Tag: John Wenlock-Smith

Review – Ryo Okumoto – The Myth Of The Mostrophus – by John Wenlock-Smith

This new release from Spock’s Beard keyboardist Ryo Okumoto is a most welcome offering, especially when it is as fine as this is. Furthermore, not only is it a very fine album but it is also a wonderful collaboration with Michael Whiteman of I Am The Manic Whale, who helped out lyrically with these songs and also co-produced the album with Ryo. The results being a highly accomplished and entertaining piece of work.

Ryo was able to draft all of his Beard colleagues to help, along with the likes of Steve Hackett, Marc Bonilla, Jonathan Mover, Randy McStine, Mike Keneally, Doug Wimbush and also Michael Sadler (from Saga) to contribute to the album. Over the sixty minute running time, it’s six tracks tell some great tales in addition to which, the guest musicians add their own individual magic.

The album begins with a belter of an opener in Mirror Mirror which features the Spock’s Beard boys joining with their ex singer/drummer Nick D’Virgilio once again to craft a storming track. The song features Ryo delivering some very frenzied Hammond Organ parts, you know this is prog when you hear the Hammond play! It’s a joy to hear this workout, it really is. The song, unsurprisingly, is very reminiscent of prime Spock’s Beard, as all the current incarnation are playing on it, along with Nick on vocals. There is lengthy organ solo, some fabulous bass lines and a fiery solo from Alan Morse, the song powering along really well before a climatic guitar line begins the long closing section. The lyrics are wonderful too and really add something different and special to the track, a fabulous opening statement. Turning Point is a stylish keyboard led track with Doug Wimbush adding a seriously funky bass. The graceful vocal from Michael Sadler is another plus to the track and the song really impresses with it excellent vocals and consummate musicianship, another winner to these ears. Next we have the very I Am The Manic Whale sounding The Watchmaker (Time On His Side), which, while being very familiar sounding due to Michael Whiteman’s vocals (not a bad thing at all), is a very good song.

Maximum Velocity is another great song with lots of synthesisers and also the always graceful guitar of Steve Hackett, who guests on the track a long with Marc  Bonilla, who plays rhythm guitar. The track, about the soon coming NASA moon mission, surges with such intensity that the next song, the far more gentle Chrysalis, comes as a welcome change of pace. A delicate, but earnest, vocal by Randy McStine makes for a highly memorable track. In the middle section, a brief but fine solo is ably matched by the dynamic bass of Doug Wimbush, whose presence helps make it a most impressive track.

The album closes with a monster track, the centrepiece of the album, The Myth Of The Mostrophus, a tale of hibernation and subsequent re-emergence and the chaos that causes. It is both a cautionary tale and also one of ecology, global warming and the like. The track is in six parts but makes one continuous 22 minute piece. Especially strong is part four, which is a prog disco track (honestly!) and the song offers an unusual solution to the Mostrophus, communal singing. It’s a catchy song that he sings and it would be great for an arena crowd. Sadly, I doubt we’ll ever realise that aim or hear the song the way it warrants but we do see the demise of the beast, thanks to the good people of Basingstoke! I think the track is really just a bit of fun and, perhaps, a poke at the pompousness of most prog rock songs or albums, even so it’s a remarkable track and a great way in which to close the album.

When you consider the genesis of the collaboration arose from a lock down Fusion Festival special that both Ryo and I Am The Manic Whale appeared on and the friendship that ensued, that makes this album both a treasure and also powerful proof in the wonders of technology and, also, of the magic of working together to create something of worth and value. I guess that only time will tell if further opportunities will be forthcoming, I for one sure hope that it does. ‘The Myth Of The Mostrophus’ really is a fantastic album and one of my favourites of the year. Yes, it really it’s that good and I encourage you to hear it for yourselves, highly memorable and highly recommended!

Released July 29th, 2022.

Order from Burning Shed here:

The Myth of the Mostrophus (burningshed.com)

Review – Montrose: I Got The Fire – Complete Recordings 1973-1976

‘Montrose: I Got The Fire – Complete Recordings 1973-1976’ is a new 6 CD box set from from the ever impressive Cherry Red Records/Esoteric Recordings label and is a fabulous overview of a legendary band whose sound and style was to make a huge impression in the world of heavy and hard rock in the mid 1970’s and whose influence still makes waves, even today.

Their debut album ‘Montrose’ was issued in 1973 and its 8 tracks were monumentally important and really changed how rock music was perceived around the world. You can trace the evolution of Van Halen back to the first Montrose record, it’s a direct line between the two, certainly sound wise, and you can see the link. That album was to yield such monsters as Rock The Nation, Bad Motor Scooter and Space Station #5, which still sound mighty some 40 years on.

