LONDON UNDERGROUND

To be honest, even listening to this digitally it feels like a vinyl release in that this is music out of time, music which belongs firmly in the Sixties and sounds like it never progressed. Here Gerlini has been joined by Alberto Capelli (guitars), Stefano Gabbani (bass) and Andrea diLillo (drums) but it is fair and correct to say they are only there in a supporting role as this is all about dated keyboards and organs, with the Hammond front and centre. It is taking us back to a time where Brian Auger and George Fame were kings, and we even get a version of "Bumpin' on Sunset" which Auger made famous, while "Fanfare" could have been come straight at us from The Nice and the mighty Keith Emerson. Gerlini plays held-down chords with one hand and must also be using sequencers as there are often two layers of background while he is soloing with his right.

There is something very special about the sound of the Hammond, whether it is in prog, psychedelia or jazz, and in the hands of a master is a dominant force and there is no doubt that Gerlini is just that. There were some wonderful bands at the festival last year, as there is every year, but this recording leaves no-one in any doubt as to why London Underground were the headline.

"Billy Silver" is an original composition that seeks to extol the virtues of the dreamy e-piano, lusciously enhanced by swirling synthesizer puffs, setting up the platform for the surly Hammond to electrify the crowd with its arousing resonance. Capelli gets his turn to dazzle with some scintillating runs, while Gabbani carves like a madman, in league with the thrilling percussive exploration. A very smooth landing as the finale settles the score. The glimmering "Ray Ban" reexamines the legendary style of Booker T and the MGs, what with that thrifty organ pouncing around like a sunglass-wearing panther, the insistent electric guitar picking its spots, swerving over the bass furrow that seeks only acceleration. This has a groove that just nails it! How about a little wink and nod to another famous organ donor, Vincent Crane of Atomic Rooster and his "Fanfare", sounding like Keith Emerson's partner in ivory crime, while DiLillo does his Carl Palmer routine convincingly. Rousing, to say the least.

The immediately recognizable John Barry theme for "Midnight Cowboy" is next, a masterful rendition that chooses to provide a greater sense of panorama and depth to the piece, clearly infusing that magical Hammond deep into the cinematic atmosphere. The rhythmic duo also shines brightly, with complex fills and relentless bass movements. The Capelli guitar shrieks dramatically, as if an entire posse was chasing him down, threatening a lynching! The main theme resumes the ability to convince with exceptional restraint. Next stop, a 1963 jazz standard, the playful "The Jive Samba" from saxophonist Nat Adderly, an eclectic fusion of crisscrossing themes, all expertly woven but using the organ and the electric guitar as the main two protagonists, with Gerlini doing an incomparable speed job on his ivories. The perfect union of melodic style and technical prowess, expressing talent and instrumental control.

Sounding very much like an early James Bond soundtrack slice, the original composition "Honey Drops" has that pulsating sense of danger and mystery, ideally suited for a wide palette of moods, from trepidation to escapism. The lead guitar solo is relentlessly thrusting, the bass and drum tandem muscularly athletic, and the underlying organ flurry shoving the action sequence along. Breathtaking and exhilarating instrumental madness.

Then, we finally arrive to the eternal majesty of the 11 minute and 22 second epic "Bumpin' On Sunset", a Prog Rogue staple ever since buying the vinyl album "Straight Ahead "in the fall of 1974 and utterly in love with this piece of music. For Gerlini to shine on par with the master Brian Auger is more than enough credit, a world class display of keyboard prowess. On this magical 2023 live version, the mood is therefore slightly more effusive, the bass and drums upfront and powerful. Another difference is that the guitar spot is also more in your face, as John Mills kept things moodier, while Capelli shows of a more Steve Cropper-like feel for his axe, which suits this in- concert purpose fully. The outro is also way more rambunctious than the original, so one fan like me can get full value by loving both versions equally!

A Jimmy Smith (organ) and Wes Montgomery (guitar) classic, "13 Death March" is a track that is often referred to as a dynamic interpretation of how a Hammond should sound like and how electric guitar technique was elevated by a genius such as Wes, an absolute pioneer and mentor for the many great guitarists to follow (Clapton, Akkerman, Hendrix, Satriani, Stevie Ray Vaughan etc?). Our Italian crew are outright reverential in their display of feel and emotion, showcasing blistering playing with impeccable pitch, melodic intent with dense dynamics, a real treat for the progressive fan out there.

Another longer original piece from Gerlini is the rambling powerhouse of "What I Say", a massive mechanical beast of rhythmic fury and sonic insanity. The metallic organ tones are insistent to the point of mania, literally like an artillery barrage of sound, unforgiving and relentless. Almost hard-rock jazz, in an improvised jam session. The electric guitar in particular takes over and sets the controls to the heart of delirium, vaulting this London Underground spacecraft into the farthest realms of the universe. When Gerlini latches onto the cosmic furrow, he spares no astronautical prisoners, combining his efforts with the wild psychedelic guitar, in a double-edged onslaught that defies description. Priceless.

