CD RETRO REVIEW: Neal Morse - Sola Scriptura (2007, Metal Blade/Radiant Records)

(NB: this review was originally posted on 14 March 2007)

There are so many ways one can go about reviewing Neal Morse’s latest effort (Sola Scriptura, released on Metal Blade/Radiant Records), that it’s difficult to pick just one.

Conceptually, Sola Scriptura deals with the schism between Protestantism and the Catholic Church in the 15th Century, specifically looking at the efforts of German reformer Martin Luther to shift the church’s focus from political power, corruption and the gathering of monies through such things as indulgences (fees paid to be absolved from sin or to get into Heaven) back toward a more spiritual, Scripture-based arena (NB: Sola Scriptura, translated from the Latin, means “by Scripture alone”). It is an interesting concept, both historically and spiritually/liturgically, with a wide range of themes and ideas that could be worked into a conceptual album. Unfortunately, it is also a concept that perhaps demands more than the 76 minutes Neal has dedicated to this release (ironic, when one considers some of what will be following in this review).

Structurally speaking, Sola Scriptura is built around 3 extended epics, the shortest of which is a mere 16:34, and a shorter ballad. It is perhaps the heaviest of Neal’s post-Spocks Beard releases, with excellent contributions from a few of Neal’s most frequent guests. Mike Portnoy’s drumming is as solid as ever, showing restraint when necessary while rocking out as hard as ever when needed. Randy George, of Ajalon, shines once again on bass guitar, with a rich, beefy bass tone that cuts through the mix without bludgeoning the rest of the band. A new addition to the guest roster is “guitar god” Paul Gilbert, who adds solos on sections of the first two tracks, as well as flamenco guitar on “Two Down, One To Go” from “The Conflict.” The album is incredibly well produced, with lots of space for individual musical and vocal voices, which is impressive considering how densely orchestrated the material here is.

Sola Scriptura may well be Neal’s most controversial solo release. Placing one’s self in the shoes of an actual historical figure and trying to assign motivation and direction is a dangerous thing, and it is easy to slip from one narrative voice into a much more personal one. At times I feel just that has occurred, as lyrics seem to shift from a more historical background to allow more of Neal’s personal voice and message to shine through. Historically, much of the negativity that surrounded Martin Luther’s being has been excised from the tale told here; as well as being one of the strongest proponents of Reformation and Protestantism, Luther was well-known for some strong anti-Semitic views and beliefs. None of this is present in this album. Perhaps it is unnecessary to further the story presented by Morse (and Morse has stated that these anti-Semitic views were enough to have him reconsider releasing the album), but it is an important enough part of Luther’s historical personage to merit note.

Musically the performances contained on Sola Scriptura are among the gathered musicians’ best. Neal has likely never sounded this good vocally, and there are many sections of layered vocal harmonies that bring to mind Queen in terms of grandeur and richness. However, from a songwriting standpoint...while this is Neal’s heaviest album to date, it simply feels like more of the same. The music is familiar; one need only take a few seconds’ listen to the opening track to realise that this is a Neal Morse album. Traditional keyboard sounds and textures, multi-part track arrangements, shifts in tone from heavy rock to Latin vibe...all of these and more have been in evidence dating all the way back to The Light in 1995. Long-time fans will embrace this, it is most likely; listening to Sola Scriptura is the aural equivalent of slipping into a comfortable, well-worn pair of shoes. For this listener, there simply isn’t enough risky or new beyond the heavier sound controversially historic subject matter to show that Morse is pushing his internal or external boundaries.

Several hundred words ago I mentioned that Morse’s selection of subject matter deserved more than the 76 minutes dedicated to it on this release, and inferred that saying such was ironic considering what was to follow. Here’s the irony; having stated that the subject matter deserves more time to develop, the epic songs themselves need more judicious use of an editor’s knife. We all know Neal can write 25 minute epics the same way an ace pitcher can rack up strikeouts. On Sola Scriptura, it is easy to see where sections have been pasted together to keep a song growing in length. “The Door,” for example, features extensive quoting of previous musical passages in a manner that does not create tension through repetition. The end result is padding that could have been carefully excised, leaving a leaner but perhaps more powerful track.

Sola Scriptura is in many ways an album that defies review. Long time Neal Morse fans will buy it, digest it, and proclaim it to be his best, heaviest album yet. Others may listen to it, compare it to Spocks Beard’s latest album, and wonder why Neal can’t just go back and write with his old band. This reviewer listens to it and wonders if maybe Spocks is being far more progressive in changing their style so radically while Neal’s material, while perhaps more traditionally symphonic, has become locked in one stylistic mode.


Track Listing:
1. "The Door" - 29:14
        1. Introduction
        2. In The Name Of God
        3. All I Ask For
        4. Mercy for Sale
        5. Keep Silent
        6. Upon the Door
2. "The Conflict" - 25:00
        1. Do You Know My Name?
        2. Party to the Lie
        3. Underground
        4. Two Down, One to Go
        5. The Vineyard
        6. Already Home
3. "Heaven in My Heart" - 5:11
4. "The Conclusion" - 16:34
        1. Randy's Jam
        2. Long Night's Journey
        3. Re-Introduction
        4. Come Out of Her
        5. Clothed With the Sun
        6. In Closing...


Band:
Neal Morse: vocals, keyboards, guitar
Mike Portnoy (Dream Theater): drums/percussion
Randy George (Ajalon): bass guitar
Paul Gilbert (Racer X and Mr. Big): guitar (1, 2)

CD/DVD RETRO REVIEW: Erik Norlander - Live in St. Petersburg (2006, Think Tank Media)

(NB: this review was originally published 9 October 2006)

Erik Norlander has a reputation as a killer keyboard player. Live in St. Petersburg, his newest release (and first ever DVD release) offers a plethora of evidence to support this reputation.

On this live release, Norlander is joined by a number of his regular musical collaborators, including wife Lana Lane (vocals), Kelly Keeling (bass guitar, vocals), Peer Verschuren (guitar) and Ernst Van Le (drums). The show documented here was the final date of his 2004 tour, and was performed before a rapt audience at Manezh in St. Petersburg, Russia on 16 October 2004.

Among the highlights on this package is the opening track, “Fanfare for Absent Friends Part 1.” A stately instrumental, the piece was written as a tribute to the victims of the September 11, 2001 tragedy. It serves as a touching and appropriate opener for what was a solid performance. Other performances of note include the Norlander original “Mariner,” which benefits from Kelly Keeling’s emotive vocals. A respectful cover of the Procol Harum classic “A Salty Dog” follows this piece. Keeling acquits himself well on this cover; while he is certainly no Gary Brooker, his intonation comes pretty damned close...enough so that your humble reviewer got some serious goosebumps listening.

Instrumentally speaking, Verschuen and Van Le both get solo spotlights to showcase their skills. Norlander does not give in to taking his own extended solo, instead shining throughout the performance, especially on “Sky Full Of Stars,” where his synth playing is smooth, effortless, and memorable.

Lana Lane, a well respected solo performer as well as long term Norlander collaborator (and wife), finally takes the stage on “Alexandria,” a track written by Lane and originally on her solo album Secrets of Astrology. She is also showcased as lead vocalist on a cover of King Crimson’s “In The Court Of The Crimson King,” recorded live at CalProg in 2004 and contained on the documentary “The Road To Russia,” which serves as a bonus on the DVD. The documentary includes some additional live performances from throughout the 2004 tour, as well as interviews with the musicians involved on the tour.