Sadly the resultant albums were a case of diminishing returns amidst a desire from Ronnie Montrose to explore new sounds and approaches. All of which is bold but not always successful, and the sales faltered as a result. ‘Paper Money’, their second album, was the first casualty of this approach as it failed to gain critical appreciation for its bold sounds. For many the album lacked the muscular sound that had enlivened the debut and despite some fine songs, like I Got The Fire and Starliner, many considered the album light-weight, which adversely affected sales.

This led to dissatisfaction between Sammy Hagar and Montrose and Hagar walked out to be replaced by the relatively unknown Bob James who actually had a good voice but not as powerful as Sammy Hagar’s. The new line up released the ‘Warner Bros. Presents Montrose!’ album in 1975 but, again, the critics did not like its light-weight sound, although 40 years on, it does have some gems in the form of Matriarch, Whaler and Dancin’ Feet, all of which have aged pretty well.

The band’s next album was to be a return to form with hotshot producer Jack Douglas recruited to beef the sound up and to add his magic. Unfortunately the resulting record, ‘Jump On It’, was not a great success although it did have some good tracks like Let’s Go and Music Man. It’s a tragedy that the band failed to live up to their original promise but Ronnie Montrose could be a difficult leader and he got bored easily, always wanting something new to explore.

The second CD in this set kicks off with six demo tracks, as well as their excellent debut performance, recorded for KSAN radio at the Record Plant in Sausalito, California in 1973. The band would cut a further live set for KSAN that was focused on their recently released ‘Paper Money’ record, although the inclusion of I Got The Fire, Bad Motor Scooter and a storming extended work out of Space Station #5 really work well in a live setting.

These 2 sets make a big impression and show that Montrose really could deliver the goods, sadly public perception was not on their side and the band broke up, Ronnie to more experimentation sound wise, Hagar to a succesfull solo career before joining Van Halen as a replacement for David Lee Roth. Ronnie Montrose then formed Gamma and put out several albums of fine AOR.

This box set shows the potential they had and also how they failed to capitalise on it and sadly translate that into sales. It definitely has it moments but can be patchy in parts,  the live shows are excellent though. I’m glad to have heard it but feel, in reality, a decent best of and the magnificent debut are really all you need.

Released 29th July, 2022.

Order from Cherry Red Records:

Montrose: I Got The Fire – Complete Recordings 1973-1976, 6CD Box Set – Cherry Red Records

John Wenlock-Smith Interviews Steve Hackett

Steve Hackett is certainly a very busy man of late, on the day we talk, he has just returned from time in Borneo and a few club dates in Japan, amidst a wider Australian and New Zealand tour. Even so, he continues to be his usual self-effacing and courteous host,  he is such a gracious interviewee and always has interesting things to say and learn from.

This interview is in advance of his upcoming season of shows entitled ‘Foxtrot At Fifty’, which will  see him delivering a complete set consisting of that entire album. The tour will see Steve and his band playing the album along with various other classic Genesis material and some of his own solo material from the ‘Surrender of Silence’ album from last year. It is looking to be a busy few months again for Steve.

John Wenlock-Smith: Good Morning Steve, so how are you sir?

Steve Hackett: I am all right, fine, it has been a busy time, how about yourself?

JWS: We have had Covid actually.

SH: Ooh, that is nasty!

JWS: With Sue having asthma, she had it worse than me but we are both on the back end of it now so, hopefully, will be back to normal soon.

SH: Well, next week we go to Germany and Italy as we are doing some outdoor shows, which should be good, I like festival shows, they are genuine fun.

JWS: Then, when you come back, you have ‘Foxtrot at 50’ starting?

SH: Yes, that is right, in the autumn. I am looking forward to it, it is an album that is worthy of a revisit, some of it I have not played in 50 years!

JWS: You have also got the ‘Seconds Out Live’ album coming out in September?

SH: Yes, it is the best live album I have ever done. It sounds good, much better than the original album, which was not a good production sadly, whereas this one really does sound good. The drum sounds are better plus we took the key down for Squonk.

I think Genesis did that as well because a lot of those songs were written by non-singers and they forget that voices change as people get older and they can’t reach the high notes as easily as they used to, I know Phil cannot do it now. This latest version is exceptionally fine indeed, I guess time will tell though?

JWS: Yes indeed, I was listening to a friend of yours last week, Nick Fletcher?

SH: Yes, he is great, an extraordinarily accomplished and amazing player, the best jazz rock player in Britain today.

JWS: I was also going back and listening to some early Fleetwood Mac with Peter Green.

SH: Well I saw Peter Green many times over the years, he was always a fabulous player.

JWS: I also heard an album by Ryo Okumoto that you play on as well, a track called Maximum Velocity.

SH: Yes, a friend of mine is also on that album, Michael Whiteman, who sings and plays bass on the album. He is part of a band called I Am The Manic Whale, he is particularly good too, it is interesting that he is also on the album.

