GONG

'Angel's Egg' is the second part of Gong's emblematic 'Radio Gnome Invisible' trilogy, released just several months after 'Flying Teapot', which are the two 1973 releases by the band. This album is indeed rather zany, playful and unpredictable and is a record on which the fusion experiments become even more prevalent, despite the fact that it is a daring mixture of space rock, psychedelia and prog at its core. A conceptual continuation of the first part of the trilogy, 'Angel's Egg' expands the realm of the Gong mythology and is perhaps the most erotically charged album by the band, made up of fourteen tracks in total, with each side representing to an extent a different approach from Gong - side one is definitely the more "progressive" but also more psychedelic half of the album, with longer songs and a more spacey sound, eventually looking back towards the band's origins, while side two is more puzzling and experimental, capturing the "rock" side of Gong in a mesmerizing way.

Corky guitar riffs, tasteful and angular guitar solos as well as heaps of vibrant sax and woodwinds, with the occasional "space whisper" interludes of Gilli Smyth, 'Angel's Egg' has a bit of everything in terms of musical diversity. If you subtract all the conceptual stuff, you get a Gong album full of thrilling, rich, and flamboyant psychedelic music with heavy influence from jazz rock and prog. Opener 'Other Side of the Sky' is an elaborate psych-prog avalanche of sounds and timbres, an almost structure-less piece with an otherworldly feel to it; 'Sold to the Highest Buddha' features some flashy guitar and sax parts that could have fit virtually any Soft Machine album perfectly, while the patchy second side delivers several more straightforward but no less surreal bits of Gong-y goodness - 'Oily Way', 'Inner' and 'Outer Temple', 'Love is How Y Make It' and the closing track are all gorgeous and represent some of the most exciting moments of the band's early works. This is an important album that marks the debut of Pierre Moerlen, too, and while 'Angel's Egg' might be an overall step up from 'Flying Teapot', it is only let down by 'Prostitute Poem' and 'Selene', which feel less diverse and a bit too overindulgent and trippy.

Armed with an actual band lineup for the second studio album, Gong released their fabulous 'Camembert Electrique' in 1971 and adopted the smart sales strategy of selling the album for the price of a single (taking the example of Faust and Virgin Records from the year before), expecting greater exposure to their work. Daevid Allen, Gilly Smyth and Didier Malherbe are joined by drummer Pip Pyle and bassist Christian Tritsch, forming the first proper incarnation of Daevid Allen's Gong. In comparison to the trippy debut album, 'Camembert' is a much heavier, focused, and risky release, with a greater focus on guitar work, composition, texture and album flow, as Gong released their first true classic in terms of overall quality and impact of the music. We have a much more diverse array of influences, with a taste for hard rock and avant-garde mixed with a spacey ambience. We must also mention the obvious focus on songcraft and the drastic improvement in production from 'Magick Brother'.

The silly short opener leads to the energetic and heavy track 'You Can't Kill Me', a playful piece that offers a very dynamic atmosphere contrasting with the mellower passages from the second side of 'Magick Brother'. Adopting more peculiar guitar techniques, a wider range of instruments and elevating the taste for the absurd even more, the album passes through the shapeless track 'I've Bin Stone Before' and the delirious 'Mister Long Shanks'. Another surreal entry follows in the face of 'Dynamite/I Am Your Animal' where the idea of creating noise and chaos prevails, allowing the listener to breathe in some of that psychedelic madness that surrounds Gong. The extended lengths of the songs is also noteworthy, with some of them reaching five or seven minutes, and while the winding fusion-y chops are not yet present, there is an idea of the experimental that is simply daring and unique. The tracks 'Fohat Digs Holes in Space' and 'Tropical Fish / Selene' exemplify exactly this, with the whole of 'Camembert' being a rather whimsical and fantastic introduction to the more serious musical side of Gong.

Let's not forget that Gong were one of the earliest, with the band's debut album recorded in late 1969 and released in March of 1970 - following Daevid Allen's short tenure with Soft Machine, the artist established himself in Paris (being unable to remain in the UK), living with his girlfriend Gilli Smyth, and this is precisely where 'Magick Brother' was conceived and constructed. Written by Allen who also performs the vocals, guitars and bass on the album, this is a tantalizing LP rooted in the psychedelic tradition and presenting the first glimpse of the Gong mythology, with several references made to the trippy universe of the peaceful planet Gong. And while all that made-up folklore might seem a bit over the top, I believe that one goes to Gong mainly for the music and the band does present plenty of impressive avant-garde pieces.

