I Talk To The Wind: Prog Blog and Reviews

Review 29, Red, King Crimson, 1974

Three features mark this album very prominently. First, Fripp's decided to be 'more of a guitarist' for the album, and thus contributes some shrieking and powerful work, even if the smaller line-up gives him less opportunities to strut his stuff in solos. Second, the trio have some difficulties in handling a rich sound without occasionally repeating themselves, and guest musicians are a limited help. Finally, it's consistently pretty heavy, for a Crimson record, which may be more pleasing to some than to others. Personally, I really like the album, but it simply never reaches (even on Starless) any of the glorious heights of Larks' or Fracture. Providence, Starless and One More Red Nightmare are great tracks, but the opener and Fallen Angel drag a little. It comes highly recommended, but is by no means the high point of Crimson.

Red launches off the album in classic style, with a screaming Fripp guitar and rolling percussion from Bruford. Fripp begins the song with his continued riff, while Wetton changes what the bass is doing often and without much notice. Bruford contributes with an excellent, varied drum part (of course), and the warping nature of all three musicians is consistently interesting. After an unusual slower break, with just as much edge as the main song, the riff kicks in again. The problem with this song is not the composition or the playing, which is top notch throughout, but the feel, which is simply as if you are listening to the same thing constantly, and the lack of any imagery associated with the song. As much as I intellectually reason that I'm not, it feels as if I am simply hearing the same idea for 6:20. I think the sheer musicality of the piece just makes it difficult for me to connect.

Fallen Angel is another similar dose of music. I like just about all of the components, but the end result doesn't actually affect me that much. From the throbbing, thick guitar and mellotron of the opening, Fripp's acoustic and a characteristic soft Bruford-Wetton rhythm section spring out, foreshadowing a later line of the chorus. John Wetton's excellent vocal carries the song neatly, with the acoustic supplementing the ideas. A rather noisy burst, particularly from Bruford, gives way to the chorus-line (a rather awkward 'Faaaaalleen Aaaaaangeel'), and an interesting oboe-cornet duo. The core trio dominate the song again until the return of the vocals with electrics and oboe instead dominating it. Fripp does a good job of mocking a sax. Again, all the components are here, even if I'm not a great fan of fades or that tiresome chorus-line, but the emotional resonance is lacking.

One More Red Nightmare is where the album really takes off for me, with its slightly more upbeat tune and political sarcasm. A saxophone shows up for the extended instrumental break, which is dominated by Bruford's rolling percussion and Fripp's combination of 3-second solos and rhythmic playing. Very nicely done, because as well as being great music in and of itself, it contributes to the militaristic, yet sarcastic atmosphere of the song and leads up very neatly to the return of the vocals. An obscenely thick bass sound hums throughout the remainder of the song, while the sax, probably McDonald, continues to throw out a stream of notes. Very abruptly, it simply stops. Great, high energy Crimson, with matching lyrics.

Providence is another of the extended Crimson jams that you might well find on Starless And Bible Black. Fortunately, it's more of the Fracture kind, with a steadily increasing power and violin and thick, very powerful playing from Wetton and Fripp combined with occasional atmospheric touches from Bruford. For the first five or so minutes, it's constantly almost spinning out of control, yet constantly being reigned in. Cross provides an unusually anarchic lead-in to the monstrous main theme, with Wetton then standing out in the improvisation with several improvised solos while Fripp and Bruford hold the piece down. Rolling Bruford percussion leads up to a couple of lightning-fast Fripp solos, which in turn lead to a chaotic cooperation from everyone, which in turn leads back to Cross. Everything flows perfectly, with duets, solos and group moments combining effortlessly. An absolutely superb piece of work, improvisational or not, even if it may take some time to grow.

Starless is the album's obvious choice, with its combination of a very nice, intensely melodic opening, with humming mellotron, a high emotional guitar part, a deeply moving vocal from Wetton (with accompanying, excellent, if very dark lyrics from Richard Palmer-James), and a softer rhythm section that moves the song and holds up a basic, gentle feel at the same time. Saxophones (and David Cross, on violin, though he's somewhat quietened by the mix) glide along with the verses, combining in perfectly.