I have not heard the finished album though, so I do not know if I even made the cut or if I am one of several guitarists on there but enjoy it anyway.

JWS: There are some great keyboard players out there now like Ryo and, of course, your own Roger King, about time he did a solo album.

SH: I keep telling him he should but he thinks anything he did would not sell so he is reluctant to try.

JWS: Well, maybe he ought to cover songs he likes himself or something?

SH: I will tell him, but he is happy just playing on my stuff, although he will tell me if it is not any good, he can be vocal about it too. But they are all talented players and play like demons at times.

JWS: So what is next for you?

SH: We have been so wrapped up in touring that I have not been able to record much. I have got three songs ready but not had a chance to record them so, hopefully, that will happen before long and then we will be touring ‘Foxtrot’ around the world too, so busy days ahead.    

JWS: Right then Steve, I had best let you get on but thank you once again for your time. Stay safe and well and we will hopefully see you in Buxton in September.

SH: Thanks John, take care of yourself and keep well.

Review – Nick Fletcher – The Cloud of Unknowing – by John Wenlock-Smith

Nick Fletcher is a man of many talents for not only is he the guitarist in the excellent John Hackett band, he also has his own acoustic guitar recitals happening in the North of England. Last year he released his excellent solo album ‘Cycles Of Behaviour’, which was very highly regarded. In addition, Steve Hackett, no less, has stated that he considers Nick to be the finest Jazz Rock guitarist in the country. In the intervening months Nick has completed and released his new album ‘The Cloud Of Unknowing’, let us have a look and see shall we?

The album consists of nine tracks which are all thematically linked by the album’s attempts to illuminate a journey towards enlightenment, understanding and the acceptance of how things are and our place within that cycle. It is mainly instrumental, although it has vocals on the fifth and ninth songs and is best heard as a single piece of music to get the best out of it and to allow the journey to unfold as you listen.

Nick says the album came out of lockdowns and during the time of the pandemic in which he became open to search for deeper meaning and value to life. He did this by looking at mythology and to Christian mysticism from the likes of St John Of The Cross, whose words that illuminate the paradox we face are shown on the inner CD sleeve. Right, enough background, let’s hear the music…

The first piece, Out Of The Maelstrom, is a brutal hard-hitting track that reminded me of Billy Cobham’s ‘Spectrum’ and the track Quadrant 4 as it has a similar vitality and energy to it. It is full of dynamism and a mad organ from Dave Bainbridge, off which Nick plays flurries of notes and runs and it’s all highly impressive. Even better though is the more reflective The Eyes Of Persephone, which features a great flowing piano solo from Dave and over which Nick soars, playing some fluid guitar lines that would not be out of place on a Camel album. However, it still has a fire burning underneath making it a formidable and exceptional track

We then move into a set of five tracks that together form a suite entitled ‘Scenes From The Subconscious Mind’.

The suite opens with We Need to Leave This Place…Right Now!, twenty seconds of modern life noises, traffic and sirens and the like that display the unrest of life, this then moves into the more, almost metallic, crunch of Pandemonium which is rather brutal really, although it allows a great platform for Nick to solo from, adding some very sweet slide guitar tones in the latter part. This is all magnificently underpinned by the wonderful and highly versatile fretless bass of Tim Harries whose parts really add much to the sound, another magnificent track.

Then we have The Cloud of Unknowing Part 1 Part 2 Part 3, the first vocal track from Stuart Barbour, who is a contemporary Christian musician who Caroline Bonnet suggested to Nick. His voice is very English sounding, sounding a little like John Wetton in his U.K. days. This is an album that is better with some volume as the sound unfolds as you listen, the more you play it the more you hear, the track ends in gentler but still highly atmospheric soundscapes.

We then have a gentle arpeggio led guitar piece called Awakening The Hydra, which in turn leads to Dance of the Hydra, a blistering five plus minutes of wild fusion playing and a monstrous riff that the likes of Metallica would love It is a brutal, kicking piece of music with lots of wild guitar riffs and manic drumming from Russ Wilson. Nick is all over this track, employing many of his artistic tools to profound effect, there is furious playing but he never loses sight of feeling, melody and touch and this closes out the suite perfectly.

Arcadia is a classical guitar piece that flows seamlessly into The Paradox Part 1 Part 2. This is a very questioning song that asks questions about how we live today. There is a great synthesiser solo from Dave Bainbridge at the halfway mark and a very spacey, yet fluid, guitar line from Nick carries the song forward, along with more subtle slide parts that really add to the atmosphere of the song. The song ends gently with classical guitar playing that draws everything to a close and completes our journey. Hopefully, during the journey, we should have gained enough insight to be able to continue our lives in the light of the wisdom that has been handed to us, to discover, absorb, and allow us to illuminate the paths that lie before us.

