# Trollheart's Album Review Thread



## Trollheart (Sep 12, 2019)

I'm just going to keep all my album reviews here. I enjoy a pretty diverse taste in music, so expect to see just about anything here. Feel free to comment on or discuss any of the albums I post here, and if there's an album you'd like my opinion on, let me know and I'll see what I can do.

Note: As I'm running other threads in which I will be also posting album reviews, I'm going to include links for them here in the main index. Just be aware that if you click on an album by, say, Iron Maiden or Tom Waits you will be taken into that thread. 

_Disclaimer: all the reviews here, all the sentiments expressed and all the opinions advanced are my own personal ones, and may not tally with yours. These are subjective reviews, not objective, as music is rarely, if ever, objective. No insult or offence is intended to anyone whose music may receive a negative review here, but at all times, as always, I will endeavour to present every review respectfully and fairly.
_
I have a lot of albums to post, so I'll be keeping an index here, so anyone who wishes can search it and jump directly to the album they're interested in.

*INDEX PART ONE

*The Adventures - _The Sea of Love_ 
a-ha - _Analogue _
a-ha - _Scoundrel Days_
Alesana - _A Place Where the Sun is Silent _
Amon Duul II - _Phallus Dei_
Anderson Bruford Wakeman Howe - _Anderson Bruford Wakeman Howe_
Angel Witch - _Angel Witch
_Angel Witch - _Frontal Assault_
Asia _- Aura _
Asia - _Rare_
Axxis - _Paradise in Flames_ 
Balance of Power - _Perfect Balance _
The Beach Boys - _Pet Sounds_
The Beatles - _Sgt. Pepper's Lonely Hearts Club Band_
The Beatles - _Abbey Road_
Big Country -_ No Place Like Home_ 
The Black Atlantic - _Darkling, I Listen_
Blue Sky Riders -_ Finally Home_
Bon Iver - _Bon Iver_ 
Bowie, David - _Scary Monsters (And Super Creeps)_
Brainbox - _Brainbox_
Laura Branigan - _Branigan_
Break My Fucking Sky - _Final Breath_ 
Brown, Sam - _Stop!_
The Byrds - _Fifth Dimension_
Captain Beefheart - _Safe as Milk_
Captain Beefheart - _Trout Mask Replica_
Caravan - _Caravan_
Cash, Rosanne - _The River and the Thread_
Cave, Nick - _The Good Son_
Tracy Chapman - _Tracy Chapman _
China Crisis - _Flaunt the Imperfection_
Clannad - _Lore_
Cloven Hoof - _Cloven Hoof
_Cloven Hoof - _Dominator
_Cloven Hoof - _A Sultan's Ransom
_Cloven Hoof - _Eye of the Sun_
The Coronas -_ Closer To You _
Decker, Jessie James - _Gold_
Del Amitri - _Waking Hours_ 
The Divine Comedy - _Casanova_
Dixie Chicks - _Taking the Long Way_
Dragonforce - _Inhuman Rampage_ 
Eagles - _Desperado_
Earle, Justin Townes - _Nothing's Gonna Change the Way You Feel About Me Now_
Earle, Steve - _Copperhead Road_
Eden Shadow - _Hail_
Edison's Children - _In the Last Waking Moments_
Edwards, Kathleen - _Voyageur_
Electric Light Orchestra - _Face the Music_
Embrace - _Out of Nothing_ 
Evership - _Evership_
Fagen, Donald - _The Nightfly_ 
Fairport Convention - _Liege and Lief_
Family - _Music in a Doll's House_
Filkins, Sean - _War and Peace and Other Short Stories_ 
Genesis - _From Genesis to Revelation_
Giles, Giles and Fripp - _The Cheerful Insanity of Giles, Giles and Fripp_
Gray, David - _White Ladder_ 
Griffith, Nanci - _Lone Star State of Mind_
Groban, Josh - _Closer_ 
Hall, Daryl - _Three Hearts In the Happy Ending Machine_ 
Hawkwind - _Onward_ 
Hill, Faith - _Cry_
Holst, Gustav - _The Planets Suite_ 
Hughes, Gary - _Once and Future King, Part 1_ 
Hughes, Gary - _Once and Future King, Part 2_ 
Illusive Mind - _Alternating Scenes_
Iron Maiden - _Iron Maiden_ 
Iron Maiden - _Killers_ 
Iron Maiden - _The Number of the Beast_ 
It's a Beautiful Day - _It's a Beautiful Day_
Jarre, Jean Michel - _Oxygene_
Jethro Tull _ _This Was_
Journey - _Escape_ 
