If you never buy another Queen album, make sure you have this in your collection of prog rock, as it never disappoints, packing progressive elements in dense clusters, whipping backwards and forwards between the light and soulful, through the dark and heavy to the downright psychotic.

"Procession" starts with a stately bass drum pattern, over which Brian May previews some of the "Father To Son" material with a guitar sound that is strikingly organ-like and somehow majesterial. This is layered with quasi-mediaeva touches, and the "main" Father to Son theme, before a rippling motif overlaid with a bell-like motif leads to the wonderful riffs of "Father..". These riffs develop, blurring the verse/chorus progression somewhat. When the chorus hits, it's huge and symphonic in style. The rippling and bell motifs return in an slightly extended form, and the Queen choir builds up a huge texture, with touches vaguely reminiscent of the Beach Boys "Good Vibrations" in places. A huge riff is built up underneath this, and we enter a rockin' and rollin' bridge that develops into the solo, which flies all around the stereo picture in a dazzling display of dive-bombs, before lapsing into feedback before kicking off solo part 2, with May layering up the guitars authoritatively. This drops back to a single soft chord, as Mercury almost whispers "A word in your ear, from Father to Son", which kicks into the coda, showcasing fabulous melodies, style changes and, naturally, the Queen choir. The coda itself is a massive stadium chant of "Word goes around, from Father to Son..." etc, which fades out to ambient guitar feedback textures.

These segue into the intro to "White Queen", a song with fine - almost typical prog rock lyrics - and a dramatic Gong punctuating the ambient wash of acoustic guitars. Mercury turns in another brilliantly strong melody. Fabulous harmonies open the music up in a mini bridge into what stands as a kind of chorus - but with massive riffs instead of acoustic guitar, different words to continue the tale, and sensitive, dramatic percussion from Taylor. May then imitates a sitar convincingly for a brilliantly ambient section - There is much in here that reminds me of some of the material on Radiohead's "OK Computer", Queen's dominant style notwithstanding. May unleashes a fabulously orchestrated section, and the Queen choir layer up, and the whole lot is broken down again - "...as it began". At least half an hour's worth of material condensed into 4 and a half minutes. This is what I'm talking about.

"Some Day, One Day" begins with a gentle acoustic rhythm awash with phasers, and May taking the mic for a complete change of style and texture - but that's part of what prog is all about; Variety. The lyrics enter mysticism territory here - with a slightly dark slant; "When I was you and you were me and we were very young Together took us nearly there, the rest may not be sung". The overall style is of a fairly simple song, but there are many, many progressive elements packed in here - some reminiscent of "Tomorrow Never Knows", but the ambient layers of voice and guitar showing the subtle side of Queen.

The rock returns with a bang - Taylor's echoed kit and rough and angry vocals rip into "Loser In The End" - but concentrate on the background layers if you will. The surface is a fairly standard rock song, but the layering of textural ideas is out of this world. You could convince yourself that Queen were using synths - but, of course, at this point in their career, this is not the case.

Side 2 opens with a whoosh, and thunder, before multi-layered and backtracked vocals and guitars create a cacophonous wall of sound, which magically turns itself around to sound "the right way around", and a riff that builds and builds to a song which just grows and grows, painting the outrageously dramatic picture of the Ogre Battle, May excelling himself with guitar punctuation. A wall of screams is the highpoint of this song - it really is incredibly scary - but not long enough! Like everything on this album, everything is so dense and passes by so quickly...

The track segues into "Fairy Feller's Master Stroke", a wicked slice of prog incredibly squeezed into a mere two and a half minutes - I'm wearing out my pause button on this one, so I'll let you discover it for yourself. The lyrics are suitably prog too - so check those out, and listen to this a hundred times - or until you have worked out all the complexities in this song, whichever comes first - I suspect the former.

Masterfully, this segues into "Nevermore", which hints at great songs that Queen would write later in their career. Hauntingly evocative and nostalgic, this shifts seamlessly through many keys, driven by Mercury's ever-improving pianistic abilities.

Now we arrive at the pinnacle of this breathtaking roller coaster - "The March of the Black Queen". Less dense overall than the earlier material, but still packed with time, key and texture changes - including bells and outrageous vocal textures, sudden drops from vertiginous cliffs of sound into barbershop style harmonies and vaudeville song.

I just don't want to analyse any further - the music is just too enjoyable to keep picking apart, and really, one could spend a huge amount of time in analysis and still not uncover everything in this fabulous album - a prog rock album that defines Queen's corner of the genre, and makes many other prog bands pale into near insignificance by comparison.

It's amazing to me that opinion could be split over this album, as it seems to be in some circles - all I can think of is that if you don't hear the prog, you need to listen again and again until you do. It's all there in spades... make that dump truck loads - Queen unashamedly pile on the elements in clusters so dense and fly them past at such a speed that all you end up following are the fabulous melodies of Mercury and May's awesome riffs - and rightly so. Prog should be more than the sum of its parts, and despite the enormous quantity of elements, this album is way more than "Seven Seas..." or "Ogre Battle".