Now, this very first album from Allen, Smyth and Co. is a somewhat rough and ingenious creation, with quite a dilettante approach, yet there are some really good moments that indicate what future direction the band may take. Of course, there is a mesmerizing element to the spacey music as the album is divided into two thematic sides - "Early Morning" and "Late Night", indicating not only a recommendation on the listening hours and the textural differences of the two sides of the album, but also a conceptual side and a desire to present a piece of art that does not follow a standardized formula and dares to offer something with a twist. There are ostensible differences in the music on the two thematic sides but common to both of them are the hissing, jangling guitars through which Allen's old man voice makes his way, delivering some of the goofiest but most socially conscious lyrics. Didier Malherbe plays some flutes and sax as well, forming a nucleus of the band that would go on to break musical boundaries and experiment with genres and techniques. Some really fine, experimental entries on here include 'Glad to Say to Say', 'Chainstore Chant', 'Fable of a Fredfish' and 'Gong Song' as the prevailing element of absurdism captivates the listener.

This is post-Daevid Allen Gong at it's finest (so far, that is). In my opinion, at least. As stated by other reviewers before me, the previous album, Rejoice! I'm Dead, was the first without him or his moaning compatriot Gillie Smyth. That album has some good stuff on it but I don't listen to the songs as often as this one, they feel a little less distinct to my ears, but that might be due to unfamiliarity. I could say the same for last year's Unending Ascending. Of course, I also like Acid Motherhood just as much as You, so take my opinion with however sized salt grain you think necessary.

Perhaps the biggest differentiator between this album and the other two currently existing albums with this lineup is the longer songs. The opener, Forever Reoccurring, is a sidelong-sized piece, which I don't believe Gong has done before, at least not in the studio. Forever Reoccurring is very spacey the whole time, some might even accuse it of being overlong/not-proggy-enough. It allows a lot of building and expansion on the sounds and ideas from the start, but I can see the argument that it drags. My favorite part is near the beginning with the "Behind the meaning of another meaning" section, not that it really goes downhill from there, I just kinda wish it came back. The melody changes itself up a few times, there's a lot of fun instruments showing up throughout, but it falls a bit into that trap of psychedelic rock repeating the progression a few too many times. Perhaps parts of it could have used a bit of a trim. That, or add some pothead pixie noises or something? I understand it'd be hard to pull off without Allen, but I am one of the Gong fans who likes that side of the band just as much/perhaps more than the fully psych moments. Again, see my opinion on Acid Motherhood.

As a contrast to the previous song, If Never I'm And Ever You is perhaps too short. Or maybe it's the perfect length since it leaves us wanting more? Either way, what's here is a swell little sax- and keys-led song with a good bit of singing in there too. Like it a lot. My Sawtooth Wake next is back on the longer side of the Gong studio oeuvre. This one starts faster and harder than Forever Reoccurring, and slows down more than that song during a lot of the singing. The sax here really sells the Gong whimsy, perhaps more than anywhere else on the album (I had this thought around 5-5:10 into the song I'd say). The bass is also really good here too. Probably the best song on the album for most progheads here, though the next track is my favorite.

The Elemental is the last song, and the one I listen to the most. It's got a more infectious energy than the other ones, with the lighearted sax and handclaps and catchy tunes. I can handle a bit more normally structured or poppier songs on prog albums as long as they don't sound too sanitized and separate from the more complex ones. I think I Know What I Like (In Your Wardrobe) is similar, I see people say it's not as good but I find it a pleasant little break that's still interesting in its own way. Perhaps more people in this review section would like this song more if it weren't last, I could see it as a good pace break between the two long songs alongside If Never I'm And Ever You. Still, I enjoy this one quite a bit!

I do like this current lineup of Gong a lot. This is my second or third favorite Gong album from after the classic Allen period. It's beat certainly by Acid Motherhood, and I'm also fond of Shamal and Gazeuse! but idk the exact order for those latter two. Kavus Torabi is the singer here, and I think he does well for the music but his voice fits better in his other band Knifeworld. Strangely enough, even though Cardiacs are my favorite band I heard Kavus for the first time with this album before I got into Tim Smith's merry band. I don't recognize the other members from other bands, but I did really enjoy Dave Sturt's bass playing the whole time. I'd also like to formally recognize that Cheb Nettles has the best name in prog. This lineup has been around for the most part since the last album with Allen's involvement, I See You, from 2014, and they have specifically been blessed by Allen to continue to Gong spirit. That makes them Gong enough for me!

...I would like just a bit of pixie shenanigans though...

One of my Gong favourite albums is perhaps their warmest and most peaceful album of the 70's. We hear highly sophisticated jazz-rock with the traditionally advanced rhythms, percussion. The cozy layer is introduced with vibraphones and marimbas. The master guitar by Holdsworth appears on a few tracks, less prevalent than on "Gazeuse!" but still evident. The first track is quite different from the rest of album, it's a slow rocking piece with a groove and subtle vibraphone textures. "Golden dilemma" paves way for the rest of the polished but not sleepy album. You can hear sunny moods as well as more dramatic melodies ("Sleepy"). Fantastic bass and drum playing can surely take a moment or two on their own, when no keyboard instruments are in place and guitar is getting ready for the next spotlight. "Soli" is a tour-de-force for Holdsworth guitar closely followed by extremely pleasant vibraphones and steady drums with effective fills. Beautiful moment to be captured in. Another curiosity is the violin addition to the otherwise loos and not so inventive "Boring". The last track reminds me of the Bill Bruford solo albums with Holdsworth soloing and tonality, just a way different drumming ;-) This is an excellent album for its year, 1978, where prog was in the decline phase.