The accompanying audio CD offers up much of the same material as on the DVD; some cuts were made, mostly to excise material already on previous live releases. Filling out the disc are two new studio recordings; the first is a rendition of “Fanfare for Absent Friends Part 2,” while the second is a cover of the James Bond movie theme “From Russia With Love.” Appropriate in title, this cover is a showcase for Lana Lane’s theatrical vocals, and suits her well. A video for this track is also included on the DVD.

The audio tracks on both DVD and CD are well mixed. Thus it is a shame to complain about the video quality. While the video is presented in a letterboxed 4:3 format, the performance is intercut with special effects footage, nature footage, and artificially desaturated black and white or sepia tone, often fading into and out of colour, or with other effects overlays on top. This detracts from the recorded performance, removes the viewer from feeling like they are there watching and listening, and detracts from the overall package.

Despite my complains about the video production, Erik Norlander’s Live in St. Petersburg is a worthy addition to his lengthy curriculum vitae, and an excellent addition to any prog fan’s DVD library.


Musicians:
Erik Norlander - keyboards
Kelly Keeling - vocals, bass
Lana Lane - vocals
Peer Verschuren - guitar
Ernst Van EE - drums
and Don Schiff - bass and NS/Stick on the two studio tracks


Track List (DVD):
1. Fanfare for Absent Friends Part One
2. Neurosaur
3. Dreamcurrents
4. Mariner
5. A Salty Dog
6. Sky Full of Stars
7. Alexandria
8. Guardian Angel
9. Oblivion Days
10. Peer's Guitar Solo
11. Beware the Vampires
12. Secrets of Astrology
13. Fallen
14. One of the Machines
15. Fanfare for Absent Friends Part Two

"The Road to Russia" documentary contains performances of the songs:
1. In the Court of the Crimson King - Cal Prog 2004 festival
2. Sky Full of Stars - 2004 European Tour
3. Mariner - 2004 European Tour
4. From Russia With Love - new studio recording with video montage

Track List (Bonus Audio CD):
1. Fanfare for Absent Friends Part One [2:19]
2. Neurosaur [5:51]
3. Dreamcurrents [5:59]
4. Mariner [7:12]
5. A Salty Dog [4:42]
6. Sky Full of Stars [11:32]
7. Alexandria [7:01]
8. Guardian Angel [6:56]
9. Peer's Guitar Solo [2:04]
10. Beware the Vampires [5:37]
11. Fallen [5:35]
12. One of the Machines [5:42]
13. Fanfare for Absent Friends Part Two [3:59] new studio track
14. From Russia With Love [4:51] new studio track


Find out more:
http://www.thetank.com/

CD RETRO REVIEW: Renaissance - Novella (1977, Sire Records)

Fandom knows no bounds.

Back in 1990 or 1991, I discovered a British group called Miranda Sex Garden.  They began life as a vocal/madrigal group, signed to Mute Records, but over time developed a heavy sound, steeped in metal, with what were (to me) very progressive overtones and lush multi-part female vocals. 

One night at the local independent record store, I was talking about MSG, and one of the staff said to me, “If you like them, I have a group you might really get into...”

Curious, I asked him who it was, and he said Renaissance.  I went to the R section of the racks, and saw 2 albums: Tales of 1001 Nights I and Tales of 1001 Nights II.  I was about to pick them up when he said, “No, those aren’t the best way to discover them.  You need to hear the original albums.”  He offered to make me copies of a couple of the LPs, as at the time their entire catalogue was out of print in the US save for those 2 compilations.  I eagerly took him up on his offer.

A few days later I stopped back and he had a cassette tape for me.  I took it, thanked him, and popped it in the tape deck in my car.  I was transfixed.  I’d never heard “rock” music quite like this before...loads of orchestration, operatic female vocals, no electric textures at all.  It was amazing.  As I’d heard everything was out of print (and at the time not knowing about the whole idea of import CDs), I started scouring used vinyl bins for their albums.  I ended up finding copies of a few and grabbed them.

Over time, and not finding anything else by them anywhere, I picked up cassette copies of the two comps I mentioned above, and heard other material that I was unfamiliar with.  The liner notes referenced a massive epic track called “The Song of Scheherazade,” which was supposedly 25 minutes long...the compilation only had a 4 or 5 minute excerpt of it.  The music brought me such joy, and coincident with it sadness, as I figured I’d have a very difficult time finding any of the other albums.

In the mid 1990’s I finally had a CD player, and started discovering that albums out of print here in the US often were in print elsewhere.  One of the first groups I looked for was Renaissance, and discovered a number of their releases in print in the UK and Germany.  At $18 to $20 US per disc, I figured it was worthwhile, and grabbed them.  Sadly, three of the albums I wanted (2 of which I had on vinyl and didn’t want to wear out) were not in print in Europe...only available on Warner Brothers Records (the band’s parent label) in Japan.

Here is where fandom has no bounds.

The discs (all single CD albums) were $40, $40 and $50 US a piece.  In 1995.

I bought them without a thought.


Let me tell you about Renaissance a little bit.

The first thing most people notice is the voice.  No, make that THE VOICE.  Annie Haslam has one of the most identifiable voices in music, period...glistening, crystalline, and pure, with a 5 octave range and dramatic, operatic delivery.  In high school, I would sing along to her vocals to keep my vocal range up (by senior year, I was singing countertenor, and could hit a decent bit of her range, save for the top end).  Her voice meshes perfectly with the band’s richly orchestrated sound; with a very few exceptions earlier in the band’s career, and then at the end of the band’s career, the group eschewed the traditional trappings of a rock band (electric guitar, synths), instead extensively using piano, acoustic guitar, and orchestra backing to create a sound unlike anyone else in the genre.

John Tout (piano), Jon Camp (bass, vocals), Michael Dunford (acoustic guitar), and Terrance Sullivan (drums) were perfectly suited to this task.  Dunford composed the majority of the band’s songs, working with a Cornish poet named Betty Thatcher who provided lyrics via post.  Additionally, his guitar playing was rich and textured, avoiding solos for the most part in exchange for adding colour and fullness.  Jon Camp’s bass playing is warm and lyrical, and his vocals harmonize wonderfully with Haslam’s.  Sullivan is a dexterous drummer, equally adept at light percussion and heavier, rockier beats when necessary, and Tout’s piano and organ playing is expressive and emotional, showing restraint where necessary while easily blasting out powerful chords and melodic lines when needed.

All of this is a long build up to me talking about Novella.  The album came out in 1977 on Sire Records (yes, the name label that held the Ramones and a load of other punk/new wave bands), and is my favourite record by Renaissance.  Released one year after their monumental 2-LP live set recorded at Carnegie Hall, the album features some of the group’s widest range of material, solid production, and fantastic packaging.


Can You Hear Me? (13:39) – Novella opens with the longest track on the album, a nearly 14-minute long epic.  We begin with a slight orchestral build up and piano, leading to some powerful vocal shots and melodic lead bass playing, under which the orchestra (real strings!) handles the main musical these.  Dunford’s guitar adds a sense of insistence...propulsion...with excellent stereo separation of multiple parts creating a semi-counterpoint feel.  One channel features a more rhythm-based part, while the other has Dunford picking chords to match the keyboard and orchestration.  Haslam sings a good bit of the song in a lower, alto register, leaving her clear soprano for the last four minutes.  Her voice takes on an almost child-like sound here, and it fits the distant, lost vibe the lyrics present.

