Category: Album Reviews

Review – Samurai – Samurai – Remastered, Expanded Edition – by John Wenlock-Smith

This review is of the recently issued re-release on CD of the 1971 album by early UK progressive rock band Samurai. This was originally issued by the Greenwich Gramophone label and featured Dave Greenslade (who later found further fame as a member of Dave Greenslade’s Greenslade which, oddly enough, also included Greenwich’s creative director Tony Reeves).

This album is new to me even though, as a youngster, I was enthralled by Greenslade’s music and covers. This stemmed from hours spent in a local record shop in Sutton Coldfield (called Preedy’s) who sold records in their basement and in which I discovered Greenslade. Whilst I loved the band, I knew little of the members earlier previous musical heritage or history, which is probably why this album passed by me unnoticed, so now is the chance to rectify that situation.

One thing that rapidly becomes apparent is that Dave Lawson certainly added far more to Greenslade’s sound than I had previously thought. Here his vocals are really impassioned and interesting and as rich as his keyboard playing in fact. Whilst this music is of its time and has many of the attendant deficiencies, what it does have is lots of energy and, musically, a lot going on.

The album opens with Saving It Up For So Long, containing a meaty hefty bassline from John Eaton along with swirling keyboards from Dave Lawson, a complex  guitar line from Tony Edwards and sax from Tony Roberts and Don Fey. The use of the brass section makes this very unusual and certainly interesting. The next song, More Rain, is a far mellower affair and shows what Dave bought to Greenslade. Being mellow in its tone and mood doesn’t mean that the song is dull, far from it, the song had a casual pace to it but it still swings nicely making it a fine listen.

Next up is another sax fronted piece, Maudie James, which sounds somewhat sultry and moody before some fine piano leads the song forward again. Another fine Lawson vocal propels the song along with brass incursions parping at various points making this sound very good indeed.

This really is an interesting album and one that deservedly gets a fine reissue from the lovely folks at Esoteric Arts, who once again live up to their image and policy of remastering and reimagining the classics well. They have done a great job with a great sound and have included three hitherto unreleased live tracks from a show in Sweden in 1971, along with an informative booklet with comments from Dave Lawson.

Give A Little Love opens with some rather urgent guitar backed up with horn blasts creating a solid wall of sound. This is done in a good way, some interesting keyboard tones adding to this song and a fine guitar riff with its subtle wah-wah usage driving the song forward before a jazz sax solo comes to the fore. The next two songs are the longer Face In The Mirror and As I Dried The Tears Away, both of which offer room for the music to stretch out a bit more. In the case of Face In The Mirror, this allows the bass to carry a walking beat to proceedings interspersed with subtle keyboards and guitar lines.

The song is quite different in tone, again being mellow in parts but the instrumentation is certainly striking and interesting as is the guitar solo from Tony Edwards who uses his effects pedals well, with the precise drums of Lennie Wright offering solid support for his efforts, making this track a real winner. As I Dried The Tears Away utilises its longer length to good effect, opening with some jazzy keyboards and a growling bass. Good use of vibes offer a shimmer to the sound, again very similar sounding to Dave’s later sounds, and his unusual voice and tone are well displayed herein. A nice brief guitar part as the song proceeds helps gather momentum and pace before a more jazz sounding passage is played with swirling organ parts and bells and whistles being employed, very psychedelic sounding in parts with excellent keyboard passages used.    

The last three songs are live versions of album songs, of which the extended version of Holy Padlock comes out strongest as its extra couple of minutes are used wisely and to maximum effect. The sound takes up an urgent and strident pace halfway through that really swings well. The vocals are somewhat buried in the mix but the band certainly seem to be playing up a storm here. Final Live track is More Rain and, again, this live version really shines, the horns work well creating the sound and making noticeable inserts to the song. The guitar line is also carried well with subtle wah-wah really making it sound very good indeed.

The live tracks show this band could deliver in a live setting although, sadly, that opportunity to develop was cut short as key members became disillusioned and left, leaving Lawson and Reeves free to join Dave Greenslade’s project Greenslade, where their talent would blend to create new magical music over their four album career. 

Tracks: Saving It Up For So Long 3:47, More Rain 4:29, Maudie James 4:59, Holy Padlock 4:45, Give A Little Love 3:42, Face In The Mirror 6:46, As I Dried The Tears Away 8:25, Give A Little Love (Live) 5:12, Holy Padlock (Live) 7:49, More Rain (Live) 4:30.  

Released 25th September 2020

Order from Cherry Red Records here:

https://www.cherryred.co.uk/product/samurai-remastered-expanded-edition/

Review – Back Street Crawler – The Atlantic Years 1975-1976 – by John Wenlock-Smith

This set has been a long time in coming, especially if you consider that the main attraction of Back Street Crawler, namely one Paul Kossoff, died way back in 1976 (some forty four years ago). This compilation collects all the recordings the band made for the Atlantic label over a brief two year period. Kossoff was, of course, the guitarist in seminal British rock band Free and his fluid, soulful guitar fuelled the albums they made for the Island label.

Included in this retrospective are the ‘The Band Plays On’ (1975), ‘2ND Street’ (1976) and the ‘Live at Fairfield Hall, Croydon’ set from shows recorded in 1975 that were released after Paul’s death in 1976. The fourth disc is from Paul’s final show on 3rd March 1976 at the Starwood Club, Los Angeles, although this is an illicit (bootleg) recording along with studio outtakes and two unreleased tracks.