‘The Cloud Of Unknowing’ is an astonishing album that reveals more and more of itself as you become familiar and open to its themes. It is deeply spiritual and is one that we invariably need in these days of turmoil that the world is facing. Whatever you believe, this album is at least a call the ponder, muse and meditate even if only for yourself, why not try it? It is a highly highly recommended listening experiencefor the discerning music fan.

Released 6th June, 2022.

Order direct from the musician here:

Nick Fletcher – The Cloud of Unknowing CD | Nick Fletcher guitar (nickfletcherguitarmusic.com)

Review – Babe Ruth – Darker Than Blue, The Harvest Years 1972-1975 – by John Wenlock-Smith

Babe Ruth were a hot ticket in the early 1970s with their intelligent and sophisticated sound, the use of horns and the earthy yet powerful vocals of Janita “Jenny” Haan trading her lines against the impressive Alan Shacklock’s skilled guitar and arrangement. Their music was in part influenced by the spaghetti westerns of Sergio Leone, which made for an early ethnicity to their sound.

Their debut album, ‘First Base’, featured a striking cover designed by Roger Dean that enabled it to stand out in the racks. What a statement of intent it was from opening bars of Wells Fargo, that sound just hits you like a tank but it is not all bombast, it is is an album full of intricacies, especially with the wonderful arrangements from the classically trained Alan Shacklock, this is a different type of progressive rock and one that certainly makes an impression.

There are a lot of keyboards within the sound, all backed by the solid beat of Dick Powell. This is best displayed on the lengthy instrumental King Kong which is a fabulous jazzy rock number that would not feel out of place on an early Santana album. It is actually a cover of the Frank Zappa song from his 1968 ‘Uncle Meat’ album. Black Dog is a different type of song being soft and gentle with a delicate vocal from Jenny. Originally by Jesse Winchester, this has a fabulous piano solo from Dave Punshon. The Mexican is next and is the longest song on the album thus far and opens with Spanish guitar and a steady straightforward beat which was done in one take. It is really impressive for its time, well before drum loops and such. The song is about the Alamo but is told from the Mexican perspective, it also includes part of Ennio Morricone’s Western themes, which are neatly worked into the track. There’s great syncopation throughout the entire track and some great bass lines. The final song is Joker which has a brutal riff to it and more impassioned vocals from Jenny Haan. It rounds the album out in style although there are two bonus tracks plus a single edit of Wells Fargo and the theme from A Few Dollars More.

This concluded a fine album and gets you set up for their second album ‘Amar Caballero’ which carries with on the strong vibe of ‘First Base’, although this time the cover (a gatefold) is by Hypgnosis and features a group of horses that were supposed to charge but refused to move. In addition the line up has changed too, with Ed Spevock on drums, Dave Hewitt on bass and Chris Holmes replacing Dave Pushon on keys.

The sound and style of the album is different from the debut in that there are a slew of songs from Jenny, delicate guitar from Alan and an effective use of orchestrations throughout the album. However, there is still plenty of rocking going on, especially on the epic three parts of Amar Caballero with its Latin sounds. There are also elements of funk on the drums along with a suitably fiery guitar and horns wailing away. Much of this material was originally penned  with other artists in mind but, when that failed to work out, this album arose from those efforts, so it’s a bit of a mixed bag but the 3-part Amar Caballero is definitely worth a listen.

The final album ‘Babe Ruth’ was their last for Harvest, although they spent a while on the Capitol label where they released the ‘Stealing Home’ and ‘Kid’s Stuff’ albums, albeit with a vastly different line up as all the original members had quit by this stage.

The album opens with the hard rocking track Dancer with great guitar by Alan Shacklock, this is followed by another rocker, Somebody’s Nobody, with more great guitar and synth sounds, again Jenny sings very powerfully, as she does throughout the whole album. An interesting version of A Fistful Of Dollars comes next, where Alan gets to play his own tribute to those spaghetti westerns of which he is so fond.

We then get a cover of a Curtis Mayfield song, We People Darker Than Blue, an unusual choice but it gets the proper Babe Ruth treatment with lots of energy and great synths. As a social protest song, it is overseen sympathetically and treated with respect, with a fine vocal from Jenny. Jack O’Lantern has very Rock and Roll feel with lots of honky tonk piano runs. The song is about a voyeur and, while it may not be welcome today, for its time, it was musically at least, a good track.

Another cover follows, this time of Booker T Jones‘ and William Bells‘ Private Number, which is a great song with lots of good synth work in amongst some fine guitar playing. Turquoise is driven by Spanish guitar runs and fills, a very flamenco style track with excellent guitar lines from Alan. The last track on the album is The Duchess Of Orleans and, again, this has a great vocal from Jenny Haan, it is also the second longest track on the album after Dancer. The song is about a relationship across the classes, opening with organ and Alan’s Cockney accent before Jenny takes the vocal over. It’s an interesting track and closes the album out well in what has been an excellent overview of the band and, indeed, their Harvest years, in which we find much skill and talent that was sadly unappreciated at the time. Upon re-examination some 50 years on we can see just how good this band really were and how they deserved so much more than they achieved.

