Tag: John Wenlock-Smith

Review – Brendan Perkins – Stories from the Old Church Lane – by John Wenlock-Smith

Unbelievably this is Brendan Perkins’ twenty-eighth solo release since 2008 when he decided to follow his musical aspirations full time. ‘Stories from the Old Church Lane’ follows from last year’s wonderful ‘Favourite Places’ album which he actually released on CD and that I gave a very positive review to for this very site. You can find that Review here:

https://www.progradar.org/index.php/2024/08/14/review-brendan-perkins-favourite-places-by-john-wenlock-smith/

This album is in a similar vein,  although this time it concentrates on the lives of the folks who live in the area of a local church. Whether this us an imaginary church is not entirely clear but the album seems to draw upon personal experiences that Brendan has had or encountered over the years since he moved to a rural location. Either way, the tales he has conjured up are certainly imaginative and told with warmth and a positive attitude that translates into the music the album conveys. The album is entirely self-composed and performed by Brendan although his partner Helen Flunder features on vocals on the track Another Eveningtime. The music flirts around the edges of progressive rock but is actually very pastoral in tone and would a definitely appeal to fans who like that style of prog, as offered by Big Big Train and the like as there is a strong storytelling element to these songs.

The albums begins with the track Another Eveningtime which opens with a piercing guitar line underpinned by synths and assorted sonic embellishments that fuse together to make a pleasing wall of sound. To this is added Brendan’s trusty Rickenbacker bass providing a solid bottom end before the vocals start, speaking of settling down and building a new life in the shadow of the church. It’s a very positive song with great guitar lines and a fine backing. Olivia Ruth is about a lady who collects things, it is also a song about memories and how they can affect us and how we look at a life. The words are very descriptive as they are poured out and the song is full of warmth rather than criticism. It is about accepting and welcoming different approaches to life and is enlivened by some great guitar and bass interplay in the final part of the track. Amelia’s Wedding is a song about expectations being realised, in this instance the wedding of a daughter to a man and how they begin a new life together, with all the opportunities that affords. This is a fairly bass driven track with lots of ethereal keyboards in the background, creating an interesting sound palette. It is another very warm sounding piece with lots of hope and positivity towards the happy couple on the very special day of their wedded union.

Bram’s Return (from Metro Fair) opens with a fine acoustic guitar line, the song is about returning from the big city to a more relaxed and less stressful way of living as the author realises that the big city life he has lived wasn’t really for him. Instead, he finds peace and contentment in a new place and opens a new chapter of his life. There is a distinct touch of Mark Knopfler in the guitar playing on this track and the use of space in the arrangements and sound really adds something special. The extended length also gives room for lots of free expression. This is a song extolling that the best place to be is with the one you love, which is of course a most excellent thing to desire. Ned And Mary is another gentle song talking of a couple’s evolving life story through different times, but all underpinned by the love they share and celebrate in Old Church Lane. It’s a lovely song with more superb guitar lines woven through it. This is much shorter track but still a good one, if not a tad contemplative in tone.

The final track is Summer’s End which celebrates the harvest and the festival that it brings, exemplified here by the annual dance which really beings the village together in gratitude and celebration. The description of the dance is very warm and speaks of a shared experience that is welcomed by all the inhabitants of the village. It is a very well composed track and a strong close to the release.

‘Stories from the Old Church Lane’ is a rather uplifting and life affirming release from Brendan Perkins. Certainly there is a lot of excellent material and songs here and I would urge you to have a listen for yourself, you may very well be rather surprised and taken with it.

Released 5th April, 2025

Order from bandcamp here:

https://brendanperkins.bandcamp.com/album/stories-from-the-old-church-lane

Review – Red Bazar – Blood Moon – by John Wenlock-Smith

Red Bazar are the band that Peter Jones uses when playing band shows as Tiger Moth Tales, in return for which he adds keyboards and vocals to their songs and elevating them in the process with his excellent voice and his deft keyboards. It’s a symbiotic relationship as both parties gain significantly from it’s existence.

‘Blood Moon’ carries on from 2022’s excellent ‘Inverted Reality’ and has eight tracks of fine, if slightly heavier, material from the band.

The album begins with Fall On Your Own Sword, which is a strong opener driven  by the sturdy bottom end bass of Mick Wilson, who has since decided to move on with his place being taken by Roman Dubrovsky. The track is an epic one in style with a storming guitar riff, strong Bass and Peter’s always impressive vocals. It has a harder edge to its sound interspersed with lighter sections and parts. I really like this song and it is a strong opening track. When The World Burns is a softer piece which centres on an acoustic guitar motif and subtle keyboard textures. It’s an emotion laden song with a fine guitar solo from Andy Wilson. High Velocity is a brooding instrumental with driving bass, surging guitar parts and strong synth lines all conspiring together to make a really urgent and driven track. There’s a fine keyboard solo from Peter before the track returns to the main riff and melody, gathering intensity in the process. This is a standout for me and I loved it when it was released online last year as a taster for the full album. Start Again opens gently with an acoustic guitar and delicate keyboard flourishes. The song is about a relationship and the opportunity to redress the balance by starting Again. It’s a tender track of impassioned vocals and mood and it captures the dynamic of the relationship fully in a thoughtful and yet sensitive manner. This song impresses greatly with it strong melody and performance.