The Sisters (7:12) – This is one of the tracks referenced in the liner notes to the Tales of 1001 Nights compilations that I longed to hear.  Often I find that anticipation leads to disappointment, but here the opposite occurred, as I could not have anticipated what the song offered.  Spanish in tone, apocalyptic lyrically, and with an incredible Michael Dunford acoustic guitar solo (one of very few) which I feel David Gilmour ripped off for his PF song “High Hopes,” this is an epic’s worth of music and intensity in just slightly more than 7 minutes.

Midas Man (5:46) – Strummed acoustic guitar, layered vocals from Haslam and Camp, flourishes of piano, tubular bells, and a simple insistent bass drum beat.  The lyrics are cynical and sardonic, decrying the upper class and their affinity for the acquisition of wealth at all costs.  It’s a heavy song without relying on speed beats and heavy rock production.

The Captive Heart (4:16) – John Tout shines on this lovely piano ballad, which also features multiple Annie Haslam vocal parts arranged in a shifting canon style.  Lyrically wistful and longing, it ranks among my favourite Renaissance tracks despite being so “atypical” compared to the majority of their material.  Limiting the arrangement to vocals and piano is a nice touch, as it suits the song wonderfully...it maintains the slightly sad wishful feeling of the track without drenching it in unnecessary layers of sound.

Touching Once (Is So Hard To Keep) (9:27) – This is perhaps the rockiest track on the album, and even at that it doesn’t truly rock out until the end of the song.  All the band’s hallmarks are on display here; simple but beautiful orchestration, Jon Camp’s bass playing (taking more of a lead role here), deft drumming from Terrance Sullivan (including a neat little flourish/solo at app. 6:00), and fantastic vocal harmonies from Haslam and Camp.  Lyrics are again willed with longing, regret and sadness; in fact, much of Novella is drenched in this lyrical theme.  The song ends with a fantastic sustained note from Haslam and an intense orchestra fanfare/flourish, offering up an actual proper ending rather than a fade out.


Musicians:
Annie Haslam - lead & backing vocals
Jon Camp - bass, backing vocals, lead vocal cameo on "The Captive Heart"
Michael Dunford - acoustic guitars, backing vocals
John Tout - keyboards, backing vocals
Terence Sullivan - drums, percussion, backing vocals

CD RETRO REVIEW: Jakko M. Jakszyk - The Bruised Romantic Glee Club

(NB: this review was first published 17 January 2007)

Jakko M. Jakszyk has had a long and diverse career, careening wildly from pop/funk band Level 42 to Canterbury bands featuring Dave Stewart (Rapid Eye Movement), David Jackson, Peter Blegvad and John Greaves (The Lodge) and countless others. During the first few years of the 21st century he effectively replaced both Robert Fripp and any of a number of past vocalists in the 21st Century Schizoid Band, a group which reunited former members of King Crimson to recreate the band’s earlier material, with an eye toward future, newer compositions.

Jakszyk also has a fairly significant solo discography as well, with material ranging from singer-songwriter to pieces drawing heavily from his history and work with many of the legends of Canterbury progressive rock. Following the interruption in active work with 21CSB, Jakko began work on a new solo release, which would evolve into The Bruised Romantic Glee Club, a 2 CD set of new solo material and cover renditions of material which influenced Jakszyk during his formative years. The list of guest musicians on this release is lengthy and shows how well connected Jakszyk has been throughout his career:

Lyndon Connah, Gavin Harrison, Dave Stewart, Nathan King, Pandit Dinesh, Robert Fripp, Peter Sinfield, Mel Collins, Ian Wallace, Danny Thompson, Mark King, Hugh Hopper, Clive Brooks.

As befits such a project, the material is diverse, ranging from chamber renditions of classical material through heavy rockers with a distinct King Crimson tinge. Throughout, elements and washes of Canterbury-esque jazziness permeate, over which Jakszyk’s pleasing tenor vocals soar and twist, weaving a series of tales taken directly from his life’s experiences. Even the cover material has his distinctive stamp on them, rather than being simple regurgitations of the material.

The title track opens the album quietly, with plaintive, fragile vocals courtesy of Jakszyk and a pleasing, jazzy feel. Things do not remain thus for long, as schizoid, psychotically heavy sections with dueling saxophone and guitar blast the piece from potentially sedentary realms. “Catley’s Ashes” was one of the new compositions the band played. This is a phenomenal studio recording of the piece, with former King Crimson sax player Mel Collins providing some excellent wind playing, and Porcupine Tree drummer Gavin Harrison holding down the shifting, Crimson-like rhythm changes.

Several tracks on The Bruised Romantic Glee Club deal with Jakko’s childhood, as well as the loss of his parents. “Highgate Hill” hearkens back to Jakko’s birthplace. As Jakszyk has never spent much time there, in his mind the place has evolved in a nearly mythical way. The song is pretty straightforward musically, with nicely layered vocals and sweetly symphonic keyboards. “Forgiving” is a song for written too late to actually ask for the forgiveness that Jakko felt he needed from his father, while simultaneously forgiving him for the mistakes he made in his past. The song is built around a Robert Fripp soundscape, and is beautiful in its simplicity and emotional honesty. Also included in this series of reminiscences is “When We Go Home,” dedicated to the memory of his adoptive mother. Sweet, quiet and carefully constructed, the song is fragile and evokes longing, loneliness, and loss. Female vocals and lovely electric guitar courtesy of Robert Fripp add layers of depth and feeling to an already emotionally wrought composition.

The second disc in this set covers a number of songs that Jakszyk felt were influential or important to his musical education. A number of Canterbury bands loom large here, such as Soft Machine. “As Long As He Lies Perfectly Still (incorporating That Still And Perfect Summer and Astral Projection In Pinner)” is evidence of this. Based around a piece from Soft Machine 2, this medley also includes a section of original material from Jakszyk and Dave Stewart. In order to do this piece justice, Jakszyk assembles a veritable Canterbury super group, with Hugh Hopper (bass), Stewart (piano) and Clive Brooks (drums), along with sax and flute courtesy of Gary Barnacle. The performance is quick, engaging, and wholly honest to the Soft Machine original.

Additionally, Jakszyk covers a pair of Henry Cow tracks (“Nirvana for Mice” and “The Citizen King”), handling the intense complexity and construction with aplomb.

It should come as no surprise that this covers disc also includes some King Crimson material, considering his involvement with 21CSB. Two tracks from the band’s early days are recreated here, with the most interesting one being “Pictures Of An Indian City” – Jakszyk’s rendition of this King Crimson classic from 1970’s In The Wake of Poseidon. He completely reinvents the piece, with sitar replacing guitar, and original lyricist Peter Sinfield providing new lyrics for a new age. Connecting this new version to the old is an excellent soprano sax solo by Mel Collins, who recorded parts on the original studio version. An elegiac cover of 1971’s “Islands” (from the album of the same name) also features on this disc; while not as extensive a reworking as the original, adds to the original while remaining true to the work that it follows.

The Bruised Romantic Glee Club has much to offer even the most discerning listener. With material that ranges so widely (or wildly), there is certain to be something for everyone here. Highly recommended.