This is a really good box set as usual from Esoteric and includes an informative booklet from the great Steve Pilkington, no less, I highly recommend it!

Order from Cherry Red Records here:

Babe Ruth: Darker Than Blue – The Harvest Years 1972-1975, 3CD Box Set – Cherry Red Records

Review – The Bardic Depths – Promises of Hope – by John Wenlock-Smith

‘Promises of Hope’ is the second album from The Bardic Depths, the unusual group formed through the Big Big Train “Passengers” Forum which brought together the talents of a disparate group of individuals, united by musical interests. Their first, self-titled album told the story of the friendship between JRR Tolkien and CS Lewis and their experiences in The Great War. This new album also features CS Lewis along with Greek poet Virgil and its theme is that of suicide and redemption.

What is different this time though is that folks who were contributors last time have joined Dave Bandana and now become official members of the band, these being Peter Jones, Tim Gehrt and Gareth Cole. Once again, they are aided by historian Bradley Birzer who provides the lyrics and various other guests appear on the album (like Sally Minnear of Celestial Fire).

The subject matter might seem quite heavy and dark but the music is anything but. The story is that a Queen tries to kill herself but heaven will not allow it and offers redemption instead…

Right from the opener, And She Appeared, there is a new sense of presence in the band, Robin Armstrong’s sympathetic production certainly helps, as do the stellar performances of the whole ensemble. Some great sound effects and expansive keyboard sweeps lead into a triumphant fanfare of synths and a penny whistle before a thrusting bass line kicks in and Peter’s fabulous vocal begins, Dave Bandana joining in with the vocals as the song surges forward. This is exceptionally good stuff indeed and Gareth Cole’s is glorious too. The excellence of the opening track means the album really flies out of the gate with a great refrain of promises of hope but never victory, a truly epic song to start with.

Regal Pride follows and is a more even-paced track, although some fabulous saxophone licks and riffs pump up the tempo as the song tells of the failing of the relationship that caused her to want to commit suicide. It is very languid and almost lazy sounding, again some great classical guitar playing throughout makes a seriously good impression. Consumed opens with more classical guitar and sounds of the sea washing ashore. There’s more penny whistle from Peter Jones, that sounds uncannily akin to Men of Harlech, along with lovely violin from Olga Kent. This track is a slow burner and its folky interludes really add significantly to proceedings, It is all really impressive and a step forward from the debut album, the introduction of a core nucleus certainly helping with stabilisation of the music and allowing for more improvisation to occur naturally.

This is an album that has been carefully assembled and crafted and it shows in the strength of tracks, The Burning Flame continuing the story with some distinctive guitar lines from Gareth, in which he gets to contact his inner ‘Gilmour’, adding an epic scope to the song. The track talks about the Queen’s attempt to end it all and utterly captivating playing makes this a real highlight of the album thus far, you can intimately sense the loss of hope in this song.

Colours and Shapes follows with more moody saxophone, as an instrumental this gives free rein to the jazzy playing of Peter Jones and it is a wonderful thing to hear. When Tim Gehrt’s solid drumming kicks in, it really soars, heading off into lots of different directions until Gareth’s mighty guitar takes flight. It’s really fine track, epic even, with the cool sax segueing in to Why Are You Here?, the song opening with various voices asking ‘Why Are You Here?’, which sounds reminiscent of Pink Floyd’s Wish You Were Here, as it shares a similar tempo and sound. The track also has a suitably moody and epic guitar solo.

Returned has a different feel to all that has gone before, sounding like an outtake from The Power Station, with its funky stylings and use of vocoder. In this song our Queen is advised to return to love as it is her path to redemption and you can get the 80’s vibe in this track. It is another highpoint in what is rapidly becoming an ambitious and really interesting album. The Essence continues the 80’s sound with heavy drums and lots of synths burbling away. ‘The universe may feel…’ is the refrain on this track and lots more superb saxophone makes it another winner

Imagine concludes the album, opening with a majestic church organ, courtesy of Richard Krueger, that makes a grand statement of intent. This is the redemption that has been offered and received by our Queen, more marvellous keyboards in the middle section and great vocals from Dave and Peter keep the song bubbling along. The guitar part is very reminiscent of a certain Steve Hackett, Gareth showing that he certainly can play in that style. This is a fitting finale to an album that is really something incredibly special indeed.

‘Promises of Hope’ will invariably appear in various end of year listings, and rightfully so too, for it is exceptionally good and I heartily recommend it to all.

Released June 24th, 2022.

