KEVIN GILBERT

I hope to go more in depth with this review in near future. But I feel this is an overlooked gem and deserves much more attention. It is solid throughout and remarkable when you understand its story. The world lost a true great who was just finding his legs when Kevin Gilbert died. It took a long time for me to check this album out as I was under the impression that it was an early work and nothing I had came across indicated that it was anything exceptional. But my goodness, it is fantastic! I have it various playlists and over the past year or so I have often found myself drawn to it, grooving on it and constantly checking "who is that?" To me, it sounds a bit like an ABWH album that was never made (and actually better than ABWH!) mixed with dashes of Peter Gabriel and a general consciousness of Prog and pop art forms. But this is a very creative effort, not derivative, though as I am indicating, you hear the influences. That's fine and true of practically everyone but what one hopes for is for the artist to make it his own and reveal his/her own unique creativity. It's here in spades. There was true genius in Kevin Gilbert and I kick myself for waiting this long to listen to it. I've heard of it for a couple decades+. There are moments when youth shines thru but throughout it is passionate and exciting in its creativity and performance. A very worthy and unique addition to one's library.

I always wonder what this would have ultimately sounded like had Kevin Gilbert actually finished the album. Kudos to all who got it done but you wonder what would have happened had Mr. Gilbert put it out and not passed away. It's an age old story of integrity vs. selling out in the music industry, heard before but done SO very well. The album is a master class in writing and recording perhaps only bested by Gilbert's earlier work on the sole Toy Matinee album which is probably the best sounding album since Steely Dan's AJA. No need to go song by song here. Find it at kevingilbert.com and be amazed as you wonder in amazement at this "lost album" and rare treat that seemingly way too few people know about.

I find it hard to understand the low rating for this album. Granted, it's not particularly "PROG", but seriously, who is kidding who? I read the reviews and the general genre is now so broad that penalizing a recording because it isn't "PROG" is ridiculous. This is a fine album and extremely entertaining. Kevin Gilbert was as twisted an individual as he was talented. I never had the pleasure of meeting him, but it seems fairly obvious to me that we share the same cynical view of human nature as is evidenced in this collection of recordings. I will freely admit this is not music for everybody, but these are all very well written tunes with decisively poignant lyrics, some bordering on the limits of decency. But this is where Kevin excelled, expressing the flawed nature of humanity. "Death Orgy 9000" pokes fun at the entertainment industry, in particular the tastes of the easily distracted masses that are excited by "monster trucks, demolition derbies, and sensationalism". How many of us can still hear the shout of "Sunday, Sunday, Sunday!!" ? "Picnic", a request for a date- possibly a first date, with a sicko... "you're the perfect girl and I'm the perfect man..." "Pretty", the self worth associated with attractiveness, self doubt, and suicide. A very catchy tune, you may find yourself singing "if you don't think I'm pretty, I'm gonna kill myself" without consideration of the gravity of the statement. "Indian Burn", the term for an annoying behavior along the same lines as the pulling of hair or pinching, is actually about the treatment of Native Americans. "Making Kristy Cry", seems to be about a boyfriend that can't keep himself from causing his girlfriend emotional pain. "Broken" is absolutely brilliant. Beginning with an angry voicemail from a girlfriend, it proceeds with an ever increasing list of excuses as to why he is failing to hold up his end of the relationship. "Single" takes on the blind dating scene and how people tend to misrepresent themselves, complete with the sick voice inside the head of the guy.. A reprise of this appears after the end of the last song in a morphed, almost pornographic form. "The Sultan Of Brunei" is a poke at the ultra-rich. If you're pretty enough, come live a life of extreme luxury as a piece of "living art". "Fall In Love With Me" begins with an ode to "how good you look to me" and the things they can do if she falls in love with him. The song actually ends at about 5:40 and about a minute later the morphed "Single" begins. This is outrageous and definitely not to everybody's taste, but I can't help but laugh every time I listen to this. Oh Kevin, I miss your genius! This album isn't for everyone, but it borders on masterpiece. A fine, dark satire of Kevin's view of humanity.

I don't have much sympathy for concept albums about people destroyed by the evil music industry making them rich and famous and giving them everything they could have possibly dreamed about, even when they're recorded by people who had actually made it big in the industry (see: Pink Floyd's The Wall). I have even less when they're recorded by comparatively obscure artists who got passed over by the A&R men, because the taste of sour grapes generally doesn't improve the flavour.