Queen were so far ahead of their time, as this album closes with the pure prog "Seven Seas of Rhye", I feel a kind of pang of regret that Queen did not make more albums like this - one wishes that they had found a way to produce a dozen or so more like this every year. But then that would stop Queen II from holding the crown that it does.

Magnificent opus - even if you don't like certain aspects of it, there's bound to be something in here you'll like or grow to like over time. An essential rock album for everyone.

This review is long, but if you have any interest in Les Claypool, Trey Anastasio, Stewart Copeland, or just in a new legend emerging on the progressive landscape, you should take the time to read this.

Oysterhead consists of Trey Anastasio (Phish), Les Claypool (Primus), and former Police drummer Stewart Copeland, and the only reason I bought this album was to hear what Copeland would sound like after fifteen years or so away from playing in a legitimate band (I think he’s been mostly doing movie soundtracks and stuff like that since he left the Police).

Pause and form a mental picture of what you think a band with these three guys should look and sound like. Whatever you’re thinking, it’s probably off-base. Having suffered through listening to the results of contrived lineups of numerous “all-star” bands over the years, I actually expected this album to be an over-hyped flop, and after the first listen that was my initial impression, and I found myself wishing that the band’s web site had a return policy.

After a few more listens though, this album has really grown on me. There are a couple of small turds in the mix, to be sure, but overall this is a collection of songs that you can play many times and find something new almost every time. And by the way, Copeland’s drumming hasn’t lost anything in the time he’s been away. He pretty much lives above the rim the whole album, with an almost indulgent use of snares, and of what must be some pretty interesting-looking cymbals, judging from some of the funky sounds he’s coaxing out of them.

The lyrics are a mixed-bag, ranging from socially conscious to just plain silly, which isn’t surprising considering Anastasio and Claypool’s histories with their respective bands. There is a very definite aura of control by Claypool throughout, with most of the tracks having at least a hint of a Primus feel to them. But there is a bit more structure and discipline to the music than you’ll find on albums like Pork Soda or Rhinoplasty. I suppose this is largely attributable to Anastasio’s considerable skill at arranging the music, and Copeland’s well-honed commercial sensibilities. Finally, most of the songs have some degree of improvisational jamming to them, and clearly the Phish influence is shining through – I don’t think either the Police or Primus is particularly known for their spontaneity in the studio.

Clearly this band was made to be live on stage though, and their web site is pretty liberally sprinkled with free concert videos for fans to download. There is also a lengthy policy statement explaining how fans can tape live concerts for their own benefit, and even post their recordings for free distribution to other fans. I have in fact downloaded several such recordings from various amateur fan sites (placed there with the full consent of the band, I will point out!), and most of these songs sound even better live than they do on the album. So if you’re interested in the musical styles of any of these three artists, you should think of Grand Pecking Order as a solid sampler of what they will sound like live (although to my knowledge they haven’t really played live much since the supporting tour for this album back in 2001).

“Little Faces” starts off with a funky rhythm between Claypool’s bass and Copeland’s drums that has the effect of sounding like a motorcycle or poorly muffled racing engine revving up. It’s a pretty creative way to open the album, and gives way eventually into a rather extended jam that has a strong Phish feel to it. I wish I had more experience listening to both Phish and especially Primus because both Anastasio and Claypool provide vocals but they are kind of hard to tell apart.

In “Oz is Ever Floating” Claypool lays down some funky blues-influenced licks that are supported with a driving staccato beat from Copeland. I can’t tell if Claypool is using a voice box or is just synching his vocals perfectly to Anastasio’s guitar, but the effect is quite original.

“Mr. Oysterhead” is a song that is totally made to be played live. This one actually reminds me of some of the funkier early stuff the Gap Band did, except that the vocals are almost like the Beastie Boys at times. This one could easily be drawn out to eight or ten minutes in a live setting and still hold the interest of listeners.

(Billy Came Back from Vietnam) a “Shadow of a Man” has one of the few serious topics on the album. It’s a song about a man returning from Vietnam with some mental and social adjustment issues, apparently one of many victims of Agent Orange exposure. This is a reference to a rather dated social issue, but the change of tempo shows the range this group is capable of. Copeland throws in some unusual percussion that has a bit of an Oriental feel to it, and Anastasio’s guitar has kind of an ‘Apocalypse Now’ sound that sets the mood well.

I’m not sure what the point is in “Radon Balloon”, maybe some sort of nuclear reference or something. This is a rather subdued song, with Anastasio actually switching to an acoustic guitar.