Order direct from Gravity Dream here:

The Bardic Depths – Gravity Dream Music

Live Review – YES At Manchester Bridgewater Hall – by John Wenlock-Smith

This was a particularly good show, if not just a little strange at times. The evening started with a few words from legendary album cover artist Roger Dean, who has worked with Yes for over 50 years, a true gentleman and very enthusiastic about the works he has created for the band over the years.

He started off by talking about the loss of Alan White and played a short sequence of images of Alan’s time with the band, then Yes came onstage and started their first set with On the Silent Wings of Freedom from the ‘Tormato’ album, a song that rarely gets played live. The band were up for it though with Steve Howe especially energised for the proceedings.

There were a few gremlins sound wise but the band got through it very professionally. Billy Sherwood’s Bass was a huge sounding behemoth, very Chris Squire like in tone, and he played some exceptionally good lines throughout. Billy has a certain air about him, like a rock god from a bygone age with his long flowing hair and his boots very much an image, but he can certainly play that bass like a master. New drummer Jay Schellan kept things very tidy at the back, solid and uncluttered, much like Alan White used to really.

This latest incarnation of Yes is very much orchestrated, led and driven these days by Steve Howe, who was constantly issuing instructions to the other band members with his hands or voice. Steve is the last member with a connection to their golden age (of which ‘Close To The Edge’ is a major capstone of course). Sure, you could moan about the lack of the presence of either Rick Wakeman or Jon Anderson, however the integrity of this band stays true under Steve’s guidance. Jon Davison may not have the presence of Anderson but he is a very fine singer for this version of Yes.

The band then played Yours Is No Disgrace, which was the first of several longer pieces performed tonight. This song was obviously a long-time favourite of many of the audience who’s average age was sixty plus. It is very strange being part of a crowd this old and you definitely know it is odd when the toilet queue is twice as long for me as it is for women!

We then moved onto No Opportunity Necessary, No Experience Needed, from the ‘Time and a Word’ album, one that no one onstage had been a part of but still played it with much gusto, making it one of the highlights of the evening so far. This was followed by a rousing version of Does It Really Happen from ‘Drama’ and Geoff Downes’ keyboards really shone making it really stand out. We were then treated to Steve Howe’s solo guitar piece, The Clap, which he delivered to much acclaim and a rapturous response.

The latest Yes studio album is ‘The Quest’, which got a mixed critical response. Well, here tonight ,the two tracks they played, The Ice Bridge and Dare To Know, were both very well received, with Steve howe really on fire with his playing, he gave the recurring riff and melody some real oomph! This led to Heart Of The Sunrise from ‘Fragile’, another lengthy workout for all the members again with the thunderous bass from Billy really made this memorable, it was another highlight for me.

After a short break and queuing for the toilets the show recommenced with the main event of the evening, legendary album ‘Close To The Edge’ in its entirety.

The three songs, Close To The Edge, And You And I and Siberian Khatru are possibly the very essence of Yes, they were certainly different to much that was around in 1972. These pieces both retain and contain all that makes Yes so loved, mystical lyrics and driving and unorthodox time signatures where musicians really worked and stretched a piece of music to the maximum. This evening the songs did just that, with an especially fine rendition of And You And I. With some dramatic and effective pedal steel guitar from Steve at the end, it soared out over the audience and was again very well received. Siberian Khatru was also well received and was an excellent finale to proceedings, with the crowd up on their feet clapping along with the music.

Then it was encore time and what could it be but Roundabout and Starship Trooper, both of which really rocked out, sending everyone home extremely happy and satisfied at what they had seen, Yes doing what they do best, remembering a lost colleague and progressing onward as only they can. It was an astonishing and wonderful evening and performance plus, to top it all, Roger Dean signed my copy of the Topographic Oceans CD!

You can buy tickets for the remainder of the shows at this link:

https://yesworld.com/live/

Review – Hats Off Gentlemen It’s Adequate – The Confidence Trick – by John Wenlock-Smith

Music is at its best when it challenges you to think and to possibly to change your perception and understanding of things and situations. Well ‘The Confidence Trick’ (the new album from Hats Off Gentlemen It’s Adequate) may just help you in that respect. The album is partly conceptual in nature and, certainly, many of the songs share a common theme, often viewed from different angles.

The concept is that overconfidence can be viewed as a good trait and yet tends to lead to bad decision making, in that said ‘confidence’ is often mistaken for competence and this is where our problems often begin. Certainly this holds true in politics and can explain why people like Donald Trump and Boris Johnson have fared well politically. The fact that Trump is a sociopath and arrogantly self promoting didn’t really affect his inability to change the U.S. political system, it was his self confidence that swept away much of the barriers to the presidency.

This album reflects on these themes and uses intellect to make its points in a very admirable way. There is also the clever use of instrumental tracks that subtly support the themes of the album.

