, and as a song builds nicely in intensity while always allowing the piano to lead. <i>Sure On This Shining Night</i> begins with some good piano arpeggios and an unusual melody, and is enticingly choral with overlapping vocals towards the end. <i>Journey Into Spring</i> is an evocative, ponderous, multi-layered piece with an acoustic guitar solo and a nice interplay between guitar and piano. <i>I Lay Down</i> has guitar and bass playing in unison for a large part of the song, and has for me a distinct reminder of British jazzy Progressive band Thieves Kitchen, particularly in the vocals. <i>Another Rain Song</i> uses the piano arpeggios to evoke the feeling of rain, the guitars are almost flute-like, and there is a cymbal crash about a minute in that sounds like a sigh (just how I feel when it's raining...). The final track, <i>Night Has Come</i>, uses some glorious 3- or 4-part vocal harmonies to great effect in a dark but moving song.<br />
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Holding all this together are the musical dexterity of all the band, and Dyanne's vocals, which are strong, tender, hypnotic and evocative. Earlier this year (2019) the band released a couple of singles, which extend the band's reach a little further. <i><b>Blood and Water</b></i> uses keyboards as well as piano, and has more of a folky feel to it, perhaps through the use of Annie Haslam on vocals alongside Dyanne, each with equal strength. <i><b>This Winters Child</b></i>, released earlier this month, is a wonderfully jazzy piece, mostly in 11/8 and joyously evocative (that word again!) of the season.<br />
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All of this enriching, life-affirming music is available on <a href="https://officialpottersdaughter.bandcamp.com/">Bandcamp</a> and elsewhere, and is well worth exploring further.<br />
<br />John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0tag:blogger.com,1999:blog-8598504451838456622.post-82438522351354716362019-11-12T16:46:00.000+00:002019-11-12T16:46:23.352+00:00The Forgotten Prog of Tom KellyEvery now and then one comes across hidden gems of music, and one of my recent 'discoveries' (I didn't really find it: it found me!) was the music of Tom Kelly, previously unknown to me.<br />
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Tom Kelly grew up in California in the 1950s, and at the age of 5 was introduced by his mother to the music of Andres Segovia, after which Tom was hooked. He began learning the guitar, and eventually graduated to other instruments, mostly keyboards. Inspired by classical composers such as Debussy and Holst and drawn to the psychedelic & classic rock scene of the late 1960s, Tom began composing his own songs, and formed several bands that have now faded into obscurity: 'Still'; 'Yellow Autumn'; 'Museum' and latterly 'Mistress Quickly'. The style was symphonic progressive rock, and was described by one music producer as 'chamber music for electric instruments'.<br />
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Mistress Quickly garnered some interest from a recording company, but by that time disco was in the ascendancy and the record company lost interest. Tom carried on, though, as a solo artist and his legacy - following his untimely death in 2017 - is a set of three recordings recently compiled by a previous band member and continuous friend and collaborator, David Hurst, and Tom's widow, Nickie.<br />
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These three collections give an insight into Tom's multi-layered, symphonic, 'orchestral' style, and show what an accomplished composer he was. All three are instrumental recordings.<br />
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<b><span id="goog_1720619755"></span><span id="goog_1720619756"></span>The Tolling of St John's Bells/ Burnt Peas</b> is, for me, perhaps the strongest of the three collections. There are echoes for me of Tony Banks in the keyboards and of Mike Oldfield in the guitars in places, and the overall feel of a solo multi-instrumental package is strongly reminiscent of Oldfield throughout. The music is evocative, at times ominous and melancholic: in fact the overall mood of all three albums is quite dark and brooding - there's not much to tap ones feet to, not that that would be easy with all the changes in time signature that take place throughout the songs!<br />
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<b>A Quail's House</b> has echoes for me of The Enid, and passages of the 4-part suite 'The Wayfarer' have a stately air to them, without being pompous. 'The Fork' suite has a pensive mood: decisions have to be made, yet there is always a feeling of hesitation and caution. The 3-part 'Travels' has an air of movement and a more upbeat feel, but a discordant edge to part 2 and an almost hobbling part 3, with constant time signature changes, gives the travels a feeling of uncertainty. One thing that this collection seems to lack for me - indeed all three albums do - is drums. They're not totally lacking, but very scarce, and there are times when some rhythm would lift the music just a bit.<br />
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<b>Spinning Through Eternity</b> has some longer compositions in it, which is a nice change, but there are times when the tunes seem to have run out of steam a little before they reach their conclusion. It does tend to be a bit same-y throughout, but in that there are some interesting sounds being used, and non-conventional orchestration. The title track has an almost ambient tone to it, and there is a little more light and shade throughout than the earlier collections.<br />
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I've found this to be music that repays re-listening, as each cycle brings out something new and fresh, but it's not gentle, background, feel-good fare. This deserves to be listened to and to be heard! To have a listen, go <a href="https://tomkelly.hearnow.com/">here</a>.John Simmshttp://www.blogger.com/profile/16501970239050498930noreply@blogger.com0