In the case of Kevin Gilbert's Shaming of the True, what we have is a concept album about the subject matter which was completed after Gilbert's death, a death which - whilst tragic - shouldn't blind us to the album's shortcomings. Nick d'Virgilio of Spock's Beard took the lead in finishing off the album, which might explain why it has this Spock's Beard tone to it here and there, though I suspect this is also a matter of common influence - Dance of the A&R Men, the best song on the album, consists of complex, layered vocals in the sort of experiment Gentle Giant were known for back in the day.

However, away from that particularly amusing novelty track, the rest of the album seems rather bland and vapid to me, and I honestly wonder whether it doesn't get an easy ride and extra publicity simply because of the sad circumstances surrounding its release.

8/10

The unfinished project of Kevin Gilbert is a real journey through the world of rock and roll replete with references to the giants of 70's, outstanding musicianship and a vulgar, very vulgar language.

"My name is Johnny Virgil and I'm gonna be a Star. Gonna get my share of fame". This is the desire of the protagonist of the story of The Shaming of True by Kevin Gilbert. The album is best known theme of the genre, so often treated in fiction and reality: the rise and fall of a rock star. The letters sarcastic and vulgar (and unfortunately very real) set the tone of lyrical album.

It's a shame to know that Kevin Gilbert did not live to see his complete works, he died of positive auto-erotic asphyxiation in 1996. I think he would have been proud of what Joe Rubin and Nick D'Virgilio did with his album. Because there is no sense of something missing in The Shaming of True, even between the death of its creator and its launch four years have elapsed it.

The album itself is a complete cycle, as can be noted that the same notes of dissonant keyboards and terrifying open and close the album (well actually closes the album with sounds of rain, but the keyboards precede it). And in this cycle there are 14 impeccable songs, most of the same level. There is provided an occasion for introspection and quiet (Johnny's last song, From there to here) the acidity and sarcasm directed at the music industry (Certifiable # 1 Smash), the conventional pop and pleasant (Imagemaker, The Best Laid Plains) and even there a capella a la Gentle Giant (Suit Fugue (Dance of the a & R Men))! In general these are all great songs.

4 stars. A great album, I think that people more will come to know him.

Bitterness and profanity.

After getting a taste of the limelight, being used and tossed around, Kevin had enough I think. And like Jose Canseco, Marie Osmond or Dan Wilson of Semisonic, it is time to settle the score and say the things that need to be said. The truth? At least, a lousy experience, a fake game that leaves you empty feeling.

I like the concept. Very much. It's appealing to hear the other side of the fame medal, and Gilbert does it very well. From the girls, to the management, to the brown nosing, to the fans, Gilbert is pouring out his heart...and has quite the potty mouth too. Wow, the speech has the quality of being frank!

I don't find anything particulary attracting about the music, sorry. The songs are okay, but nothing to throw you off your chair. It has that pop feel mixed with Neal Morse here and there, some will appreciate...some will find it ordinary. No long keyboard solos, 90's guitar and simple melodies.

I was not wowed, and frankly disappointed. After so many raving 5 stars review, this is not the pinnacle I expected. What am I missing? I mean, I get the statement of the record, but the music is too bland.

Par.

This is a unique album. This is a rock album, written by a man who's been through the whole music industry and back, written to mock the entire music industry.

The album follows the rise and fall of the rock star Johnny Virgil, from when only dreamed of glory, all the way to the point when he hears himself on the oldies radio station. It's a beautiful story full of every stereotypical rock element, drug abuse, crazy stunts, women galore, you know the rest. It's gripping and raucous, but also sad and depressed as he drives his progressively empty life into the ground. At each point in the story, we see the music industry at its worst, and most generic, point. The blend of everything over-the-top and everything you know to exist already creates an amazing line of memorable lyrics, song after song.

The best part however, has to be?.. the music (what a surprise). As the story progresses, so do the sounds and styles of the music. From the departure point, singer/songwriter style, we hit a myriad of rock subgenres, each more rowdy than the last showing, and each style perfectly summing up the story at that point. Through grunge and punk?through vocal fugues and 70's fun, the story and the music weave together to make a pleasing array of idiotic satire and ironic humor.

A solid 4 out of 5 stars, an excellent addition to any music library.