Baron’s Eyes is based on the Sherlock Holmes story ‘The Illustrious Client’ and is another interesting track talking about revenge for wrongs done to a client by the Baron. There are great synth lines to this bristling track. Fighting Force is another instrumental tour-de-force with a strong guitar line and  a very upfront bass part, alongside more excellent keyboard textures from Pete. Penultimate track Over is awash with superb guitar playing and swirling synths. It’s a brooding piece of music that builds in drama and dynamism. A powerful and engaging song that could be straight from one of the great 1990’s hard rock albums. The final track of the album is title track Blood Moon, another very strong track. Although I have to confess that, without the lyrics, I don’t really know what the song is trying to convey. I believe a blood moon is significant on several levels, including the end of the world. However on this occasion, you’ll just have to enjoy the song like I did and decipher its meaning for yourself!

So, in summary, another strong album from Red Bazar which I must recommended to all especially if, like me, you are a fan of Peter’s immense talents which are well showcased here alongside the other highly skilled members of the band.

Released 28th March, 2025.

Order direct from the band here:

https://www.redbazar.co.uk/shop

Review – Solstice – Clann – by John Wenlock-Smith

Solstice are currently on a noticeably upward trajectory and this new album from the veteran proggers certainly agrees with that statement as it isa most uplifting and positive album of some very fine music indeed.

The album has a mere six tracks (if you include the bonus), all around the 5 or 6 minute duration, along which there is a near fourteen minute epic in Twin Peaks.

The overall impression is that Solstice have found a rich vein of inspiration that they are digging deep into. In this instance that vein is a very uplifting and joyful one, maybe it’s a response to the current tough times in which the world finds itself with  global madness on the geopolitical stages and an almost demented leadership that seems to be looking after the rich and ignoring everyday folks. This promotes division and accelerates discord while throwing out all the mechanisms that help govern. Onto this disquieting stage steps Solstice and this album that instead of moaning offers the listener a very uplifting escape from all that misery, instead offering some really positive sounds of joy that extoll gratitude and promote an air off togetherness. Even it’s title, ‘Clann’, speaks of building a team of togetherness and family or clan.

The opening track is Firefly, which sets the tone for the whole album, starting with a very upbeat synthesiser line and with the surging vocals of Jess Holland, who has a very distinct and clear voice which, when blended with the rest of the band, sounds extremely fine and very strong. Above all of this lies the splendid violin of Jenny Newman which is the icing on this exceptional cake. Andy Glass’ guitar lines weave magic everywhere, bringing the music together tightly. Andy is a fine player who is extremely melodic in style. There’s no wonder why he won this year’s Prog Magazine award so convincingly! Life, again, has a jaunty melody that accompanies the music, the song having both a looseness and a sparseness to it that works in a  most attractive manner. There’s a lot happening throughout its six plus minutes duration as it builds in its intensity with Andy’s liquid guitar lines providing a great sonic tapestry of textures and sound. Plunk is a very funky number with a strong rhythmic drive and fine organ sounds. It is played in an unusual time signature which adds to its effectiveness, as does the brass embellishments that are employed during the song. This track is definitely a punchier little number that would work well live, I’m sure. An excellent guitar solo from Andy further enlivens things significantly, his playing whilst flashy and furious, is just right for the track as he doesn’t overplay it but it all works for the maximum impact of the song.

Frippa has more than an element of 1980’s King Crimson to it, especially in the main guitar riff. This track also benefits from the versatile and athletic violin of Jenny Newman who dances all over it, blending in well with both the angular guitar work by Andy and excellent keyboard work of Steven McDaniel. The precise drums of Peter Helmsley and the subtle yet strong bass lines from Robin Phillips are mightily impressive and when this dynamic rhythm section combines with the sweet, clear vocals of Jess Holland and backing vocalists of Ebony Buckle and Dyane Crutcher, you are a totally compelling and captivating close. The epic Twin Peaks has nothing to do with the David Lynch series of the same name, rather this is a sprawling track that works on every level with its gradual building and brooding intensity and sweet violin lines. It is a journey that keeps you enthralled throughout its near fourteen minute duration. There is not a moment wasted or surplus to it, it really works as an extended showcase for all that is good about the fine band and this great album. The bonus track Earthsong is a revisitation of a song that appeared on the first Solstice album ‘Silent Dance’ from 1984, here it is given a 2024 treatment by the current incarnation of the band. It opens with ringing guitar tones from Andy and some subtle bass lines from Robin, as I’ve never heard the debut version I can’t comment on this reworking except to say that it fits in well with the rest of the album and a delicate yet dynamic vocal from Jess works well and brings the album to a stately finale.

