I Talk To The Wind: Prog Blog and Reviews

Review 56, McDonald And Giles, s/t, 1971

After the break-up of the original Crimson, the multi-talented Ian McDonald and stunning percussionist Mike Giles head off to create this album. Fairly light-hearted, and not nearly as tight or bleakly compelling as In The Court Of The Crimson King, this won't appeal to all fans of that album. However, the playing is pretty faultless, and only the Birdman Suite exhibits a couple of cracks in the composition. Recommended  highly to anyone who enjoyed I Talk To The Wind or the lighter parts of a Caravan album, as well as those who love a highly distinctive and excellent drummer/percussionist. If you don't fall into any of those categories, it's probably not for you.

The album opens with Suite In C. Relaxed bass and guitar show up, complimented by a distant vocal. Handsaw and snaking drums thunk away in the background. After a 60s-style harmony, the piece moves onto a jazzy section with relaxed flute, a good rhythm section groove and various organ and piano chaos from guest Steve Winwood. The 'Here I Am' section is heavily reminiscent of Crimson's softer atmospheric moments, with mellotron, distant vocals and haunting percussion choices. It cheers up fluidly with string and brass, handling genuine cheer without seeming over the top or frivolous. A bluesy piano/guitar-based bounce kicks us on to the final section. Mike Giles is on top form throughout this piece. A great bit of music, and if the rest of the album hit this level, I'm not sure it would evade the fifth star.

Flight Of The Ibis was the original melody of Cadence And Cascade with a new set of lyrics. It is absolutely wonderful without Gordon Haskell's ill-suited vocal getting in the way, and the twists from the In The Wake Of Poseidon piece are very enjoyable. Mike Giles especially gives us a wonderful percussion performance, and the gliding piano/keys at the end of each verse is a genuinely enjoyable moment every time. Lovely.

Is She Waiting, aside from fairly nice lyrical content, is a gorgeous balladic piece, with just acoustic guitar and piano making appearances. There's not really much more to say other than that everything is used to good effect and fits together seamlessly.

Tomorrow's People begins with solid solo drum and vocals in the accented tones you might expect from a Canterbury band. Ian McDonald provides a couple of neat guitar licks, while Michael Blakesly's trombone baaaaaaaaaams nicely. Peter Giles comes in with the bass to support the percussion appropriately (on occasion leaping up to the high reaches, which always gets the great muppet: Orb), and later on flute also jumps around with tasteful optimism. Mike Giles' brief percussion solos are brilliantly handled and the piece is hugely fun. The piece calms down to reach its conclusion with a rather 'not yet' feel.

The Birdman Suite might be expected to be a huge highlight, but despite its good, nay, great, bulk, I feel far too tempted to skip The Inventor's Dream opening secton. It opens with a lovely vocal melody and then tense sustained bass before zither and various chaotic percussion hits home. A bouncy organ, bass and drumming introduce the rather disappointing vocals (complete with rather twee lyrics). Clarinet also makes a brief appearance, before some various twists on the parts move to create a busy workshop feel.

This section is a little more impressive with a very nice rhythm section, a couple of jazzy saxes jolting off in all directions, various deliciously moon-touched organ and percussion choices. After this extended jazz outbreak, we hit 'Wishbone Ascension', with a more enjoyable return of the vocals and excellent percussion.

A faded organ and consistent percussion take us onto the gorgeous reflective piano melody of Birdman Flies. Gradually this basic structure builds up to include some drums, background guitar, swirling flute, different instruments taking over the main melody. A neatly incorporated leaping brass section makes an appearance.

Wings in the Sunset and Birdman – The Reflection bring us calmly to an ending with the vocal melody from the introduction featured again. Piano, bass and percussion dominate before organ also leads in. Sharply dropping drums roll calmly, and brass and strings add to the potency of the conclusion. An organ melody reminiscent of that backing the piano in Birdman flies leads the piece to its conclusion-with a distant, fading brass-related thing. Warning: the above sections may have been confused at some point. As a whole, the piece is almost one of the great epics, but with a slightly stronger opening section, it could really have stood out a lot more.

So, overall the album is no masterpiece, but it also has only one real weak spot. Probably not for everyone, though I do really love most of this album and would in open conscience recommend it to most people. On the verge between a three and a four, and on this occasion I'll round down. A much-enjoyed album, and a personal four, certainly not 'Fans Only' but probably not essential or for every collection. I don't think anyone should be too disappointed with it unless they all they seek from it is another Schizoid Man or they really dislike alright, but slightly accented, vocals.