After the third verse, almost five minutes into the song, the extended jamming session begins, with the shrieking violin from Cross reaching an emotional height not yet handled by the album. The clopping and tingling percussion and cymbals from Bruford are superbly timed and handled, while Fripp pulls off some surprisingly convincing two-note solos. Wetton's overwhelming bass continues hold up the basic framework of the piece together. After this slow escalation has reached a steady climax, a punchy, almost-electronic bass-guitar duo leads us back to a much faster section with a fast, spinning sax, which eventually echoes the vocal melody before leading us back to another brief fast-paced monster jam, with some brilliant playing from Fripp and Wetton, shrieking out of control, as well as some very neat foreshadowing. The overwhelming bass part moves on powerfully to a final conclusion, with the saxophone slowly leading us to a humming close.

Not an easy album to describe, because it just isn't. The sounds and combination are sometimes difficult to recognise, and the music is top notch throughout. The only way this fails to grip as fully as possibly is emotionally and experimentally, with Fallen Angel and Red not conveying really any imagery at all. Pleasant to listen to, but not nearly as enjoyable as Larks' or Starless And Bible Black, and not as interesting to me, either.

Rating: Four Stars

Favourite Track: Providence

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Wasn't so happy with this one, but I doubt I'm ever going to be able to write the right review for this album, so I may as well get it over with.

TGM: Orb wrote: Caravan/Soft Machine - Give me suggestions! Thinking about the classic 'Third', Don't think, get it NOW.  Opeth - Still Life. So far the only thing where I've liked growly vocals. Any thoughts? Ghost Reveries. Expanding: Magma - Thinking MDK, since I've only got the debut at the moment. Anyone suggest something particularly different? Try Kohntarkosz - I have also have Kobaia and 1001 and I found Kohntarkosz to be a quantum leap forward. Amon Duul II - Wolf City or Tanz or anything. Just got Wolf City but it's too spanking new to my ears to form an opinion.

I could comment on more bands but I got tired just reading your post! 

List, in progress

What the doctor ordered:

New things:
2 x Banco Del Mutuo Succorso - Darwin!, certainly, and I'm actually thinking of heading for Di Terra instead of another of the classics, first. The sample feels like a serious, modern classical composition, and I could do with more of those. I must own the Darwin! sample track, so that's not so open to debate.

Renaissance - Schehezerade And Other Stories, yes? Heard that and it sounded very good, especially The Vultures Fly High.

Caravan/Soft Machine - Give me suggestions! Thinking about the classic 'Third', but not sure where to start with Caravan. IIRC, the Mick will suggest If I could do it all over again...

Giles & McDonald/David Cross - Are Giles & McDonald's first album and David Cross's Exiles worth getting?

Considering some Atomic Rooster or The Nice as well, but I think those will have to wait for another spree or two.

Miles Davis - Electric Miles, naturally. Been hearing a lot about him. Agharta or Bitches' Brew?

Opeth - Still Life. So far the only thing where I've liked growly vocals. Any thoughts?

Expanding:
Magma - Thinking MDK, since I've only got the debut at the moment. Anyone suggest something particularly different?
Amon Duul II - Wolf City or Tanz or anything.
Tangerine Dream - Stratosphear/Phaedra. Must have more electronica.
Van Der Graaf Generator - with the three 'classics', I'm heading on to 'From H to He'. I've been addicted to this band from the first time I heard Arrow.
Mahavishu Orchestra - (got Birds Of Fire + Inner Mounting Flame) I'm thinking Apocalypse for the orchestral goodness, but also thinking about Between Nothingness And Eternity
Yes - Drama's the post-GFTO one that gets the street cred, am I right? Not the greatest Yes fan, but I should get that at some point.
Gentle Giant - Free Hand, since it's been ages since I decided to follow up on Acquiring The Taste. Open to any suggestions on this one, though, just said Free Hand because I liked the title track.
Marillion - thinking of Clutching At Straws, since I liked the sample more than any others here. Will possibly be put off.

Completions (just padding out present collections):
Hemispheres - Rush, Beat or Three of a Perfect Pair - King Crimson, Benefit - Jethro Tull

Any suggestions welcome!


Edited by TGM: Orb - May 12 2008 at 17:45

Favourite tracks choice reflect mine. But I don't consider the album flawless.... What truly impress me on LTIA is the experimental part.1 and 2 together with Exiles. The Talking Drum just feels unnecessary, just as I think the lion's share of Easy Money is. But you've read my thoughts on this one before. So no need to elaborate it any further.