To be honest, what I like about this album is that it makes you happy, it’s upbeat and uplifting and, in a time where all we read and hear is downbeat, it’s great to have something that lifts you up, for a while at least! This album does that across its six tracks. Remember when music was a source of joy for you? Well, this music returns that feeling to you and so it is highly recommended from here.

This is a great album from a band who have weathered many storms and difficult times and seasons to re-emerge stronger, bolder and with much to offer in today’s world. I have no hesitation in commending this most wonderful release from Solstice.

Released 4th April, 2025.

Order the album here:

https://essentials.progrock.com/product/solstice-clann

Coloured vinyl here:

https://fairsound.com/product/solstice-clann-rusty-red

Black vinyl here:

https://fairsound.com/product/solstice-clann-black

Review – Nova Cascade – Box Man – by John Wenlock-Smith

This, sadly, will be the final album for Nova Cascade, the group that came to be from conversations arising out of an internet chat room back in 2010. It became a series of collaborations which resulted in the making of five excellent albums, including this  latest and final instalment, ‘Box Man’. The new album sees originator and prime mover Dave Hillborne exercise his penchant for a more ambient and introspective version of progressive music. The origins of ‘Box Man’ date back some twenty-nine years to an idea that Dave had that he has now managed to fully realise.

The album consists of seven tracks, one of which, The Choice is of an epic length of twenty-eight minutes. This Extended length gives ample time for its themes to surface and connect with the listener. The music is very ambient and would appeal to folks who enjoy the gently evolving music of bands like Tangerine Dream or Camel. The song opens with a stirring violin line from Nina Chikviladze, who has stepped in to replace the much missed Eric Bouilette. The violin part captures the age, essence and spirit of Eric in a most gentle and respectful manner. The track is in 8 sections that combine to make a singular piece of music. It impressively strong, Dave and his fellow contributors, Colin Powell (guitars) and Dave Flick (bass) have crafted a lush expansive and warm soundscape with Nina’s violin adding significantly to the recurring melody lines to make for a very impressive opening track to the album. A soaring guitar solo from Colin Powell oozes effortlessly over the song before the keyboards return and things move on in a different manner with sequenced sounds utilised to see a semblance of pace and urgency introduced. The guitar then returns, playing an almost eastern sounding guitar line that fits well with Dave’s keyboards. There is another shift in pace to a more upbeat segment before a quieter more ambient feel returns. It is all very ambient with lots of space in the sound making for a real masterclass in musical composition and sound scales and this track has them all in spades.

Smoking Gun which features Dave’s vocals, which put me in mind of amore hesitant Feargal Sharkey, over which we hear a strident guitar line. The song also has a recurring keyboard motif which is very memorable indeed. The melodic sounds of If You Don’t Succeed benefit from a prominent bass line and part. This is an instrumental of different moods and tones with some further splendid and very tasteful guitar lines and fills, all underpinned by the excellent bass of Dave Fick. The use of whistling also graces this track and makes for a great, atmospheric piece of music.The next track is Sentry which has sound effects of war and battles and has suitably sombre lyrics as a war survivor recalls the events that still traumatise him each night. He is thankful to be alive but has to live with the dreadful memories of those evil days, it is a truly engrossing piece of music.

As It Was & Is is instrumental in nature but, his time, the violin carries the melody as Dave’s keyboard play an excellent piano line. The whole band then join in and make a great noise together before the piano melody returns, this time with fluttering synths before a fine, surging guitar line is introduced, to which bass and drums are also added. A really powerful statement. Box Man, the title track, has prominent organ parts and a rippling piano line along with a bubbling bass and more great vocals from Dave. The song is a comment on someone who has fallen on hard times and to whom life has not been kind, so much that he finds himself on the streets. The album closes with The End Of The Line, another instrumental and quite a sprightly one too, with more great bass work and good guitar. The keyboards are wonderful evocative and ever changing in tone and sound. It’s a great way to close the album.

If ‘Box Man’ does turn out to be the final album from Nova Cascade then they have most certainly gone out on a remarkably high note with such a strong and rewarding release.

Released 21st April, 2025.

Order from bandcamp here:

https://novacascade.bandcamp.com/album/box-man-2

Review – Pattern Seeking Animals – Friend Of All Creatures – by John Wenlock-Smith

Pattern Seeking Animals have recently released ‘Friend of All Creatures’, their fifth album in five years. They have also changed the label from InsideOut to G.E.P but, otherwise, it’s pretty much the same as earlier releases, i.e. this is a band that, in tandem with excellent writer John Boegehold, take the core of Spock’s Beard to create new music that is not suitable for the Beard and release it under the PSA banner. As a result, John has an alternative outlet for his newly written music, making it a win-win situation for all parties.