Paul was a not only a great talent, he was also a troubled soul, gentle at times and fiery at others. His lack of height and his red hair made him more volatile than others. The fact that he was also a drug addict made him unpredictable and unreliable but he was also in poor health as a result of his addictions. Back Street Crawler was his attempt to regain what he’d lost since the demise of Free in 1973. After Free parted company he made a solo album that Back Street Crawler was named after, he’d also been a part of the Kossoff, Tetsu, Kirke and Rabbit project (also in 1973) that had released one self-titled album on the Island label. 

Back Street Crawler were a five piece band featuring Kossoff on guitars and Terry Wilson–Slesser (ex Beckett) on vocals, Mike Montgomery (keyboards), Terry Wilson (bass) and Tony Braunagel (drums), releasing their debut album, ‘The Band Plays On’ in 1975. The debut is actually rather good in parts, it certainly has Paul playing well, even if the material is generally not really very strong or as good as it could be.

There are some sparks on songs like It’s A Long Way Down To The Top and The Band Plays On, to name just two. Singer Terry Wilson-Slesser is a strong and versatile vocalist who gives his all on this album, the generally broody music allows Paul’s guitar to shine through and he plays lots of his trademark solo’s wailing suitably over strong backing from his bandmates. The album would be considered short now but was of its time. One thing this album does have is some great piano for Paul to play off, especially on the funkier tracks like Stealing My Way, which sounds like it could be a lost Free track as it has their bluesy swagger to it. 

Disc 2 contains the album ‘2ND Street’, issued in 1976. However, Paul had been unwell and was only featured on certain tracks. These were a far better representation and vehicle for his unique talent kicking off in good form with the track Selfish Lover on which Paul’s incisive guitar slices through, sounding typically startling and oozing with emotion.

I’m writing this review in the week that that other great British Blues talent Peter Green has left us. In his own way Paul Kossoff was equally as stunning, when Koss played people listened, his tone and his playing were all about making each note speak. This was a talent that was very different to others. Why play 100 fast notes when one well placed note can say it all? that was his gift to music.

Blue Soul is another of his tracks, again he soars on this one. Sweet, Sweet Beauty is another excellent track, as is Some Kind Of Happy.  This album is a far mellower proposition than the harder edged debut and it has its own charm because of that fact, it certainly acts as a graceful tribute to the genius that was Paul Kossoff. This is an album of songs that act as a tribute to a man and fallen friend whose days were numbered and would sadly end before the album was even released.

Whilst ‘2ND Street’ marked he end of Paul Kossoff’s recording career and he may have gone, his legend and his skill remained. His presence was still there in the influence he has been on many contemporary guitarists, many citing him as such, or a hero even. However, there was more to come because recordings had captured Kossoff in fine form at Fairfield Hall in June of the previous year (this is presented here on disc 3).

The live albums here are very interesting, especially Fairfield Hall as it was recorded on one of Pauls better nights where his playing is hot, fiery and exciting, bringing the songs from the debut to life onstage. He also adds covers of Free’s The Hunter and his own Molten Gold. This live disc features all ten tracks from ‘The Band Plays On’ but here they are imbued with the power of a live performance. Obviously touring had consolidated the group significantly and these live versions are vibrant and vital, bristling with an energy that the studio versions somehow seemed to lack.

The sound is clear and full well mixed and captured in full flow, it’s a great joy to hear this show all these years later, one weeps for the loss of Kossoff. Standout tracks also include It’s a Long Way Down To The Top and The Band Played On, where Koss is all over the song, adding frills and stepping out to take some incendiary solos. This is everything the debut wasn’t as a studio release and validates the bands existence. I sadly missed the chance to see this tour at Birmingham Town Hall and I really wish I had made the effort I think I Missed something special, ah the folly of youth eh?.

Disc 4 is also of interest as it contains Paul’s last ever performance at the Starwood Club in Los Angeles. This being a bootleg tape the quality is fairly raw and rough sounding but its certainly listenable and featuring Free’s Common Mortal Man is a nice touch. Opening Who Do Women is a good entrance but the sonic limitations of the recording dilute the power of the performance. Although you can hears Koss’s guitar clearly, the rhythm section sound a bit muffled and clipped. The swagger of Stealing My Way is next and you cant believe that you are hearing such a historical and monumental performance. Sadly Paul would pass away on an airplane between Los Angeles and New York from a pulmonary embolism just 15 days later, the legend was gone but, as this set clearly attests, his talent would live on forever.     

I’ve not seen the finished box set of these discs yet but, in any event, these reissues by Cherry Red/ Esoteric bring to life again that tragically short period of Back Street Crawler featuring Paul Kossoff and the final period of his life. Back Street Crawler continued with Geoff Whitehorn replacing Kossoff and released 2 further albums for Columbia, namely ‘Crawler’ and ‘Snake, Rattle and Roll’. After the band split in the late 1970’s, Whitehorn joined Procol Harum where he remains to this day.  

Released 16th June 2020

Order from Cherry Red Records here:

https://www.cherryred.co.uk/product/back-street-crawler-atlantic-years-1975-1976-4cd/

Review – Randy California & Spirit – The Euro-American Years – by John Wenlock-Smith

This reissue may be a tad obscure to some, especially as it has been some 23 years since Randy California died in the pacific ocean whilst rescuing his son Quinn from a riptide near his mother’s home in Hawaii, Quinn Survived by sadly Randy did not and passed away at the age of 45.