Rating: Three Stars (personal four). It may well deserve more.
Favourite Track: Suite In C

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I've decided that Camel also deserves only a solid three. To be fixed at a later date.

Review 59, Three Friends, Gentle Giant, 1972, or 1, or 3, but I'm too lazy to check

Three Friends is a concept album of a very different kind. While most concept albums are lovably overblown and twisted or depressive and moping, Three Friends is (in the Wish You Were Here/DSOTM mould) conceptually simple, touching, and profound. Brilliant observations and characterisations follow, and the lyrical material is well above the average. Musically, unlike my other Gentle Giant album (I'm working on it :p...), Acquiring The Taste, it makes use of comparatively few instruments: guitars, bass, violin, keys, sax, drums, but these are all used with taste and quality, and, besides, are more than most bands handle in their time. The really stunning features of the album are again the precision and arrangement of the playing, especially the vocal parts on Schooldays. While this isn't Acquiring The Taste, nor, I suspect, any other Gentle Giant album, it is nonetheless an extremely strong release. More conventional, perhaps, but no less skilfully handled.

Prologue, the album's nod to an overture, begins with a delicate drum roll, after which chordal piano, saxes and throbbing keys contribute to create the generally constructive, busy feel. Some supremely handled bass hums give a backing depth to the introduction, and volumes are carefully modulated for effect. The vocals, introducing the album's theme, chime together clearly, expressing the 'togetherness' or ties that I believe the music is expressing. After a bit of clear organ-bass exchanging, the piece moves on calmly, but with definite intent, through a gradual building of the main theme. A good opener, even if it perhaps goes on a little longer than it needs to to make its point.

Schooldays is perhaps the album's crowning glory, with a range of percussion, including xylophone/glockenspiel as well as the tapped percussion typical of the album. The arrangement is entirely immaculate, with e-piano occasionally taking up a percussion part, sublime piano-based transitions. Mellotron shimmers appropriately. Of especial delight is a brilliantly arranged piano-bass-drums-vocal-mellotron 'remember' section, and the incredibly accurate and detailed vocal arrangements. The entire piece is without slips, and repeats are either used imaginatively or effectively reinforce the ideas included in the piece without feeling patronising or vestigial. Great piece of music.

Working All Day begins with an odd distorted guitar, as a twist on a more energetic blues energy. More blues-based vocals come into play, and sax wallows and throbs appropriately in the background. Dark harpsichord makes a most unexpected appearance. Following the deceptively loud verses, the piece manically wanders around for a bit, featuring a couple of off-beat acoustics and organ. The third verse bursts in with renewed ideas and vigour, and the piece concludes calmly. The characterisation is strong, if a little obvious.

Peel The Paint is introduced with soft vocals, and violin (both picked and full-blown cello-accompanied pastoral hums) is the most prominent idea. Organ contrasts it cunningly, and the descending bass directs it carefully before changing speed abruptly to move onto the much harder, guitar-backed piece's explosion. The piece provides an excellent opportunity for one of Gary Greene's solos, an incredible, winding, screechy creature with speed playing and excellent taste mixed. A very forceful and musically immaculate piece, and the lyrical material is evocative.

Mr. Class And Quality begins with a sarcastically played organ, and merges with the conclusion. Bass foreshadows the fiddle riff, and the vocals come in quite soon, with one of the strongest and most easily related-to characterisations I've ever heard. The vocals in themselves are quite carefully sung, with a very precise edge. Organ is a prominent part of the whole, and is supplemented by moog and distorted and bluesy guitar as the other leads. Mocking and playful, and certainly satyrical, the arrangement is again immaculate, and somehow combines chaos with order without a moment of pause. The piece moves onto the conclusion with limited distinction and much overlap, so I'll stick to this paragraph. The conclusion is majestically tied together by organ and mellotron, with vocals bringing the links back to us now we've seen the individual ideas.

So, all-in-all, a very strong album, and one with some entirely outstanding moments. There is no person in the midst of prog fans, even the most stringent hater of Gentle Giant, who should avoid this album. Certainly tragically forgotten from all of our 'best concept album' polls where everyone gets the chance to bash The Lamb and TFTO again. The least bloated concept album I've heard, and worthy of a healthy four stars. Were it not for a couple of moments, where, despite my admiration, my interest isn't quite held (most notably on the Prologue), I might hand the album the fifth.