With Spock’s Beard being largely inactive in recent years, largely involved in other things but still a going concern as such, it is into this vacuum PSA have stepped to fill the gap. They operate in a similar vein, offering longer progressively inclined songs with meaning, and with no lack of skill, to craft strong, modern sounding music that will appeal to progressive music followers.

This new album continues in that same style, by offering a further seven tracks of carefully curated prog rock. As is usually the way with Pattern Seeking Animals, you need to hear the album a few times for the songs to “drop” as it were. Certainly familiarity with the music will definitely be to your benefit. Again, I can hear Elements and traces of bands like Kansas and Styx in how the songs are built in layers and with hooks everywhere to grab your attention.

The album starts with Future Perfect World, which is one of the four longer tracks. It starts with a simple riff and lots of keyboards gently playing away, there is also some Hammond organ at points, creating a very good wall of sound. The vocals from Ted Leonard are pitched perfectly, as one would expect. The group is a four piece with guitar and vocals from Ted, drums from Jimmy Keegan, bass from Dave Meros and keyboards, programming, mellotron, guitar and ronrocco (mandolin like stringed instrument from the Andean regions) from John Boegehold. John also provides some vocals and production, in Reality he is the driving force of the band, although more than ably assisted by the others. The song has a strong chorus and is very much an ear worm of a track, barely a moment being wasted as each minute adds new textures and complexities. Another Holy Grail is the album’s longest track and is a very complex creation with lots happening at various points. The song seems to be about searching for a way to move forward in an ever changing world. There are sections of orchestrations in this track which split the track into sections really, making for a long track but a very briskly moving one that is always changing in a new direction and this keeps the interest throughout. I really like that the song evolves over its twelve minute length. Down The Darkest Road has a haunting, mournful beauty to it with a moving viola line and part from Eliza James which adds beauty to the song. It also has a strong chorus calling us to follow down the darkest road, a very captivating track indeed. In My Dying Days is equipped with a Duane Eddy type guitar type riff and also has a great brief solo from Ted, who continues to grow in confidence in his playing on every album.

The Seventh Sleeper begins with a sequencer playing a repeated motif before a synth lazily winds its way across the track. This is aided by fine rhythmic support from Jimmy and Dave and underpinned by some rhythm guitar lines from Ted, who sounds very much like Steve Walsh of Kansas here, no bad thing for me at all The track is laid back in tone with an almost piano bar part in it, all very languid really despite a sinewy guitar line playing. I do like this song as its somewhat different to what PSA normally deliver and it certainly stays with you. The brief Days We’ll Remember has a laid back feel, along with a strong chorus that swells in sound. The song is about memories that stay with you for a long time and is a very upbeat song and, lyrically, extremely strong, another great track. The album finishes with Words Of Love Evermore, another longer track with strong synths in the opening section and great guitar from Ted. To me, the song’s meaning is a little obscure but a lively guitar solo towards the end grabs the attention significantly. It’s a very interesting track and one that concludes another fine set from the band. 

Pattern Seeking Animals continue their ongoing progression as they develop and improve album by album. ‘Friend of All Creatures’ is another highly recommended album from a group who continue to grow in stature and this album shows that very clearly.

Released February 14th, 2025.

Order digital from bandcamp here:

https://pattern-seekinganimals.bandcamp.com/album/friend-of-all-creatures

Order the CD from GEP here:

Pattern-Seeking Animals – Friend of All Creatures

Review – Random Option – One – by John Wenlock-Smith

David Jones (bassist for both The Swan Chorus and Mama) is a very productive man indeed. This new release following on from his own solo album of 2022, he excellent, almost art rock influenced, prog album which saw him join forces once again with Brian Hulse and Peter Goddard, who were both involved with an earlier album that Tim Bowness was involved with called ‘Moonshot’. An album which was part of the inspiration for Tim’s own album of 2017, ‘Lost In The Ghost Light’, which chronicled the fading years of a fictitious classic rock musician. This concept was explored more fully on the ‘Moonshot’, and all of these had David’s involvement to some degree.

This latest release from David is both a departure from, and also a reinvention of the styles he has used in these other projects, not forgetting the 2023 release of The Mousetrap Factory, which featured older material being reappraised and approached with fresh ears and better technology, alongside more experience. Much as Robert Reed has done with his Cyan albums and to a similar good effect.