There are some fabulous passages in this album and the musicianship is very fine indeed with some fabulous emotive guitar lines and stirring synth passages and keyboard playing from Malcolm Galloway. There is also the excellent bass and Chapman stick playing of Mark Gatland and the hauntingly beautiful flute playing of Kathryn Thomas, whose classical training adds gravitas to the tracks on which she is a part.

A definite highlight is the excellent World War Terminus that explores how war unfolds and how these overconfident, yet mostly misguided, individuals believe they can win the chosen conflict when often they simply cannot or never could. Yet, such is their self belief (mostly misplaced), that they make rash decisions and unsustainable actions. All of this is contained through the excellent and challenging lyrics that abound on this album.

Another Plague was written prior to the recent lockdowns and refers to a government exercise in 2016. One in which we failed to learn, or even to make ready our preparations, for such a pandemic as happened in 2019 and which thousands of lives were lost because of incompetent government action or a complete lack of. The song is very direct and is uncompromising at laying blame at the government’s door. It’s a song that deserves to be widely heard but sadly won’t be, as folk only buy what they already know and what fits their requirements. It is almost criminal when music like this really warrants a far bigger platform and focus to be heard.

Folks like me can certainly help raise the profile but it’s getting the public at large to embrace change that is the difficult part. But those open minded individuals who embrace new music will find loads to enjoy and appreciate in this album, chock full as it is with excellent music and quality and intelligence. This really is a very rich seam in which to mine for nuggets of gold.

The album also has touches of modern classical and minimalism in it’s tracks best shown on Refuge, which is based on the family experience of Malcom’s Grandmother and her treatment at foreign hands. The track is instrumental but still conveys much, including a sense of joy and also wonder and gratitude for those that helped her to survive.

The title track is also very strong indeed and is a perfect summation of the albums themes and songs. All in all this album really impresses with some fabulously fluid guitar parts, majestic synths and solid musical backing throughout.

This is definitely a step further for the band and, impressive as ‘Nostalgia For Infinity’ was, this one is both totally different and also even better. ‘The Confidence Trick’ has so many worthy tracks like Perky Pat, Lamprey Lava and All Empires Fall, all of which show the skill and flair the band have in the music they craft and create for our aural pleasure and long may such a fine creative streak continue.

Released 15th July, 2022.

Order here:

The Confidence Trick | Hats Off Gentlemen It’s Adequate (bandcamp.com)

Review – Kaipa – Urskog – by John Wenlock-Smith

‘Urskog’ is the latest, and fourteenth album of the folk/fusion progressive rock group, Kaipa. The band was, in earlier times, home to Roine Stolt of The Flower Kings and it’s easy to see just how he was able to be a part of this band’s heritage and sound.

This album is Stolt free but, nonetheless, it is a very accomplished and epic sounding release and takes you on an aural journey through the forests of the Swedish wilderness and its changing seasons. It is all remarkable considering the album only has six tracks, two epics of fifteen plus minutes, one ten minute track, a nine minute instrumental and one, shorter, six minute song. Yet, within its grooves, you will discover a fabulous world of invention and wonder, at least I did.

I could find touches of Yes in the bass work of Jonas Reingold and the fine, fluid guitar of Per Nilsson, not to mention the epic, and often orchestral, keyboards of Hans Lundin, and that’s before we mention the excellent vocals from Patrick Lundstrom and Aleena Gibson. Along with the powerhouse of drummer Darby Todd, they really create a lush and rich, symphonic sound.

Opener The Frozen Dead Of The Night sets the scene for much of what follows, initially gentle before a stirring synth line from Hans is introduced to favorable effect and the music takes a more rhythmic approach. The drums are then brought into play, this opener is quite keyboard heavy in parts but this works well for the song. The next part of the song leads us towards spring and to the excellent fretwork of Per, who really let’s fly on this section. He has a lovely tone and fleet fingers that fly across the fretboard wonderfully, and highly melodically too.

In A World of Pines takes us deep into the forest and into a sensory experience of mindfulness, even as we learn to appreciate the pine forests and the peace that they offer us. There’s lots happening musically in this song too, lots of lovely keyboard sounds and textures. Next is title track Urskog which has a broody tone to its, almost menacing really. Being sung in Swedish reinforces this and without any translation of the lyrics, it doesn’t help, although there are lots of soaring synths on offer herein. There is also a good bass / drum interaction going on throughout which is highly effective in nature, if only I knew what they were on about!

Far Better for me is Wilderness Excursion which features lots of energetic soloing from keyboard player Hans, guitarist Per and bassist Jonas, who channels his inner Chris Squire to pronounced effect. All of this is surrounded by the busy, yet effective, drum work of Darby. With the song being fully instrumental, everyone gets their moment to shine but it is collectively that they really make a point. This is not mere showing off per se, instead it is collectively highlighting their skills together as an ensemble within the track that works so well. This blistering track really shows how well they get together as a unit and can show that on record too.