Journey - _Arrival_
King, Carole - _Tapestry_ 
King Crimson - _In the Court of the Crimson King_
Lane, Lana - _Lady Macbeth_ 
The Maccabees - _Given to the Wild_ 
Martin, Marilyn - _This Is Serious_ 
McKee, Maria - _Maria McKee_ 
Millenium - _Ego_ 
The Moody Blues - _Days of Future Passed_
The Moody Blues - _In Search of the Lost Chord_
The Moody Blues - _On the Threshold of a Dream_
The Moody Blues - _To Our Children's Children's Children_
Moore, Christy - _Ordinary Man_ 
Mostly Autumn - _Storms Over Still Water_
The Mothers of Invention - _Freak Out!_
The Mothers of Invention - _We're Only in It for the Money_
The Mothers of Invention - _Uncle Meat_
Muse - _Black Holes and Revelations_ 
Mystery - _One Among the Living_
The Nice - _The Thoughts of Emerlist Davjack_
The Nice - _Ars Longa, Vita Brevis_
Night Ranger - _Dawn Patrol_
Nine Stones Close - _One Eye On the Sunrise_
Nolan, Clive with Wakeman, Oliver - _The Hound of the Baskervilles_ 
Pandora's Box - _Original Sin_ - 
Pink Floyd - _The Dark Side of the Moon_
Pink Floyd - _The Endless River_
Pink Floyd - _The Piper at the Gates of Dawn_
Pink Floyd - _A Saucerful of Secrets_
Pink Floyd - _Ummagumma_
Pistol Annies - _Hell on Heels_
Praying Mantis - _Time Tells No Lies
_Praying Mantis - _Predator in Disguise_
The Pretty Things - _S.F. Sorrow_
Procol Harum - _Procol Harum_
Procol Harum _ _Shine on Brightly_
Quatro, Suzi - _Quatro_
Rafferty, Gerry - _Snakes and Ladders_ 
Rainbow - _Rising_ 
Raven - _Rock Until You Drop
_Raven - _All for One_
Rea, Chris - _Dancing Down the Stony Road_
Redemption - _This Mortal Coil_ 
Renaissance - _Renaissance_
Ribeiro, Catherine - _Catherine Ribeiro + 2 BIS_
Savatage - _The Wake of Magellan _
The Script - _Science and Faith _
Seger, Bob -_ Like a Rock_ 
Sexton, Charlie - _Pictures for Pleasure_ 
Shatner, William - _Has Been_
SKY - _SKY 2_
Soft Machine - _The Soft Machine_
Soft Machine - _Volume Two_
Spears, Britney - _Britney Jean_ 
Springsteen, Bruce - _Nebraska _
Stewart, Al - _Time Passages_
Stewart, Rod - _Time _
Supertramp - _Supertramp_ 
Supertramp - _Some Things Never Change_
The Ten Tenors - _Here's to the Heroes_
The The - _Mind Bomb_ 
Thin Lizzy - _Thunder and Lightning_
Thin Lizzy - _Shades of a Blue Orphanage_
Turner, Tina - _Break Every Rule_
The United States of America - _The United States of America_
The Vampires of Dartmoore - _Dracula's Music Cabinet_
Van der Graaf Generator - _The Aerosol Grey Machine_
Vangelis - _L'Apocalypse des Animaux_ 
Vangelis - _Oceanic_ 
Various Artists - _"Cobra" OST_
Various Artists - _"Little Shop of Horrors" OST_
Various Artists - _"Top Gun" OST_
The Velvet Underground and Nico - _The Velvet Underground and Nico_
Venom - _Welcome to Hell
_Venom - _Black Metal
_Venom - _At War with Satan
_Venom - _Cast in Stone_
Visage - _Hearts and Knives_ 
Waits, Tom - _Closing Time_ 
Waits, Tom -_ The Heart of Saturday Night_ 
Waits, Tom - _Nighthawks at the Diner_ 
Waits, Tom - _Small Change_ 
Waits, Tom - _Foreign Affairs_ 
Waits, Tom - _Blue Valentine_
Waits, Tom - _Heartattack and Vine_
Waits, Tom with Crystal Gayle - _One from the Heart OST_
Waits, Tom - _Swordfishtrombones_
Waits, Tom - _Rain Dogs_
Waits, Tom - _Frank's Wild Years_
Waits, Tom - _Night on Earth OST_
Waits, Tom - _Bone Machine_
Waits, Tom - _The Early Years, Volume 1_
Waits, Tom - _The Early Years, Volume 2_
Waits, Tom - _The Black Rider
_Waits, Tom - _Mule Variations_
Wayne, Jeff -_ Musical Version of "The War of the Worlds"_
When Bitter Spring Sleeps - _Coven of the Wolves_
Williams, Robbie - _Take the Crown_
Willowglass- _The Dream Harbour_
Wilson, Steven - _Grace for Drowning_
Winwood, Steve - _Arc of a Diver_
Yes - _Union_
Yes - _Yes_
Yoakam, Dwight - _Buenos Noches from a Lonely Room_
Young, Neil - _Harvest_
Zappa, Frank - _Hot Rats_