Randy lived a very eventful and colourful life and he left a wealth of recordings, many of which are only now seeing the light of day thanks to the incredible efforts of Mick Skidmore, who painstakingly strives to keep Randy’s memory and legacy alive through the work of the The Randy Craig Wolfe Trust. Mick has gone to extraordinary lengths to bring several albums up to a good level of fidelity.

These include ‘Spirit – Live From The Time Coast’, ‘Spirit – Two Side Of A Rainbow – Live At The Rainbow’ and ‘Spirit – Tent of Miracles’, all of which have surfaced in the past few years, massively overhauled and much expanded with unreleased and live cuts (often in the form of complete shows). Take the extensive booklets and photographs, all of which add to this latest collection of 6 CDs (including almost 3 discs of previously unavailable / unheard live recordings of both Spirit and the Randy California Band recorded between the years 1979 to 1983) and make it a most welcome addition to that growing vault of releases.

The thing that becomes clear very rapidly is that this was a difficult time for Randy, and he struggled to find his niche and a genre in which his undeniable talents could be best shown. This fascinating set includes early demos from 1979 in London, the whole ‘Euro-American’ album and ‘Shattered Dreams’ live EP and tracks from the Potato Land project, portrayed through live recordings made in both the UK, Europe and the USA. This material is often excellent, sometimes patchy but always worth a listen and this comprehensive set is an excellent and accessible way in which to trawl through this particular period of Randy’s Career.

The sound is generally particularly good, there are occasional lapses but, generally, this is all perfectly listenable, you can certainly hear significant snatches of Randy’s brilliance when he gets to stretch out or really let fly. You hear this especially on the longer live tracks where he can really play to his strengths, confident in the backing his fellow musicians create for him to work from.  

The sets fall as such, Disc 1 and 2 – The Euro American album, Demos and Shattered Dream EP and Unreleased Tracks. Disc 3 is Spirit Live in 1980/1981 at various venues in both Europe and the US on what were essentially Promo tours for the Potato Land album that had been released by Beggars Banquet.

Disc 4 is more demos and also soundboard recordings of a festival show at Ayr in Scotland from October 1979 supporting Ian Gillan of Deep Purple fame. This show is an attempt at a harder sound that works very well. Disc 5 is a show from Spirit taken from Greensboro North Carolina in 1981 and this is the 3 piece version really giving a fantastic performance with three lengthier tracks at the end really giving them a chance to shine.

The Final disc (disc 6) is The Randy California Band live at the Reading Festival in 1982 and from the Glastonbury Festival in 1982, both being soundboard recordings

This set is very extensive and will keep you happy for many hours, as the entire set lasts for just short of 9 hours, with each disc coming out at 79 plus minutes per disc, so it is a value packed set and, although there is some duplication, there is enough variation to still make this set worthwhile.

Personally I applaud the efforts of both Mick Skidmore and Mark and Vicky Powell of Esoteric for bringing this remarkable time capsule to the table. I just hope that they have a reissue for the fabulous ‘Restless’ album (that has been out of print for many years) lined up, for that was another remarkable album that was widely ignored by the record buying public and is surely due for re-evaluation once again.

This a reissue that I can certainly recommend to fans of Spirit, psychedelic rock or simply good, strong music with some fabulous playing, Randy was truly a unique musician as this excellent boxset testifies wonderfully. 

Disc 1 Kingsway Demos 1979, You stole my Heart 4:43,California Man 4:12, Thinking Of You 2:58, Song For Laura 5:05, Magic Wand LA Sessions 1981 Reeling IN The Night3:33,Lani By The Sea3:43,Shattered Dream Long 45 Mix 5:38,Rock Of Ages 2:13, Magic Wand 3:32.Original Euro American Album 1982 Toy Guns 2:56, This Is The End (Unedited)2:57, Mon Ami (Unedited) 2:44, Rude Reaction 3:22,Calling You 3:11,Wild Thing 4:02,Easy Love (12@ Mix)3:39, Fearless Leader 4:24,Five In The Morning 3:01 Skull And Crossbones 5:31, Breakout 2:28 Post Euro American Track recorded Abbey Road 1982 Man At War 2:13, Write You A Letter 3:10.

Disc 2 Hand Guns 2:44,Come On Woman 3:18,Trouble In Mind 6:54, Cabin De Telephone5:51, Shane 3:56, All along The Watchtower 2:57 (UK EP Release),Don’t Bother Me 5:02,Brittany 3:47, Downer 3:19, Second Child 4:57,Man At War 4:29.Killer Weed 4:27,Radio Man AKA Same Old Naturally 2:56, Superchild 4:23 Run To Your Lover 3:42, Love’s Not A Game 4:41, Love Is War 2:31,Childhoods End 6:01,Ove3rloaded Ships Sink 4:06.

Disc 3 Spirit Live Various Venues 1980 and 1981, 1984 3:29,Turn To The Right 3:53,Five In The Morning 3;59,Hungry Driver 8:19, I Want Somebody 2:12, Give A Life Take A Life 3:40,Hey Joe 6:45 German 12 Inch Single, Shattered Dreams 9:19, So Little Time To Fly 3:33,Fish Fry Road 4:07, Magic Wand 10:31,Come On Woman 4:02, Breakout 5:02,Downer 3:37, Song For Laura 4:21, Wild Thing 3:53.