Track Listing CD 1:
Bruised Romantic Glee Club
Variations on A Theme by Holst
Catley's Ashes
When Peggy Came Home
Highgate Hill
Forgiving
No One Left To Lie To
Thing We Throw Away
Doxy, Dali and Duchamp
Srebrenica
When We Go Home

Track Listing CD 2:
As Long As He Lies Perfectly Still (incorporating That Still And Perfect Summer and Astral Projection In Pinner)
Pictures Of an Indian City
Nirvana for Mice
Islands
The Citizen King
Soon After


Musicians:
Jakko M. Jakszyk: guitars, bass, keyboards, programming, balalaika, vocals
Gavin Harrison: drums
Danny Thompson: acoustic bass
Mel Collins: tenor, alto sax and flute
Gary Barnacle: sax, alto flute, flute, bass flute, piccolo, tenor and soprano sax
Dave Stewart: piano & keyboards
Ian Wallace: drums
Hugh Hopper: bass
Clive Brooks: drums
Robert Fripp: guitar
Lyndon Connah: piano
Nathan King: bass guitar
Pandit Dinesh: table, vocals
Caroline Lavell: cello
Helen Kaminca: viola
John Giblin: acoustic and fretless bass


Find out more:
http://www.jakko.com/

CD RETRO REVIEW: Pink Floyd - The Piper at the Gates of Dawn 40th Anniversary Edition

Pink Floyd in 1967 was a completely different musical beast than the band most people came to know and love in the 1970’s.

Most of this was due to the genius (and insanity) of founder member Roger Keith (Syd) Barrett, the mastermind whose childlike innocence and penchant for psychedelic hook writing would rocket the band to the forefront of the British pop scene during the spring and summer of 1967. While most people rightly consider the band an album group, crafting lengthy conceptual pieces, the early Pink Floyd was just as much a singles group, crafting several UK top 20 singles. Already a bit of an underground sensation, the group convened in Abbey Road studios in February of 1967 (at the same time the Beatles were creating their psychedelic masterpiece Sgt. Pepper’s Lonely Hearts Club Band) to record what many consider the very first true psychedelic rock album, The Piper At The Gates of Dawn.

Syd would leave the band under difficult circumstances in later 1967, but his presence would continue to be felt for the rest of the group’s career. Whether it was the groups’ efforts to ensure continued royalties to their founded through reissues of his early work (A Nice Pair, 1971, the inclusion of “Astronomy Domine” on both Ummagumma, 1969, and P.U.L.S.E., 1994) or the writing of a 20 minute epic that drew inspiration from their former bandmate’s meteoric rise and fall (“Shine On You Crazy Diamond”), Syd was always there in spirit, if not flesh.

2007 marks the 40th anniversary of Piper’s release, and the band has spared no small expense to ensure it gets the deluxe reissue treatment it deserves. The album is currently available in two distinct formats; in wide release, The Piper at the Gates of Dawn is available as a 2-CD set, containing the original UK mono LP mix as well as the UK stereo mix most people are familiar with from reissues and the initial 1987 CD release. A deluxe edition is also available, in cloth hardbound book binding, containing both UK LP mixes as well as a third CD featuring all 1967 non-album singles and B-sides, as well as several alternate versions and EP mixes not available on CD previously. This deluxe package also includes an enlightening reproduction Syd Barrett notebook, filled with collage art and sundry other bits that provide insight into Barrett’s creative process.

Perhaps most enlightening with this collection is the ability to compare and contrast the stereo and mono versions of the album. For many US listeners (perhaps the majority of them), the stereo version of the album is most familiar. It has been readily available since 1987 on CD, and makes up the majority of the first LP of A Nice Pair from 1971. Listening to the mono mix of the album is a bit of a shock then; one might assume that the mono mix would be flat and lifeless, but the opposite is true. At the time, far more energy was expended in mixing for mono as most audio systems were still monaural. As a result, greater care was taken, with more presence and immediacy audible in the material. Songs like “Interstellar Overdrive” or “Take Up Thy Stethoscope and Walk” jump from the speakers as if alive.

By way of comparison, the stereo mix now feels safe and somewhat unassuming. Beyond a few interesting panning choices (the extreme swirling of sound from channel to channel at the end of the stereo “Interstellar Overdrive” is the best example), the stereo mix simply feels softer and less immediate. The mix varies from track to track, often limited to hard panning of instruments to left and right, with little experimentation or risk taking. After 20 years of hearing the album in stereo, it’s odd to say that it’s less of an enjoyable experience, but I think I’ll be playing the mono edition far more often than the stereo mix from here on out.

For hardcore collectors, CD 3, which collects the non-album singles and b-sides, as well as some alternate versions, may seem somewhat anti-climactic. Between older collections such as Relics and the Early Singles disc from the Shine On boxed set, a lot of these tracks have been available at the commercial level. I believe that several of the alternate versions included have also seen circulation in an unofficial manner at one time or another as well. However, having them in one collection is certainly simpler and more appropriate. The alternate version of “Matilda Mother” included on CD 3 is a definite highlight: musically, this version of “Matilda Mother” is much like the album versions. The divergence can be found in Barrett’s lyrics, which crib liberally from Hilaire Belloc’s “Cautionary Tales for Children,” which features a rather naughty young lady by the name Matilda with a penchant for telling mistruths. Originally planned for release on Piper, Belloc’s estate withdrew permission for Barrett to use the intended lyrics, resulting in a hasty rewrite. It’s an interesting experience to hear such familiar music with such wildly different lyrics, and while the eventual album release’s lyrics are perhaps more original, hearing how the song was initially intended offers insight into the evolutionary songwriting process.

This reissue of Pink Floyd’s classic debut album achieves a number of things. Not only does it do a fine job of memorializing the pop genius of their earliest leader, it does so in packaging that is exquisite and beautiful. For many listeners and fans of the band, it will allow for a reevaluation of the material in more than one form. The Piper at the Gates of Dawn is one of the seminal proto-progressive and psychedelic albums, and this reissue should hopefully get it into more hands. Seek out the 3-CD version if at all possible…the extra material and packaging is certainly worth it.


Track Listing CD 1:
Astronomy Domine (mono)
Lucifer Sam (mono)
Matilda Mother (mono)
Flaming (mono)
Pow R. Toc H. (mono)
Take Up Thy Stethoscope and Walk (mono)
Interstellar Overdrive (mono)
The Gnome (mono)
Chapter 24 (mono)
The Scarecrow (mono)
Bike (mono)

Track Listing CD 2:
Astronomy Domine (stereo)
Lucifer Sam (stereo)
Matilda Mother (stereo)
Flaming (stereo)
Pow R. Toc H. (stereo)
Take Up Thy Stethoscope and Walk (stereo)
Interstellar Overdrive (stereo)
The Gnome (stereo)
Chapter 24 (stereo)
The Scarecrow (stereo)
Bike (stereo)

Track Listing CD 3:
Arnold Layne
Candy and a Currant Bun
See Emily Play
Apples and Oranges
Paintbox
Interstellar Overdrive (French Edit)
Apples and Oranges (stereo version)
Matilda Mother (Alternative version)
Interstellar Overdrive (Take 6)


Musicians:
Roger Keith ‘Syd’ Barrett - vocals, guitar
Roger Waters – bass guitar, vocals
Richard Wright – farfisa and hammond organs, piano, vocals
Nick Mason – drums, percussion

CD RETRO REVIEW: Frank Zappa - The MOFO Project/Object

I discovered progressive music in 1987, when I was 14 years old. I'd been going through my dad's record collection...he had a big one, easily 300 to 500 LPs, 99% of which were traditional or then contemporary country. However, in digging through the collection, I found a few titles that didn't look like they could possibly be country. I put them aside, however, as my eyes caught an even more gaudy cover...some weird looking guys with long hair and beards, looking like a greasy bunch of hippie biker gang members, and the cover was all posterized and freaky looking. There were no songs listed on the back...just some strange letter written by a high school student. And inside...references to all sorts of weird things...and the song titles..."Return Of The Son Of The Monster Magnet?" "Help, I'm A Rock?" "Who Are The Brain Police?" What the hell is all this about?