Great review.

LinusW wrote: King By-Tor wrote: Good job! I completely see everything you're talking about with that album, but that won't change my 4 star review of it . For some reason it's just a very jovial album to listen to for me - I really like the folky/woodsy feel of it *thoughts thrown*. A well written review that was entertainingly edgy. I like it. Curse you, I must go listen to Still Life now. I can agree with everything you said, especially the bold part. Good review, wouldn't challenge it for everything in the world. Comes down to different focal points of the listening experience. Full of energy, a revitalised band compared to the TrioI  (War Child, Minstrel to some extent and Too Old). Perhaps not what you're looking for in a Tull album if you're after the earlier stuff. But for me a very rewarding experience.

Thanks for the posts
I've always seen Minstrel as a highly energetic album, even if not always the most delicate or directed. War Child, at least, has Back Door Angels. I don't have Too Old yet. I like, nay, love the energy and feel on Songs on the occasions when it manifests itself properly, but, as I've said, many of the choruses and repeats just seem to be filling time, and I can't really think my way through what they're doing. If I can't really think about a song (even with my musical knowledge of roughly zero), I tend to have problems with it.

Anyway, decided not to save Larks' for a significantish number, but review it now.

King By-Tor wrote: Good job! I completely see everything you're talking about with that album, but that won't change my 4 star review of it . For some reason it's just a very jovial album to listen to for me - I really like the folky/woodsy feel of it *thoughts thrown*. A well written review that was entertainingly edgy. I like it. Curse you, I must go listen to Still Life now.

I can agree with everything you said, especially the bold part. Good review, wouldn't challenge it for everything in the world. Comes down to different focal points of the listening experience. Full of energy, a revitalised band compared to the Trio (War Child, Minstrel to some extent and Too Old). Perhaps not what you're looking for in a Tull album if you're after the earlier stuff. But for me a very rewarding experience.

Review 27, Songs From The Wood, Jethro Tull, 1977

Gutter rhymes indeed.

A pyrrhic victory for the lads in Jethro Tull. Despite the enormous potential of some of the delightful melodies, only Hunting Girl consistently matches up to the quality I want from Tull, while the title track, Pilbroch, Solstice Bells and Fire At Midnight all have their moments, though highly flawed. The melodies are rather overused, the arrangement sometimes seems a little lacking, and I don't have the lyrical grips to keep my interest in a repeated melody. One big issue on the album as a whole is that the atmosphere is lacking. The bland song structures only exaggerate the repetitive nature of the album, and mean that lame choruses are repeated ad extremum crudelitatis. We see plenty of Verse-Chorus-Verse-Chorus-Verse-Chorus songs, which is one of the reasons that I've seen people bashing Asia, but apparently being marginally folky makes that not a problem. Overall, a rather disappointing and unfulfilled album, but not a complete disaster.

Ian Anderson, it seems, is a lyrical schizophrenic. On the one hand, you have the classy, clever, scathing, sarcastic, honest Ian Anderson, who can write songs like Back Door Angels, Thick As A Brick and Baker Street Muse. On the other, you have his evil folky twin, who can churl out pretty generic pseudo-intellectual, quasi-Anglo-pagan songs, with most real atmosphere build-up wrecked by repeats. Lyrically, much of this album is a horrible, horrible experience. Verbal waterboarding.

Songs From The Wood kicks off with a nice multi-vocal harmony, with flute, acoustics, a fine bass part and various piano and synths kicking in gradually. Eventually even Martin Barre's allowed to play, and we get a dose of mandolin in the heavier chorus section. This escalates up a little to produce a darker atmosphere, and though the Ian Anderson flute solo feels a little light, I like it up to now. Up to this point, what's not to like?

And suddenly, insert a completely random, almost-verbatim repeat of an earlier verse. Why? Does it add anything to the song? No. Is the context altered enough to make the re-entry clever and interesting? No. Does the flute solo near the end redeem it? Probably not. Essentially, the first part of the song transports me to the atmosphere of a rather English wood, with deciduous trees everywhere, badger burrows everywhere and trying pathetically to call back the dog. The repeat wrecks that atmosphere.