Disc 4 Grossscher Herrscher (German Language version Of Fearless Leader 4:27, His Spirit Is Travelling On 3:53, PT 109 1:26,Whispers From Heaven 3:35, Trying To Get Closer To You 3:26, Since She’s Gone 2:51, Past Love 4:07,Stepping Son 3:30,Otter In The Sea 3:56, California Man 3:10, Childhoods End 3:39, Randy California Band Soundboard Tape Ayr Scotland October 22nd 1979 Downer 6:32,You Stole My Heart 5:41, Move On Up 5:10, California Man 5:06, Rebels Flight 6:30, Breakout $:10,Song For Laura 6 55.

Disc 5 Spirit Louis Rock City South, Greensboro April 3rd 1981 1984 4:00, Turn To The Right 3:43, Animal Zoo 3:15,Magic Wand 7:16,Nature’s Way 3:20, Five In The Morning 3:05 So Little Time To Fly 3:35, Mr. Skin 3:00, Come On Woman3:53,All The Same 10:35, I Got A Line On You 2:45, Fish Fry Road 4:07,Wild Thing 7:09, Like A Rolling Stone 8:55, Come And Get It (Magic Spirit) 6:22.

Disc 6 Randy California Band Reading Festival Board Tape 1982 Second Child 5:55,Downer 3:25 Man At War 4:24, Like A Rolling Stone 6:26, All Along The Watchtower 3:31, Come On Woman 3:58, Natures Way 3:16,Killer Weed 6:36, Run To Your Lover 3:14,I Got A Line On You 2:42, Song For Laura 5:13<Wild Thing 5:10 Glastonbury  Festival 1982  Partial Soundboard Tape Hand Guns 2:57,Lisa 5:24,Don’t Bother Me 5:47,Rebel On Attack 3:12, Killer Weed 8:25.

Released 28th August 2020

Order from Cherry Red Records here:

https://www.cherryred.co.uk/product/randy-california-spirit-the-euro-american-years-6cd-remastered-boxset/#:~:text=Hand%20Guns%202.%20Come%20On%20Woman%203.%20Trouble,Childhood%E2%80%99s%20End%2019.%20Overloaded%20Ships%20Sink%20%28Previously%20Unreleased%29

Review – Flying Colors – Third Stage: Live In London – by John Wenlock-Smith

This latest Release from US Prog supergroup Flying Colors chronicles the final date of the ‘Third Stage’ tour that was wound up at Shepherd’s Bush Empire last December. This is a 2 CD and DVD package which really brings to life the spectacle and musicianship the band offer live with both audio and visual recordings of the evening presented.

Unsurprisingly, the set is heavily focused on the then current ‘Third Degree’ album but with enough familiar favourites to create a dynamic balanced show, although sadly no version of that album’s epic Last Train Home was performed (I would gladly have traded Mask Machine for that song) but, even so, what is really apparent is the definitive bass playing of Dave La Rue who anchors the material along with the driving drumbeat from Mike Portnoy. Together, these two offer a fabulous launch pad from which the others can fly their colors, as it were.

Steve Morse is on exceptional form throughout, he is all over these songs with riffs, solos and fills abounding. He also appears to be really enjoying himself, as do the others, the mix and sound is superb with great separation throughout making this a rocking and enjoyable listen. Certainly, those who were there that night sure witnessed something incredibly special indeed. Flying Colors aim of blending musicianship with great songs was realised that night as captured here on these discs and in the excellent DVD of the show.

Especially fine are the versions of Geronimo (which features some excellent bass riffs and a distinctively fine groove from La Rue), the beautiful and emotionally laden epic that is Peaceful Harbour (with an awesome guitar solo from Steve Morse and a fabulous vocal scat from Casey McPherson that leads the song in), this song really shows the marriage of styles that combine to make Flying Colors such a wonderful musical proposition. Songs with emotional depth, musically strong and yet whilst interesting, they really display the talents each member brings to the band. Considering that the band is supplementary to their main day jobs, this is all the more remarkable and is very rewarding indeed.

The fluidity of Steve Morse’s epic guitar playing really shines out on this song backed with real groove and drive from the others, creating a really special version of an exceptional song. This allows for some good audience participation, encouraged by Mike Portnoy acting as unofficial choir master. This joyful song really impresses greatly and is a defining moment of an excellent show.

The second half of the show on disc two contains mainly the longer songs, the band keeping the energy levels high throughout. Crawl is also another epic number, clocking in at 11 Minutes 48 seconds, opening gently and delicately before the chorus is played and a faster more intense pace is picked up. After the initial section, Neal Morse’s keyboards come to the fore, along with a great guitar line from Steve Morse offset against fine keyboards before the guitar snakes the piece away, backed by more great bass work. A seriously good grower of a song ensues here.

The dynamics of this song are truly awesome and highly impressive, really creating the mood. Casey is on particularly good form on this song and, indeed, on the whole set. In fact it is fair to say that each of these musicians are really playing excellently. You can tell just how much they enjoy being together playing together to make this music full of passion and emotion.

Next we have two lengthy tracks, Infinite Fire and Cosmic Symphony, back to back. An exceptionally fine progressive section lasting about 24 minutes in all and full of stellar musical moments from everyone. There’s great interplay, between Neal and Steve especially, backed with strong support from Dave and Mike. This section is followed, and concluded, by strong versions of The Storm and Mask Machine.

This set is really an excellent one and proves that Flying Colors have significant worth and bring a lot of value to the party. If only they could allocate more working time and tour properly so that folks could really begin to appreciate them more, they could be even more successful and reach a far bigger audience and market rather than being Prog’s greatest secret or guilty pleasure.

