LOGAN DWIGHT

Regretfully, the first two songs can tell us all of LOGAN DWIGHT, regretfully ...

LOGAN DWIGHT were another obscure Italian rock outfit in early 1970s. They had finished as a short-lived one, with releasing an eponymous album only ... everyone wonders why they had been disbanded soon, although they could release a good album blended with progressive stuffs and poppy ones. Wait, I'm afraid, through listening to this album, that this mixture itself should have let them break up, for the reason that they could not find the way they should go as a 70s rock outfit. From the third to the last track, we can find comfort for our ears ... basically easy-listening mellow pop & rock with heavy, jazzy (sometimes progressive-tinged) cultural spice here and there (I can appreciate their incorporation of various rock essence into music sense in early 70s, though - in this sense they can be called as progressive in my opinion).

However, the titled track and the following one are very fascinating. "Logan Dwight" can be suitable to be considered eclectic ... in the middle part terrific vibes can let us palpitate exactly, with high-tempo and complex jazzy-flavoured heavy & warped rock merry-go-round created by fuzz-buzz flute, deeply jazzy bass, flexible piano sounds ... a very promising song for this project, this might have been. And yep, beyond expression, "Moments Of Eternity" is! Let me emphasize this song is one of masterpieces in RPI scene (overestimated a bit?). With a very impressive, eccentric piano solo, addictive string sections, deep jazz touches, able to call this suite as a symphonic progressive rock one, that can notify us just the song should be LOGAN DWIGHT's signboard, I wanna say.

And back to my very first phrase. Believe me, this album is a good one, just as in early 70s Italian rock scene.

This album by this peculiarly named (for an Italian band) group begins well. The opening track, Logan Dwight starts off sound very similar to the title track from King Crimson's "Islands" album. By the middle it turns into a David Bowie-esque piece, the feeling helped immensely by Federico D'Andrea's vocals. The second song is every bit as good, but with a more traditional symphonic style with some Chicago-like horns.

After that, however, the band veers almost completely from the prog sound they performed so well, instead sounding like an amalgam of early seventies bands, like Jefferson Airplane and Crosby Sills & Nash. These tracks are not bad, but they are nothing special either.

But the first two tracks are dominant enough to give this album three stars.