ONE SMALL STEP...

After last years almost perfect "A Matter Of Life and Death", my expectations for this new album were very high indeed. I really thought that Guy would have a hard job equalling, never mind bettering the quality of songwriting and playing on that disc. But he has and how! Whereas "A Matter of Life and Death" was rigidly structured and very electric, "A Small Step..." is looser and more acoustic. The opener, "In Swingtime" does indeed swing. A rousing start with a typical Manning chorus that is ever so catchy. Laura Fowles sax is a key feature here and of course Guy's distinctive vocal tones are ever welcoming. The following "Night Voices" is achingly haunting, written about a friend but echoes to us all who go through painful personal experiences in life. "No Hiding Place" is the most overtly progressive piece. It has an excellent instrumental section with synths and saxes well to the fore. "The Mexico Line" is another rocker before entering the centrepiece of the album, the 30 minute title track. This ambitious piece is made up of a suite of eight interlinked songs, each one flowing seamlessly from one into the next. As the title suggests this epic composition explores the idea of man looking to the future of travel into space as a potential holiday destination, but are we ready yet. As a race, what baggage would we take with us? Guy uses his trusty acoustic guitar throughout the interlinking songs, keeping the arrangements basic using slight embellishments with mellotron, organ, flute (played by IQ's Martin Orford) and suchlike throughout. It's only when the track reaches the "Black and Blue" section does the full band come in. It's a bold move using such simple, acoustic instrumentation over such a lengthy piece. But Guy's deft handling of the different lyrical themes and strong compositional skills ensure that the listener's attention never wavers. The rich musical themes are what we have come to expect from Guy and "One Small Step..." may be his crowning achievement to date.

Special mention must go to cover artist Ed Unitsky. This BeloRussian artist is quickly establishing himself a strong reputation through his sleeves for The Tangent and The Flower Kings amongst others. For this and Guy's previous album Ed's vivid use of colour, typography and images linked to the lyrical content of each song which graces the CD booklet brings to mind the wonder and excitement I remember from youth as I would peruse the gatefold sleeve of a classic album cover by the likes of Roger Dean. This is beautiful, fantastical design which is seen all too rarely today.

So all in all this latest album is more than a fitting follow up to "A Matter Of Life and Death". Though Guy Manning is considered to be working within the progressive rock arena, he has clearly shown from this and previous albums that his songwriting is far broader than that genre may imply. His style is now so well defined and he is such a distinctive, intelligent composer and storyteller that his name can be added to that list of maverick British artists who have travelled their own, inimitable path such as Nick Drake, Richard Thompson, John Martyn, Roy Harper and Peter Hammill. He is truly one of the great voices in modern songwriting and should be championed as such. So go on, take that "One Small Step." and experience something really special.

Five stars without hesitation!

Guy Manning doesn't like to be called a singer/songwriter. That evokes images of the Joni Mitchells and the Bob Dylans of the world, and it's true that his music has little in common with those luminaries. Manning's sound is very different - it is full, with layer upon layer of progressive instrumentation and rich compositions with enough shifts and intricacies to keep his audience thinking.

On the other hand his record label describes him as ...a storyteller and a writer of songs. A modern day troubadour, who chooses to compose songs that have strong melodies, depth and interesting emotive arrangements in order to tell his tales. Singer/songwriters pen original, personally distinctive songs with the prose being at the center of each piece, and they and they become the primary performers of their songs; and that certainly describes Manning. In fact the description probably fits One Small Step better than his previous output.

Manning's newest release is more acoustic than before, and less overtly 'proggy' in the generally accepted sense of the word. Yet the "One Small Step" suite is a 31 minute epic, and despite being more acoustic than electric there are all the layers, intricacies and depth that we've come to expect. A comparison that springs to mind is Jethro Tull's Thick As Brick. The choice of instrumentation is similar, Manning has a distinctly Anderson-esque vocal timbre, and the atmosphere of the whole piece has distinct similarities. And before you ask - no, that comparison is not made because of guest flautist Martin Orford's contribution. Orford has his own style, and the flute does not dominate the instrumentation as it does with 'Tull.