For me, this a most worthy release and consolidates the strength and value this this excellent band offer to progressive music or to folks who appreciate fine music and great songs. I have no hesitation in recommending this highly to all, seriously great release.

Released 18th September 2020

Order direct from bandcamp here:

https://flyingcolors.bandcamp.com/album/third-stage-live-in-london

Review – Steve Hackett – Selling England By the Pound & Spectral Mornings Live at Hammersmith

This 2 CD / Blu Ray package is the latest release from the former Genesis guitarist who has, for the last 8 years, been repackaging and marketing his own version of his Genesis era history. Quite rightly so, when the rest of the original band are all doing decidedly different music these days.

This nostalgic revue is both commercially and musically viable and valid, people love these songs and Steve has both compiled a top notch supporting band and also tweaked the songs enough to bring their subtle tones and deep emotions to life. Steve’s tours invariably sell out and he has kept ticket prices to an affordable level thus making his shows accessible to many fans who may never have seen the original band. This latest release sees a return to Hammersmith after last year’s successful run of  shows under the ‘Selling England By The Pound‘ and ‘Spectral Mornings‘ banner.

What’s different this time is that Steve has a new drummer who has replaced the departing long term member Gary O’Toole. He had occupied the drum stool for nearly 20 years and, whilst this hasn’t changed the sound, it has brought a fresh power to proceedings. Craig Blundell is the new man behind the kit and he certainly makes his presence felt on this album, adding new flourishes and also forming a solid, reliable rhythm section with bassist Jonas Reingold and, in doing so, creating a platform for Steve’s guitar to soar freely.

The show is divided into two separate parts, part one being a mix of ‘Spectral Mornings’ tracks and including three tracks from Steve’s latest album, ‘At The Edge Of Light’, these being Under The Eye Of The Sun, Fallen Walls and Pedestals, and Beasts in Our Time. These add to the dynamics of the first half well, ‘Spectral Mornings’ being considered by many to be a crowning glory in Steve’s musical legacy or canon of recordings.

It’s an album that is certainly warmly received here at Hammersmith, the songs will be familiar to most so I don’t really need to comment on them to much except to state that all receive sterling performances here with contributions from both John Hackett on flute and Amanda Lehmann on guitar and vocals.

This section of the show is bookended with two of the tracks from ‘Selling England By the Pound’, namely, Dancing with The Moonlit Knight and an extended take on I Know What I Like, both of which are superb renditions, the latter giving Steve a chance to stretch out on the guitar.

The second part contains the remainder of SEBTP including an unreleased track, Déjà Vu, that was co-written by Peter Gabriel. Steve consulted with Peter who then gave his consent to a reworked, finished version and split the writing credits with Steve. As the track was omitted from the original album, its appearance here is most welcome indeed, it is a feisty and strong number that fits in well with the remaining tracks on SEBTP.

Also of note is the simply magnificent version of Firth of Fifth, a song that is as much about Steve as any other Genesis song. This is probably the best of the many live versions of this song that exist, somehow surpassing all the other versions including the orchestral version from last year’s Festival Hall recording, whilst that was great, somehow this is even better. I think that Craig Blundell’s drumming throughout gives the piece hitherto uncovered power, kick and bite and that elevates it above all the other takes released previously.

You could argue that every year brings a new release of old material and do we really need this one? My answer to that is a definitive Yes! These performances are from the heart and certainly satisfy demand and, whilst the original band are reluctant to perform these, Steve’s troop can certainly do so more than adequately and with conviction, power, dignity and grace. This set does that on every count, the blu-ray is a lovely addition and supplements the recordings with a crisp sound and sharp picture. The lighting used throughput the show is stunning and lighting operator Chris Curran certainly adds emphasis and dynamics in bringing his flair in making this a great visual show. This is made all the better with the sharpness that the blu-ray version delivers and the option of the 5.1 surround version that has been sympathetically mixed by Steven Wilson.  

If you have enjoyed any of Steve’s previous live sets, then I certainly recommend this one to you there is so much to enjoy and relive here.

Released 25th September 2020

Order direct from Steve’s website here:

http://www.hackettsongs.com/news/newsAlbum30.html

Review – Arcade Messiah – The Host

The one man, mighty music machine that is John Bassett returns with a new album from his Arcade Messiah project. ‘The Host’, released on September 17th, was mooted as a return to the angrier, heavier sound of John’s original, and best known, band, the imaginatively monikered KingBathmat and we have been given what we were promised… in spades…

John himself said that the new album was, “…more like KingBathmat ‘Overcoming the Monster’ than previous Arcade Messiah albums.”

That was nectar to my ears as I was, and still am, a big fan of the stoner/doom/psychedelic ‘turned up to 11’ sound of KingBathmat. The music sounded like it was hewn out of solid granite and ‘The Host’ certainly has that monolithic sound deep at its core but there’s also subtlety and not a little wistful, thought provoking going on in and amongst the usual huge wave of sound that John always seems to create. A wave of sound so monumental that it would have Phil Spector running for cover!

Also there has to be a big shout out for the ever excellent artwork on the album, a feature of every Arcade Messiah release, I’m always a sucker for a great album cover.

The first two tracks on the album are powerful, magnetic behemoths, Can Of Worms and Electro Magnetic Divine both anchored on that hard hitting, grunge heavy guitar sound (one that any 70’s seminal metal band would be proud of) that is archetypical of the John Bassett sound, his urgent, edgy vocal adding further dynamism and efficacy to the songs. They move forward like an unstoppable force, inexorably heading wherever it is they want to go.