The album, in case you hadn’t figured it out, was Freak Out!, the first full length effort from a band named the Mothers of Invention, led by future musical groundbreaker Frank Zappa. My life was never the same again. The MOFO project/object is a 4-CD boxed set celebrating the 40th anniversary of that seminal double LP set. 73 tracks are spread across the 4 CDs, with the majority being previously unreleased material from the sessions that produced the 1966 release. Alternate takes, demos, basic tracks and more are interspersed with a wide range of interview material from 1966 through 1993, placing the album contextually in the time that spawned it.

CD 1 is likely of most interest to the less completist Zappa listener, as it offers, for the first time ever, the original 1966 stereo LP mix on CD. This is the album as I grew up hearing it, warts and all. Interestingly, despite the narrower frequency response possible in 1966, the material holds up well sonically. Freak Out! was never a densely orchestrated album; with the majority of the material being pastiches of early to mid-1960’s pop, super-wide frequency response was perhaps not necessary. This mix features none of the tinkering that FZ did on the 1987 mixes that became the standard for most all CD releases to date, and finally having this original mix on CD should be reason enough for the Zappa-phile to pony up for a purchase.

The set gets most interesting on discs 2 and 3.

CD 2 is primarily drawn from material that would make up most of LP 1. This is the poppier material (as far pop as Zappa got, really). Alternate takes, vocal tracks, basic backing tracks drawn from in-studio mono cassette recordings, and the like fill out this disc. Amazingly, the mono cassette sourced material sounds pretty impressive...easily listenable, considering the age and source. Hardcore Zappaphiles will go ga-ga over this, as it offers unique insight into the creative process that crafted these tracks, sometimes apparently from whole cloth. CD 3, on the other hand, offers a similar insight into the sessions that developed the three longer tracks on LP 2. Loads of percussion sessions from “Return of the Son of the Monster Magnet,” vocal overdub sessions, and some enlightening studio chatter (“Please, I have to ask you to hurry and clear the room. The studio time is costing us a fortune every minute, and we've gotta finish it off, 'cause we're still a low budget rock & roll band. We haven't worked for six fucking weeks. Please leave the room.”) are a highlight, but most interesting is the inclusion of 5 tracks culled from a June 1966 concert performance by the original Mothers of Invention from the Fillmore Auditorium in San Francisco. The band rips through the selection of tracks as if possessed. Would that more of this material were available...

CD 4 compiles some alternate mixes of Freak Out! material as released on the Mothermania compilation, as well as a few 1987 alternate mixes never before released. The rest of the disc is composed of interview material as referenced above. If anything, the interviews show how dichotomous Zappa’s memory could be when discussing his work in the present and past tenses (early interviews chiding the Beatles for ripping off Freak Out!, vs. later interviews where he stated that the album had no influence on music or society at all). Zappa was a musician who was only concerned with his material in the present tense; the disc and set closes with an enlightening response from the man when asked how he wanted to be remembered:

“I don't care whether I'm remembered. As a matter of fact, there's a lot of people who would like to forget about me as soon as possible, and I'm on their side! You know? Just . . . hurry up and get it over with. I do what I do because I like doing it, I do it for my amusement first, if it amuses you . . . that's fine. I'm happy that you'll participate in it. But, uh, after I am dead and gone, there is no need to deal with any of this stuff, because it is not written for future generations, it is not performed for future generations. It is performed for now. Get it while it's hot, you know? That's it.”

Thankfully, there are people who want to remember Zappa and his work.

Hardcore Zappaphiles will likely plump for the deluxe 4 CD edition of The MOFO project/object, available in all it’s spiffnificence with an interesting and informative 48-page booklet, a fold out Freak Map, and packed in a unique soft vinyl case. Less obsessed collectors may find the readily available in retail stores 2-CD version to be more palatable. The original 1966 mix is available as CD 1 in both sets, while the abridged 2-CD version features a selection of material from the other three discs (and, sadly, 7 tracks not included on the massive 4-CD version). Either/both sets are indispensable, and offer the Zappa fan a unique look into one of the most important double LP releases ever.


Track List:
CD 1
1. Hungry Freaks, Daddy 3:32
2. I Ain't Got No Heart 2:34
3. Who Are The Brain Police? 3:25
4. Go Cry On Somebody Else's Shoulder (FZ/Ray Collins) 3:43
5. Motherly Love 2:50
6. How Could I Be Such A Fool? 2:16
7. Wowie Zowie 2:55
8. You Didn't Try To Call Me 3:21
9. Anyway The Wind Blows 2:55
10. I'm Not Satisfied 2:41
11. You're Probably Wondering Why I'm Here 3:41
12. Trouble Every Day 5:53
13. Help, I'm A Rock 4:42
14. It Can't Happen Here 3:59
15. The Return Of The Son Of Monster Magnet 12:22

CD 2
1. Hungry Freaks, Daddy - Vocal Overdub Take 1 3:47
2. Anyway The Wind Blows - Vocal Overdub 2:54
3. Go Cry On Somebody Else's Shoulder - Vocal Overdub Take 2 (FZ/Ray Collins) 3:48
4. I Ain't Got No Heart - Vocal Overdub Master Take 2:37
5. Motherly Love - Vocal Overdub Master Takes 3:09
6. I'm Not Satisfied - 2nd Vocal Overdub Master, Take 2 (Rough Mix) 2:38
7. You're Probably Wondering Why I'm Here - Vocal Overdub Take 1 (Incomplete)/Take 2 (Incomplete) 1:58
8. You're Probably Wondering Why I'm Here - Basic Tracks 3:40
9. Who Are The Brain Police? - Basic Tracks 3:42
10. How Could I Be Such A Fool? - Basic Tracks 2:24
11. Anyway The Wind Blows - Basic Tracks 2:48
12. Go Cry On Somebody Else's Shoulder - Basic Tracks (FZ/Ray Collins) 3:43
13. I Ain't Got No Heart - Basic Tracks 2:36
14. You Didn't Try To Call Me - Basic Tracks 3:00
15. Trouble Every Day - Basic Tracks 7:11
16. Help, I'm A Rock - FZ Edit 5:48
17. Who Are The Brain Police? (Section B) - Alternate Take 1:15
18. Groupie Bang Bang 3:51
19. Hold On To Your Small Tiny Horsies . . . 2:08

CD 3
1. Objects 4:32
2. Freak Trim (Kim Outs A Big Idea) 5:14
3. Percussion Insert Session Snoop 3:18
4. Freak Out Drum Track w/ Timp. & Lion 4:04
5. Percussion Object 1 & 2 6:01
6. Lion Roar & Drums From Freak Out! 5:36
7. Vito Rocks The Floor (Greek Out!) 6:09
8. "Low Budget Rock & Roll Band" 2:14
9. Suzy Creamcheese (What's Got Into You?) 5:49
10. Motherly Love 3:12
11. You Didn't Try To Call Me 4:06
12. I'm Not Satisfied 2:53
13. Hungry Freaks, Daddy 3:37
14. Go Cry On Somebody Else's Shoulder (FZ/Ray Collins) 2:31