The album has eight tracks of differing lengths and moods, the first of these, Tomorrow, has an instrumental opening section of acoustic guitar before the drums of James Cooper come powerfully into the sound. Next comes the guitar of Brian Hulse and then David’s meaty bass and the organ of Anthony Wretham complete the mix. After all this excitement there are the excellent vocals of David’s Swan Chorus bandmate, John Wilkinson, who is proving himself to be a big asset to anything he is involved with, like the excellent Ellesmere album of last year and his own solo album, ‘Imposter Syndrome,’ which was my favourite vocal album of last year. Well, here again he is in very fine voice and with material that is interesting enough to give him a platform on which to shine once more. As Blue As The Sky has an almost ambient sounding opening and bears a strong resemblance to the great music that Swan Chorus make. There’s great piano from Anthony Wretham again and another strong vocal that, along with a graceful guitar line from Brian, make this another winning song for me, it has a real majesty to it. Redemption again opens with ambient sounds and a gentle piano motif. There are also some soaring vocalisations from Sian Doyle which greatly impress, as does her harmony vocals in the main body of the song It is a bit of slow burner of a track, very atmospheric in tone but very impressive all the same. A heavier, more typically prog, section follows with great organ from Anthony and an almost spiralling synth line being played. This is another longer yet very strong track. Autumn Song is next and this is a lot lighter in tone and has a definite bounce to it. I really like this one, it has some great effects in it and a fine melody as well.

The album’s Title song One has more ambient background sounds in its opening part before a strong and harder riff is introduced along with powerful bass and some great guitar lines from Brian The track then returns to bass for a more delicate part with tinkling piano and Hammond organ before another fine line from Brian is added. The drums and bass re-emerge once again before John’s vocal commences. After the first verse the song changes tack and becomes more of a gentle canter, all very effective, before the heavier, powerful part from before begins once again, giving great dynamics to the track. We then move into a gentle and more dreamlike section with simple drums and more evocative guitar. This is another fine track enlivened by fabulous performances from all parties as the song gently fades away. Along Similar Lines sees vocalist Peter Goddard of The Mousetrap Factory deliver the vocals. A long-time collaborator of David Jones, he basically speaks the words over the music, which has a distinctly 80’s sound to it, possibly to recreate the style The Mousetrap Factory used to operate within. Sail Towards The Sun is the albums penultimate song and begins with delicate acoustic guitar melodies and expansive keyboards. It’s all very gentle and captivating before a strident synth line begins and John starts singing once again. The final track, World Is Changing, expands in sound with a strong chorus and more synths, the song has impassioned vocals and a delicate beauty to it and is a fitting conclusion to what has been a very worthwhile album of great material from David and his colleagues.

Also worthy of mention is the very atmospheric artworks from Anthony Wretham who work adorns the cover and inside sleeve of the digipak cd version

I really enjoyed this album, I feel it has a lot to commend it and, whilst we all wait for the next Swan Chorus album to emerge (sadly without John Wilkinson’s vocal), this fine album will fill the gap in the interim.

Released 1st march, 2025.

Order from bandcamp here:

https://randomoption.bandcamp.com/album/one

Review – The Far Cry – Once There Was – by John Wenlock-Smith

I came across ‘Once There Was’ via a post from Don Skazin on the Prog Explorations Plus Facebook page and was suitably intrigued enough to reach out the band offering to review the album for Progradar, proof indeed that social media can make a difference. I contacted Jeff Brewer, The Far Cry’s vocalist and bassist who very kindly sent me a CD of the album to get to grips with.

The album has four songs, ranging in length from the short (by their standards at least) The Following through the longer tracks, Unholy Waters and Crossing Pangea, to the truly epic 12-part title track Once There Was. Alongside Jeff are Robert Hutchinson on drums, percussion and spoken word, Chris Dabbo on keyboards and vocals and finally Brendan Kinchla on guitars. The album is encased in a neat digipak sleeve with a booklet with full credits and lyrics.

To my ears, Unholy Waters bears a strong resemblance in sound to the legendary band U.K. Especially in both the keyboards and vocals. This is not a criticism, merely a comment that do find this track similar in style. Mind you, I like U.K. a lot, so this works for me too. Many a band wear their influences on the sleeves clearly but, when the music is as good as this, it doesn’t really matter or devalue it at all, especially as U.K. are no longer in existence as such. The song concerns itself with mysterious places like the Bermuda Triangle and the like and the lyrics reflect this very convincingly. I especially like the strong bass work from Jeff and the Holdsworth-esque guitar line from Brendan, which adds great dynamics to the very impressive sound of the album.

Crossing Pangea is an instrumental with a suitably journeying sound to it, giving the impression of movement or travelling. There are lovely fluid guitar lines running through it and the urgent rhythm section powers the track along very happily and impressively. I really do like this track as its moods are very strong and different showing that these musicians are very talented and highly competent in their playing abilities. There are some great piano and synths on this track and it rattles along through its twelve and half minute run time in some style. There’s a great bass part from Jeff on this track, really strong and when overlayed with the keyboards of Chris, it sounds really splendid. This piece is an evolutionary stroll of a track, very impressive stuff really, especially in the closing part of the song. Next is the shorter The Following which commences with a rippling piano line. The song addresses the futility of war as told in the story of blind allegiance and following such leadership. It questions why we follow such dangerous leadership into destruction and pain and it makes a strong and valid point.