Hidden more in the background on the latter track is a rather elegant, 80’s inspired, keyboard sound and this comes to the fore on Show Me The Sun, a track more akin to John’s Sacred Ape project with its spooky, sci-fi inspired tone. Full on, in your face, heavy metal guitar returns on the intro to The Witch From The West, a compelling track that has opposing facets of a calmer, more reflective sound that is ying to the yang of that glacial inevitability of the heavier guitar and it’s a fascinating listening experience that draws you in to this musical juxtaposition of good and evil.

Title track The Host goes all techno and electronic on us again with a more laid back sound before opening up with some rather splendid guitar riffs and a mysterious undertone. John’s songwriting is as impressive as ever as each track lays its interesting tale before us, drawing you into a heavy, almost dystopian soundscape. Diagnosis is yet another fine song that takes John’s excellent guitar riffs and runs with them, if Ennio Morricone did stoner, doom rock Western movie soundtracks, this could well be one of them (trust me, it’s not as tenuous a link as it sounds!). I love the potent energy at the heart of this track, it is one of my favourites on the album.

The album closes with two shorter tracks, the haunting instrumental Wasteland, with its bleak, edgy guitar note and and austere, pared back feel (again, this could be a movie soundtrack but more in the Mariachi style methinks?) which then segues into the laid back, wistful nostalgia of Wildfire, quite a melancholy and reflective end to an album chock full of thunderous riffs and a primeval energy.

Well, Mr Bassett has only gone and done it again. I have no idea if it is a coincidence of his move to Ireland but this highly impressive songwriter and musician just keeps getting better and better. ‘The Host’, full of some of the most impressive riffs you will ever hear this side of Black Sabbath or Elder and yet containing moments of lucidity creating pathos and poignancy, is without a doubt, his best musical creation yet.

Released 17th September 2020

Order ‘The Host’ from bandcamp here:

https://arcademessiah.bandcamp.com/album/the-host

Review – Airbag – A Day at the Beach

“No matter how corrupt, greedy, and heartless our government, our corporations, our media, and our religious & charitable institutions may become, the music will still be wonderful.” ― Kurt Vonnegut

Crikey, there’s a quote that’s stood the test of time and how true it is. I am sat here listening to the much anticipated new album from the Norwegian masters of artful, melancholic prog, Airbag and it really has hit a nerve in the times we are living in. The soaring solos and mournful vocals paint a sparse musical scene but stir the soul and touch the heart in ways nothing else can.

‘A Day at the Beach’, the band’s fifth album, was released on 19th June, a mere four years after its predecessor ‘Disconnected’. Lyrically, it is very much a story of us and them, told by a husband, father and brother leaving his family behind into an unknown future. It’s the contrast between the desperate individual struggling to survive and people in power observing at a safe distance. 

For the production of “A Day at the Beach”, Airbag has once again teamed up with long-time collaborator and engineer Vegard Sleipnes and it was mastered by Jacob Holm-Lupo. The album is produced by Asle Tostrup and Bjørn Riis and, as always, the cover is designed by vocalist Tostrup. The album, which is their first as a trio, also features talented guest musicians including Kristian Hultgren (Wobbler).

‘A Day at the Beach’ consists of six new songs recorded during autumn and winter of 2019-20 and inspired by the resurgence of 1980s electronica, new wave and movie scores. The album is an ethereal soundscape of cinematic vastness with a brooding, primeval backdrop.

Asle Tostrup’s vocals almost have a krautrock sensibility to them as he delivers each perfectly enunciated word. The music is full of tension and yet there is a wistful, almost nostalgic undercurrent that lies beneath. Central to the band’s sound is the incredible guitar work of Bjørn Riis, the vivid precision of his playing lends an otherworldly aura to every track and when he unleashes a solo it is a thing of iridescent wonder.

Every track is a mesmerising wonder of restrained grace, elegance and class with world weary feel deep at their core. Opener Machines And Men is ten minutes plus of Scandinavian theatrical brilliance with a driving, graphic urge that almost puts you in fight or flight mode and the complimentary A Day at the Beach (Part 1) puts you in a state of calm reflection with its laid back, almost intangible air washing over your senses.

The highlight for me is the utterly magical Into The Unknown, a mesmerising two-part melting pot of electronica inspired synthesisers, beats and percussion complimented by Asle’s halting vocals and a faint, background guitar that fades out before returning in all its guitar blazing glory. A jaw-droppingly brilliant piece of music that I listen to all the time, the guitar playing is just entrancing and spellbinding and will take you to another world (unfortunately only metaphorically!), take a bow Bjørn…

Sunsets is a much more in your face and urgent song with a rather funky bassline that is delivered with a compelling and weighty overtone. A powerful guitar riff, dominant drums and an authoritative vocal driving the track along with a much heavier vibe before swathes of stylish keyboards and punchy guitar wash over you. A Day at the Beach (Part 2) is an instrumental that gives a Scandinavian left field vibe to a Tangerine Dream soundscape, it draws you in and captivates you with its mesmerising repetitive tone.

The album finishes with the heart-rending, raw brilliance of Megalomaniac, near ten minutes of painfully exquisite music that leaves nothing out, like a soul laid bare for all to see. It builds slowly with Asle’s touching vocal and Bjørn’s haunting, plaintive guitar and the ever present edge of the percussion, digging deeper into your psyche and breaking down any barriers. A harsh, strident guitar riff then breaks clear before an utterly majestic guitar solo, full of pain but countered by pathos, dominates the song, leaving you spent and overcome with emotion.