Another well-known Brian Auger masterpiece, the brilliant "Tropic of Capricorn" is the breathless finale of what must have been a real fun concert. Clocking in at nearly 10 minutes, just like the previous track, it acts as an encore, with lots of pleading from the vocally enthused audience. After a typical pro-rock intro with synths flirting with orchestral abandon, and drums pounding the pavement, the main theme gets into gear and settles in for the ride. The feline guitar meows uncontrollably, fussy but with cause, as Capelli presses and caresses the strings, flickers and flutters all over his neck. What better way to finish up a live performance than a mini drum solo, expertly provided by Andrea Dilillo that shakes you all over. And suggests exuberant applause for the experience. Absolutely thrilling instrumental genius, that comes very highly recommended.

5 Chelsea metros

London Underground started as a musical project by Gianluca Gerlini on piano, Hammond, Moog, clavinet and Mellotron, Marco Piaggesi on bass, banjo and backing vocals and Daniele Caputo (who also played in other Italian band Standarte) on drums, percussion and vocals, with additional musicians on guitar, pedal steel guitar and string arrangements. The band released their eponymous debut album in 2000, followed by Through A Glass Darkly in 2003, Honey Drops in 2010 and this latest effort entitled Four, from 2018, after all those years only Gianluca Gerlini remained as an original member in London Underground. I am familiar with the first two albums and have always loved the pleasant and melodic Hammond drenched music. Listening tot his new album I am delighted, what an amazing band, what a quality, and what a wonderful vintage keyboard sound!

A slow rhythm with delicate Fender electric piano, beautiful Elka strings and a compelling organ solo in Billy Silver.

Swing time with Hammond Extravaganza, evoking Brian Auger and Hardin & York and an awesome rhythm-section in Ray Ban.

A mellow atmosphere with a Floydian synthesizer sound, and hypnotizing drums, gradually turning into a psychedelic climate with exciting work on guitar, Hammond and synthesizer in At Home.

First a slow rhythm with an electric piano solo and then an accellaration with again exciting work on piano, organ, fuelled by that awesome rhythm-section in The Comete.

A catchy mid-tempo featuring powerful saxophone and Hammond, the interplay with the drums and bass is outstanding, and finally a fiery guitar solo in What I Say.

A mellow and hypnotizing atmosphere with delicate work on clavinet, Hammond and again powerful saxophone in a lush climate in Tree Job Man.

A swinging rhythm with exciting Hammond and Moog (like ELP, Triumvirat and Quill), fuelled by dynamic drums and bass in finally a swirling Hammond solo in the Brian Auger cover Tropic Of Capricorn.

First a swinging rhythm with a spacey Moog solo, then a lush and dynamic atmosphere with strong work on clavinet and Hammond, and in the end exciting interplay between powerful Hammond and fiery electric guitar in Jam.

Again swing time in the Joe Zawinful cover Mercy, Mercy, Mercy, this is top notch Hammond Extravaganza!

The Wes Montgomery cover Bumpin' On Sunset delivers jazzy Hammond play, a short but very entertaining composition.

This vintage keyboard driven prog is not like ELP or The Nice but more in the vein of Sixties bands like Booker T & The MG's, Brian Auger's Trinity and Hardin & York (former Spencer Davis Group members), I am sure that the floods of organ will delight the many Hammond aficionados!

This review was recently published in a slightly different version on the Dutch progrock website Background Magazine.

If you like keyboards and more keyboards layered over keyboards, with an astonishingly tight rhythm section laying down tight grooves- you'll love LONDON UNDERGROUND.

Add in spacey, jazzy jams that sometimes sound lifted from classic progressive albums of yore (think Atomic Rooster, Pink Floyd, Argent, heck, even vintage Santana- you'll get the flavor, fall under the spell of the music, and emerge on the other side with a grin.

At least I did.

LONDON UNDERGROUND

I've heard it said that long-time lovers begin to look alike, think alike, react alike- so much that one can finish the other's sentences.

That's the feeling I get listening to these veteran musicians. They've been working and playing together long enough to know where the music is headed, when to build, when to draw back- then build again.

I CONFESS...

...I can't decipher the album title runes(?), but I see this album listed as "4", which is fitting and proper as it's apparently the fourth release by the band, now consisting of GIANLUCA GERLINI on multiple keys, STEFANO GABBANI playing bass guitar, and ALESSANDRO GIMIGNANI on drums.

Several guests, including former member Fabio Baini, add bass guitar, guitar, viola, and some superb sax sprinkled throughout this 56 minute disc.

THERE'S SORT OF A FORMULA

Although the entry to each tune varies, it's based on fairly simple patterns established by bass and drums at times, ethereal keyboards, or various combinations.

