Prog Britannia - Album Reviews

 Fall of Hyperion (1974) Review:- http://www.progarchives.com/Review.asp?id=2284819

In the Region of the Summer Stars (1976)

Aerie Faerie Nonsense (1977)

Touch Me (1979)

Six Pieces (1980)

Something Wicked This Way Comes (1983)

The Spell (1985)

Salome (1986)

Joined By The Heart (1987)

The Seed and the Sower (1988)

Tripping the Light Fantastic (1994)

Sundialer (1995)

White Goddess (1997)

Arise and Shine (2009)

Journey's End (2010)

Risen (2011)

Shining (2012)

Invicta (2012)

 First Light (2014)

The Bridge (2015)

Dust (2016)

 Resurgency (2017)

U (2019)

I'll have an album review coming up soon for String Driven Thing.

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.

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!