GONG

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.

Gong's third studio album since the departures of Daevid Allen and Steve Hillage, first since the loss of Mike Howlett and Didier Malherbe. The band's full commitment to Jazz-Rock Fusion is a sign of (and tribute to) the firm leadership of Pierre Moerlen. And, for all you percussion lovers, Mireille is back! And Curved Air's Darryl Way and the ghost-like presence of Allan Holdsworth are in.

1. "Heavy Tune" (6:22) a dull and plodding song that seems to exhibit an over-arching malaise or fatigue from the band (though more from the guitarists (including Allan Holdsworth) and bass guitarist Hansford Rowe, but even Pierre's drum playing seems lackluster and uninspired--leaving all his energy for his vibraphone play. Stupid KISS-like rock chord progression propelled by the rhythm guitarists' "power" chords. What a sad opening. (8.66667/10) 2. "Golden Dilemma" (4:51) maybe now they've awakened! But the main rhythm track/motif is still so bland/quitidian and rock-like--with a "Take Five"/"Living in the Past" sound and feel to it. Nice play from the tuned percussionists. (8.875/10)

3. "Sleepy" (7:17) opening with a peaceful yet mesmerizing arpeggio pattern on the vibraphone, Benoît Moerlen is soon joined by Mireille Bauer, also on vibes, then brother Pierre on the drum kit and Hansford Rowe's bass to create a very engaging weave. Allan Holdsworth and then Darryl Way take the first two solo spots on the electric guitar and electic violin, respectively. At 3:30 their is a switch in the baseline vibraphone weave over which Hansford's wah-wah- ed bass solos for nearly a minute. The drums rejoin at 4:45, cushioning the entrance of Darryl Way for a searing albeit brief solo before the rhythmatists again take control, amping up the tuned percussion weave before Hansford's bass redirects once again into a funkier, more straightforward repeating pattern--which serves the song until it's long fadeout end. Decent! (13.5/15)

4. "Soli" (7:37) another pleasant and engaging JEAN-LUC PONTY-like melodic weave opens this one over which Allan Holdsworth solos briefly as if from behind the stage. The two-person vibraphone rhythm section shifts to a quicker, faster-paced weave while Hansford Rowe provides a rather beautiful bass solo. In the third minute the music straightens out again so that both Benoît Moerlen and Mireille Bauer can solo on their vibes. The fifth minute is Holdsworth's. Over the same high-energy fast-paced motif he seems uninspired, unenthusiastic, or lost for the first 30 seconds, then he finally gets it: that it's his turn. His soloing finally begins to live up to the reputation he's been building for the past ten years: unusual melodies, furious runs, angular note choices. The whole band seem to get involved in carrying the melody forward during the last 50 seconds. Really nice finish. (13.375/15)

5. "Boring" (6:23) a simple, almost Orffian percussion weave is presented by the marimba and vibes while bass, violin, and tubular bells take turns rising into the spotlight. The most interesting thing on this song is the wonderful interplay between Hansford Rowe's chunky-fuzzy fretless bass and Darryl Way's violin. I also like the prominent role that François Causse's congas play in the mix. A top three song for me. (9/10)

6. "Three Blind Mice" (4:47) two vibe arpeggi repeated a few times opens this one before the rest of the band kicks in with a nicely energetic motif. The entrance of Allan Holdsworth distinctive guitar seems to signal a slow down and slight simplification for the rest of the band as Benoît and Mireille settle into a fairly simple four-chord pattern. Once Allan has finished (and left the building) the percussionists carry the song, kind of a weird song for the sudden disappearance of Mr. Holdsworth ("Allan has left the building"!). The two thirds of the song that was left to the rhythm section might be a sign of things to come. Not a bad song, just . . . pointless . . . like a practice jam. (8.875/10)

Total Time 37:17

A far-inferior album to their previous effort, Gazeuse!, the band seems to have lost their way--or at least band leader Pierre Moerlen. Yes, I have to say it: I find Pierre's performances throughout this album to be quite lackluster and unimpressive. On Gazeuse! I felt that his playing suddenly vaulted him into the conversation of greatest J-R Fuse drummers of the 1970s. Not anymore. I probably doesn't help that his drums were recorded the most poorly of any of the instruments: muddied and buried in the mix. Bad engineering! All of these disappointing elements lead me to wonder: Could it be that the loss of bass player Mike Howlett was more devastating to the band's core spirit than those of Daevid Allen, Gilli Smyth, and Steve Hillage? Not that Mike's replacement, Hansford Rowe is bad--he's not--it's just that the Moerlen brothers seem less inspired. Or, maybe it's the absence/loss of Didier Malherbe? Such a fun yet- calming presence. (Perhaps it's actually the dynamic between they and former-lover Mireille Bauer; we all know from the past two albums what a high her presence infused into the band.)