The final track is the album’s multi-part title track Once There Was. This consists of twelve parts of which five are instrumental in nature.This is a very interesting song with lots happening in its various sections. The song addresses the demise of a town as it gets left behind as life changes, often in unexpected ways. There is a long keyboard based solo on The Agitation section of the track, all very ELP like in nature. The Far Cry are certainly unafraid to show their influences in such a manner. In fact, I find their approach very refreshing and I like how they pay honour to the past greats by using their sounds as a template for creating something that is their own. This is far better than the plagiarism that can be a component in many modern prog bands rather than treading the delicate balance between homage and the forging of a new path. This song was the first written for this album apparently, with parts from various members being worked on together to make this epic piece of music.

On ‘Once There Was’, I find that The Far Cry have found a balance that works in their favour, and that’s no mean feat. This is to the commendation of the band and bodes well for future releases they may make. I really think this album will appeal to many prog Fans as a band like The Far Cry are truly making new wine from old skins, as they say. So, if Neo-Prog is your bag then you must check these guys out for yourself.

Released 1st March, 2025.

Order from bandcamp here:

https://thefarcry1.bandcamp.com/album/once-there-was

GENTLE GIANT

‘Playing The Fool: The Complete Live Experience’ 2CD, 2CD+BluRay, Triple Vinyl To Be Released on 2nd May 2025

The brand new reimagined, remastered and remixed version of Gentle Giant`s classic 1977 live album ‘Playing The Fool: The Complete Live Experience’ is set to be released.

‘Playing The Fool: The Complete Live Experience’, will be released across several formats including double CD, triple vinyl, Blu-Ray and digital download. The album has been remastered and painstakingly remixed from the original source tapes by Dan Bornemark with the Blu Ray containing a stereo 96/24 bit mix, 5.1 surround sound and Dolby Atmos mixes. You can purchase the album here: 

https://gentlegiantuk.lnk.to/PTF

Containing new sleeve notes by Alan Kinsman together with a plethora of photographs along with a track list that reflects the original running order of the setlist played on the tour including three previously unreleased songs and the between song banter from Derek Shulman, this represents the most accurate account of Gentle Giant live at the very peak of their powers.

Check out trailer for the album here:

Derek Shulman: “Effectively what you’re hearing on this album is the whole show with all the bells and whistles included with me speaking to the audience and to the band just like it was on the night.”

‘Playing The Fool: The Complete Live Experience’

1.     Intro [1:24]

2.     Just the Same / Proclamation [10:40]

3.     On Reflection [7:31]

4.     Interview [7:06]

5.     The Runaway / Experience [9:54]

6.     Sweet Georgia Brown (Breakdown in Brussels) [1:54]

7.     So Sincere [10:42]

8.     Excerpts from Octopus [15:58]

9.     Band Introduction [1:23]

10.  Funny Ways [8:58]

11.  Timing / Violin Solo [11:40]

12.  Free Hand [8:20]

13.  Peel The Paint / I Lost My Head [8:01]

Derek Shulman: “This is a warts and all recording. It’s important to have a live album, which is live. There were no overdubs afterwards in the studio. So what you saw and heard is what you have on the album.”

ABOUT GENTLE GIANT

Gentle Giant was a British progressive rock band formed in 1970 in London by three brothers Derek, Ray and Phil Shulman along with Gary Green, Kerry Minnear and drummer Martin Smith who was latterly replaced by John “Pugwash” Weathers in 1972. 

The group was renowned for its complex and eclectic musical style, blending elements of rock, jazz, classical, folk and medieval music.  The band played a diverse array of instruments between them and their intricate arrangements and exquisite vocal harmonies gave them their own unique, instantly identifiable sound.

Gentle Giant released a series of highly regarded albums including ‘Acquiring the Taste’ (1971), ‘In a Glass House’ (1973), and ‘The Power and the Glory’ (1974) across which they pushed their musical boundaries to the limit. Their live album ‘Playing The Fool’ (1977) remains a testament to their stunning live shows.

In 1980 Gentle Giant called it a day and have refused numerous calls to reform since then, perhaps this is why their reputation remains intact to this day.  Widescale chart success may have eluded them but their fiercely loyal fanbase followed them right through their career and beyond. Their legacy has remained undiminished within the Progressive Rock world being major influences on Porcupine Tree`s Steven Wilson, Neal Morse of Spock`s Beard, Michael Sadler of Saga and Opeth`s Mikael Akerfeldt, who cites ‘Acquiring The Taste’ as one of his favourite albums.

Derek Shulman: “We were a rock and roll band that played interesting music and we wanted to have fun for ourselves and have the audience go out with a smile on their faces.”