Then there are serious jazzy workouts, often lead by growling Hammond, or synthesizer sounds, and guitar here and there.

At times the keyboards including Mellotron, string sounds, electric piano (sadly, never acoustic piano), are setting a mysterious or foreboding mood, while the rhythm section absolutely cooks. I was repeatedly impressed by the understated, tasteful wizardry of Gimignani on the drum-kit. Certainly each player holds his own; no slouches here.

I thought guitars could have profitably been given a bit more prominent role.

STAND-OUT TRACKS

Each track is strong. I especially found "What I Say" with its soaring sax lines and uptempo backing, winsome. Also, "Tropic of Capricorn" (Brian Auger) and "Jam" wormed into my heart, with stentorian keyboard lines nudged by crisp hi-hat fills and solid bass guitar underneath, or the knockout drum groove in "Jam".

BONUS TRACKS

On the CD and vinyl editions of "4", you'll also get classic Joe Zawinul tune "Mercy Mercy Mercy" made famous by Cannonball Adderley, and Wes Montgomery tune "Bumpin' on Sunset". To these ears, nothing new was really brought to the table by these cover tunes.

IN SUM

Fine, fun keyboard-centered jazzy, psychedelic, progressive album. I'm going with three and a half stars on this one- better than "good", but not bringing enough "progressive" to merit "essential" for your collection.

1. "Fanfare" - album begins wonderfully with their own version of "Fanfare/Fire Poem" originally recorded by The Crazy World of Arthur Brown. And of course it's an instrumental, so we can listen to entire "background" music which was used as a "base" for Arthur Brown's crazy poem. Gianluca Gerlini really knows how to play this track, you'd swear that it's resurrected Vincent Crane bashing his trusty organs again here! Fantastic playing and superb idea to give a new life for music which was already long forgotten. BTW mellotron intro is truly splendid too.

2. "Ellis Island" - London Underground's version of Brian Auger's classic instrumental track is also top notch. Very jazzy performance as always loaded with swirling organ, but this time we can also hear supportive wah-wah, funky guitar licks played by guest: Riccardo Cavalieri. In general it's very faithful to Auger's original but I still think it was worth to re-new it, especially that Sergio Taglioni added some nice Moog fragments here too.

3. "Jive Samba" - very lively tune which (as sources says) was originally played by Cannonball Adderly. I can describe it as schizophrenic samba with energetic organ chops and crazy-ass electric piano bashing in the middle. Sounds very exotic (Latino percussion style etc.) and groovy. I can only compare it to early Santana (but without leading guitar) or - even more - Keith Emerson's debut album called "Honky".

4. "Honey Drops" - first band's own composition (or maybe I just don't know who composed original...) is darker & more progressive then previous two tracks. Lots of gloomy organ leads, fuzzy electric guitar & omnipresent mellotron waves. Riccardo Cavalieri also plays some nightmarish viola in the background which add special dimension to the music. London Underground really knows how to play dark & energetic in the same time. Truly recommended.

5. "Midnight Cowboy" - I read that this one is a cover of the main theme from soundtrack (composed by John Barry) to movie called "Midnight Cowboy". But I've never heard the original so I can't compare. Anyway it's a really good & relaxing piece of music led by atmospheric organ layers, mellotron outbursts & rhythmic acoustic guitar. Very pleasant & melodic.

6. "Faster And Faster" - superb cover of instrumental originally performed by very obscure French group called Eden Rose. Just like London Underground, Eden Rose was also organ-driven band (however they had guitarist as a steady member) so both versions aren't so much different. However LU's cover includes much longer & weirder improvisation section and sounds fresher in general. Great organ runs as always!

7. "Dharma For One" - this guy's version of this Jethro Tull's folky instrumental is a real treat. Instead of flute-led track with boring drum solo (as in JT's version) we have an organ-driven highly energetic heavy prog here with tremendously heavy organ riffs (reminiscence of Vincent Crane's work in Atomic Rooster). In general it seems that LU's "Dharma for One" was rather inspired by equally impressive Exclamation Mark's version than Jethro Tull's original one. (P.S. Exclamation Mark was a little known pre-Black Widow band which recorded one album in 1969 with "Dharma for One" in it). Anyway superb Hammond performance and suitable saxophone addition in courtesy of guest Stefano Negri!

8. "Queen St. Gang" - perfect cover of instrumental originally released by famous pre-Egg band called Arzachel. Overall very faithful to the original, only addition of some background synch-orchestra (arranged by Sergio Taglioni) makes a slight difference. But I don't mind that it's so similar to original, 'cause I'm always glad to hear this track which is a pinnacle of British psychedelia for me. But I have to admit that Gianluca Gerlini wasn't able to recreate the same schizophrenic, high-pitched organ sound which only Dave Stewart knows how to play.