Jack In The Green is simply extended miserable acoustic strumming with accompanying grating vocals, some small Barriemore Barlowe additions (from some marimba to proper drums) that are interesting enough. Everyone else is there in the mix, but noone ever takes the opportunity to break out of it, and any moment risking a dangerous musical explosion is quelled by the rather flaccid flute. The folk lyrics are a complete disaster, with a standard Nature vs. Modernisation idea surrounded by entirely vestigial lines. Now, a vocal-dominated song with strong lyrics and music that highlights these ideas can be amazing. Jack-In-The-Green is that sort of song, only with appalling lyrics and music that doesn't contribute at all, and it's far from amazing.

Cup Of Wonder starts with a delightful, cheerful section with a throbbing bass and flute moving to a dancy drum-beat and some opportunities for Martin Barre to rock out a little. The other verses are essentially small, but neat variations on the first verse. The instrumental section is a little feeble, almost seeming vestigial, but before the return to the last verse we get a rare, effective gentle flute part from Ian Anderson. The issue with this song is the chorus line 'pass the cup of Crimson Wonder-uh-uh-uh-uh-uh-uh-uh' (complete with acoustics and mild accordion). Frankly, one repeat of that at the end of each chorus would have been daring. Two was lunacy. Over three choruses, it's unbearable. Could have been a great song, but wasn't.

Hunting Girl begins with several brief solos, and features an excellent rhythm section throughout, with Barriemore Barlowe contrasting heavier beats and even metallic sheets with a couple of tinselly taps. Barre and Anderson (flute) both get to take a few solos, and make the most of them, creating a rather physical feel appropriate for the song. The lyrics have finally returned to the familiar Tull ground of rollicking innuendo and a whimsical storyline. A very welcome development, as I can sing along to them happily, and nod my head to the rocking theme. The silver amidst the dross. Not gold, but as good as silver gets.

Solstice Bells is an awkward song to review, as I never know whether to compliment the bouncy piano and cheerful feel, or to viciously attack the sheer mindlessness of the idea and over-repeated chorus. I'll do both. The bouncy piano is great, and the cheerful feel is enjoyable. Alas, the idea is at best dubious, the amount of shouting 'ring solstice bells' becomes bland after two verses, especially when I doubt the legitimacy of the idea. Perhaps it's a really good song, but I can only listen to it when my pedantic mind isn't in overdrive.

Following a rather childish opening with the two keyboardists most prominent, Velvet Green develops in a mixed manner. The opening part, complete with a harpsichord-like sound (probably acoustics), is bland in the extreme, with neither glockenspiel nor a rather dim bass part giving any feel to it. It moves (quite abruptly) to a more chord-based song (with some minor scaling-ups from Barre) and the lyrics (despite a very strong vocal performance from Anderson) verge between barely listenable and painful! There are some light reproductions of the guitar on The Pig-Me And The Whore, which doesn't really bother me. The subsequent instrumental section is tedious, and the return to the basic opening part's sound is unwelcome. Another example of some good ideas and some really poor ideas coming together to form a song that tempts the skip button.

The whistler begins with a superb verse, including enjoyable acoustics, glockenspiel and a keyboard. The chorus, highland-ish whistle (no, really?) included, gets old rather quickly, isn't particularly atrocious despite sheer stupidity lyrics ('I whistle along on the seventh day'). The other verses, with some very interesting additions over the basic theme, and some grinding Barre guitar saves the rest of the song from feeling too repetitive. Great ideas, bad ideas, mediocre combination.

Pilbroch, with a manic guitar-flute duo that I refer to as the 'Fen Witch Riff' is the most memorable (though not the best) thing in the song, but it shouldn't be knocked for this. Ian Anderson comes in very neatly 'There's a light in the house... in the wood... in the valley'. The verses are rather a thing of beauty, with a story told through strong folk lyrics and a generally matching atmosphere.

The extended instrumental section indicates a 'romance' implied by the cheerful mandolin with darker additions from David Palmer and John Evans. The 'Fen Witch riff' comes in, presumably to voice the obsession of the protagonist, a cheerful flute-acoustic duet with a rather highlands feel and a clapped-out theme moves on to a more grandiose Evans-Palmer-dominated section. The escalation to the final verse is amazingly well-handled, . The Fen Witch riff comes in again to escalate out the song to its bizarre confusion. All in all, a very interesting song, but the grating and dissonant Fen Witch riff is overused.