Review – Nicholas de Renty – Retour Au Bercail – by John Wenlock-Smith

Progressive music certainly has the ability to throw you some strange or odd musical curves, take this album from French solo musician Nicholas de Renty entitled ‘Retour Au Bercail’ which translates as meaning ‘Return to The Fold’ .

Nicholas performs the majority of the instruments apart from on the track Traquenard where he is joined by Anthony Malaussena who adds guitar and bass to the track, Nicholas playing drums, piano and the vocals, which are all sung in French. A lot of the other instruments are delivered via the computer, the brass and woodwind elements for example that enliven proceedings. This release is best heard in one setting, i feel, as you can then appreciate the intricacies that are built into the music especially in the title track Retour Au Bercail which has excellent brass and woodwind sections.

The album is basically the story of Nicholas’ return to the faith he grew up in but deserted in his youth. He now feels the need to address the spiritual emptiness he has been experiencing and sees a return as being in his best interests. This is bold for such a step to be considered and then taken and ultimately to be chronicled in the music he has made.

I had a translation of the lyrics so I could follow his journey, there is an understated beauty to this musician in his openness to embracing faith once again, which is to be applauded. This album will probably be passed over by many which is a shame as it is really rather good and interesting musically. I would say the singing is a little different and unusual but it is not unpleasant being strongly choral in style. I understand this might be off putting for many but I would urge you to persevere with it as it does become rather calming with a distinct spiritual tone and flavour to it.

I especially liked the opening track Luerre éternel (eternal war) which has a drum solo at both the opening section and at the 5.55 mark where Nicholas vocalises over the beat before a rippling piano and subdued brass are heard. Nicholas then really pounds the skins a for few minutes, oddly enough the dynamics of this work exceptionally well, giving the track a  really strong dynamism and emphasis. The lyrics are actually more prose, being almost poetic in nature and tone, the choir like chanting is a good fit for the track which is about how we are all in a spiritual war with the forces of evil (Satan and his demonic hordes).

As I say it is an intriguing and deep concept. One with it’s spiritual overtones and concept could, I accept, be problematic for some listeners and the album is maybe not an easy listen per se. However, many a great album is equally as challenging yet critically applauded like ‘Red’ by King Crimson, which is an equally dark and intense piece of work.

I have to say that the more I listen to this album the more I have come to appreciate it’s difference, which I feel is rare in a genre where little has changed since the founding fathers’ original masterpieces were released. This album at least dares to be different in many ways and that alone is worthy of recognition. As such, I would recommend that folks with an open mind would have a listen at least as there is some great music on display here,

Definitely one for the more adventurous listener to at least have a go with, although I would say it would be more appealing if the booklet had the words translated into English so then non-French speakers couldn’t least be more understanding of the contents of the words.

This has not been an easy review as it has required the input of Anne-Claire from Bad Dog Promotions to help with the translation, which then allowed insight into the themes behind the tracks, for which I must recognise her invaluable assistance. aAs it is but I urge perseverance with this most interesting release which I actually really enjoyed, hopefully others will too.

Released 27th August, 2024.

Order from bandcamp here:

https://nicolasderenty.bandcamp.com/album/retour-au-bercail

Review – Sharks: Car Crash Supergroup – The Island Years 1973-1974, 3CD Box Set – by John Wenlock-Smith

It almost seems that in the 1970’s you couldn’t move for supergroups, that strange scenario where bands split, only to re-emerge in a new combination of musicians. Some of these were very successful, like Emerson, Lake & Palmer, others less so, where the combination was just to volatile to exist peacefully enough to make their mark, like Beck, Bogart & Appice or Rough Diamond, for example. Punk might have brought the demise of many such groups but it didn’t kill them off completely, as bands like Asia can attest.

Sharks were one of those groups that should have been far bigger than they were, somehow they never quite made the grade despite having a very strong line up of Steve ‘Snips’ Parsons on vocals, Andy Fraser of Free on bass and Chris Spedding on guitar, along with Marty Simon on drums. Their debut album ‘First Water’ was released in 1973 on the Island label to much hype that unfortunately did not translate into many real sales.For the second album, ‘Jab It In Yore Eye’, Andy Fraser was replaced with Buster Cherry Jones. It was released in 1974 to a world that wasn’t very bothered. The band toured the USA to good audiences but, again, without more sales. Upon their return, they recorded a third album, ‘Car Crash Tapes’, produced by John Entwistle of the Who, but Island weren’t satisfied with the results and opted not to release it, this caused the band to split up and go their own ways. Spedding did some solo and Guitar Graffiti albums and he was also one of The Wombles, the one with the flying V guitar. Snip joined the Baker Gurvitz Army and Buster Cherry Jones returned to the US and started a new band with Donald and Ralph Kinsey called White Lightning, who released an album for Island records in 1975.