9. "St. Helens" - this one seems to be the second track originally composed by London Underground but unfortunately it's definitely the weakest one here. It's too much dominated by Sergio Taglioni's electronic sounds created on Moog synthesizer. In the end we have some more audible organ chops but it doesn't change a thing that "St. Helens" is a poor experimental track which doesn't suit the rest of the album. Uneven & rather tiresome four minutes.

10. "Norwegian Wood" - probably my favorite track on "Honey Drops". In theory it's a cover of The Beatles' song but in fact only the main melody from the beginning reminds us about it. More or less LU's "Norwegian Wood" is a long organ improvisation in the vain of Atomic Rooster's instrumentals, while the end of the track is a strange collage of sounds similar to quirky intros/outros played by Vanilla Fudge on their debut album.

11. "Waiting For The Lady" - seems to be the 3rd composition wrote by London Underground. Unfortunately just like "St. Helens" it's quite poor track. Very repetitive drums work (like machine) and boring, steady organ sounds. However later we can listen to some very nice viola section which I surely enjoy.

12. "Jive Samba"(Radio Edit) - in the end there is a single single edit of "Jive Samba".

All in all "Honey Drops" is a fantastic album which should please all fans of retro-prog and instrumental psychedelia. Particularly I'd like to suggest it to fans of jazz/blues-rock organ master Brian Auger, heavy prog Atomic Rooster and psychy/soul Lee Michaels, but I think that all fans of early 70s prog acts (like Cressida, Beggar's Opera, Aardvark, Quatermass etc.) will love this staff too. If you like "Honey Drops" material you should also check out band called Captain Hammond which is organ-led trio with similar but slightly more R'n'B/soul oriented music.

Anyway "Honey Drops" is a superb album and almost 5 starts worth, but because of 1-3 weaker tracks I will have to give it 4,5 stars rating.

Best tracks: "Norwegian Wood", "Fanfare", "Dharma For One" & "Honey Drops"

4,5 stars from ozzy_tom

"End Of The Race" builds until it kicks in with drums and organ leading the way. Vocals a minute in. It gets a little heavy after 3 minutes with guitar. "Travelling Lady" is a cover off of MANFRED MANN'S CHAPTER THREE debut from 1969. We get some organ then a beat that joins in with vocals in tow.Sax 3 1/2 minutes in and a minute later. "Sermonette" gets these reserved vocals around a minute with vocal melodies to follow. Guitar 3 minutes in. I like this one. "The Days Of Man" opens with vocals and it kicks in before a minute. It then settles as contrasts continue. "Analonihum" is laid back to start. Vocals around a minute followed by some FLOYD-like guitar. Piano and bass lead 3 1/2 minutes in then the guitar returns.

"A Beautiful Child" is a song I just can't get into. Mellow to begin with but it does get fuller. "Through A Glass Darkly" opens with the sounds of sea gulls as reserved vocals and piano arrive. This is also mellow.It ends as it began. Some guest flute on this one. "Cryptical Purple Brown Orcharde" is much better. It has a good beat with vocals as guitar and organ follow. "Can't Find The Reason" is a cover of an ATOMIC ROOSTER song from their "Nice 'N' Greasy" album. Laid back to open before it kicks in a contrasts continue. Nice guitar solo before 3 minutes. "Everything Is Coming To An End" is DEEP PURPLE-like with the heavy drums and organ. "Another Rude Awakening" is the only track with mellotron. A good closer with guitar and organ.

Barely 3 stars. I would highly recommend the drummers former band STANDARTE though.

"Kultual Opus#1" is a 20 second intro of percussion and spacey sounds to "Magda K.". Keyboards, bass and a steady beat with vocals is what we get.This sounds amazing ! Especially the prolonged instrumental interlude. Some mellotron before 3 1/2 minutes. Spoken words before 4 minutes then it turns spacey to the end. Check out the mellotron ! "Worst Is Yet To Come" is a catchy tune. I'm reminded of THE BEATLES before 3 minutes. I like the instrumental section that follows right to the end.

"Squadron Leader" features lots of Hammond and drums. Vocals as well here. "Everywhere I Go" opens with organ, bass and piano. Distorted vocals arrive quickly with picked guitar. It's much better when it kicks in with normal vocals 1 1/2 minutes in. "Mass Baptizer" is a highlight. Lots of organ and drums as vocals enter. Mellotron too. "Was She Worth My Time" features a string section. This is the longest track at over 7 1/2 minutes. A laid back tune with some Pedal Steel guitar as well. "Love Is A Beautiful Thing" is fairly aggressive with some distorted organ and passionate vocals. "Whatcha Gonna Do" is a Brian Auger cover. A fun tune that suits the style of music here perfectly.

I like this but can't offer up that 4th star. Good album.

HAMMOND AFICIONADO'S ALERT!