SONGS FROM THE HARD SHOULDER

Another massive album of millions of musical ideas, many borrowed, many from the workaday life of Andy Tillison and his merry little band of merry virtuosos, all smashed together this way and that (and sometimes other ways) into five songs.

1. "The Changes (17:06) after a rather moving reflective opening couple of verses, we get to Andy's view of life on the road. It sounds very nostalgic, though not as much fun since COVID-19 for these career musicians. The hooks are good, especially in the first five minutes, but then they become too fleeting: as if the band finds them but then gives them up for the next greatest idea. The musicianship is above excellent, but oft-times (as usual in Tangent work), it seems so for questionable reasons (I mean: does every musician always have to be performing at their top speed and with their most flashy stylings?) (30.75/35)

2. "The GPS Vultures" (17:01) Latin grooves to support a prog-jazz blend (aka: Jonas is busy!). Again, do these musicians, excellent each and everyone, really have to be soloing, showing off their flashiest chops, at every moment of these epic songs? Can't repeating motifs be established to allow the listener something to anchor one's self in? As usual, Andy (& Co.) flirt with imitation/borrowing other well known classic riffs, sounds, and themes to build upon, only oft-times they're too close for comfort--too much like the original. Then, how do you explain passages like the sixth and seventh minutes when it "appears" as if the band has broken down--where nothing flows, gels, or works. I suppose that's part of the "genius" of virtuosi: they can make any structure work ? even chaos. Then they can fall into holes of such sappy styles like the blues-rock-by numbers passage in the tenth and eleventh minute, or the acoustic John McLaughlin jazz passage in the fourteenth. Again, the execution and performances are top notch (amphetamines included) just, kind of, over the top. And it's all instrumental! (30.25/35)

3. "The Lady Tied to the Lamp Post" (20:52) a very nice, melodic and emotional opening leads to a lot of choatic noodling. As much as the heart-string-pulling music and lyrics seem to come from Mark Johnson's THE THE sound and chordal palettes, this start is, for me, the most engaging and enjoyable part of the album. Unfortunately, in the second quarter of the song the composition strays from melodic niceties until the soft instrumental passage in the tenth minute. This is then broken up by an abrasive screaming saw-synth solo in the eleventh (which does get better over time, with repetition). A stripped down jazz-rock section is then peppered with space synth and spacey electric guitar bent-note play. Good section as delicate piano and hard snare hits move the song forward into more delicate, airy music over which Andy sings quite sensitively. At 14:10 we're back to full force and more of Andy's narrative singing of current events in his surroundings. (35.5/40)

4. "Wasted Soul" (4:40) a kind of Neo-R&B pop songs à la The Style Council or The Blow Monkeys with plenty of hits from the banks of computer horns. The chord progressions and melody line kind of follows the Keith Jagger David Bowie collaboration for the remake of "Dancing in the Streets." It seems as if old age is hitting Andy hard. (8/10)

5." In the Dead of Night / Tangential Aura / Reprise" (16:11) * (a cover of the classic UK song from 1978 plus the Andy Tillison touch.) (I can see that some of these musicians might have tried making a living covering songs like this in their younger days.) I like the "Tangential Aura" jam all right (except for the drum machine sound of Steve's programmed drums). Then, in the Reprise, Luke has his best (most Allan Holdsworth-like) runs. (26.25/30)

Total Time 75:50

* bonus track on limited edition (U.K. cover)

B/four stars; an album of excellent musicianship with a busyness that is sometimes off-putting. At the same time, there is no denying the infectious charm of Mr. Andy Tillison's world perspective as well as my respect for his very sincere passion for music (and high standard of musicianship).