The Wastelands of My Mind is hinged on a gloriously uplifting violin melody by Elina Rubensztein which, when coupled with a fabulous vocal from Aleena Gibson, really shines and evokes memories of Kansas’ Robbie Steinhardt. Yes, it really is that good and it makes this definitely one of the album’s finest tracks. Final track The Bitter Setting Sun is also a great with another epic setting and keyboard sounds to match and with lot going on in its fifteen plus minutes running time. The song moves between sections excellently with each part being marked by the different sounds that make it run smoothly.

This album is full of life, you can sense how the seasons change and how life develops as a result. The whole record is very life affirming and an absolute joy to listen to. I heartily recommend it to all prog fans, it’s not that folk oriented but does have a fair element of fusion type embellishments. However it’s all excellently overseen and thoroughly enjoyable as a result.

Released 29th April, 2022.

Order here:

Urskog (burningshed.com)

Review – Strangeways: Complete Recordings Volume 1 – 1984-1995 – by John Wenlock-Smith

The worlds of Prog and AOR often meet and this fine set from HNE/Cherry Red can certainly attest to that, comprising, as it does, the complete recorded output of UK rockers Strangeways and those with US vocalist Terry Brock who replaced original singer Tony Liddell in 1987.

Strangeways were, at the time, championed by the likes of Kerrang and Raw as being rivals to mega US bands like Journey, Styx and REO Speedwagon, with their 1985 debut ‘Strangeways’ coming highly commended in that arena. However, as is often the case, the hype was not realised, in part because Strangeways’ record label, Bonaire, were not up to the case and lacked the promotional push to get the album across to the masses properly. So, whilst the album was solid and had much promise, it failed to sell in sufficient numbers to really get to the next level.

The lack of sales meant something had to change and so out went Tony Liddell and Terry Brock was recruited. Brock was unknown but had a glorious voice and the band gelled with his superior vocals. This all bore fruit on 1987’s ‘Native Sons’ album which yielded the minor hit Dance With Somebody, produced by John Punter. The album was, and is still, highly rated as a landmark moment in British AOR recordings, one that could stand side by side with anything the US could offer, it was that strong and was highly enjoyable too.

Sadly though, despite positive press and reviews, again Bonaire failed to capitalise on the groundswell of acclaim and the album floundered and then lost momentum completely, leaving the band high and dry once again.

So it was that, once again, in 1987 Strangeways regrouped to record ‘Walk Into The Fire’, this time for RCA as Bonaire had fallen by the wayside. The album did not even get a UK release but was available as an expensive import. As the album failed to gain much (if any) traction in the UK, and with no tour support or dates in tow, the band disappeared from the public eye.

Such is the way of things I guess, although this new set at least gives us the opportunity to revisit and re-evaluate the bands career. It contains their three AOR albums and also their more progressively inclined fourth album, ‘And The Horse’, from 1994 that was ignored by everyone, despite it being particularly good in parts. Terry Brock had left by this time and joined Mike Slamer’s project and then Giant for their ‘Promise Land’ release.

The great little set also includes thirteen demo tracks and four live tracks, which prove the band to be formidable in a concert setting. The band certainly had the skills and the songs but were sadly let down by the record company and by events that were very much beyond their control, yet they left us with several albums of classy song writing and some sterling performances shown across the four discs.

Of the four albums, obviously, ‘Native Sons’ is the standout with its near perfect blend of classy and distinctive AOR and with a world class vocalist in tow raising the songs to an extraordinary standard and level. The debut ‘Strangeways’ album is also a very strong album but lacks that extra bit of sparkle, polish and magic that Terry Brock adds to proceedings. The third album, ‘Into The Fire’, is almost as good as ‘Native Sons’, but not quite and you can begin to sense the frustrations coming out of the band with their lack of progress to greater success and acclaim.

By the fourth album a seismic shift had taken place in that Terry Brock had gone and Ian Stewart had taken over the vocals. In addition, the musical landscape had changed with grunge coming to the fore and so Strangeways had changed their sound, gone was the AOR instead a more bluesy and jazz influenced sound had emerged. It makes this fourth and final album rather interesting and vastly different. Indeed, the sound is a lot more intimate sounding, Ian’s vocals are efficient at best he certainly is no Terry Brock! but his voice suits what is happening musically. The songs are longer, allowing room for Ian to indulge his inner Pink Floyd to fine effect. The album is not an easy one to find these days, so this set offers a terrific opportunity to make its acquaintance    

For me though, it is the first three albums that really shine and, even more so, the second and third ones where Terry Brock’s fine voice really shake the rafters. This is a notable set and one I heartily Recommend to fans of this Genre.

Released 26th May, 2022

Order from Cherry Red here:

Strangeways: Complete Recordings Vol. 1 1985-1994, 4CD Box Set – Cherry Red Records