Each of the 4 songs that are independent of the suite is very distinct, and the standout is probably "Night Voices". It has none of the complexities usually associated with prog - think of it as a folk-pop song - but the lyrics will bring a lump to the throat and the melody is one of those that will stay with you for days. "No Hiding Place", in contrast, is standard Guy Manning - a 9-plus minute piece with a long, complex instrumental section, a relatively simple but memorable vocal line, and lyrics that explore the loss of innocence in children subjected to trauma or abuse. And it is Manning's lyrics that set him apart from many other practitioners of the genre. More than with his prior releases, the prose on One Small Step conveys its message clearly yet with elegant poetic rhythm. None of that proggy esoteric mumbo-jumbo here. In a style that recalls some of the better '70s fare you'll hear the lyrics, get the message, find some hidden gems, and admire the rhyme and the rhythm of the words - and that is an art unto itself. If only more lyricists would follow this example.

The "One Small Step" epic conveys a simple message, examined from 8 different points of view - and the message is: Why does man have this ambition rush into space exploration - and even consider taking vacations out there - without a thought for who we are, what makes us what we are. There's a vocal line in Part 1 that summarizes the whole piece: And if we are to make some journey into space / Should we not first learn to love the human race. Although the piece revolves around the acoustic guitar there's still plenty of lead guitar, flute, keyboards, strings, strong saxophone lines and soft female backing vocals. Add reprised themes, constant tempo shifts, and interesting arrangements and there's no question that it will keep your interest. One of the interesting items is the twin songs "Man Of God" and "God Of Man". These are 2-1/2 minute pieces with almost identical instrumentation and melody and similar lyrics, but obviously the meaning of the one song is inverted in the other. It's an interesting exercise to play these 2 tracks one after the other, again and again, and pick out the small differences - like the section where the fiddle replaces the flute. Similarly, parts 1 and 8 that bookend the set have common elements - yet this time they aren't quite as obvious.

Ed Unitsky's cover art again illustrates the cover and the booklet, and as before, the artwork is busily punctuated with vignettes that reflect the songs, or elements from the prose.

It's difficult to make a qualitative comparison between One Small Step and Manning's previous albums because they're very different. This one may be simpler in terms of the instrumentation and execution, but more complex in terms of songwriting and structure - and the long piece was obviously a far more challenging composition. Still - there are more similarities than differences and the growing legion of Manning fans will at once find plenty of his classic style here, and they will have fun digging into the new style. Recommended.

Guy Manning makes intriguing music every time and this won't be the one to let you down. At this pace, he may never slip or fall. He's surely made steps in the right direction.

While his albums are broken into tracks, they usually follow one long theme. The whole album could be seen as one single epic. Here he takes the talents that have been developed in The Tangent and brings them into his parallel project. The music probably sounds most like The Tangent's Gap in the Night where his potent and passionate vocals trade off with ardent instrumentals. This is extremely blissful music from a very talented Brit. I guess you could say he puts the pound in the progressive.

While you won't really encounter anything outlandishly different that what's been done before, he takes his familiar formula to the next level. Everything is fine-tuned and refined. Every edge is sandy smooth and every plane is shiny as glass. With each listen, I'm more and more impressed with how he's integrated the tricky instrumental passages with the subverted vocal verses.

A Track by Track Review :

In Swingtime: There will be no surprises found in the opening. This is just a continuation of the melodic joy found in his previous work "Abel Mann."

Night Voices: Guy is back in storyteller mode in this balladic and charming cut. There is something holy and wholesome in this song. The chorus in particular flows like a prayer.

No Hiding Place: Here he plays hide and seek with fellow countrymen U2. In this neighborhood the Streets Have No Name. The cut concludes with some wild instruments that feature jazzy saxes and rocking guitar solos. The keys it encounters are symphonically charged. Then it returns to the restrained chorus one last time. The jolly games he plays in this piece exhibit creative songwriting and will give progressive fans a substantial sensation to marvel in.

