Prog Britannia - Album Reviews

:)

I think the Matching Mole lp;s to be the weakest in the Canterbury area...and Egg sounds like ELP on acid....maybe not acid but they are quirky but feature keyboards.

;)

To be honest, it was Robert Wyatt's singing on Rock Bottom that put me off the album right from the outset, and I wasn't that enamoured of the music on the album either. Maybe the Canterbury Scene isn't really my scene as I only gave Hatfield & the North's Rotters's Club album a three-star rating and review recently when most other PA members gave the album a four or five star rating. I'm not a fan of Soft Machine either.  I really like the music of Caravan though, as they represent the far more approachable end of the Canterbury Scene.

 

 

Album Review #112:-   DEMON FUZZ were a psychedelic Jazz-Funk collective with a heart full of Soul! The seven members of Demon Fuzz all emigrated to Britain from Commonwealth countries in the early 1960's. The name of the band and the title of their first album "Afreaka!" (1970) gives some indication of the funky, psychedelic-infused, African tribal rhythms you can expect to hear on this freaky debut album.  A compilation album titled "Roots and Offshoots" (1976) was later released on an independent label following the break-up of the band in the early 1970's. A CD re-issue of "Afreaka!" added three bonus tracks to the original five lengthy songs on the album.

 

We enter the mysterious world of Demon Fuzz with "Past, Present & Future", a psychedelic trip back in time to a bygone age of half a century ago. This funky Jazz-Rock album has really stood the test of time. Stir in some Graham Bond Organisation, Ginger Baker's Air Force, Brian Auger & the Trinity, and add a liberal dose of Funkadelic (all from the same early 1970's era), and you have a recipe for success with the sound of Demon Fuzz. Altogether now..... "They don't make music like this any more!" - and that's certainly the case with this superb debut. When you hear the first burst from the acid fuzz-toned guitar in the opening, swiftly followed by a storming horn section, you know you're about to hear something rather special indeed here, and so it proves to be. "Past, Present and Future" is a 10-minute long instrumental masterpiece of bold and brassy Jazz, featuring a hypnotic captivating rhythm. This cool and groovy music is sure to delight hippyish fans of the psychedelic sixties era too. "Afreaka!" has announced its impressive arrival in no uncertain terms with a fabulous fanfare of trumpets! The second piece of music is titled "Disillusioned Man", but you certainly won't be a disillusioned man (or woman) when you hear this lively and soulful number for the first time. It's a five-minute wonder in a fifty-five-minute-long album of stonkingly good tunes. All of the Jazzy elements are here in full force too, featuring an extended sexy solo on the alto sax and with the organ player belting out some funky rhythms in dazzling accompaniment. The singer sounds in mighty fine voice too with just the kind of deep and soulful vocals needed for this kind of groovy psychedelic Jazz album. He's a Soul Brother! Our musical journey continues with "Another Country", another storming Jazz rocker in what is turning out to be an album full of highlights, and we're barely halfway through the album yet. This is eight and a half minutes of soulful Jazz-Rock heaven!

 

We're in a mellower mood for "Hymn to Mother Earth", an 8-minute-long devotional epic praising the joys of life on our fair
planet. This is a truly beautifully angelic number featuring a heavenly choir and some lovely laid-back percussion. There's also
a soothing organ to help you reach the musical equivalent of Cloud 9. This tremendous piece of music also features a soaring
horn section which will lift you heavenwards on a  joyous emotional high. Yes, it really is THAT good! It's a truly outstanding
slice of smooth and soulful Jazz which bears repeated listening, just like the album as a whole. This is the kind of gloriously
inspirational music that would have folks flocking to Sunday church in their masses, if only..... The fifth and final song "Mercy
(Variation No. 1)" opens with a tribal jungle drums rhythm which rumbles along nicely before the whole band "freaks out" and
goes absolutely ape-crazy strutting their funky stuff in a Jazzy free-for-all of wild and sensational improvisation. This is
wonderful stuff from seven musicians at the top of their game in what is a suitably rousing conclusion to a stupendous album!

