MADE IN HONG KONG

Made in Hong Kong is the fourth and final Ariston album that Barbaja would make in the '70s. It's pretty much a continuation of the sophisticated art rock style he took up with New York Bazaar, and it moves even further away from the romantic-sounding light-RPI favorite that was his 1972 Megh release. It would be the last we'd hear from him for over 40 years as he moved on to build a career outside of recorded music. While I think this album is not quite as tasty as the previous gem, the fact is that I like both the third and fourth albums better than the first two more acclaimed releases. I feel like that opinion probably runs counter to most prog-rock fans, so take my thoughts with a grain of salt. I really have no idea if Barbaja was into Roxy Music, but, again, I can't help but feel this album is in the wheelhouse of Siren-era Roxy Music. The slicker production and Hugo Heredia saxophone and mischievous motifs and quirky but instantly memorable hooks---I do fancy the playfulness. "Silhouette" even reminds me of Bryan Ferry's voice.

Other examples in this universe, while not as close as the Roxy comparison, could be Elton John albums of the era, stuff like Blue Moves and A Single Man. Or even Peter Gabriel or Joe Jackson's early stuff. Remember "Is she really going out with him?" Great song. There are many good albums that had to navigate the difficult waters of leaving the comfort of the early '70s before they could quite see over the hill where the '80s were heading. But the best stuff was that which remained calm in its own skin. Be yourself. Don't worry about the trends. I think Barbaja handled that well. And while these are known as difficult years for prog bands, some of whom seemed to freeze like a deer into headlights as change rocked their world, Barbaja doesn't really seem frazzled by it. I don't think he felt any pressure to service the altar of the prog rock genre. But my point is that I believe he actually excels in this style of art rock which is why these last two Ariston albums sound confident rather than tentative or flailing. I think it also helps that he has great supporting players on board. Rather than predictable pop music rhythm sections and safe harbor writing, these two albums have some punch, attitude, and some big time variety.

Most importantly, it sure sounds like he's having fun on this album, on New York Bazaar, and on his recent and renewed Goodmood (Beat Elegy) release. I know I had fun with all three.

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