The Mexico Line: This has one of the more memorable lines on the album, which makes it an obvious highlight. It features subtle, but sophisticated pianos mixed with various other spices thrown into the instrumentals. There is also a fantastic solo on the fiddle that crops up in the middle. When the piano joins in, it becomes an old-fashioned hoedown. The sax returns and then it becomes down-home blues. The quick strikes on the electric piano will bring back the happy days of Aykroyd and Belushi's Blues Brothers. Lyrically, it's like that Whitney Houston song, "I Will Always Love You." Instrumentally, it couldn't be any more unlike that sappy track. It's homemade salsa with the hottest and freshest ingredients. It appears to be innocent, but one bite and you feel the fire on your lips. It also leaves one hell of an aftertaste.

One Small Step. Parts (I-VIII): The rest of the album, which is actually a big chunk of it, is spent in epic-fashion. Star Gazing: The opening to this complex composition is a dreamy ditty that's both slow and introspective. For Example.: The space in this song is lent to a lecture on society, politics, and various environmental observations. The content is neutral and doesn't really point any fingers. It just about the rat race and how money makes the world go round. To make mention of the melody, it's carved and whittled from the wood of Neal Morse's "Sweet Elation." At the end of my rope: The most succinct song on the album is also one that is savory. It's very similar to the last. While there's not much on the plate, it will make you salivate. Man of God: We get another short song in succession, however, this is incompatible to the previous preponderance. This is the most abrupt change on the album. The settlers storm the coast and change the landscape. When it's not being torn up by the talons of an acoustic guitar, it's a vicious flute and violin that are making their mark. A blink of the eye: The fiddle makes another featured appearance. The material is never too bland, but each shake of these salty strings contributes seasons that are quite complimentary. God of Man: When we make the turn to take this path, it's a frictionless transition. It's so smooth; you may not even realize the railway car switched tracks. Regardless, we are definitely headed for a much different destination. This train will screech as it ascends up the bumpy hillside. Black and blue: In this piece, Guy pushes the envelope with psychedelic blues. He hangs a sign from the single and opens up a business in the country of Canterbury. He commences his commerce with the community. The Tangent is first in line to be enlisted as their earliest charter member. Upon returning: Guy goes to the magical forest and taps into the most sacred trees. This combines Spock's Beard "Stranger in a Strange Land" with peaceful passages from The Flower Kings. He ends on a homecoming celebration. Our protagonist is greeted with a display of streamers, champagne, and a scaled- down symphony. While he may have set out to make a simple step stool, he winds up building a tall sturdy ladder. With it, you take it to a stairway to heaven and encounter giant song structures. By the time it's done, you'll feel as overwhelmed, relieved, and rich as the hero from Jack and the Beanstalk. For this reason, One Small Step is a major trip and a huge accomplishment.

Manning - One Small Step Progrock Records (PRR139)

The latest release from the prolific 'Manning', One Small Step, sees the talented troubadour in a more thoughtful and dare I say artistic mood. Fear not, all the usual Manning trademarks are still here, superb melody, strong rhythm, vocals with feeling, yes it certainly all here, just presented in a slightly different way.

Opening track 'In Swingtime' is classic Manning fare, subtle guitar with more emphasis on the acoustic side, a more classical guitar sound. The strings also add that something extra, dare I say class? Laura Fowles demonstrates her marvellous ability to make the sax sound, oh so sexy, without dominating proceedings. Add to this the solid rhythm and engaging melodies and you have a perfect whole.

'Night Voices', has one of those wonderful, (but annoying at times), catchy chorus lines that you will find yourself humming and singing at various random moments. This is an arm waving, lighters aloft live classic in the making, an audience participation sing along if ever there was one. Oh, and just to put the icing on the cake, a beautiful classical guitar break.

The album goes back into the more powerful side of the Manning experience with 'No Hiding Place'. The electric guitar adds that extra bit of power for the introduction. Continuing with a subtle presence throughout the song. Another strong song, with all the right ingredients, a catchy tune with interesting interludes and additions from the band, interesting to the progressive rock fan but wholly accessible to the fan of thoughtful rock.

'The Mexico Line', seems to have many influences and styles mingling easily, folk, country, rock and maybe even a hint of bluegrass, with the usual Manning high standards of voice, melody and rhythm. Here the fiddle of Ian Fairbairn does add something special, again with out dominating the whole, a magnificent blend.