Fire At Midnight is an uplifting vocal-led melody, with a romantic theme and some great lines ('Kindled by the dying embers of another working day/Go upstairs, take off your make-up – fold your clothes neatly away). Ian Anderson growls (but not in a metallic way) a little at the end of the lyrics, which isn't too bad. The instrumental section seems almost a convention here, not really adding anything to the table. I'd have preferred something more connected to the verses. The repeat of the second verse feels quite nice here, and overall this is a fairly neat round-off for the album.

I don't have the mental stamina to listen to another version of Velvet Green, and I admit that Beltane is relatively decent, except in that you have Ian Anderson saying come-a Beltane 2,613 times near the end of the song. Usually, I give up at Fire At Midnight, and go and find myself some VDGG to wash out the grassy stain of the album.

All in all, enough merits for a sickly two stars, and I simply do not understand why some make it out as a masterpiece. Not an album you should come to expecting great things, probably not vital, especially if poor lyrics can disappoint you, and it's simply too repetitive for its own good. Still, worth getting, if only for Hunting Girl, and you may (probably will) like it more than I do.

Rating: Two Stars, though it'd be three if all the good ideas were converted into say, four good songs, and four if all the songs reached the potential of their best ideas. Maybe I'm being harsh, given that this is better than the other albums I've given two-star ratings to.

Favourite Track: Hunting Girl

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Rather unconnected, because I wrote different bits on different days. Also, quite vicious, and not, I think, as good or fair a review as I could do. Still, I welcome challengers. Anyone with a very different opinion to me on Songs... like to throw their thoughts into the ring?

Yesterday I decided that Still Life is one of my favouritest songs evar, because it's the reverse of this album.


Edited by TGM: Orb - May 10 2008 at 12:52

Review 26, Daughter Of Time, Colosseum, 1970

An excellent album from this majestic blues/jazz-rock band. There are two real characteristics for the album 1) Sometimes the size of the line-up (a daunting sextet/septet plus the occasional string arrangement) pays off perfectly (see Time Lament for an example), whereas in some tracks it lumbers a little, with Farlowe's very powerful voice or a generically-used sax not merging very well. 2) It's interesting to have a very strong and individual vocalist, and even if Farlowe's additions of 'baby' in some songs seems out of place, and his voice occasionally seems a little too strong, he really does add to the album and pull off some powerful emotional performances. In the end, we come out with some stunning moments, especially the unforgettable 'Time Lament' and 'Downhill and Shadows', even if the predecessor, Valentyne Suite, was a little stronger overall.

Threescore And Ten (Amen). The album kicks off pompously with hymnal vocals standing behind a thick organ and a powerful, prominent rhythm section. We get an interesting combination of Farlowe and a very intricate bass part shadowing him to the smallest note. Jon Hiseman throws out some more unusual percussion into the mix, adding a slightly ferric, spiritual feel to the song. As superb as the instrumental section showcasing the talents of Clem Clempson as a guitarist is, it feels very out of place. The saxophonists (and Greenslade on vibes) contribute a little towards the end of the piece, with its dramatic, cheese-bordering spoken part, though they are mostly backing the strength of Farlowe's vocals. An appropriate introduction, even if the jazz-fueled urge to show off doesn't merge too neatly with the piece's spiritual/vocal base.

Time Lament is the raging high for this album, in my opinion, showcasing some . The song begins with the saxes showing off both more traditional humming and unusual arrangements and an amazing screeching violin (and other strings), backed up by Greenslade's piano. As the verse comes in with its stunning drum patterns, wandering bass and vibes, Chris Farlowe delivers stunning vocals. This leads into a less serious-sounding section, allowing everyone (especially Dick Heckstall Smith on saxophone) to display their ability as soloists. I'd thought of this as a step down for a long time, but have come to appreciate the opportunities it affords the players and the return of the vocals. The strings throughout build a slightly twisted feel into the song. It escalates back into the amazing drums and Chris Farlowe vocals. One of my favourite drum-performances (and songs) ever. Absolutely unforgettable.