This set comprises of the first two releases, along with that third, unreleased, album ‘Car Crash Tapes’. It also includes live tracks recorded in Providence, Rhode Island in 1974, one of which features Leslie West of Mountain on Guitar. So that’s the back story but what’s the music like? Well, if like me, you were too young to remember them (I was 14 at the time), let’s have a listen through and I’ll tell you what I think.

The debut ‘Fresh Water’ emerged in 1973 after Fraser had left Free after their ‘Free At Last’ album of 1972, wasting little time in joining forces with Chris Spedding to form Sharks, who were signed to Island Records, with whom Fraser’s previous band Free had resided. Steve ‘Snips’ Parsons was spotted by Chris Blackwell and, after a successful audition, was offered the role of singer in Sharks, who Blackwell was managing at the time, having cut his teeth in the North East around the Hull and Humberside area.

The band travelled around in a customised PontiacLle Mans that they affectionately called The Shark Mobile, due to a fin on the roof and teeth on the grill which made an impact. A lot of their interesting history is detailed and recounted in the album booklet along with some great historical photographs of the band. They crashed the car into a tree in the north of England whilst on tour, with Andy Fraser injuring his arm. After this he though heavily about his options and decided to leave whilst he had the chance as he saw the crash as being a bad omen.

‘First Water’ is not a bad album in many respects, with a mixture of classic sounding rock and some sweet guitar work from Spedding. A lot of the tracks are slow burners, meaning that it takes time to really get into them fully, Follow Me being a prime example of this, with a strident piano from Fraser holding the song together and an ascending riff from Spedding that is fairly dramatic. I really like this track, it’s somewhat understated but could have been great live with its decent guitar break and fill section. Ol’ Jelly Roll has more piano and a initially delicate vocal from Snips which channels his inner Joe Cocker in the gritty vocals. This one has a touch of Free about it, especially in how it builds in intensity. Brown Eyed Boy is a Rolling Stones like romp with great dynamics to its swagger and Snakes And Swallowtails is another slow builder with Fraser’s bass at the forefront to good effect. I like this track with its understated playing that suggests the song is going to explode into something special, and it finally does, sounding tremendous, if not a bit short, when it could have been allowed to run on a lot more.

Drivin’ Sideways is more standard rock fare that doesn’t really go anywhere, despite good performances from Snips and Fraser and some almost countrified guitar fills from Spedding. But, despite its initial opening, I actually do like this track and it definitely grows on you. Steal Away sounds like a more mellow Free song, very subdued but actually rather good. Doctor Love is certainly of its time, especially in the lyrics. The track has a sinewy guitar line running through that sounds not unlike Paul Kossoff, which is a nice touch. The final song of the debut is Broke A Feeling, which is a fairly muscular sounding track with some good guitar fills which, along with the bass and the piano of Nick Judd, make a good sound. It’s all a little loose and all the better for that really. The mid section where Spedding lets rip is especially strong making for a strong finish to an album that had much promise that somehow the band were unable to capitalise on fully.

Sophomore album ‘Jab It In Yore Eye’ continues in a similar style and tone to the debut, although it seems a bit more focused somehow. The playing is more concise and impactful, it would seem that the departure of Fraser and the addition of Buster Cherry Jones was good for the band, allowing Snips’ songwriting abilities to be more widely seen, he writes or co writes seven of the album’s ten tracks. Baby Shine A Light is a great song with some excellent guitar work from Spedding, whose playing is subtle and yet exciting on this track. Sun Beat Down has a muscular sound to it, being quite a strident song yet somewhat understated and never actually exploding into life. It’s a bit of promise unfulfilled here despite some good guitar fills. Rain Or Shine is an acoustic song that lacks something, whereas Kung Fu is far better with its chopsticks type piano and some sweet guitar lines from Spedding which enliven proceedings. The Japanese words don’t really add much but Speeding’s playing in the mix does add some excitement to this track. Sophistication is next, a track in which The Clash were instrumental with their Should I Stay Or Should I Go track, you can see that in its stop start riff. Cocaine Blues follows and is a more restrained track. Revolution Of The Heart opens gently with acoustic guitar and then settles into  a more rock like groove. This is another slow burning track that gradually increases in its intensity to become something really fine over its six minute duration. With Chris Speeding’s understated guitar lines really hitting the mark, this track never explodes as such but the intensity and build both make a real impact.

The third album, ‘Car Crash Tapes’, is not as good as the first two and you can see why Island rejected it. The live tracks are taken from a  bootleg recording that have been cleaned up for this set. Again, these are of their time but are a nice addition to what is another fine set from the ever-reliable Cherry Red /Esoteric label and the booklet is of the usual very high standard.

In conclusion, this won’t be to everyone’s taste but it shows that some quality music was being made in the days before punk. How this band failed to achieve major success is one of Rock’s more tragic tales.

Released 24th January, 2025.

Order from Cherry Red here:

https://www.cherryred.co.uk/sharks-car-crash-supergroup-the-island-years-1973-1974-3cd-box-set