TRILOGY FOR THE MASSES

A Boston-based psychedelic band opens their brief sojourn into the world of recorded music with this interesting rock opera novelty.

1. "Theme for the Masses" (2:52) a very nice, well-composed intro/overture with a pretty perfect blend of Hammond- dominated rock musicians and string quartet. (9.25/10)

2. "Harrison Street / Excerpt (from the Theme)" (10:29) now we're definitely in the territory of theatre soundtrack music, but then singer Joey Scott enters. The musicianship is very good though the composition is a bit stilted by conformity to stereotypic structures of Broadway rock operas and the ABCs of rock music construction; everything feels as if by-the-numbers--tight and constricted. Even the extended organ solo in the third and fourth minutes seems restrained and held in check. Arthur Webster's lead guitar solo follows and it's either filled with intentional mistakes or made horrible by beginner-like inexperience. The second guitar that joins in a little later at least has some knowledge of chords and jazz structures--and still it keeps going! This is one song that I know that I could have better composed and performed! (16/20)

3. "Back to Philadelphia / The Race" (4:39) turning to Philly's R&B sound, the band settles back into the smoky darkness of a late-night lounge on the shady side of town. It's better than the previous song but it's so cautiously conservative: again, by the numbers. It is, however, good music for Joey's rather nice, nuanced vocal performance. (8.75/10)

4. "The Race / From a Back Door Window (The Search) / Theme for the Masses" (17:18) blending together several motifs of very familiar DOORS-like pop music over which Joey Scott tries to deliver Eric Burden/Jim Morrison-type vocal performances. The musicians in the rhythm section show some proficiency at their instruments--at least until the two guitarists try to impress again, then it becomes near disaster. I find myself cringing with embarrassment (cuz I've been there)! (29.33333/35)

5. "Postlude: Looking Back" (2:10) the country-rock finale is another bookend of nicely rendered pop music. (8.875/10)

Total Time 37:28

An odd novelty topic serves as a vehicle for some fairly amateur musicians to serve up a rather mundane collection of standardized musical styles for a wannabe Jim Morrison-like rock star. An album that perhaps should not be included in my list of significant 1968 contributors to the Birth of Progressive Rock if not for the ambitious rock opera conceptual theme. Too bad the producers and band failed to incorporate the string quartet from the opening song throughout the entire album.

C+/three stars; a good but not very valuable contribution to the development of early progressive rock music. And if you're thinking, after reading my review, that the band might have potential that will be better realized on its successive albums, you'd be wrong: this is the peak of their sound and development; the next one just gets more kischy Off-Broadway-like.

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