Airbag have returned with a complex release, musically and emotionally. A serious album and one that is seriously impressive, combining ethereal soundscapes with their signature guitar driven progressive rock. They have created a mature, powerful sound that inspires on many levels, delivering one of the most sophisticated releases of the year.

Released June 19th 2020.

Order from bandcamp here:

https://airbagsound.bandcamp.com/album/a-day-at-the-beach

Review – Built For The Future – Brave New World

B4tF is a progressive/alternative rock band from San Antonio, Texas. The music represents strong elements of prog as well as melodic passages that hope to maintain accessibility.

Drawing on a range of long time influence and admiration of bands such as Rush, Yes, Genesis, Tears for Fears, Gabriel, The Fixx, Ultravox and of course The Beatles. The first objective in the music is to create an emotional connection through melody and the lyrics.

​The project began in 2014 when Patric Farrell found his many songs unfinished and at a stand still. The songs written and produced, but stuck. The missing element seemed to be a vocal that matched the level of the songwriting and production.

At the same time, Kenny Bissett was writing and experiencing the opposite, having a great ability to establish melody through his many years as a writer and vocalist. But not being able to hit his target as a producer. Although Patric and Kenny had been friends and musical comrades since the 80’s, they had never worked on a serious project together.

At a chance meeting in a coffee shop, Kenny and Patric comparing projects, Kenny just stated: “I just wish I could do something where I just showed up and sang.”

Realizing that a great vocal was the missing element to Patric’s music, and knowing that he admired Kenny’s vocal style, talent and work..the invite was issued to have Kenny sing on the stagnated music.

The result was the band’s outstanding debut album ‘Chasing Light’, released in 2015. The album had flavours of Yes(Rabin yrs), Rush(mid period), Tears for Fears and later Genesis, with some Beatles ‘peppered’ in as well and sold in over 12 countries around the world, with really kind and generous reaction from fans from so many different places.

‘Brave New World’ is the new album. This album is the next chapter in the metaphorical story that began with ‘Chasing Light’. The album was driven by a desire by Kenny and Patric to be a bit more progressive and a shade darker. Inspired by the emotion that the continuation of the personally driven lyrics would demonstrate, finding a ‘new life’ in a ‘new world’.

Much as I was impressed by the band’s debut release, ‘Brave New World’ is a big step forward. Infused with sc-fi themes, awash with synthesisers and punctuated with vivd guitar solos, this collection of tracks is as vibrant a release as you will hear this year.

Everything begins with the layered construction of the intro to title track Brave New World, a lengthy, immersive song rooted firmly in the world of progressive rock but the sort of prog rock you could imagine as the backdrop to an Aldous Huxley novel. It’s a mighty introduction to the album and a bold musical statement. Breathe takes a more easy going approach and delivers a fast paced track more akin to hard rock but no less impressive or enjoyable. Key to this is Kenny’s rather fine vocal with its unique delivery, adding that futuristic layer to an already modern sound.

This deeply engaging release continues with the elegantly relaxed vibe of The Sheltering Sky, a wistful and nostalgic song that has pathos and humility at its core and one that leaves a lasting impression. Zenith is an edgy and dramatic track that has a feeling of uneasiness around it before breaking out into a more melodic and uplifting song, Kenny’s vocal again at the heart of things.

More than just progressive rock, City of the Sun is a superbly crafted piece of music and one of the highlights of the album for me. The plaintive vocal and haunting music, highlighted by the expressive guitar of David Peña, speaks volumes about what this band are all about as musicians and songwriters. This release was dedicated to the memory of Neil Peart and no more can that Rush influence be heard than on Azimuth, and a fitting tribute to the legendary drummer it is. Dave was encouraged to run loose with his experimental approach to the guitar, and created the incredible otherworldly tone for the songs and it can really be heard here.

The final two tracks on the album, Distant Land and Line of Sight, are true epics in the sense of the word, both coming in at over twelve minutes long. The great thing about long tracks is that, when done right, it gives the artists chance to expand on a story and give it more life and B4tF do that here with mighty aplomb. These songs draw the listener in on an emotive musical journey, one where you feel welcomed and inclusive and Patric and Kenny are proving themselves to be master storytellers and skilled exponents of their art. Listening to David Peña’s articulate and masterly guitar, you feel that they have found the added layer of finesse that makes the band complete.

‘Brave New World’ has shown that the so-called ‘difficult sophomore album’ doesn’t happen to everyone. B4tF have created a masterful musical odyssey that builds on their debut release and brings everything full circle into a highly satisfactory conclusion and I recommend it very highly!

Released 24th August 2020

Order from bandcamp here:

https://builtforthefuture1.bandcamp.com/album/brave-new-world

Review – Pain Of Salvation – Panther

Pain of Salvation have been firmly at the forefront of the progressive
rock and metal scenes for nearly three decades now. Led by mercurial multi-instrumentalist Daniel Gildenlöw, the Swedish band have consistently demonstrated a sincere passion for moving their own extraordinary music forward, while always remaining lyrically enlightened and ferociously intelligent.

The leaders in thoughtful, pained and poignant progressive-metal music, the band have had a stellar career that has produced ten studio albums and included such highlights as ‘Scarsick’, ‘Remedy Lane’, ‘Road Salt One’, ‘Road Salt Two’ and their brilliant previous release ‘In the Passing Light Of Day’. From elaborate and pointedly metal early classics through obtuse wizardry and genre-blurring mischief, Pain of Salvation’s all-encompassing musical vision has delivered some of contemporary prog’s most brave, bold and startling moments.

