AVIARY

Derivative is probably an overused term when discussing music, but in the case of Aviary it really seems to be appropriate. I have to admit to being one of the people who never heard of these guys back in the seventies when they were active. The songs on this debut release bring to mind so many other seventies AOR and prog-related bands I can’t believe there weren’t some liberties taken in putting these tracks together.

The opening “Soaring” for example could easily pass for ELO around the time they started replacing their string section with synthesizers, circa ‘Discovery’, although the tempo and keyboard passages sound like something Jeff Lynne would have put together around 1976 or so. “Anthem for the U.S.A” is even closer to a Lynne composition, and here the falsetto harmonizing male vocals are even more ELO- like. Lynne made a great next-generation Paul McCartney, and on this album Brad Love sounds like their younger second-cousin.

And the suspiciously familiar sounds don’t stop there. On “As Close as you can Get” Love manages a pretty decent Freddie Mercury imitation, but the musical accompaniment sounds more like the Buggles or maybe that “Turning Japanese” one-hit wonder the Vapors. And “Mystic Sharon” really seems like it should have belonged on the Don Was and Giorgio Moroder-produced “Electric Dreams” soundtrack alongside (once again) Jeff Lynne and Human League new-waver Philip Oakley. I loved that soundtrack by the way, but it didn’t exactly age well, and neither does this album.

“Feel the Heart” is one of those late-seventies tracks that starts to hint at the coming neo sound that became popular with bands like Saga and Asia – highly polished, heavily synthesized and just enough fluff to give the impression it’s more progressive than it really is. “Average Boy” is a pure new-wave number drenched with synthesizers and pompous, choppy fills and flourishes, plus a little more of that Lynne falsetto just for good measure.

The slow, introspective, flash-your-lighter-and-sway-with-the-music©® concert number comes with “I Will Hear”, and the band closes with another new-waver in “Maple Hall” that features affected vocals and a fairly danceable rhythm amid some pretty awkward and vapid vocals.

Sorry, but this isn’t a lost masterpiece or anything. It is kind of fun to listen to once or twice, mostly because it brings to mind an awful lot of music I grew up with that sounded a lot like this but was actually original and much better. The band would release a slightly more original and thus better album years later (after they broke up), but this one has all the makings of a marginal debut from a band that would have had more success trying to make a living as a touring cover band. For collectors only, although I’m not sure what type of collector would find this one appealing. Two stars.

peace

This US band is deeply rooted into some great bands of the seventies and plays a fresh and fun rock music.

Influences are plenty: guitar and vocals a la Queen for the opening track Soaring are such a pleasant way to start this album. Brad Love on the lead vocals has an excellent voice and performs in an outstanding way throughout this album. This song is excellent and is one of the highlight of this work.

If you are into an ELO ride, you can embark the Anthem For The USA while 10CC is just next door with Puddles. It holds the same craziness and clever arrangements (vocal + instrumental parts).

A combination of the both is noticeable during the enjoyable As Close As You Can Get. The melody is on the pop side but catchy and the vocals are again very well crafted. I am not saying that this is a great song, but it reminds me nicely two bands I have liked very much (and still do).

This album might sound outdated, but it should please anyone who is willing to refresh his memory and listen to unknown numbers which are truly attractive. Mystic Sharon is another jewel from this debut album.

One song is not on par: Feel The Heart which is AOR oriented, but overall this album holds more pleasant songs than average ones. If you like the bands that I have mentioned, you should have a good time while listening to this work. Add lots of synthesizers as well to get the whole picture.

A song as Average Boy is almost a mini-opera full of splendid vocals; it is really a performance but almost the whole album is of good value. It was a very good surprise when I listened to this album. Four stars.

That's not bad album. Strange thing is that I feel like listening pop music. After all these years when I was trying to avoid it, pop is striking back from rock point of view. And it's like "don't give in to the dark side of the rock Luke, fight with it.", well, at least little bit.

Music is pleasant, melodic. Contains nice guitar work. Yeah, especially guitar and vocal synchronization here is wonderful. So why I feel little bit ashamed when listening this ? Maybe that's not right. Just enjoying it would do better job. Anyway, rating will be between 3 and 4 stars, because this album deserves it.