 

Demon Fuzz have left us with one marvellously unique album of what can best be described as soulful Jazz-Funk/Rock tinged with a healthy splash of fuzzy psychedelic colours. In other words, it's a veritable smorgasbord of musical delicacies which the band have expertly blended together to make one outstanding album. "Afreaka!" is a timeless evergreen album that always sounds great whether you listen to it in the "Past, Present or Future".

 

I'm going to weigh in here because my opinion differs from both of yours, and I think it's important for others to see that there are other perspectives. 

Canterbury albums from the 1960s and 1970s are notorious for their poor sound engineering and often cheap production, hence I'm not sure anyone would be unjustified rating these albums down. The performances are also often quite raw and filled with flaws (to which we old-timers laugh and praise, inured to and accepting of these mistakes, as we are). I would love to sit and watch a teenager or 20-something sit down to listen to one of their vinyl albums (as I've read with empathy reviews of other "youngsters" listening to classic Yes, Genesis, Crimson, ELP, or VDGG as they cringe, mystified at the praise they've read for that which they are listening to). 

Every here knows I am quite liberal with my four and five star reviews. This due to two predominant factors: 1) I most often choose to only post reviews of albums that I want to draw people's attention to (it takes a lot of time and energy to write a decent review of the 300-400 new albums I listen to per year) or 2) as a failed musician, I KNOW the time and talent it takes just to put together and publish an album, much less an album of complex progressive rock music; with this in mind, I could never muster the arrogance to denigrate someone's legitimate talent and effort--unless it is far below that which I think I or my amateur brothers could do better. I can never remember the PA wording for what each star is supposed to signify, but to me a three star album is a good effort, admirable for being able to pull it off, deserving of being in PA and getting other people's attention and opinions, better than I could ever have conceived or done. 

Saying this, there is very little from the Canterbury domain that feels perfected or polished, yet most of it is astonishing for its creativity and playful inventiveness--plus, the musicians are usually quite competent at their instruments. 

Mike Oldfield has always felt, to me, a master of masturbatory self-parody; Tubular Bells was fresh for its time but is hardly listenable today. All versions of Ommadawn make for tolerable though-sometimes-irritating background music, while Hergest Ridge--both versions--haunt me with some of the best melodies and most flowing continuity of any full length instrumental album, ever. Everything Mike did after Incantations feels like production for production's sake, repetition of all that had come before, in other words, w**king for money. (though I DO understand his continual return to previous works and themes: it is very difficult for many artists to ever think that a piece of art is finished/cannot be improved.) And yes, everything he's ever done feels like stitched together themes... but then, that's what so much of prog artists made their passion: stitching together multiple musical themes (usually employing lyrical stories to help tie it all together). The prog "epic" is one of the signatory contributions the genre has made to the music world and one that many of us look for in our music--concepts, cohesive themes, operatic and/or symphonic constructs.

The perspectives represented by your "conversation" here are, once again, examples of one of the prime reasons human interaction-as-language evolved: we all have our own perspectives, our own likes and dislikes, our own tastes, our own preferences. And it's okay: In the big picture, THERE IS NO RIGHT OR WRONG, there is only different.  

     

 

 

Album Review #113:- PALADIN were a short-lived English Heavy Prog band, named after the knights of Charlemagne's court - the French equivalent to King Arthur and the Knights of the Round Table. Having chosen a suitably proggy bandname, Paladin embarked on their musical quest with the release of a self-titled album on the Bronze record label in 1971, which unfortunately failed to attract much attention from the record-buying public with its plain black album cover. Their second album "Charge!" (1972) featured fantasy cover art by Roger Dean, but the album still suffered from poor sales, and the gallant musical knights of Paladin dismounted their trusty steeds and hung up their armour forever in late 1972. To secure Paladin's place in the prog history books, a later 2-CD re-issue of the "Charge!" album was released in 1996, doubling up the original seven songs on the album, and a compilation album of Jazzy tracks was released under the title of "Jazzattack" in 2002.