The band returned this year having deftly weathered the departure of guitarist Ragnar Zolberg, discovering a newfound enthusiasm for what happens next in the process.

“We did In The Passing Light Of Day and that ended with the departure of Ragnar from the band,” Gildenlöw recalls. “In the past, 10 or 20 years ago, that would probably have made me doubt the future of the band and all of that. I went through that a lot in the past with members leaving or things not turning out in a good way! It’s always difficult and it’s always something that makes you sad, when your little band family is disrupted, but I never came to the point where I doubted where to go or what to do. The other band members were pushing us on to continue, so I just kept writing music.”

The result of that sustained surge of creativity is ‘PANTHER’, the eleventh Pain of Salvation album and a very obvious landmark release in a career full of them. ‘PANTHER’ is a concept piece that delves into the conflicts and contradictions between so-called normal people and those who are wired entirely differently.

This is an album full of creativity and power, a simmering melting pot of brooding desire and thunderous riffs that creates a body of work leviathan in scope and content.

The edgy, almost funky opening track Accelerator gives a restless, tense feel to the music before opening into a sparse soundscape dominated by Daniel’s vocal before the stark, blasted landscape of Unfuture hoves into view, hewn from granite and taking no prisoners, “Welcome to the new world…”, indeed…

Gildenlöw has always been the master of simple, severe beauty and that is delivered in spades on the sublime Restless Boy, a song thats rawness is there for all to see. “This is not a test..” Pain of Salvation have a knack of producing songs that drip with bare emotion and Wait drops perfectly into that category with a simple piano note and acoustic guitar laying the foundations for a wistful and nostalgic piece of music that lives long in the memory. As graceful a song will be hard to find on any progressive-metal album.

So, who fancies a bit of electro-ambient progressive rock? Sounds an odd combination doesn’t it but PoS make it work brilliantly on Keen to A Fault, a fast paced, stylish track that works amazingly well. Fur is a short interlude that speaks to me of Eastern European 50’s film noire and segues into the title track. Well, what can I say about PANTHER? It’s superb, a complete melding of rap, oriental sounds and electronica that sounds like nothing else the band have ever done. It’s more akin to Linkin Park than anything else and, well, it’s just brilliant!

The final two tracks are Pain Of Salvation at their very, very best. The slow burning, monolithic power of Species has a simmering build up to a crescendo of crushing guitars and heartfelt vocals and then Icon closes the album out with humility and style in a similar vein to the title track from ‘In The Passing Light Of Day’. At once intense and dynamic, then calm and thoughtful, this is a song that contains all that is best about the band and showcases Daniel Gildenlöw’s consistent ability to write masterpieces of music.

One of the highlights of the year and an album that could become a seminal progressive-metal release, Pain Of Salvation have created a piece of music that could well be their finest yet.

Released 28th August 2020

Order PANTHER here:

http://painofsalvation.com/store/

Review – Tim Bowness – Late Night Laments

There’s nothing else that sounds like a Tim Bowness album, they have such a unique palette of sound and a feeling that the music is washing over you with Tim’s soothing vocal deep at the core.

Tim is primarily known as the vocalist and co- writer with the band no-man, a long-running collaboration with Steven Wilson. Tim’s recent quartet of solo releases on InsideOutMusic/Sony have entered the official UK Top 5 Rock, Progressive, and Vinyl charts, as well as the official Scottish charts. Along with Steven Wilson, he is also the co-host of “The Album Years”, which has reached the Top 5 Music Podcast charts in over 25 countries (#1 in 10).

I’ve been a fan of Tim’s solo work since his first release with InsideOut/Sony – ‘Abandoned Dancehall Dreams’ about which I said… “Tim Bowness is not a slave to his art, he has added soul to the creativity and invention and has delivered an album that engages the listener on all levels.”

Each release since has shown how Tim’s stock, as not only a songwriter but as an artist who paints pictures with music, has risen exponentially. He is a musician who sees what he does as art and each album is a carefully crafted masterpiece which, to this listener at least, deserves to be listened to on vinyl with no distractions and preferably in a darkened room with a glass of full bodied red wine to hand.

To me, progressive music, be it neo-prog, art rock or similar, has all the attributes of what constitutes art. The intricate and sometimes complex music that weaves convoluted soundscapes around our conscience that we are left to decipher and then revel in has often left me speechless and held in a thrall as my mind leisurely decrypts it for me to savour and appreciate.

To listen to the first few notes of a Tim Bowness solo album is to enter a world of beautiful creativity where every note has its place and every word is carefully selected and then curated into perfection by his warm and soulful vocal.

‘Late Night Laments’ is another collection of superbly created musical gems where, contrasting with the sensuous beauty of the music, the frequently dark lyrical themes include meditations on generational divides, ideologically motivated violence, social exclusion, and a much-loved children’s author’s descent into madness.

This is a complex and ever evolving musical journey that, once drawn into, you remain, hypnotised by the elegance and grace of songs such as Northern Rain, We Caught The Light and Never A Place.

Delivering complex, sophisticated music without leaving the listener somewhat bewildered is an art in itself. This emotionally rich album combines a plethora of musical styles to create an intense, poignant and impassioned entry into Tim Bowness’ increasingly impressive solo catalogue.

Released 28th August 2020

Order the album from Burning Shed here:

https://burningshed.com/store/timbowness