Rating: Four Stars. Essential. Recommended to everybody.
Favourite Track: Schooldays or Mr. Class And Quality/Conclusion. I feel no need to decide.

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I really do love that album :)
Usual feedback comments. Deep philosophical questions. etc. I've decided to redo my Godbluff review, because I remember it being awful and rushed, and I now really know what to say and I feel that such a great album *deserves better* (and I should justify my fives more carfeully).

Review 60, Ys, Il Balletto Di Bronzo, 1972

Something different. That's really the best way I can describe this unique 1972 RPI album. Apart from the exquisitely cryptic and interesting concept, a range and dominance of keys that feels a bit like Keith Emerson and Rick Wakeman's love child, and superbly dissonant playing throughout, Ys is a full-bodied trip in Charon's boat, from a moment of perfect and clear understanding to a cold sleep on the far side of the black-watered Styx. The overwhelmingly well-handled musical representation of death is the main reason that I love this album so much, but also of note are the force and aggression of the Introduzione (especially) and the unrelenting grip of the album as a whole. Entirely essential, in case you love it half as much as I do. Progressive, powerful, and unique.

The Introduzione begins with female voices (I believe they represent la voce, the powerful and knowing voice that informs the 'last one' before abandoning him to his fate), a feature that repeats in different contexts and different styles throughout the album. The odd straining of the instrument (voice, in this case), and sumptuous layering will be another recurring feature. A stunning, bare organ solo, making good use of the instrument's range is used to lay the path for the organ-backed narration of the album's nebulous theme.

After this, the eclectic drumming, starkly juxtaposing sharper cymbally sounds with a distinctly rounded, annoyingly indescrible sort of drumming, comes in to take the album onto its formidable rock aspect. Apart from sharp organ twists and riffs, and almost-shouting female vocals, Gianni Leone's keys are exploding everywhere, with healthy doses of harpsichord, dissonant Hammill-like piano and spiralling moogs. Lino Ajello's guitar also takes on a life of its own, screeching with dissonant glee and weaving its ideas together with the organ. The sheer intensity of his soloing is formidable to behold, and the individual tone, aggressive, individual and sometimes slipping between left and right production (if I hear correctly).

A third vocal section follows his most intense work, with shimmering mellotron providing a base for the gorgeous female vocal backing to move off. A section guitar-dominated section, this time abrupt with individual bursts, with a tremendously thick bass and more curtailed drum-sounds, constitutes the opening of the First Encounter. Leone's vocals in this section gradually reel off the deathly theme, with a great amount of anticipation created by the slow speed of delivery without the typical softness to accompany that. Detailed keyboard and guitar solos again mark the piece with creativity and mind-cracking force, while the rest of the band moves on carefully. A classic pseudo-blues crescendo with superb drum work and my beloved high bass from Vito Manzari relaxes to a harpsichord solo. A rare moment of complete quiet stops us.

And suddenly, with incredible force and power, and great vocal effects, bass, shouting, echoing vocals. Demanding sight in the Second Encounter. An incredible rhythm section forcing involuntary air-drumming on my part hammers in periodically. Oscillating mellotron backs some sections with a softness to juxtapose the sheer force of others, and we get a jewel of flute-mellotron and some hellishly avant-garde stabs on the string 'tron. Off-beat piano also breaks through.

A wandering, confident bass solo and recalcitrant drums introduce the third encounter (or more of the second. It depends on whether you believe the lyrics sheet or CD), which features some more, this time very strained, guitar work, as well as a range of organ and harpsichord features. The bass is the most obvious feature to me, leading the part's wanderings. Of especial notice is a brief piano solo (standard definition, not completely solo) with a calculated edgy style.

Bursts of mellotron and a swelling motion from piano, bass and drums, begin the epilogue (or Third Encounter. Believe whichever of the sources you want), the album's most brilliant section. Aside from a feeling of gradual winding down handled flawlessly with a range of incredible keys, the growly twisting bass I love so much and a great drum solo from Gianchi Stringa, the vocals really take off, feeling much more full.