Paladin are armed and ready to do battle with "Give Me Your Hand", a funky 8-minute-long Jazz-Rock number that definitely doesn't need "more cowbell", as there are cowbells in abundance on this lively rocker. This is like the kind of electrifying high- energy opener you might hear on a Santana or Savoy Brown album. These gallant Paladin knights are charging full-speed ahead on a burst of frenetic energy and raw adrenalin in a storming crusade of guitars, keyboards and pounding percussion. The soulful vocalist packs an impassioned punch too with this rousing chorus:- "Give me your hand, lead me on, Through this moment of despair, oh, Give me your hand, lead me on, Show me something that's still there." ..... This peerless band of musical knights have really set the bar high with this very impressive album opener. Can we expect Paladin to keep up the incredible pace throughout the album!?? "Well We Might", because that's the title of their second searing offering. There's no doubt about it, "Well We Might" is a super-charged Blues-Rock song that barrels along relentlessly for five breath-taking minutes like a diesel locomotive on full power. These intrepid knights sure know how to ROCK!! It's another dazzling display of roof-raising keyboards, guitars and percussion, all jousting to see who's the loudest and mightiest musician of them all, with amplifiers that probably go all the way up to eleven. The band barely have time for a breather with "Get One Together" either, as Paladin have got together again to deliver another real hell-for-leather barnstormer of a song. This pummelling instrumental rocker sounds like a funky cross between Uriah Heep and Santana, which can best be described as Funk Rock that's as hard and heavy as a block of granite. The fourth Very 'eavy and Very 'umble song "Anyway" has shades of Deep Purple and Uriah Heep. It's a rousing anthemic number which dramatically gathers in pace, reminding one of "July Morning" by Uriah Heep or "Child in Time" by Deep Purple. Either way, "Anyway" is an uplifting and inspirational song to close out Side One on a spiritual and emotional high-point.

"Good Lord", is that the time!? Yes, it's time for an extended fruity jam session where the musicians give a High and Mighty display of heavy Stormbringer prog at its absolute best, in the best Demons and Wizards traditions of Uriah Heep and Deep Purple, spiced up with the funky sound of the Allman Brothers and Santana. This sensational band have it all! Can it possibly get any better than this!?? YES IT CAN, because on the way now is "Mix Your Mind with Moonbeams", which might sound like some weird, stoned-out psychedelic acid trip, going by the title alone, but it's really a full-blown Heavy Prog epic, guaranteed to lift you up into prog heaven and beyond. This roaring soaring prog anthem is another stunning highlight of the album, alongside the marvellous "Anyway" at the close of Side One. We're taking it easy now and getting into a mellower mood for "Watching the World Pass By", with a deceptively light and breezy harmonica and keyboard opening. This just serves as a prelude though for another monstrous blast of powerful keyboard prog for a storming conclusion to a terrific album.

Paladin are the mother of all funky Jazz-Rock bands, with influences to be heard from the Allman Brothers, Deep Purple, Santana, Savoy Brown and Uriah Heep. These chivalrous knights are charged-up and ready to do battle in a dynamic explosion of thunderous keyboards, blistering guitars and pounding percussion. When it comes to Heavy Prog, Paladin are like gallant knights in shining armour charging full-speed ahead in a searing blaze of take-no-prisoners musical glory!

 

By the way, Paladin were a last-minute replacement for an album review I was going to write for either Velvett Fogg or Glencoe, neither of whom are included on ProgArchives at the moment.

Yes, it's a pity Tony Iommi's  Velvett Fogg aren't on ProgArchives. I have a feeling it'd be another five-star album if I'd reviewed it.

 

I could suggest Velvett Fogg be included in the Proto-Prog section of PA, but I think they would most likely be rejected if past experience is anything to go by.

 

By the way, I found Paladin yesterday on your handy list of underground bands - an endless source of long-lost album treasures.

1. My Lady C

 

 

2. The Journey

 

 

3. Vanishing Dream

 

 

4. Creatures of the Night

 

 

5. Princess Aura

 

 

6. Rain Dance

 

 

7. Better Days

 

 

Album Review #115:- TURNING POINT were a British Jazz-Rock/Fusion band of the late 1970's with two albums to their credit:- "Creatures of the Night" (1977) and "Silent Promise" (1978). They emerged from the remnants of another short-lived Jazz-Rock/Fusion band by the name of Isotope. Turning Point are closely associated with the Canterbury Scene, ably supporting National Health on their U.K tour in 1977. After a final tour in 1980, Turning Point broke up and went their separate ways. "Creatures of the Night" contains four pieces of music around the five minute mark on Side One, with three longer improvisational tunes of seven or eight minutes duration on Side Two. Although the mostly Jazzy instrumentals don't contain any actual lyrics, there's a stunning vocalese performance from Pepi Lemer to be heard throughout the album.