CD 4
1. Wowie Zowie 3:02
2. Who Are The Brain Police? (Section A, C, B) 4:32
3. Hungry Freaks, Daddy 3:37
4. Cream Cheese (Work Part) 8:18
5. Trouble Every Day 2:39
6. It Can't Happen Here (Mothermania Version) 3:19
7. "Psychedelic Music" 2:34
8. "MGM" 1:54
9. "Dope Fiend Music" 2:06
10. "How We Made It Sound That Way" 5:08
11. "Poop Rock" 0:46
12. "Machinery" 1:00
13. "Psychedelic Upholstery" 1:44
14. "Psychedelic Money" 1:34
15. Who Are The Brain Police? 3:39
16. Any Way The Wind Blows 2:58
17. Hungry Freaks, Daddy 3:33
18. "The 'Original' Group" 1:29
19. "Necessity" 1:18
20. "Union Scale" 1:47
21. "25 Hundred Signing Fee" 1:12
22. "Tom Wilson" 0:33
23. "My Pet Theory" 2:18
24. "There Is No Need" 0:43


Band members:
Frank Zappa--Musical director, guitar & vocals
Ray Collins--Lead vocalist, harmonica, tambourine, finger cymbals, bobby pin & tweezers
Jim Black--Drums (also sings in some foreign language)
Roy Estrada--Bass & guitarron; boy soprano
Elliot Ingber--Alternate lead & rhythm guitar with clear white light

The Mothers Auxiliary:
Gene Estes--percussion
Eugene Di Novi--piano
Neil Le Vang--guitar
John Rotella--clarinet, sax
Kurt Reher--cello
Raymond Kelley--cello
Paul Bergstrom--cello
Emmet Sargeant--cello
Joseph Saxon--cello
Edwin V. Beach--cello
Arthur Maebe--French horn, tuba
George Price--French horn
John Johnson--tuba?
Carol Kaye--12-string guitar
Virgil Evans--trumpet
David Wells--trombone
Kenneth Watson--percussion
Plas Johnson--sax, flute
Roy Caton--copyist
Carl Franzoni--voice
Vito--voice
Kim Fowley--(Featured on hypophone)
Benjamin Barrett--contractor
David Anderle
+
Motorhead Sherwood--noises
Mac Rebennack (aka Dr John)--piano
Paul Butterfield
Les McCann--piano
Danny Hutton
Cory Wells
Mike Clarke
P.F. Sloane
Bobby Beausoleil--vocals
Terry Gilliam
Jeannie Vassoir--(the voice of Cheese)

CD RETRO REVIEW: Jethro Tull - Thick as a Brick

As a special treat for today, we'll spin down the long ages and let them sing their song...




By the time Jethro Tull released Thick as a Brick in 1972, the band had already seen radical shifts in membership and musical style. Starting out as more of a blues based band in the late 1960’s, the band shed original guitarist Mick Abrahams after only one album, quickly leaving behind strictly blues based material in favour of Ian Anderson’s originals, which often straddled a thin and easily blurred line between rock, folk and jazz stylings. Thick as a Brick saw Anderson as the only original, founder member of the group still in Jethro Tull, surrounded by long time member Martin Barre and newer members John Evan (who had actually been a member of the group prior to it becoming Jethro Tull) on organ, Jeffrey Hammond-Hammond (himself the subject of several Tull songs) on bass and Barriemore Barlow on drums. Dee Palmer contributed brass and string arrangements for what would become one of Jethro Tull’s defining albums.

Following along from Aqualung, the band’s commercial breakthrough, Anderson found himself shocked that critics labeled the work a concept album. His response, then, was to give the critics what they apparently wanted; a concept album so over the top as to almost become a mockery of the term. The album was built around an epic poem contributed by “Gerald Bostock,” ostensibly an 8 year old school student who wrote the award winning piece for a competition; he would later be stripped of his award for using the word “g__r” on live television. Bostock is, of course, Ian Anderson himself, and the lyrics relate several scenes and themes about growth, growing up, and maturity, filtered through Anderson’s always-cynical world view. The album also saw Jethro Tull expanding their sonic palate; known for their use of the flute in a rock idiom, Thick as a Brick saw them add synthesizer, harpsichord, xylophone, Hammond organ, violin, lute, and a string section to their traditional rock instrumentation.

Jethro Tull’s folk influences are on fine display during the first several minutes of side one, as Anderson’s flute line (almost a signature now, and an incessantly addictive hook) plays with strummed guitar, with Anderson’s folky vocals riding over all. John Evan joins for the second iteration of the verse, adding a jaunty piano line, followed by light drumming courtesy of Barlow. The first radio edit ends with Anderson’s “Spin me back down the years” lines, which lead into an intense (by comparison) heavy rock section. Jeffrey Hammond-Hammond’s bass line walks and bops through the arrangement, with stabs of electric guitar and organ alternate with strings and horns; sadly, 1970’s rock production values lend these voicings a slightly weaker sound than might have been achieved later. This does little to decrease the intensity the rich, thick arrangements develop...an intensity that is only increased by rapid-fire shifts from full augmented band and moments of solo strummed acoustic guitar.

The band breaks down with a held chord, leading into a simple two note bass line and the return of Anderson’s flute, in a slower, dirge like section. The track continues instrumentally for a few minutes before shifting into a second third vocal theme, dominated by Evans’ organ playing and a cold, almost detached vocal delivery from Anderson. While not as heavy, this section reminds in some ways of the intensity of “Hymn 43” from Aqualung, offering every bit as much cynicism and vitriol as the later, here directed at society at large rather than religion in specific. Martin Barre’s guitar solo squonks and squawks, alternating between bursts of single notes and chopped, wah-effected chords. Add in harmonized guitar lines and a band arrangement teetering on chaos, and you have Jethro Tull exploring some decidedly non-song structure oriented areas in a manner unlike any they’d attempted before.

Anderson’s lyrics are incredibly visual and literary, alternating between the obtuse and the visceral, playing contrast for all its worth. As much as the song’s arrangement utilises a great deal of variation and iteration of theme, Anderson’s lyrics explore similar stylistic territory. Where one verse deals with earthy, country elements (cattle quietly grazing, rivers flowing to the sea), the next will be concerned with an upper class gentleman come to “mend (their) broken ways.” In many ways, Anderson’s lyrics during this phase of Tull’s career were very much concerned with tweaking society, and as the band would move further toward the more traditional British folk sound, so would his lyrics, extolling the virtues of a more rustic, earthy life.

Sixteen minutes into side one, we have a nearly full return to the initial musical themes that opened the album, duplicated on guitar and xylophone, with Evans’ piano bouncing along the top. It shifts through a number of variations, as the band moves on, re-exploring a number of musical motifs that had, to this point, made up the majority of the composition. Anderson’s lyrics take on a bit of a cynically innocent tone, with his requests for superheroes to rise up from the pages of their comic books to save the day.

Side one fades out on some heavily distorted organ and staccato stabs of guitar, bass and drums, phased and panning from channel to channel, eventually de-evolving into distorted electronic static and noise.