After the last studio album with Allen in 1974, we're graced with two live albums from 1977. This one is far more superior to "Floating anarchy" because it goes back to the studio output of the strong years 1972-1974, it contains saxophone/flute and less of anarchy, obviously ;). On the other hand, Live etc. is yet another live album from 1977 that is more representative of band's live output because its tracks were recorded between 1973-1975. The last good reason to take it is its length at 75 minutes with 3 compositions over 10 minutes and plenty of stretched playing. As you would expect, guitar playing is more audible than on the studio albums. The live energy is infectious, especially in the second half with energetic pieces like "Sprinkling of clouds". The sound quality corresponds to its date, the bass and keyboards aren't always fully audible. Excellent addition to fans of 70's space rock.

The last classic Gong album with Daevid Allen is also the best one. All ingredients clicked well together, not too many excesses, overall thorough focus on music and exceptional playing by no fewer than 10 musicians.

The first three short tracks are breezy, trippy and by the time we get to the fourth one, the tension before the storm is rising. However, psychedelic vocals and percussion bring peace. You can hear moog and percussion getting more grip before drums start into a somewhat fusion and guitar effects led by saxophone. The track is furious and full of dynamic shifts. Kudos to the drummer for using frequent fills and guitar/saxophone being on the edge of things. "A sprinkling of clouds" is musically less interesting, also less intense but I consider it quite influential at the same time because it brings psychedelic keyboards to the forefront and turns into a great hallucination energy noise. The last two tracks are Gong crowning achievements, long but dreamy excursions into psychadelic space rock with dominant saxophone and bass. Excellent relaxing atmosphere with rising chords with masterful saxophone playing. The last track could indeed blow ya mind. I don't praise using vocals here, on the other hand, there are very good dynamic changes and experimentation. This track marks the last Gong track with some Canterbury influence.

Further Gong albums of the 70's enter a more jazzy territory and I like them to the same level as the three albums of the trilogy.

This album finds the band incorporating significant space rock elements (keyboards, guitar), continuing with jazz/psychedelic saxophone and perfecting the rhythm section with hypnotic yet sophisticated bass and drumming. Singing rounds up instruments by joining the atmospherical spheres and quirky jazzy jams. Guitar playing by Hillage steps out of the shadow from the previous album. Not only is its sound raw and still somehow subdued at the same time, it is actually quite varied for a Canterbury band. World music, namely Indian, is recognized in more psychedelic tracks like "Prostitute Poem" or the vocals at the end of the first track. It fits the hypnotic atmosphere well. "Selene" may be the first band ballad but what a trippy sleepy feeling it has. "Oily way" is a great prog rock workout, yet one of the most accessible Gong songs. The good thing about this album is the absence of weak tracks if I omit the one-minute interludes. It is a captivating listening from the start until the end.

The first of the 3 invisible part albums is a sophisticated and yet more accessible and less raw effort than Camembert. We hear new talented musicians like Steve Hillage for the first time, though not so much evidenced here, he would be an excellent addition to guitar. Then we finally have a dedicated keyboardist, Francis Moze, even though he's handling bass, too. The sound is quite balanced, no instruments overshadowing the rest but I want to highlight the power of the rhythm section. The combination of bass and drums is already forming the trademark Gong sound. This rhythmic enthusiasm is particularly noteworthy with more monotonous sections of long tracks where the main melody remains repetitive and instruments like piano/saxophone play improvisation ("Flying teapot"). This track is an example of a psychedelic jazz-tinged jam which focuses more on atmosphere than compositional complexity. On the contrary, former pop flirtations are represented by shorter tracks like "The pot head pixies"). "Zero the hero" is a Canterbury trip with relaxed saxophone, muscular percussion and typical Canterbury alternation between two chords. To sum it up, while I don't think that this album is an essential Canterbury/psychedelic rock experience, it ranks among the best Gong albums and the first one that firmly established Gong's typical sound of the first half of the 70's.

The second Gong album is more experimental and at the same time, quite a messy affair. My explanation is that the band wanted to try different directions such as Canterbury, avantgarde and psychedelic rock, recording an album and then figuring out what works best for them. Vocals may be an acquired taste ranging from female wailing to a non-melodic stoned male vocal. The good thing is that they are not too strongly positioned in the mix. I hear the rhythm section and excellent saxophone more distinctly. "You can't kill me" is to me the first good band attempt at psychedelized Canterbury output whereas "Mister Long Shanks" showcases the band's meditative side that would resurface on other albums, too, although in shorter tracks. Another highlight is "Fohat digs holes in space" with a heavy Canterbury influence and silliness. We've got an energetic guitar solo, more than fitting saxophone lines and less mess than previously. I consider this album as a fine start of their influential discography.