B/four stars; a very nice if somewhat disjointed representation of the more-mature form of GONG yet somehow disappointing when coming off of the highs of their previous album. Still, highly recommended.

Now de facto Pierre Moerlen's Gong, the lineup has become nearly 100% French--with only Englishman Allan Holdsworth representing the empire and language of the band's founders. And, it's a Jazz-Rock Fusion band! (One of the best you'll hear.)

1. "Expresso" (5:58) this sounds so much like BRUFORD (or even UK) with a more Latin-ized sound palette (due, of course, to Allan Holdsworth's domineering guitar tone--which is getting very, VERY close to the one he will use predominantly with the aforementioned bands in the next couple years--the result of recommissioning a new neck and fretboard and overhauling the pickups of his '73 Stratocaster. This is the guitar he will use for the next three years--the Bruford and UK albums--until his move to California in late 1981.) You can hear Allan's new-found confidence spilling over across the tape. The recording sessions of Gazeuse! were 15 months after those for The New Tony Williams Lifetime: Believe It! album--an experience that Allan often cited as being the single most transformative for him over his long career. Aside from Allan's opening solo, the music is very good Jazz-Rock Fusion: funky, somewhat smooth and governed by mathematical rules, with some excellent bass play from ex-Magma bassist Francis Moze, great vibraphone support from Mireille Bauer (both of whom would soon be shacking up together and moving on to help strengthen J-R Fusion band Édition Special) and of course Pierre Moelen's flawless drum play. (9.75/10)

2. "Night Illusion" (3:42) a solid song (with some great drumming) that lacks any melodic enticements. (8.75/10)

3. "Percolations, Part 1 + Part 2" (10:00) Benoit Moerlen, Mireille Bauer, and Pierre Moerlen weave together their tuned percussion instruments into something quite beautiful and hypnotic while Didier Malherbe adds some breathy flute. (Is this what Mike Oldfield heard that caused him to recruit Pierre for his Incantations album and tour?) At 2:10 a rock drum beat enters for a short bit, signalling the percussionists to shift their weave. Thereafter Pierre and Mireille's percussion work expand to cover timpani and tom toms and, eventually, drums. Leave it to Pierre to perform one of the most enjoyable/listenable drum solos rendered to vinyl. I love mathematical music like this. Again, I think this music previews (inspired) Brand X ("...and so to F"). (18/20)

4. "Shadows Of" (7:48) a song that starts out a little lackadaisacle despite Pierre's dynamic drumming and Allan's introductory guitar melody, but then, at 1:05, slowly speeds up into a nice cruising speed with Benoit's accenting vibes and Didier's folk-feeling flute play up front. Then Allan takes over at 2:50 with some of the weirdest saw-like bent-note play. It sounds like he's playing through a muted synthesizer clarinet or a Native American drone flute. Eventually he turns back to his regular (new) sound as he's joined/twinned by Didier's flute. At 5:30 the song seems to end, but then, weirdly, it slowly picks back up, one instrument at a time--sounding as if "Ooops! We forgot a round!" Bass and acoustic guitar here are awesome, but then Allan and the band return to a more BRUFORD sound and feel for the song's finish. Solid. Worth many listens. (13.5/15)

5. "Esnuria" (8:00) an interesting percussion weave opens this one before bass, guitar, and sax join in to coerce some funky rock out of it. Quite an interesting blend of sounds and styles: funk, Latin, R&B, rock, blues, jazz-rock, prog, even a little Canterbury. I'm not quite convinced it all works but it is certainly interesting. In the song's second half the band seems to smooth out and cruise down an easy straightaway but then at the end of the fifth minute they move back into a kind of intricate FRANK ZAPPA hodge-podge weave. I must say that Didier Malherbe's sax play coupled with the rhythm section's cohesive play make for some astonishing music. In the eighth minute Allan's guitar "power chords" with Francis Moze's bass and Pierre's amazing drum play make for the most melodic and engaging music on the album. A song that is up and down for me but very impressive. (13.5/15)

6. "Mireille" (4:10) Mireille was, at the time, Pierre's live-in girlfriend and a very popular human among the band (later to fall into relationship with Francis Moze--with whom she would leave Gong in order to join Édition Spécial--helping to make them one of my favorite French Jazz-Fusion bands of the 1970s). The pretty jazz-bar melody offered up to Mireille is given several renditions and variations within this same song: the first a sparse, PAT METHENY-like acoustic guitar with Fender Rhodes treatment, then a Mr. Rogers/Vangelis Blade Runner-like Fender with Ralph Towner-like filigree-style acoustic guitar (Allan showing that his acoustic guitar playing style was quite different than that of his electric axes: his runs much more feathery, like a scurrying mouse, than the slithery stop-and-go large rodent runs of his electric. The final capitulation of the theme is left to Francis' expressive piano, tout seul. (8.875/10)