Put your feet up and relax because we're getting into a mellow mood for the album opener "My Lady C", a nicely laid-back piece of instrumental Jazz, featuring delicate percussion, soothing guitars and a subdued brass section. Listen carefully for the hauntingly beautiful wordless vocals from Pepi Lemer too. They really add a whole extra dimension to this captivating piece of music with its hypnotic enchanting rhythm. "My Lady C" is the smoothest of smooth jazz and marks a very auspicious opening to the album. It's easy to see why Turning Point would have been the perfect match made in Jazz heaven when they supported the Canterbury Scene band National Health on their 1977 U.K tour, as the music of Turning Point is very similar in style to the aforementioned band. The obvious similarities between the two bands are even more prevalent on the second piece of music: "The Journey". Again, it's another warm-sounding and melodious tune, with the added benefit of those heavenly vocalise overdubs from Pepi Lemer. The Canterbury Scene vocalise trio of Barbara Gaskin, Amanda Parsons and Ann Rosenthal immediately springs to mind from both the Hatfield & the North and the National Health line-ups. In fact, the sophisticated Jazzy music of Turning Point is as close to the Canterbury Scene sound as you can possibly get without actually being *IN* the Canterbury Scene, so you'll know exactly what to expect from this album if you're at all familiar with the Canterbury Scene sound. The third song "Vanishing Dream" is a two-part piece of music, with the first part sounding like some horrid musical nightmare, with its discordant improvisational mish-mash of sounds. Thankfully, this manic free-for-all only lasts for just over a minute before the music emerges like a beautiful butterfly into a tranquil dream of smooth and melodious Jazz. We now arrive at the title track "Creatures of the Night" for the closing song on Side One. It's a lively and up-tempo instrumental Jazz number following in the best traditions of Hatfield & the North and National Health. "Creatures of the Night" is a remarkably uplifting piece of music for a song without lyrics, and that accolade applies to the album as a whole too.

"Princess Aura" is the first of the lengthier songs on the album, running at over eight minutes long, so there's plenty of time for some Jazzy experimentation here. The music alternates between gently laid-back tunes, interspersed with lively outbreaks of intricate and complex Jazz. This is the kind of wild improvisational Jazz where a drummer really gets to test his mettle with some very tricky offbeat time signatures. The end result is a very diverse and endlessly entertaining piece of music that deserves repeated listening to admire the expert musicianship on offer here. The dynamic keyboard player and spirited horn section sound like they're having a real blast, and there is of course the added princess-like aura of Pepi Lemer's wordless vocals to add sheer delight to the overall sound of "Princess Aura". We're slowing the pace down somewhat for "Rain Dance", a laid-back groovy Jazz number featuring a sensational sax solo and a sassy synthesiser in accompaniment, ably aided and abetted by a funky percussionist beating out a syncopated rhythm. If it's damp and dismal outside, then what better way to pass the time than listening to "Rain Dance" inside. The weather outlook is looking good now as "Better Days" are on the way. "Better Days" is the seventh and final piece of music on the album, featuring a simply stunning synth solo and a rousing horn section, and just as you'd expect from the concluding song, it's an emotionally uplifting piece of music to close out the album in fine style. All of the music on the album is of a consistently high standard, but in a classic case of saving the best song till last, Turning Point have really delivered their ace in the hole with "Better Days".  This talented bunch of musicians have graduated with flying colours and full honours here in the University of Jazzy Prog.

Turning Point's very impressive debut is an album with obvious appeal to fans of the Canterbury Scene sound of Hatfield & the North and National Health. "Creatures of the Night" also has the added benefit of being far more approachable and listenable than the endlessly complex music of Hatfield & the North. If you've already tentatively dipped your toes into the Canterbury Scene with the melodic music of Caravan, then this album would make an ideal turning point on the long and winding Canterbury Scene trail. Turning Point's sophomore album "Silent Promise" (1978) might be worth checking out too if you like this album.