The definite move towards a conclusion is established by the dum-dudududu-du-dum bass riff, backed by gorgeous, edgy, high piano and a throbbing guitar, resigning the former flashiness of soloing for a careful, slow style. The end of our protagonist, his descent into darkness, is evoked both by the stark lyrics (here distinctly Homeric in style) and the gradual yet forceful and very sharp drumming and piano. Screeching vocal sounds, perhaps made by a mellotron, riddle the piece. Eventually, out of this realm of darkness, La Voce again meets us in bursts. Sobbing breaths punctuate the chaos. Careful, reverent hums on the bass and organ lead us down to a virtual standstill before the organ takes up a high-paced and forceful burst of energy. A vocal twist on the introductory Voce leads us out, dazed and almost crushed by these death throes.

However, after drinking from this masterful fount of progressive rock, there is one more delight in store (should you have the remaster): the group's superb radio single: Tua Casa Commoda. Hidden within Orb's outwardly odd musical interest is a great love for short, concise songs, and this is just one such song. Incredibly catchy riffs, superb playing from Leone and Manzari (this wonderfully fluid and whirling bass) in particular. Eclectic twists on guitar strumming, a range of percussion in the instrumental section, and constant movement mark the song as very much progressive, even if the length may seem anathema to some of our more progression-minded members. The piano-work on the piece's conclusion is wonderful, and no less impressive is the contribution of the other three members. Highly creative and incredibly good. On my 'most played' list, and among my all-time favourite songs.

So, given such a sycophantic review, I can only award the highest grade to this album. Essential progressive rock. A masterpiece. Five stars. Fans of psychedelia must hear the epilogo, fans of hard rock the introduzione. Really, there is no person or type of listener to whom I would not recommend this album. Only by trying it, it seems, can those who love the album less be discovered. Vital, and the ultimate disproof (you can, of course, say this about almost any Italian symphonic band apart from PFM) of all Italian prog sounding like PFM.

Rating: Five stars

Favourite Track: Tua Casa Commoda. From the album proper, Epilogo.

Review 61, Hemispheres, Rush, 1978

Hemispheres is rather a mixed album for me. On the one hand, we have a couple of standout moments, and a fairly light-hearted and strong second side, on the other, we have some of the most funny-spot-wrenchingly-bad lyrical content I've seen since First Aid's Nostradamus (released around the same time, coincidentally). Additionally, Cygnus X-I Book 2 is not really a sequel per se, and certainly isn't consistently powerful and interesting like the first 'book'. Even worse, it actually damages the mystique of that incredible piece of music. There is some stuff here that is seriously interesting progressive rock, but not nearly enough to merit the 'essential' tag.

Hemispheres (AKA. Who shot Cygnus X-I?... book 2) takes up the whole first side of the album. It's a very mixed piece, in my opinion, simultaneously containing some flashes of brilliance and some of pure irritation. A rather grandiose overture, which I could conceivably see tagging onto the end of Cygnus X-I book 1, leads up to a basically complete instrumental rendition of the first couple of verses. Of some interest is Alex Lifeson's odd tone and very soft guitar sound. Geddy Lee is on good form throughout this overture.

The vocals open accompanied by some stabbing Rickenbacker bass work, and some interesting twists on the usual thick Rush guitar sound. Peart does a couple of his classy rolls, but is otherwise pretty bland and a few swirls on the synth try to give a vestigial spacey atmosphere and fail miserably.

Apollo, Bringer Of Wisdom, is the beginning of the true lyrics debacle, as well as opening after a rather ineffectual pause for effect. Not exactly a sequel to Cygnus X-I, but rather a prelude to it and an epilogue set around the classic with a feeble philosophical lesson of balance attached, and with some truly appalling lines. Musically, the accompaniment isn't stunning, either. Just a wandering bass, guitar and drums, seemingly doing not much interesting. However, the tune picks up with Alex Lifeson's typically 'scientific'-feeling solo, with a squeaky edge and supportive bass.

Dionysus, Bringer Of Love, is basically a lyrically altered re-rendition of the above. I didn't see the reason to type out another paragraph to describe it.

Armageddon, The Battle Of Heart And Mind is where the piece picks up with plentiful references to Cygnus X-I book 1, containing some of the ideas in the original, but with a slowed-down nature and softer twist. Geddy Lee's vocals, watery, and they almost sound weak, but are nonetheless somehow likeable. Finally, the lyrics move onto the original's storyline. In addition to hearing a stunning riff thing from the original (I really do love that song so much), and some backgrounded nods to the original over a lush keyboard backing, the piece finally improves.