Total Time: 39:38

There is so much to this album: so many amazing ideas, such amazing musicianship, so many breath-taking riffs and runs, weaves and solos, so many stunning performances, individual and collective, and yet, at the same time, there are so many discordant and even contradictory or combative sounds and styles that I find myself reeling in kind of "wait and see" retreat. This is the first time I've ever been exposed to this album. While I find myself so often feeling exhilarated I can claim almost equal instances of bewilderment and/or repulsion. In time I imagine that it will all become so familiar to me that it will all become accepted: "Oh. That's just Gazeuse!"

On another note, like The Soft Machine, I failed to ever give this band any credit or attention. This was due to their often-hard-to-take-serious first six albums. I never knew that so many of the Canterbury bands would outgrow their frivolous silliness to become quite serious jazz-rock fusion bands. So glad to be here, now! This is the first Gong album that I've heard that I can willingly call a masterful contribution to the elevation of prog and jazz-rock fusion.

A-/five stars; a minor masterpiece of highly entertaining Jazz-Rock Fusion from one of the most extraordinary ensembles you will hear. Highly recommended--even essential for any jazz-rock fusion historiographers.

Left stunned and reeling by the departures of Daevid Allen and Steve Hillage (though Steve hung around long enough to participate in two songs here), the band fumbles around to try to reconfirm or redefine their identity.

1. "Wingful of Eyes" (6:20) bassist Mike Howlett tries to be the band's new Daevid Allen with his vocals and lyrics while the musicians beneath seem to be inextricably drawn to the Jazz-Rock Fusion that so many Canterbury bands and adventurous jazz performers were trying out. (8.875/10) 2. "Chandra" (7:18) man! Pierre Moerlen sounds like a A1 jazz fusion drummer! The quirk is still present in the sax, electric violin, and synths, but the rest of the the instrumentalists are definitely grooving in a J-R F way. Quite like how Brand X will sound when they debut next year. At 4:23 Mike Howlett suddenly enters singing in the band's usual style of lyrics based upon double-entendres and plays on words. I don't really like how the song just gradually deconstructs and then fades out, otherwise this is a J-R F winner. (13.5/15)

3. "Bambooji" (5:13) music that is fully-intended to present as some kind of quasi-Asian--at least for the first two minutes as bamboo flute (bansuri), xylophone, marimba, plucked violin, and other Asian-sounding percussion instruments blend together to present some semi-Asian-sounding melodies entrapped within the quasi-Asian sounds of a strings and percussion ensemble. A fair to middling representation. (8.6667/10)

4. "Cat in Clark's Shoes" (7:43) a syncopated circle weave of jazz-rock music which goes stop 'n' go ZAPPA-klezmer in the fourth minute, bluegrass jamboree for the fifth, then a weird kind of blend of these and other New Orleans-type stuff for the sixth and old-time Roaring Twenties for the seventh before returning to a horn-supported funk for the final 30 seconds. Weird and unattractive despite the admirably flexible instrumental performances. (13/15)

5. "Mandrake" (5:04) this one opens with a slow but steady exercise in mathematical teamwork before finally spreading out and hitting a third gear forward speed at 2:17. Multiple tuned percussion instruments are the main conveyors of both of the song's two motifs with Didier Malherbe's weirdly-processed (muted?) soprano saxophone pepping things up in the middle. (8.75/10)

6. "Shamal" (9:00) again Mike's bass, Pierre's drumming, and Patrice Lemoine's bumpin' Fender Rhodes provide the foundations for some excellent J-R F funk over which Didier Malherbe's reverbed tenor sax plays some appropriately soul-ful melodies. Singing that previews 1980s Talking Heads, Human League, and Tom Tom Club enter with Mireille Bauer's vibraphone. Sax returns to the lead in the funky sixth minute as Mireille switches to tubular bells and vibes. Jorge Pichevsky's heavily-wah- and -flanged electric violin joins in with the next round of choir chant vocals. I have to say that everybody really clicks and steps up for this one; it's easily the best song on the album. (18.5/20)

Total Time: 40:01

B+/4.5 stars; a near-masterpiece of jazz-fusion heading hippy music. Recommended to all lovers of the jazzy direction taken by most of the 1970s Canterbury bands.