So to the title track, 'One Small Step'. To me this represents a brave move by Guy. We all know he can write, (and perform) the more powerful side of Progressive Rock. Here he has stripped down the 'prog epic', concentrating on the emotion, feelings and his inner thoughts. The 'story' of the song is engaging from the start, this is one of those tracks that you must sit and listen to with an open mind as well as receptive ears. It isn't the sprawling, powerful, 'in yer face' type prog epic, but it is quietly dramatic with subtle rather than bombastic time changes. Having seen Guy and the band perform this track live, I can honestly say that I think that this is the most engaging piece of music Guy has written thus far. So to sum up this epic, thirty minute plus, track, it is a gentle, though engaging soundscape of thoughtful and thought provoking observation, painted in impeccable musical detail by a master of his craft.

Paul Baker ARFm Soundscapes

As a big fan of Guy, I have to say that my initial impression of this new album is disappointment. It is nothing to do with the musicianship but I find that the epic is not quite at the level of his previous ones and, for the first time, find that some of the songs are a bit too much for Guy's voice. He is much better, IMHO, at songs which are less powerful but when he needs to inject some power his limitations are clearly evident. It would be nice if he, once in a while, allowed a guest singer to sing on his albums as a whole album of his voice can be a bit wearing. I even, heaven forbid, skipped one or two songs as the voice grated - for the very first time - but that was down to him trying to sing powerfully rather keep within the limitations of his voice. I can deal with his vocals in the same way as Dave Cousins or Nick Barrett where you get used to a certain style within the music.

Overall, this is not as good as Cure or View from my Window. It is still a very good album with some wonderful songs, just not consistent as his other albums in terms of song quality and variation. However, any Manning fan should have this in their collection even though, vocally, this appears to my ears to be as challenging as the musical direction he has taken with this album. One final point is that I find that this album is heavily song based, clearly less progressive than before and very few real instrumental passages of note.

3.5 stars.This latest release from Guy is less complex instrumentally than his past work but he makes up for it with amazing melodies and lyrics. Other than the usual instruments we have fiddle, sax and flute. Actually Martin Orford (IQ) guests on flute. It's interesting that Guy uses some of the same melodies on different songs, so he takes you back to what is familiar.

There are a few songs that really stand out for me,"Night Voices" is simply beautiful and uplifting, "The Mexico Line" featuring fiddle and piano, is just a really good tune. I like Guy's passionate vocals too. And "Black And Blue" which is guitar driven, including some beautiful soaring guitar. I like the flute from Orford as well.

The last 8 songs are really 8 parts of one song called "One Small Step...". From what I understand he's asking the question "Why are we so intent on exploring space when ?...and we have 8 different topics, scenerios or questions to that main question. A lot of thought went into this record, especially the lyrics and song structures, and on top of all this if you like Folk, well... you'll die for this one !

This is a superb album centered around the ambitious 30 minute epic suite One Small Step... A different again album to its predecessor A Matter of Life and Death, but there again I am quickly finding out that the patterns & style of a MANNING album seem to change on an album by album basis.

The first side (in old LP terms) of the album features 4 quite varied pieces.

The opener In Swingtime which seems to deal with the subject of getting older is a quite straightforward jazzy pop rocker but lkeeps the pace and toes tapping as we get into the album.

Night Voices which follows is a quite gentle folky piece with an infectious chorus harping back to more peaceful moods and times in the styles of Al Stewart, Paul Simon and Tom Paxton.

Next we swithc up a gear to the Stadium rocker No Hiding Place! This was inspired by the Beslan children kidnapping and events. It is piece which stomps! A middle frenzied section features Electric gtr and treated sax? as they all go mad and fly about in the stereo image until brought under control, again by the rousing last verse and choruses. Phew!

Last 'short' piece is the evocative The Mexico line which features one on my favourite lyrics of the whole album From my bedroom window, a hollow moon in a red, red sky.... It is a sort of tex-mex affair of light country feel and very nicely lines up what comes next.

