SPIRITS BURNING

Keyboard player Don Falcone has been the man behind the ever-changing space rock project that is Spirits Burning since its inception more than 20 years ago. He and Michael, along with Albert Bouchard (ex-Blue Öyster Cult) are the core for this release, and they have brought in numerous guests including BÖC members Eric Bloom, Donald "Buck Dharma" Roeser and Joe Bouchard, Hawkwind associates Harvey Bainbridge, Steve Bemand, Bridget Wishart, Adrian Shaw and Dead Fred, as well as Nektar's Ron Howden, The Strawbs' Chas Cronk, and others. So, there are great musicians involved, along with one of the world's finest authors, combining to provide an audio representation of one of that author's most well-known works, so I was looking forward to this. Which meant that I was soon bitterly disappointed. The vocals are poor, often too wordy as they try and reflect a complex story, the melodies are clumsy at best, and when it does all come together such as on "A Haze of Crimson Light" all it does is shine a light on just how poor some of the other material really is.

If it weren't for the calibre and history of those involved then I am sure this would have been a self-release, but it has been picked up by a label as many of those involved have sold millions of albums (and in one case, books) over the years. The chances are that if I had seen this for sale in a shop and read what it was about then I would have purchased it, given my love of Moorcock, and I would have been intrigued to hear how they had managed to capture elements in a musical fashion. However, having played it once I would have done what I am doing now, which is putting it to one side and never playing it ever again.

This does not run by itself. Of course such an approach offers the benefit of taking a great bunch of other musicians from all over the world in charge. But you also may run into some danger, to overproduce for example, or to contribute something single-tracked, not homogeneously. Not the case here, as well as concerning the past. The compositional aspect is beneficially accomplished. While looking back to a close connection with Daevid Allen, Falcone's roots are in space rock predominantly, Verdeaux's preference runs on symphonic, folk and jazz. This altogether means covering a wide range of styles overall. With the taste on a somewhat jazz infected mellow space rock. And, not a surprise really, this is including many Gong and Hawkwind related musicians again.

Daevid Allen unfortunately left us in Spring 2015, so much the more it's quite magic, exceptional, that he's still involved here in parts. And so immediately the opener and title track shows some typical sensitive guitar playing. From now on you'll be faced with a crossover of styles, instruments and impressions, constantly shifting, which guarantees an entertaining affair. A charming flow overall, based on accessible compositions. Less ups and downs, it's provided with a somewhat chill out character predominantly. As for that definitely also suitable for background listing when sitting in a pub or something like that. Vocals are rarely used, brass instruments more often, partially EWI synth based, contributed by Bridget Wishart.

When looking into some excerpts Sun Sculptor & The Electrobilities comes totally synthesizer drenched, where the mellow Birth Of Belief features sparkling piano lines close to the band Quarkspace around Paul Williams in style. You will also get acquainted with ambient, folk, indo raga and dub impressions throughout. The silky Isolation In 10 80 somehow reminds me of Marianne Faithfull. No, it's Bridget of course, yeah! Then Fuel For Gods sees Fabio Golfetti excellently substituting Daevid Allen. Really nice album, also, in patches at least, a tribute to this grand musician. Will trap after some time in one way or another, 3.5 stars.

In addition to being arranged in a dense style rich with solos, exotic instruments and enough obsessive rhythms to recall BOC and Hawkwind to please their fans, I must say that the songs are really good, sometimes excellent, and for almost a whole CD, overflowing with sixteen tracks that fill almost every digital memory space available.

"Hothouse flowers", sung by the iconic Buck Dharma, opens the dance in Blue Oyster Cult territory, then gives way to the amazing "Geronimo", with the frail and raspy vocal performance by Albert Bouchard expressing his overwhelming personality on one of the record's most successful mid-tempo pieces, also thanks to Segel's violin and Moorcock himself on harmonica. Next comes "Soiree of Fire", another sublime choral piece with three voices (Moorcock, Bouchard and Anne Marie Nacchio Castellano, Richie's wife) decorated by Wishart's electric horns. The catchy "In The Future", sung by Jsun Atums, hosts a nice solo by Richie Castellano.

"Doomed" still features the fragile voices of Albert Bouchard and Michael Moorcock, while "Fall in love", which could be a major piece of the Lemmy-era Hawkwind, is sung by Don Fleming (in the nineties collaborator and producer of Dinosaur Jr, Sonic Youth, Teenage Fanclub and Screaming Trees) and "Any Particular Interest" again by Atoms. "Dark Dominion", another masterpiece mixing the motorik rhythm and the Hawkwind sound, sung by Andy Shernoff of the Dictators, concludes the first half hour of the album (and the first half of the pieces) - and so far there has not yet been a wasted note.

At this point enters one of the top players of the record, namely Mr. Joe Bouchard, ex-bassist of Blue Oyster Cult and brother of Albert, who delights us with his well-known monstrophile inclinations (BOC fans will understand) and with his peculiar voice on two of the best tracks of the album, the crazy "Seven Finger Solution" (perhaps the most infectious riff of the album, mostly in a 7/4 time signature) and "To Steal A Space Traveler", an over seven minutes space rock jam that summarizes the best musical aspects of the project.