Claypool’s bass sounds like he’s slapping wet noodles on “Army’s on Ecstasy”, a sarcastic dig at the mental state of some of our men and women in uniform (this is kind of a sacred-cow subject today, but keep in mind the song was written in early 2001). The vocals here are actually a bit annoying at times, especially Claypool’s ‘voice-in-a- can’ sound that reminds me of some of Klaatu’s early stuff.

I think “Rubberneck Lions” is just a bunch of pointless babbling thrown together with most of the lyrics appearing to be chosen simply because they rhyme. Anastasio wanders about with some funky licks that sound as if they were improvised in the studio. Overall this would have been just as good as an instrumental, and whoever is singing the harmony sounds a lot like Gordon Gano from Violent Femmes.

“Polka Dot Rose” is a darker kind of chant that I didn’t really get the point of, but Claypool and Copeland do a nice job of laying down a toe-tapping tempo at least.

“Birthday Boys” is an Anastasio tune, and he brings out an acoustic guitar again for this one. I gather this song is about a chick named Gina who is a bit of a tease, although I could certainly have that wrong.

I’m pretty sure “Wield the Spade” is a dig at world leaders like GW who assume their powers to be unlimited. The timing here is interesting. Oysterhead was scheduled to kick off their tour supporting the album on September 15, 2001, and their first few shows were canceled after the September 11th terrorist attacks. Although the voice on this song sounds remarkably like Al Gore, the lyrics seem almost prophetically aimed as a reference to the abuses of power the current American president has been accused post-September 11th. Kind of creepy listening to this song knowing it was written before the unfolding of the past five years’ political and social events.

The lyrics from “Pseudo Suicide” are Claypool’s, and the real-life references wrapped around the encore “’cause there ain’t no cure for suicide” undoubtedly have some sort of hidden meaning that escapes me, but probably means something to those who know him. He and Copeland seem especially inspired on this one, with a driving rhythm that is more upbeat than anywhere else on the album.

“Grand Pecking Order” is just a flat-out disgruntled-member-of-the-human-race rant. You just gotta’ love these lyrics:

“In the grand pecking order, where is it you lie? are you the tall hog at the trough, Or a piglet in the sty? On the grand ladder of life, are you near the highest rung? Or somewhere near bottom with your nose in hairy bung. And so you sniff it with a smile on your face, for to pout about would only bring disgrace – to the Grand Pecking Order”.

“Owner of the World”, I guess, is about a corporate and social climber who has reached his zenith and is now just another average Joe:

“He used to own the world, he used to be the one. Like hundred hungry dogs in heat, on cinnabar and rum; ground and sifted and washed it, dried it in the sun. But his heart just wouldn't buy it and his feet began to run. He used to be the Owner of the World, but now he's just another man, who used to be the Owner of the World”.

Anastasio closes out this last track with some very tasty licks that dance around Copeland’s simple but fast-moving beat. This is a short but sweet tune that left me expecting more after the album ended, even after I originally didn’t think the album was even worth keeping.

Like I said at the beginning, that’s what a few listens to this album will do – get you hooked and eventually you’ll probably even sing the praises of this innovative and energetic work by three well-established musical geniuses who somehow managed to break with the traditional mold of “all-star” lineups that either take themselves too seriously, or try to bite off more than they can chew. Oysterhead seems to be not only keeping their egos and ambitions in check on the album; they actually seem to be having fun doing it.

If you have a chance to pick this one up, consider it a priority – this is a record you will still be playing from time to time even years from now. If I ever get a chance to see these guys live, I will undoubtedly consider it the highlight of my social calendar for that year.

Oysterhead and Grand Pecking Order are real gems whose real genius, in the grand tradition of much of the progressive genre, will probably not be fully appreciated for many years to come.

peace

Review

http://www.progarchives.com/Collaborators.asp?id=12042"> http://www.progarchives.com/Collaborators.asp?id=12042 - Finnforest (James Russell) Prog Reviewer

