CASINO

Apart from a few works from the heyday of prog, I have rarely heard a concept album where the lyrics and music interact as much as they do on the Casino album from 1992. This project by keyboardist Clive Nolan and singer Geoff Mann uses the casino as the setting for a metaphorical story with a religious theme. What makes this album so special is the tragedy that comes through in every line, as Mann passed away from colon cancer at the age of 36 shortly after its release. His expressive singing feels as if someone is dragging a razor through your soul. Combine that with the showcased prog music, and you have an album that captivates for life.

It is well known that Mann was a passionate minister. Let's take a look at what he had to say on the album and how it is musically framed.

In the song Prey, the casino and the protagonist, Lucky James, are introduced with full conviction. Weak as he is, Lucky James falls prey to the temptations of gambling. Musically, we hear a thunderous track with rich harmonies and beautiful keyboard work. The musicians featured are no small names. Besides Clive Nolan, Mike Stobbie (Pallas) also contributes on keyboards, and on guitar, Karl Groom (Shadowland) and Sylvain Gouvernair (Arrakeen) give their best. On bass guitar, we have Jon Jeary (Threshold), and behind the drum kit is Brian Devoil (Twelfth Night). However, as well as it goes for you as a listener, things go just as poorly for Lucky James.

The following tracks depict his downfall. Crap Game reveals the futility of it all, showing that a gambling addiction leads nowhere. This is supported by a brilliant keyboard theme. "To win is the toplimit," Mann exclaims. In Drunk, the total disarray of Lucky James is central, and as drunk as he is, he decides to keep playing. Beautiful, warm keyboard playing perfectly sets the mood, with Mann's falsetto passage being particularly haunting. What follows is the downfall of Lucky James. In the poignant Crying Onto Baize, we hear how he has completely destroyed himself. It is wrapped in a golden neoprogressive song with a jewel of a guitar solo and unmistakable Nolan piano. A menacing passage follows, culminating in a band portrayal of a roulette wheel gradually slowing down?

Then comes the figure of the Stranger. He is the metaphor for Jesus, the bearer of good. The song is a cheerful blues rocker that somewhat feels out of place among the rest of the tracks. After several listens, you're still left with a good feeling. The closing Beyond That Door is fortunately high-level prog once again. The casino management (the devil) doesn't take kindly to the Stranger and kills him by throwing him through a window. You can definitely draw a comparison with the crucifixion of Jesus. With this move, the outside world effectively comes inside, and the inside world goes outside. Ultimately, the staff leaves, and the casino falls. This track is so monumental, so grand; it is by far the most played track in the van der Heijde household.

All in all, this Casino album is a gem to cherish. If you love melodic, neo-prog-tinged symphonic rock, there are only two possibilities: either you're already addicted to this CD, or you will be. Ignoring it is not an option.

Orginally posted on www.progenrock.com