Take Me Back To Doomsday begins with an interesting chord-based piano that continues throughout the piece, adding something small in the background behind some stunning guitar from Clem Clempson and excellent vocals (by the same, even if he didn't think of himself as a singer). A great flute-saxophone duet from Heckstall-Smith and Barbara Thompson leads back with some more trademark Hiseman direction-drumming and some small guitar soloing. This flute-saxophone duet remains for the rest of the song.

I like the whimsy of the start of Daughter Of Time, with the juxtaposition of the upbeat, flowing sound (especially the whinnying Clempson guitar and Heckstall-Smith sax) and the massive drum crescendo and pompous Farlowe vocals. Another really strong drum performance, and a the sax duet hums along behind it effortlessly. The blues-style ending, with amazing Clemson guitar, works perfectly.

The cover of Theme For An Imaginary Western is a more cohesive piece than most of the album, with everyone fusing into each other in between their showing off rather than simply continuing each others' lines (as happens in some other places). We get great bass and guitar performances from Mark Clarke and Clempson, and a more prominent Greenslade organ and chorus part. Even though the sax additions feel a little redundant to me, it's a refreshing break from the minor chaos of the album as a whole.

Bring Out Your Dead is a schizophrenic quirky instrumental which contrasts a foot-tapping sax-organ with some tragic vibes, aggressive guitar and rapidly changing drumming. The ending is plainly weird, escalating to an indefinite conclusion, and maybe building a little tension for Downhill And Shadows to launch off from. Some repetition, some superb ideas. An interesting little piece, but I'm never really quite sure what it's trying to do.

Downhill And Shadows is (don't believe the lyrics sheet) a pessimistic, dark, brooding blues-at-its-finest. Everything, from Hiseman's gloomy lyrics to Chris Farlowe's deliberate vocal, to the opening, lamenting saxes to a load of dazzling mini-solos from Clem Clempson is handled well. A very good bass performance and the pygmy brass section exchange and share ideas with Clarke's bass neatly. Definitely Clemson's high point on the album, and some of the best guitar-soloing I've heard.

Time Machine is an extended drum solo, which means that I can't really comment on it. To appreciate a drum solo like this fully, I'd guess you need to understand what the guy's doing, which I don't. It's enjoyable enough for me, and a good listen anyway, but the real highlight of the track is when everything comes together majestically at the end, blaring away to one of the most powerful conclusions I've ever heard.

This album has three really outstanding performers, Hiseman, Clemson and Farlowe, and anyone who either likes one of those or wants to hear some superb drumming, strong vocals or blues guitar should put this album on their wish list. Don't expect to be overwhelmed with awe on the first listen, since it's really a grower, and you need to pay some attention to get the small, but significant background additions of the bass, sax and keys. I highly recommend this to anyone who enjoys blues, though those not familiar with Colosseum should perhaps try the more consistent and better-arranged Valentyne Suite before moving on to this more difficult album.

Rating: Four Stars,

Favourite Track: Time Lament

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A review for something a little more obscure, for a change. Something interesting for me was that I listed the bass parts I liked from this album before I looked at the CD booklet to check which of the bassists (Mark Clarke and Louis Cennamo) had done them. All three of them turned out to be Clarke. Not an issue of quality, but of style, I think, and some evidence that bassists aren't as homologous or interchangeable as I sometimes think they are.

Probably heading to dribble lovingly about Larks' Tongues In Aspic next, even if I think the album's way too good for me to write the review it deserves.


Edited by TGM: Orb - May 05 2008 at 10:00

Alas, not yet. Currently trying to soak up the whole impact of that album. Haven't been on another prog spree for a while. I'll probably do that next weekend.

Currently I'm finalising the 'list' so I don't turn up on amazon and buy too many random albums that I hadn't meant to.

Edit: Agreed on Caress of Steel. Great album :)


Edited by TGM: Orb - May 05 2008 at 08:42

Rob...  GREAT Caress of Steel review.  Personally I don't see much of Zeppelin in the album.. think they tossed that overboard after the first...  it is pure hedonistic prog rock... kimonos.. D&D  and chops galore. That is why I love that album of theirs above any others they did...

you and have much the same tastes.. The Necromancer is right with Cygnus X-1 as my alltime favorite Rush song.  If you are like me... you may enjoy other Rush albums as you check them out.. but may find that none are simply as fun to listen to as that one was.  Has been my favorite for years.