Side two of Thick as a Brick opens, appropriately enough, in a rising wash of distorted electronic noise, along with a slightly renaissance-inflected motif. Staccato stabs of piano and squawking guitar rise forth from the noise, exploding in a reiteration of the “man is born” lyrical and musical themes. The material is played with greater urgency and speed this time around, with a fast drum solo accompanying by flute breaking things down, as a number of brief instrumental sections are pasted, hodge podge style, in a collage manner. A scant 4 minutes into the second side, one might be concerned that the band is losing the plot somewhat, unable to carry on the lengthy composition that it has thus far excelled in.

A moment’s silence and we are back in folk territory, with another variation on the initial melodic theme. Anderson’s vocals are multitracked here, often harmonising at the ends of verses. Any concern that the composition would weaken during its second half are likely banished at this point, as the band takes on a slightly more baroque, sacred sound. The music is simpler, less orchestrated, and yet it provides more than its share of true goosebump moments. “Do you believe in the day,” Ian Anderson asks us, and one can’t help but reply in the affirmative, as harpsichord, and acoustic guitar create a melancholy backing for Anderson’s plaintive, pleading voice. A second iteration of this theme builds with electric instrumentation replacing the more acoustic, baroque sound, yet the emotional intensity is palpable, almost physical in its visceral response.

The next section moves on with fairly straightforward electric Tull arrangement, heavily based on Evans’ organ, piano and (on occasion) harpsichord contributions. Anderson’s flute work takes center stage as the band chugs along under him. Lest one think this would be a four to the floor movement, the arrangement allows for enough shift in time and tempo to make even the most jaded listener flush with excitement. Anderson makes some interesting choices in terms of holding certain syllables longer while chopping others off, creating a strange cadence and delivery to the lyrics, layering on yet more complexity. We revisit a number of lyrical themes (the superheroes, the wise men and fools), building toward a final iteration of the main musical themes.

The original acoustic guitar theme is played one final time, gradually slowing down as Anderson strums the final chords and sings the final words. The song ends on Anderson’s solo voice, cracked and slightly emotional in delivery.

Stylistically, Thick as a Brick is one of the band’s most complex pieces. Compositionally, the piece featured extensive tempo and time changes wrapped around a series of repeated and revisited musical themes and variations. The additional instrumental voicing explored by the band on this work gives the album the feel of a chamber piece as much as a rock song. The three to four minute edits released by the record company to promote the album on radio would do little to present the breadth and scope of this piece, relying on individual sections without the added context of the material around it. This is an album that must be listened to in one continuous session; anything less lessens the impact of this epic to end all epics.


Track Listing:
1. "Thick as a Brick, Part I" 22:40
2. "Thick as a Brick, Part II" 21:10


Musicians:
Ian Anderson – lead vocals, acoustic guitar, flute, violin, trumpet
Martin Barre – electric guitar, lute
John Evan – piano, organ, harpsichord
Jeffrey Hammond (as "Jeffrey Hammond-Hammond"): Bass guitar, Vocals
Barriemore Barlow – drums, percussion, timpani
Dee Palmer – Brass and string arrangements

CD RETRO REVIEW: The Ascent of Everest - how lonely sits the city (2006, Southern Empire/Angel or the Airbag Collective/2008, Shelsmusic

(NB: this review was initially web published 19 January 2007)


Formed in Spring 2005 in Tennessee, The Ascent of Everest’s sound brings to mind a combination of Kid A era Radiohead and a somewhat less angsty Godspeed You!Black Emperor. Their material is expansive and cinematic, carefully layered collages of found sound, sample and electric instrumentation, with classical strings, processed and straight, soaring like strange winged creatures above the swirling alien musical landscape beneath. Their music is at once immediate and rewarding in the long term...and it is strangely addicting. I find myself playing their album How Lonely Sits the City! on repeat for hours, becoming entwined in the finely constructed compositions, wandering as torrents of sound both terrify and wash away fear.

The band says: “These are not just songs they are mantras, prayers, hymns written not in hymnals or textbooks but etched into the backs of pews, chairs, and hearts. They echo with the frustrations, elations, torments, and triumphs of a generation unsatisfied with just being disenchanted, bored with just being unconventional, and burning with passions that refuse to be silenced.”

I want to single out “A Threnody (For the Victims of November Second)” for special notice. I am embarrassed to reveal that it’s taken me weeks of listening and thought to come to the realisation that the November 2nd referred to was 2 November 2004, the day of the most recent US Presidential election. Without getting into politics, the found sound and sample collages of newscasters and political pundits, woven into the elegiac/requiem like darkness the band produces, is not only suitable, but necessary. Without those touchstones that hearken back to reality, this is a musical labyrinth one could easily become lost in with no hope of escape.

(NB: after the fact…and believe me, this will quite possibly be the only time I will break into a retro review with anything resembling current or new content…I’d like to correct one thing from the above paragraph. The spoken word portion of this track is in fact former New York Governor Mario Cuomo, taken from his speech at the 1984 Democratic Presidential Convention. Without taking any sides…so far as this blog is concerned, I am as apolitical as it comes…unless I have to discuss open political content in a song, like this…you can find out more about this here: http://www.dailykos.com/story/2009/8/23/771149/-A-Threnody,-For-The-Victims-Of-November-2nd )

I simply cannot recommend this album highly enough. The music is so expansive, with lengthy compositions building, ebbing and fading in strange and wonderful ways. The mix of classical instrumentation in a rock environment, while certainly not unique, is used here to perfect effect, worked into the mix such that it becomes not a separate function of the band, but essential and necessary. Without it, The Ascent of Everest as a band would be diminished. Music such as that captured on How Lonely Sits the City! is rare and precious indeed, and well worth seeking out. Add this album to your “Must buy” list; you will be glad you did.

I want to leave the final word to the band:

“We want everyone no matter where they stand to start by taking a good look around, and then a good look within and then ask themselves "what am I doing?" We don't just acknowledge, but challenge the trepidations of the age. We seek to meet them head on. The hope we speak of is the hope that it is not too late to defy the numbing of daily routine and escape the hum of this city, beaming with artificial light. Flee from the pit-er-patting of exhaust pipes and find a quite place that has yet to be spoiled by paved roads. All we ask is that you find this place, and go there. Go there and be at peace.”


Track List:
1.) Alas, Alas! The Breath Of Life!
2.) As The City Burned We Trembled For We Saw The Makings Of It's Undoing In Our Own Hearts.
3.) Molotov
4.) A Threnody (For The Victims Of November Second)
5.) If I Could Move Mountains
part 1: Majesty And Awe
part 2: Collapse Into Understanding
part 3: Gathered Hearts Rise And Sing At The First Breath Of Dawn

Musicians:
Devin - Guitar, Vocals
Keller - Guitar
Drew - Bass
Casey - Cello, Strings
Dillon - Violin, Strings
Chris - Piano, Mallets
Michael - Drums, Percussion, Mallets

Design
J CLutch
Walkie Talkie Heros

http://www.ascentofeverest.com
http://www.meltface.net/

(Photos: Top, cover of Shelsmusic Reissue of how lonely sits the city!. Bottom, original cover of how lonely sits the city!)

CD REVIEW: Viima - Ajatuksia Maailman Laidalta (2006, self released)

(NB: this review was originally web published 3 April 2007.)

Folk inflected melodies and female vocals with a touch of Wishbone Ash and Trettioariga Kriget rockiness tossed in for good measure...loads of vintage keyboard tones...infectious songwriting...all of these are elements that define Finnish band Viima’s sound as evidenced on their debut album Ajatuksia Maailman Laidalta, released late in 2006 on the band’s own label.