In the following three songs, Albert takes the microphone: the best of them is "Virtue & Mrs. Amelia Underwood", which mixes the modernity of the verse with the classic rock feel of the vocal harmonies, with Falcone and Wishart coloring the piece with electric tools; "Back to 1896" houses a phenomenal refrain and the beautiful guitar of Doug Erickson, while "Learning the art" is a moody, melanchonic beauty.

Only towards the end there is a certain weariness, with "Quest For Bromley" and "Old Friends With New Faces" being a little inferior to the rest of the material. Even the good "Thank You For The Fog" in its eight minutes is not always up to the final epic that the collective hoped to achieve here.

At the time of this review, the collective is supposedly working to produce the sequel of the album, "The Hollow Lands", which of course will be based on the second book of Moorcock on the "Dancers at the End of Time."

All I can do is advise you to track down the excellent books and to listen to this album with pleasure, anche album that testifies not only the creative ability of the exuberant Don Falcone but also the fertile creativity of terrible old men like Moorcock and Albert Bouchard.

A full four stars, and totally un-missable før BÖC and Hawkwind fans.

'Starhawk' comes as a typical concept album, thus in some sense comparable to their 2011 album 'Behold The Action Man'. It's a musical adaption, following the steps of Mack Maloney's eponymous sci-fi series. Hereby the booklet offers an 8-page comic, which will give you a clue about the story running behind. And this first of all is featuring space traveller Hawk Hunter as the central figure. Accordingly, as might be expected, lyric-wise there's much to tell, this presented by a well sorted crew of vocalists who are embracing a proper range of expression.

By way of example just let me mention Judge Smith's more theatrical operetta style on Stellar Kingdom, which may not attract while staying on its own, but when considering the context, very well though. Or later you'll be introduced to some celestial respectively ethereal contributions presented by Emma McKenzie and Bridget Wishart, just when Hawk Hunter's new flame Princess Xara comes into play. Well, as for a first summary this means that the vocal parts are supplied as a really well thought out aspect here.

Musically the album covers a lot of influences and is characterized by a rather cinematic flow, which nonetheless, like Right On The Mark, includes enough rock songs as such. Hence you won't miss Hawkwind references either way - no wonder when having a look at the complete line up. Now coming to 'Hawk and Hunter' - I'm really flabbergasted by the song I Have Two Names. Kev Ellis is singing, the booklet tells. Albeit, also taking the composition as such into account, at first I meant to hear a David Bowie issue. Surely successful, on top of it Billy Sherwood contributes a nice space guitar solo.

And then Let's All Go Cloud Puffing is serving a strong indo/raga feel, My Life Of Voices on the other hand will include crimsonesque moments. There are attractive melodic compositions of lasting memory given, like the couple We Move You and Tripping With The Royal Family featuring Paul Sears behind the drum kit. Furthermore a lot of soaring guitars as well as spheric synths are provided, the latter in the same way as the organ and strings by Don himself basically.

Not solely regarding the story behind, 'Starhawk' is more of a mellow space rock album overall. This quasi like recollecting the SPIRITS BURNING origin, since some former albums stylistically quite a lot are wandering through other territories. The more I listen the more I can smell the rounded concept and implementation. Finally, 'So strong is desire - so strong is my fire' ... the band are finishing this episode with a melancholic song of love, interpreted by Karen Anderson on this occasion. Yes, they are catering for many tastes here - a nice album that is well worth a closer listen.

CD1 features eleven new compositions, where the second disc comprises remixes and songs that were previously available on compilations only. Generally speaken this is more dedicated to spend a relaxed one and a half hour. Apart from the synths maybe, a space rock component decreases here to the benefit of ambient, folk, jazz and lounge associated moments. Accordingly Bridget is not acting like a standard rock singer, her voice is rather charming, more ethereal, restrained, not pushing at all. Also, well-known for being in control of a EWI synthesizer she's contributing a lot here while generating diverse wind instruments. On top of it the cover artwork is developed by her too.

Technically seen this is flawless, as everything what is worked out by Don's hands music-wise, no doubt. A lot of details are to recognize again. And the album is far from being overproduced, regarding such a bunch of different contributors. However the compostions can't seduce me all the way through. The extended fok/chamber drenched Reflections suite for example can't touch my soul, probably designated as the album's centerpiece and certainly produced with heart and mind. A matter of taste of course. On the other hand, featuring Alan Davey's (bass) and Jay Tausig's (guitar) ambitious share, I like the powerful Eternal Energy that much.