The One Small Step... 8 part suite is wonderful. It reminds me of the long Roy Harper One of those Days in England or an acoustic biased Supper's Ready. Eight interlinked sections explores Mans' obsession with Space travel and Colonisation. Quite biting at times but always lyrical and melodically song based. This is quite some work! It is brilliant in places and keeps up the journey and pace throughout whilst switching from Acoustic driven sections to Floyd-esque spacy bits, fiddles, saxes, flutes, mellotrons, violins/strings abound...

This is one you have to hear for yourself and then please sit down and invest some time to in order to fully appreciate its splendour!

When it was over on my first listen, I sat there for a while just taking it in!

I love this album. Highly recommended I love this artist and I have still a number of Guy Manning albums to get through yet!

This prolific British troubadour focuses on space exploration on this 2005 release. The first few couple of songs are actually the highlights, suffused with his warm baritone and elegant lyrical and musical phrasings. "In Swingtime" is suave and suits its title, with gently bouncing arrangements, while "Night Voices" is a classic melodic Manning ballad. While "No Hiding Place" and "The Mexico Line" are more complex, they lack the simple appeal of the previous tracks while remaining song oriented.

As is usual for Manning, the lion's share of his efforts, and his main beef, is applied to a suite. While several components are emotional and communicated with conviction, such as "Man of God" and its bookend, "God of Man", the majority seems to forget to generate excitement. "Star Gazing", "Black and Blue" and "Blink of an Eye" are far more verbose than what we have come to expect, a bit too blunt, even trite lyrically ("we're only here for a moment", "the great escape of the monkey into man", oof), while the instrumentation seems overly subservient to Guy's message. A plodding bluesy feel seems to be the mood du jour here, and not what we have come to expect from Manning, whatever theme he may be exploring. Unfortunately it doesn't really work, as it needs some sort of infusion. All the instrumentation is there, the voice is there, but the material and the execution are both somewhat wanting.

Compared to Manning's earlier efforts, "One Small Step" is at best sideways, at worst a retrenchment.

Progcustic!

One thing for sure when the first time I spun this album it reminded me to Ian Anderson / Jethro Tull acoustic work in terms of style and compositions. But when I look into deep there are differences between the two. First is the fact that this one by Manning does not depend in itself with flute rather it relies on saxes. Second, Manning's voice has less accentuation as compared to Anderson's even though there are some similarities in some music passages. Third, the use of acoustic guitar in this album is much more intense. Despite the differences, I almost pretty sure that if you like Jethro Tull acoustic version, you would definitely like this album. It's a joy listening to this album.

The opening track "In Swingtime" (4:30) is basically an upbeat music performed unplugged using acoustic guitar as main rhythm section augmented beautifully with string arrangements and drum beats. Through this track you might say close proximity of the song with Jethro Tull's acoustic music. Of course the nice sax solo played by Laura Fowles makes it different. It's a good track especially in terms of the smooth flow as well as melody line. The second track "Night Voices" (5:56) is my favorite due to it has an excellent tagline melody with reasonable number of changes in moods. The opening part with acoustic guitar augmented beautifully with string section has made a good impression in the very beginning of the track. When the vocal line by Manning enters into music stream, it sounds nicely. The chorus line is excellent. As with the opening track this one has a good flow as well. "The Mexico Line" (7:02) is a bit different with the first two tracks as it has some country elements.

The central focus of this album is probably the epic that comprises 8 parts where each part is represented by one track. It starts nicely with dynamic acoustic guitar at first part "Part I - Star Gazing" (4:34) which has some kind of mellotron work. Again, Manning vocal line is similar with Anderson. The music turns into more energetic nature in the second part "Part II - For Example" (3:03) where acoustic guitars sound aggressively here. "Part III - At The End Of My Rope" (2:04) provides some sort of musical break as the music is cooling down. "Part IV - Man Of God" (2:36) is another favorite of mine especially in the way Manning sings - it's excellent! The use of flute in "Part V - A Blink Of The Eye" (4:56) is really nice especially with the combination of acoustic guitar work. The epic flows nicely until Part VIII with consistent use of acoustic guitars as main rhythm section and sometimes takes control of melody as well. "Part VII - Black & Blue" (7:26) has a great opening especially with its bluesy nuance coupled with flute and saxes. The electric guitar solo is also stimulating. The epic concludes with "Part VIII - Upon Returning" (3:28).