Viima is the latest in a long line of Scandanavian prog bands, and while they wear some of their influences on their sleeves, their sound is fresh and exciting. Päivi Kylmänen’s vocals are folky and delivered without affectation. As a female singer in a mostly symphonic prog band, it’s obvious that comparisons to Annie Haslam are inevitable, yet a fairer comparison would perhaps be Sandy Denny or one of her contemporaries. Her voice is clear, delivering the band’s Suomi lyrics in an easily embraced manner. Kimmo Lähteenmäki doubles on drums and keyboards for this studio release; his selection of keyboard tones is appropriately vintage, with huge grand piano, organ, and ‘tron strings orchestrating the band’s solidly written tracks. Mikko Uusi-Oukari’s guitar playing varies from subtle acoustic and rhythm tracks to firey, yet understated leads evoking comparison to Andy Powell or Christer Åkerberg. Last but not least, Jarmo Kataja’s bass playing, while the most understated of any member’s contribution, adds a richness and thickness to the mix that would otherwise be readily missed.

Title track “Ajatuksia maailman laidalta” is a wonderful slice of folky symphonic progressive rock, memorably written, skillfully arranged and with loads of dynamic changes. Kylmänen’s vocals are multitracked on choruses, creating a virtual choir that adds lushness to the piece. Uusi-Oukari and Lähteenmäki trade solos, with neither showboating at the expense of the song. At times it’s easy to think one is listening to a lost mid-period Renaissance song sans orchestration. It is an all-too-brief 6:37 of proggy bliss.

“Ilmalaiva Italia” adds some nice ambient wind effects, creating a chilly soundscape for the band’s quiet, acoustic track memorialising a failed Italian exploratory mission. The band suddenly explodes with a massive electric section, guitars and keyboards fighting against each other for aural dominance. As suddenly as the sound explodes, it again subsides, returning to its acoustic beginnings. “Johdatus” is the album’s “epic” at 9:31, and again, it is almost too short at that length. An upbeat opening leads into an effortlessly perky vocal section with chiming guitar and synthesized flute (having Anne Leinonen, who guested on flute earlier in the album, handle those parts here would have been a nice touch). Hooks and memorable melodies garnish this wonderfully addictive track. The vocal and piano section starting at around 4:30 is veritably hair raising, despite its simplicity...as the song builds to a climax, chilling crystalline guitar leads build off this restrained foundation. The song builds in pace before quietly fading on a synth and piano chord.

Viima compares favourably to bands like White Willow (think of Viima as White Willow if they’d not added so many post rock and hard rock influences), while adding some nicely placed heaviness to keep the mix fresh and interesting. Ajatuksia Maailman Laidalta is a wonderfully surprising debut release, and marks Viima as a band to watch over the coming years.


Track listing:
Leijonan Syksy
Ajatuksia maailman laidalta
Ilmalaiva Italia
Meri
Luuttomat
Johdatus


Band Members:
Päivi Kylmänen - vocals
Kimmo Lähteenmäki - keyboards and drums
Mikko Uusi-Oukari - guitars, flute
Jarmo Kataja - bass

Jankke Kuismin – Bass (2,3,5)
Kimmo Alho – Alto sax (5)
Anne Leinonen – Flute (5)


Find out more about Viima here:
http://www.viima.org/
http://www.myspace.com/viimamyspace
http://www.facebook.com/pages/Viima/266628880347

CD REVIEW: Frogg Café - The Safenzee Diaries (2007, 10T Records)

(NB: this review was originally web published 3 April 2007.)


Robert Fripp of King Crimson once made a series of analogies comparing the band and its live shows to relationships. If memory serves, King Crimson concerts were “hot dates,” while studio albums were “love letters.”

What then does one make of a live album? Is it a fond remembrance of a hot date?

And what does any of this have to do with Frogg Café?

Read on, and hopefully find enlightenment.

Frogg Café is, much like King Crimson, a band that shines in a live setting. As good as their studio albums are (and their last two releases, Creatures and Fortunate Observer of Time, are as close to “all killer no filler” as one can hope to get), the band really comes alive on stage in front of an audience. Furthermore, Frogg Café is a band that excels at intelligent improvisation; rather than amble mindlessly over a vamp, the musicians in Frogg Café are adept at taking the listener on an enjoyable and unscripted musical adventure, dropping them off pretty damned close to where they were picked up.

The Safenzee Diaries, Frogg Café’s latest release, provides ample evidence of this.

The album is not a traditional live album as such. Interleaved with a wide selection of live tracks are several studio improvisations, skillfully woven into the fabric of the album as to be nearly indistinguishable from the live tracks. From a band history standpoint, the material on The Safenzee Diaries covers nearly two years of concert material, with tracks from a variety of venues and events, including NJ Proghouse shows, NEARfest 2005, and a number of dates in the band’s Long Island back yard. As a further treat for long time Frogg Café listeners (as well as newcomers to the band), an extensive amount of new material not released on album previously is debuted on disc here, making it an essential purchase for any Frogg Café listener.

Newer tracks such as “Leave of Absinthe” and “Small Chuwawa” (which open disc one and disc 2 of this set, respectively) sit comfortably alongside Frogg Café classics like “Abyss of Dissention” and “”You’re Still Sleeping.” Despite the quantity of shows and venues from which this album was drawn, the songs flow smoothly into each other, creating a seamless listening experience that maintains the listener’s attention. The newer tracks seem to lean a little more toward a jazz feel rather than some of the heavier rock influences that drive material such as “Abyss of Dissention,” but jazz has always been a major influence in the band’s sound, and as such is not too surprising.

The band is in fine form on the 14 tracks captured here. Nick Lieto is an impressive lead vocalist, and his keyboard and brass talents are sued to excellent effect throughout. Bill Ayasse’s violin and John Lieto’s trombone help to add jazzy and organic inflections to the band’s sound, while Andy Sussman and James Guarnieri amply hold down the bottom end and rhythm section, able to drive a grove or turn on a dime and change up the beat at a moment’s notice. Steve Uh’s guitar chops add the final ingredient to the mix, easily making older tracks his own while adding his own touch on the band’s more recent material.

There can’t be a lot of complaint over track selection. The band has succeeded at balancing their more song based material with looser and improv based selections to give the new FC listener a representative taste of everything the band has to offer. It is true that I wished for a moment that they had included the emotional “Waterfall Carnival” from their NEARfest 2005 performance, which featured a reunion with former guitarist Frank Camiola, but including it would have perhaps meant one newer track would have been left off. As such, it’s a compromise I can accept.

The Safenzee Diaries is the latest in a series of incredibly strong releases from Long Island based band Frogg Café. It is an indispensable addition to the hardcore FC fan’s collection, while simultaneously being an excellent starting point for neophyte listeners.


Track listing CD 1:
Leave of Absinthe
Space Dust
Gagutz
Candy Korn
Il Gioco
Creatures
You’re Still Sleeping

Track listing CD 2:
Small Chuwawa
Fat Guys in Shirts
Abyss of Dissension
Tagliarini
The Gold Ambler
Asleep on the Rim
Cut and Run

Band Members:
Nick Lieto (lead vocals, keyboards, trumpet, flugelhorn)
Steve Uh (guitars, violin, vocals)
Bill Ayasse (violin, mandolin, vocals, percussion)
Andrew Sussman (bass, cello, vocals)
James Guarnieri (drums and percussion)
John Lieto (trombone)