Cygnus , Bringer Of Balance, features a jaw-droppingly generic keyboard soundscape. But I love it. I have no idea why. I just do. Keys are prominent throughout, and thunder-rolls add a more genuine atmosphere to the piece than any previous work. Even the return to the more rock-based section and even more abysmal lyrical content sort of works, and includes a functional solo, though nothing as mindblowing as 2112. A crashing conclusion with almost classical drumming ends the part fairly effectively.

The Sphere, A Kind Of Dream, works surprisingly well as an acoustic conclusion, with a nice melody (however basic) and a light vocal to accompany it. There is, much to my amazement, a single great verse of lyrics crammed in there. Overall, a bit awkward, ambling and semi-connected, but at times superb and very charming. If the album stopped here, though, it would probably crash in at sub-Moving Pictures levels.

The second side picks up pretty substantially, and is much stronger overall. It's opened by Circumstances, a typically sophisticated commercial-lengthed Rush rock song. After the terrible Rush fanfarey opening we see all too often, the piece takes off potently, with a cheerfully sung set of fairly weak lyrics. Geddy Lee spins around terrifically on bass, taking a triumphant performance, complimented nicely by Peart's fairly edgy and precise percussion. An instrumental break features a silly synth solo with a small workout for the orphan-shelter drumkit's more unusual components, as well as more of the odd guitar tone from Apollo... . All in all, a fairly good song, but I don't feel the guitar really added anything to my experience, and a stronger vocal couldn't hurt it.

I consider The Trees sarcastic, and thus like the lyrical material and delivery. If it were serious, I really wouldn't. Fairly neat, quick characterisations/representations of general kinds of people. It is certainly more quirky than Circumstances. It opens with a set of acoustics backed by uncharacteristically hollow and vibrating bass. Guitar rocks in traditionally as well as sliding around with curiosity. Neil Peart again provides a fairly interesting performance, with classical rolls, shimmery things and hollow-log-tapping aplenty. The break, featuring gradually a constant guitar riff of the style so characteristic of the album and gradually building rhythm sections, works quite nicely, also allowing another Lifeson solo to break out. A final verse rocks slightly more, and, while virtually the same principle as the end of Red Barchetta, it doesn't matter because the content lends itself to it. A good, short, prog song.

La Ville Strangiato is where the album reaches a really special height on a couple of occasions and remains consistently good throughout the entire 'exercise in self-indulgence'. The acoustic opening with a great classical solo gives us a hint of what we're in for, before the whole band enter. After a gradual build, the kicking La Ville Strangiato riff bursts in, with chordal guitar juxtaposed by quick bursts of note guitar. Neil Peart provides a sort of forest of percussive noises as a cheery background throughout. The piece's biggest highlight is a guitar solo, feeling very Spanish on electric, presumably 'Lerxt In Wonderland'. An emotive, calculated and lively performance. Nabbing highlights, since a running description will become tedious very quickly, a Geddy Lee bass solo especially stands out for energy and verve, and Peart's later move to more 'standard' drums devices doesn't fail to pay off with a rock feel as well as a good set of performances. The piece rollicks off fluidly to an abrupt stop. A thoroughly indescribable three-man piece, with recurring themes aplenty and enough motifs and links to give it a cohesive feel despite its very abstract nature and range. Great stuff, though it feels a bit wallowing when you're not in the right sort of mood for it, and the real reason I'd recommend the album.

So, overall, not consistent in quality, and quite weak on the first side, but nonetheless it has a fair few highlights and is usually pretty decent. There is definitely prog material of interest here, and no ardent Rush fan should be without this album. Lerxt In Wonderland alone justifies the album's price. It gets better when you stop listening to the lyrics, mind vs. heart = balance theme and all. I'd recommend this to most progressive fans, except those who really live for the psychedelic and atmospheric stuff, very little of which you'll find here, and those who really find some weaker performances on vocals or guitar insufficient compensation for great bass-work and bursts of stellar guitar. Geddy Lee's bass is another serious redeeming factor (one I've failed to emphasise above, but c'est la vie) for Hemispheres, and fans of that instrument should thus seriously consider it. I'm not the greatest Rush fan (Caress Of Steel excepted), so I'd suggest reading a few more generous reviews to balance my opinion out.

Rating: Three Stars

Favourite Track: La Ville Strangiato

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