Well, this problem with pop feeling is probably nonsense, in bio is said that they're pomp prog. As my brother said, music of Queen is melodic too. And after all, I'm the one who don't like death metal and distort guitar sounds, I should be glad for that. Maybe as this music is done is just another way how to approach prog music. Now I'm decided, four stars.

In fact, when listening some tracks, I have feelings as Freddie Mercury should sing in next moment.

EDIT: 3(-), sweeter than Moon Safari.

One of the so-called pomp prog bands that existed at the end of the 1970s and into the early 80s, AVIARY was the brainchild of classically trained pianist Brad Love who started the band in his home town of Omak and relocated to Seattle. While starting out as a full blown progressive rock band, Love didn't got in on the prog scene as it was waning in 1975 and didn't manage to release a debut album until 1979 when the climate had shifted completely from just a few years prior. Like many late bloomer prog bands, Love steered AVIARY into the world of hybrid prog that focused on catchy pop hooks and only used prog elements as the extra touches much like other contemporary acts like Styx, FM and Kansas.

After crafting a batch of above average cuts and assembling the right cast of characters to fulfill his prophecy, Love was lucky enough to capture the attention of several record companies in Los Angeles courtesy of a friendly connection. This resulted in a short-lived career that found AVIARY's sole self-titled album being released in the year 1979 at the height of the new wave and post-punk fueled frenzies that were en vogue at the turn of the decade. One of the respites for has-been prog bands was the world of arena rock style pomp prog in the vein of Styx, Journey and Kansas who had considerable success crafting catchy pop hooks with elements of prog woven into the compositional fabric.

And indeed AVIARY steered into that direction on its one release with instantly addictive pop hooks that found Brad Love showcasing his high register vocal abilities that sounded like a mix between Queen's Freddie Mercury and Sparks' Russel Mael. Integrating many of the successful acts' sounds into its mix, AVIARY crafted a unique fusion that took a bit of Sparks, a dab of Electric Light Orchestra and added a large heap of Queen and Styx. The result turned out to be surprising good with a collection of nine high energy tracks that existed somewhere between AOR, crossover art rock and the more demanding techniques of symphonic prog. The band enjoyed having Yes' manager of the time, Brian Lane who helped Yes reinvent itself into the success story that would release "90125" a few short years down the road but unfortunately AVIARY didn't experience the same sort of luck.

Despite touring with acts such as The Hollies and Eddie Money, AVIARY didn't even make a dent on the charts with its catchy and accessible pop hooks that were overshadowed by the new wave craze. The AOR scene was still viable however it was mostly established bands that were finding radio hits and not up and coming acts like AVIARY. Regardless, the lack of success certainly wasn't a result of a botched album's worth of material. The music of AVIARY was some of the top notch pomp prog of the entire era with instantly addictive and even quirky bounciness to the tunes that adopted the near falsetto style of Sparks with the arena rock heft of Styx and Journey. Brad Love's keyboards were fast and fiery right out of the Kansas playbook and at times the bouncy bass grooves remind me of some of the 80s Marillion material. Likewise lush vocal harmonies evoke classic Queen and the melodic pop sensibilities inspired by The Beatles and Jeff Lynne's ELO.

Oddly enough i have always found Styx and Journey albums to be a tad hit and miss with some brilliant material and some not so much. AVIARY on the other hand crafted an entire album of catchy pop hooks accompanied by energetic instrumental performances. High energy and passionately delivered with a focus on the high register trebly range, the band mastered the art of crossover prog like few others did yet remained overshadowed by the legions of acts such as The Clash, Talking Heads and The Knack (who they played with) in 1979. While some similar acts like Supertramp did find success during this era, disco was also hot with Donna Summer and Michael Jackson tearing up the charts. This music is actually fairly brilliant and addictive! While most proggers find this to be sell out music and most casual music listens will probably find this to be too pomp for its own good, for those who can find that perfect musical truce between the different worlds, they will love the heck outa this one!