Luckily the bonus tracks on CD2 are considerably improving the whole production, starting with the space rock genre typical Always. Or just following the wonderful triphop flavoured Iceflow which comes Lunar Dunes reminiscent. And finally Chain Of Thought evolves to another captivating exemplar. This album may find some fans, especially those who are oriented at Bridget's appeal of course. Anway, I would prefer other SPIRITS BURNING productions though. Apart from that - and this will round up my rating in the end.- for me it's still awe-inspiring to observe how this collective is realizing the process of developing music.

Again a bunch of musicians have made a contribution to the thirteen songs. Solely mastermind Don Falcone appears on every track, understandingly enough, as he has assembled the puzzle in the end. This time Daevid Allen plays a relatively minor role, being present on one song named Bring It Down - lyrics and vocals are offered by himself, related to environment protection in general. 'If the hurricane don't shake ya, maybe the song can wake ya' - lyrically seen a clear message, musically this makes it to a proper reggae tune anyhow.

SPIRITS BURNING are on a relaxed trip predominantly - the rock component takes a backseat in general. Hence the first two songs appear in a rather jazzy lounge outfit, where Raised On Coal & Oil is more suitable for background listening. Treasures At The Dawn Of The Century strongly features electronic elements, although eqipped with a sawing electric guitar too. The atmospheric ethno and chamber/symphonic flavoured Our Secret Cloud is the first to offer a vocal presence then, a gripping implementation due to some different stages - excellent - the album's peak I would say ...

... if not Infinite City works inspired in a quite similiar way, shows - partially distorted - lyrics in French by Verdeaux, just another tricky exemplar which obviously appears jazz/fusion laden. Hand Signals & Daily Horoscopes is the very best to remind me of the aforementioned Bo Hansson, where The Road To Shave Ice otherwise mirrors something like an avant space attitude. A variety of events is summed up, no wonder, considering that members of Thinking Plague, The Muffins, Universal Totem Orchestra are also taking part here.

'Healthy Music In Large Dosis' - an aural panacea in other words - this means yet another song collection where the listener has the opportunity to explore a lot which evolves off the beaten path. Released on Gonzo Multimedia this is an album with an unpredictable flow and quite a few compositions of high quality. Wind instruments are very present, just to note another prominent trademark. I hear a challenging blend of different music styles and instruments, suitable for moments of reflection basically ... and equipped with a lasting impression, if you decide to stay tuned to it for a while.

Okay, it's quite obvious that this collection - consisting of 16 songs in total - is not, at least not solely, resulting from common recording sessions somewhere in a studio. That means, also tapes and a bunch of digital snippets must have gone back and forth, predominantly between the US and UK I assume, until the final mix was ready to go at some point. So concerning this procedure explicitly - at least at the very start - he quite rightly can be deemed as a pioneer. Well, this is my first SPIRITS BURNING attempt, which is announced as a 'Space Rock Journey Into Film Noir'. Stand and deliver! So what is it now? The art work is certainly corresponding, while being faced with the Action Man aka Roger Neville-Neil on the front, a cool figure in trench coat and fedora.

Cast shadows behind a curtain and diverse other hints are pointing to a dangerous and somewhat criminal affair which is going on here (though given with sense of humour, taken for granted, just in order to defuse the situation a little). Hawkwind companion Neville-Neil is responsible for the story and appears as the co-producer here. Furthermore, most of the songs are worked out in collaboration with Daevid Allen, who frequently is guesting at Don's homebase. This surprisingly sounds really organic, when considering the modus operandi. The song collection represents a wonderous mixed bag of ideas and impressions in general, summarized by a cinematic note overall.

Fine - SPIRITS BURNING have a really promising start with Rendezvous At Lava Lounge - this is an excellent prog drenched space rock tune, featuring flute, the beloved Mellotron and Gitta MacKay on vocals reprising the album motto like a mantra. The following Stand And Deliver shows a styling which already is closer to Hawkwind, I'm speaking of the vocal attitude as well as the straightforward garage rock beat. Though presented with a way of expression, which comes a bit lighter in general. Thematically this is dealing with some figures of serious crime, for example bank robber John Dillinger, hijacker D.B. Cooper or pirate Bold Black Bart.

Not every song makes it to a blockbuster, the more garage rocking impressions sometimes sound repetitive for example. In order to mention other outstanding pieces, let me continue with Outcast which shows some ethno/krautrock leanings due to didgeridoo and the hypnotic flow. The dark melancholic HypnoSpy comes David Sylvian inspired where the grooving instrumental Hemlock On The Rocks expresses a happy optimistic flavour. 'You are nothing more than a hired voyeur' ... Obelisk Of Fondue represents a rather weird snippet with Daevid Allen on vocals.

You see, there's a lot to explore on this occasion - hereby 'Behold The Action Man', released on Gonzo Multimedia, features some familiar hints from Gong, Hawkwind, Here & Now, Secret Saucer aso. Spacey synths everywhere you are, variating vocals also including Bridget Wishart and Don himself, violin arrangements coming from Cyndee Lee Rule ... eh, although deserved, I don't know if it is helpful to name all the contributors here. In any case there's a lot of competence brought together by Don Falcone, and the result is a rather interesting album overall.