Overall this is a good album which has solid composition, brilliant songwriting by Guy Manning and there are many prog elements in this album. I'd rather categorize the music as progressive acoustic (progcustic). The other interesting point of this album is its artwork by Ed Unitsky who used to design The Tangent albums. Keep on proggin' ..!

Peace on earth and mercy mild - GW (i-Rock! Music Community)

After listening to Guy Manning´s latest two releases (the magnificent Ten and the brilliant Songs From The Bilson House) I felt the urge to find out more about this talented and prolific artist. A few years ago I bought One Small Step but I was disappointed at the time (I guess I was expecting something like The Tangent, the main reason I went looking for one of Manning´s records). So I felt the urge to hear it again under a new light. After all, Manning may be an important part of The Tangent, but his solo career has a style of his own. Besides, I had no recollection of what One Small Step sounded like.

Well, as much as I adore his later work, after repeated spins of the record, I still think One Small step as not at the same league as the last two. At least partially. The first two tracks, In Swingtime and Night Voices are excellent songs bearing all the trademarks of his best works: great melodies, clever lyrics, stunning arrangements and the overall feeling they couldn´t be better delivered. Both songs would be featured on either Ten or Songs... Unfortunatly the introduction and chorus of No Hiding Place reminds too much of 80´s pop cliches for my taste. Not a bad song (the maniacal sax solo during the strange middle section kind of saves the day), but not my cup of tea. The next track is Mexican Border, another tune that is not very inspiring. Again not bad, but quite below Manning´s usual excelent standard composition.

The centerpiece of the album is the 30 minute suite One Small Step. It is devided in 8 parts and while I found the lyrics very well done and interesting, the music fell short on this one. It seemed that Manning could not give the words the same exciting and varied musical landscape to go with them as he did so brilliantly on some of his works (like the masterpiece The House On The Hill from Ten). I like it, but I feel some kind of musical climax is missing. I guess it sounds better live than on the studio (the storytelling is fine).

All in all I found this CD to be better than I first thought. It has its merits and I´m glad to have bought it after all. But it is not for the newbie. If you´re new to Manning´s career you better get either Ten or Songs From The Bilson House before tackling this one. My final rating3,5 stars.

Prog down the acoustic path.

This is the seventh album from Guy Manning. The long album songs hints on Guy Manning going symph prog. To a certain degree, this is true. But instead of layer upon layers of electric instruments like keyboards and electric guitars, Guy Manning has largely gone acoustic. That and the reliance on acoustic guitars gives this album a pretty big singer/songwriter stamp all over it. Bob Dylan too had some pretty long songs, remember.

But Guy Manning has thankfully gone a more proggy route than Bob Dylan. The saxophone as a solo instrument is giving the music a melancholic flair. The songs too is proggy.

Guy Manning's voice is an acquired taste not everyone has acquired, I see from the reviews. It is pretty dominant on this album though with not that many instrumental parts. But the musicians is doing a great job.

The very long title track is divided into chapters and is a typical symphonic prog track. Although I am not entirely sure where the musical concept is here. There is no universal theme melody on this song. But it is still a good song. The rest of the songs are good though. I have to say this album is not the creative highlight of Guy Manning's output. But it is still a good album.

3 stars

Mixed impressions about this album. Based mainly in an acoustic mode, the first half consist in four traditional songs, and the rest is an epic tracked in 8 parts. The first half is simply outstanding, specially the first three songs. Great melody lines with Guy Manning voice shining all the time and this guitar support. The opening In Swingtime is really catchy and addictive. Night Voices is a superb ballad with extraordinayr lyrics and a beauty melody. No Hiding place is the highlight of the album, longer than the others, in the middle of the track it flows into a really progressive instrumental interlude, just stunning. Mexico Line is good track too. The second half, the epic One Small Step, is something not much of my taste. Excesively vocally driven, the tracks lacks of diversity and the instrumental sections are in small doses, maybe except the track Black & Blue. So I give five stars for the first half, something essential, unless for me, but three stars for the second half. So as a result, I will give it four stars.