This is one of my favorite albums of progressive rock ever, along with Close to the Edge, Foxtrot, and Images and Words. Kevin was such an amazing songwriter in every way, creating an ultimate fusion of pop sensations ("Imagemaker," "City of the Sun"), satirical commentary towards the music industry ("Certifiable #1 Smash") and solemn and sometimes sorrowful prog ballads ("Staring Into Nothing," "Water Under the Bridge"). I was first introduced to him by my music teacher who taught Kevin at my high school. My friend's dad also knew Kevin and he gave me a copy of Shaming of the True to see if I liked it. After that, I was hooked! Each song bleeds thriving emotion and pounding beats that won't stop me from jumping on the walls with excitement. Now I listen to it 24/7.

It's amazing to see an artist such as Kevin Gilbert to have a wide array of instruments at his disposal to create his colorful and meaningful music. Collaborating with Nick D'Virgilio of Spock's Beard fame, the presentation is very unique down to the creative booklet the CD comes in. As I'm transported into the world of Johnny Virgil, his world comes to life through the characters he meets and through his inner turmoil to find his true voice. Each song develops a personality of its own, which makes kevin very versatile in every way. Exposing the music industry through his gritty lyrical content and interesting expose, I've no doubt that such a feat is destined for becoming more progressive that still keeps going to the edge no matter what.

If you're looking for some great and truthful prog with a cool pop feel and edgy lyrics, this is definitely something to hear. Truly a masterpiece!

Based on my initial look at the album's concept, I was fully expecting an album-long version of Bad Company's song Shooting Star, complete with the tragic lead character named Johnny. And that's exactly how this album starts, but boy oh boy does it dig deeper after that opening song!

Is this a flawless album? In my opinion, no, but the first half--from the intro through Certifiable #1 Smash--sure is darn close to perfect in my book. The music is great, ranging from an Alan Parsons sound (Water Under the Bridge) to rocking Who-style (Best Laid Plans) to Gentle Giant rounds (Suit Fatigue). The evolution of Johnny from an innocent music lover to over-the-top and misguided superstar/showman is absolutely brilliantly paced and put to catchy and multilayered music.

...and the lyrics! I am not a lyrics guy, but they are impossible not to notice in this album. My personal favorites are Suit Fatigue (the multi-part harmonies allow for new discoveries virtually each time you listen) and #1 Smash (which somehow explains the deranged artistic perspectives and logic behind the many incomprehensible and ridiculous music videos out there). And Best Laid Plans represents a legitimate killer single that somehow fits right in the middle of all this musical variety.

In the second half, I lose interest and the pace is less appropriate, though there is plenty to like, from the bitter cynicism in Fun to the unbridled anger in Beautiful Things. I do believe things tie together very nicely (and cohesively) with Way Back Home and Johnny's Last Song, which at least allows for a fulfilling ending to this captivating musical story.

Two people must be acknowledged for this great piece of work: Kevin Gilbert, who is a great writer, lyricist, orchestrator, and--not to be undermined--talented vocalist (perhaps not technically, but certainly with regard to the emotions of his pieces); and Nick D'Virgilio, who clearly was motivated by more than financial benefit and worked hard to deliver this gift to the prog community and his deceased friend.

I typically listen through #1 Smash, then skip to Way Back Home and Johnny's Last Song, which tells me the story I want to hear. The brilliance of this album is that you could tell a slightly different story with a new playlist, and it could be equally meaningful to you. Rewarding, well-produced, clever, and occasional powerful material--a worthy legacy for Kevin Gilbert.

With so many glowing reviews here I was curious to get this album and know what the fuss was all about. After several spins I found that this work is a very good concept album even if the musicanship involved is not exactly what I call appealing to me. Like in most concept album the music works for the story line, so there are lots of changing styles and moods, but the instrumental side suffers a bit. And the concept is far from new. In fact is the same old story of the rise and fall of a rock star. It is well written and performed I should point out. But I heard far more impressive and pleasant ones, as far as the musical score is concerned (the lyrics are another story completely).

Not that The Shaming Of The Truth does not have its bright instrumenbtal moments.. it does. It is clear that Kevin Gilbert was a talented man and he knew music deeply. Suit Fugue (Dance of the A&R Men) for instance is a highlight. This a capella song has some of the most delightful vocal cannons ever heard since Gentle Giant´s Knots. There are other bits and pieces that I enjoy too, but unfortunatly for my ears, the musical flowing is uneven at best and there is not too much instrumental interludes taht captured my atention. You have to pay atention to the story all the time for the music to make sense. And it kind of bored me after some time.

Anyway, if you´re into concept albums (specially of the american style), then I guess this is for you. Although I found it to be more interesting than really appealing, it does not mean that The Shaming Of The Truth is not a fine prog album of sorts. It just didn´t fit my tastes. That´s all.