It's unfortunate that so many in the press get hung up talking about Syd's private life, drug use, or mental state. What is relevant is his art. His music is not for everyone, but for those who can lock into his unique vision, it is very rewarding. It is both complex and simple, ranging from childlike whimsy to some very dark places to oddities in between. It is acoustic music primarily with mostly quiet vocals and worlds away from the circus of Piper. While mistakes are made by Syd and in the production I have no problem overlooking such technicalities to the wondrous and unique music at its core. The gentle rhythmic playing on some tracks here (and on his song Opel from the Opel compilation) can be meditative, while other songs have an upbeat cheery vibe. It is strange music and some Floyd fans who listen to this will be shocked by the difference, the unpolished rawness, the lack of cohesive image that his former mates rode to stardom. This is closer to a Nick Drake sound than it is to any Pink Floyd album, but much less calculated than Drake. One gets the feeling that often Syd was really just channeling what came to him on a given day which is a fascinating way to experience creativity. Think about it. I hope people can maintain an open mind to Syd because he deserves to be heard by a wider audience. I love all of his solo material, even the less successful stuff. For those who'd rather try Syd with a band backing him up, get his second record "Barrett" instead. You'll find similar material, but instead of just Syd and acoustic guitar, you'll get Gilmour on bass and Jerry Shirley adding some percussion. It's debatable which approach is better so do try them both. And I love Syd's "my way or the highway" approach to his life and work. He lived it on his terms. He decided (or it was decided for him) that he should live a quiet life away from the music business and that's what he did without ever looking back. I have no problem awarding 4 stars to this work, a fine release. All of Syd's work never fails to make me smile and realize how rewarding it can be to thumb one's nose at the status quo both in life and in popular music. There's a deviant quality to this album and to his approach but behind it I believe was a simple and good person who just didn't fit into this society. I think those who would label his existence a "tragedy" are frankly missing the bigger picture. True, part of his story is sad but according to his own family he lived his life as he wished and was happy. There are plenty of "normal" people out there who can't pull off those two things.

As a band, Wishbone Ash tend to divide the room over whether they are prog or not, mainly because they don't use keyboards. Whilst the debut definitely has a blues rock overall sound, 'Pilgrimage' is more ambitious and folkier, while 'Argus' is the perfect synthesis of both worlds. This IS a prog masterpiece, in my opinion, with the intricacy and complexity you would expect of prog, albeit with guitars to the forefront rather than keyboards.

'Time Was' is one of the band's very best, but then so is everything else on this album. It begins with a glistening, gentle acoustic guitar intro which sets in motion the laid back tone to the first section of the track. The guitars lilt nicely throughout this section, and the layered vocals are gorgeous, being far more polished than anything heard on their previous albums. This gives way to a furious rock-out section, though, characterised by the driving twin guitars of Ted Turner and Andy Powell, precise and rocking percussion from Steve Upton and the mellow vocal of Martin Turner. There are some stunning guitar solo sections here, with the folkier mid section being particularly memorable, but the best is saved until last- a gloriously extended climax with bluesy, hard driving twin guitar work and shuffling percussion. A genuine classic by any standards.

'Sometime World' is a mellower track, to begin with. It has a hazy, laid back feel with shimmering guitar work and fine lead vocals from Martin Turner. Steve Upton's light percussion work is well judged and the perfect foil for the generally subdued guitars, but it's Upton's work which switches the mood as he increases the tempo and the guitars get rockier. The harmonies are in the same mould as 'Vas Dis' from 'Pilgrimage' and accompany the furious guitars very well indeed.

'Blowin' Free' is a definite favourite of mine- it has a boogie flavour, not a million miles away from songs like 'Blind Eye' or 'Jailbait' from earlier albums, but again, mellower and the guitar work is a lot more intricate right from the off. The dual vocals of Martin Turner and Andy Powell (these days fronting two separate versions of Wishbone Ash- a la Barclay James Harvest, but without the acrimony, it seems) handle the melody wonderfully, and the guitar solos are amongst the most melodic and memorable I know of. The mellower mid section, with group harmonies and strummed guitar, is a highlight of the band's career and the climax with full on slide guitar is still amazing to behold. This has doubtless been played in every gig since it was first aired by the band.

'The King Will Come' is a mid tempo rocker, with a slowburning intro that has an almost reggae (!) flavour due to the syncopated twin guitars. Steve Upton's percussion is loose and funky, before plunging into the main riff with the heavy guitars to the fore. This song reminds me a little of 'Full House' era Fairport Convention, with its folky dual vocals, but the twin guitar work keep things rocking throughout. The guitar heavy climax is particularly intricate from a musical standpoint.

'Leaf and Stream' tends to be overlooked in favour of the rockier tracks, but it's a shame as it's a gorgeous folk gem. It's like the acoustic instrumental 'Lullaby' from the previous album, with its very gentle guitars but this one has a fine lead vocal performance.

'Warrior' is more typical Ash fare, with its strident heavy guitar work, powerful percussion and a more reposed mid section with hazy guitar, neat harmony vocals and pared down percussive work. The chorus here is one of the band's most iconic of all, and this has a smorgasbord of great guitar solos, before segueing into 'Throw Down The Sword' which gives the impression of an ongoing epic. This begins slowly but surely, with the twin guitar riff rising in tension alongside Steve Upton's spiralling drum rolls. Again, the chorus is stirring stuff, with a glorious guitar solo to round the album off wonderfully.

This remains one of my favourite albums, and is definitely a 5 star masterwork by any standards, flowing beautifully throughout and as such, is highly consistent. I personally felt the remix of a few years ago was superbly done, and as a result the album overcame slight sonic murk to sound like it could have been recorded yesterday. Quite why the sleeve of this remastered/remixed version has done away with the UFO on the cover, though, is anybody's guess!