ROARING FORTIESPeter HammillEclectic Prog |
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Hammill was clearly in his forties (around 46 at the time of this record release), but clearly with this album they were not roaring that much. His incredibly proficient output would gain from a restrained qualitative control. Clearly one gets a feeling the man recorded every single song he ever wrote, regardless of its pertinence or relevance.
One standout feature - may be some of Hammill's most tasteful guitar playing.
One detraction - no detractions, I like this one.
I was enthusiast to listen to this album because the length of the songs makes it possible to develop an idea sufficiently. Provided of course that the idea is good.
And even if this album starts on the rocking side, I must say that both "Sharply Unclear" as well as "The Gift Of Fire" are truly pleasant. Peter seems to be more in peace with himself now. Jackson's input in the latter song is evident even if it is definitely a Hammill song and not a VDGG one (do you follow me?).
The reverse "You Can't Want What You Always Get" (sounds as a "Stones" title, right?), is again on the rocking side, but more chaotic and noisy. The frenetic violin play, the heavy sax, the dark mood is a somewhat oppressive and lacks in harmony to be really catchy. The second part is just on par. This is the weakest song of the whole here.
The contrast is total with the first movement of the epic "A Headlong Stretch". Tranquil and acoustic guitar, subtle and charming vocal part. Almost too sweet.I'm not too sure we can talk about epic here. The seven sections are quite different from one another, and the transitions are rather abrupt.
You can notice this as soon as "Continental Drift" starts. At the opposite of the smoothness of the "Up Ahead". The whole sounding somewhat chaotic and the VDGG feeling can prevail here, although this song falls short of the main reference from the band (in terms of epic). I mean "Plague." of course.
One is fully brought in the Graaf's world during "Long Light" (for three minutes). But even if it's short, it is always a good feeling of course. Now, the most emotional part. "Backwards Man". Peter's vocals are bloody good here. Nervous, tortured as they can be: just a pity that the backing band is not that great. The closing "or So I Said" is also full of emotion.
But my fave from these roaring forties is the quiet and beautiful "Your Tall Ship". A delicate and melodic ballad like the man can produce. He is so lively in his vocals, so passionate, so vibrant, so. Hammill. A great closing track.
Even if this album is not the best one from this great man, it flows nicely and I very much welcome this. A good album in my opinion. Three stars.
The obvious weak point is the thin sound and the impression that it is made up of VDGG leftovers. On the plus side, we finally hear some real drums. (Not on every song tough, strangely enough). Despite the more organic sound, the album never comes alive. On the whole, it is a very pedestrian pseudo-rock affair again that misses both passion and good songs. At first, the 20 minutes of A Head Stretch had caught my attention, but apart for the striking rhythm and melody of the Long Light part, nothing brings back the old fire. Long Light isn't more then a single and rather painful reminiscence to the better days that used to be.
Despite its title, Roaring Forties is one of Hammill's most inert rock albums. Intriguing album art though.
"Sharply Unclear" really reminds of THE BEATLES song "I Want You (She's So Heavy)", just the guitar and that dark and serious sound. We get orchestral sounds late while piano ends it. "The Gift Of Fire" has this mellow and minimalistic intro then a beat with vocals kicks in. Some sax here too and organ before 2 1/2 minutes. Catchy stuff. "You Can't Want What You Always Get..." reminds me of the opening track with that dark and heavier sound.The vocals come in quickly.The violin before 2 1/2 minutes starts to rip it up. A calm before 6 minutes then we get some sax and drums.
"A Headlong Stretch" is a 19 1/2 minute suite divided into 7 tracks that blend into one another. "Up Ahead" gets things rolling with gentle guitar and reserved vocals. "Continental Drift" is still laid back and the vocals are almost spoken. It does pick up after 2 minutes. "The Twelve" has some sax in it while "Long Light" is heavier with vocals that are more passionate. I'm not much of a fan of "Backwards Man" because it's too orchestral. "As You Were" is good with the acoustic guitar, piano and reserved vocals. It continues into "Or So I Said". "Your Tall Ship" is the closing number with piano, organ and laid back vocals with a light beat.
A pretty good album overall but defintily a step down from his seventies stuff.
PETER HAMMILL Roaring Forties ratings only
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