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## Trollheart (Sep 12, 2019)

*INDEX PART TWO

*


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## Trollheart (Sep 12, 2019)

*INDEX PART THREE*


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## Trollheart (Sep 12, 2019)

*INDEX PART FOUR*


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## Trollheart (Sep 12, 2019)

*The Planets suite, Op. 32 --- Gustav Holst --- 1926 (Decca)
*
_Note: the disc I have of this symphony is of course not from the twenties, or anywhere near it; not least due to their being no compact discs at that time, barely vinyl! But I've gone for this date because it appears to be the first time the suite was committed to any sort of actual proper recording for the mass market, and the work itself actually dates back to about 1917._

This is the first time I have ever attempted to review a classical album. Some purists might say, and they may be right, that classical music stands outside the norm, beyond review; that it cannot be compared to anything that exists today and therefore it should not be subject to any sort of attempt at criticism. This may very well be true, but it won't stop me trying this from time to time. If I had pick out a favourite from my classical albums, this would be it, closely followed by Rachmaninov's "Piano Concerto No. 1". Many classical recordings, while truly brilliant, can I find suffer from some tedious passages, some boring bits where maybe an extended piece of chamber music wanders on for so many minutes you lose interest, or a horn concerto just won't shut up, and you begin to think about skipping forward.

That's probably why for most people, collections of classical music are the best thing to listen to, and why series like “The Great Composers” sell so well; people in general want to hear the classical music they like, and are familiar with - those tunes that have made their way into everyday life through the media of advertisements, film soundtracks or even those that have been sampled for pop songs (we all remember William Orbit's version of Samuel Barber's mournful “Adagio For Strings”, and even if we aren't familiar with that, we probably know the piece from its use in the movie _Platoon)_ - and are reluctant, loath even, to listen to classical music they don't know.

But this is one of the rare classical albums where everything slots perfectly into place, even for a non-classical fan, if you're one of those. It's not overlong, it keeps the interest and it has a recurring theme running right through it. It is, in essence, a classical concept album, of which there are probably more than you would think, but this is possibly the most famous, or at least the most popular and well-known.

It deals, of course, with the planets in our solar system, but not in an astronomical way. The suite is more based on astrology, which was a subject Gustav Holst (1874-1934) was very much interested in. Although the opener ties in with the Roman mythology surrounding that planet, it seems that in astrology too, Mars is identified with war and combat. From what I read, Holst was none too enamoured of the perhaps unexpected fame his _Planets _suite gained, complaining that it overshadowed his other works, and to be fair, I know of none other of his material, though there is a large body of work left behind by him. But he will, for better or for worse, always be known and remembered for this suite of music.

Even if you're not in the slightest bit interested in classical music, you will almost certainly have heard the opening movement, “Mars, The Bringer Of War.” If you've watched a sci-fi movie wherein there is a space battle, if you've watched a war movie or any other sort of drama where powerful, ominous music swells into a cacophony of pulsating, thumping drums and strings, you've heard this. If you're a fan of Diamond Head, it's used in the intro to “Am I evil?”, and in fact many metal bands will have used it as introductory music as they come out on stage. It's also used when there is an important football match, rugby match or indeed any sport where the stakes are high and two well-matched opponents face off against each other. It is the epitome of power and tension, and as an opener there couldn't be a better one.

I'm not that familiar with all the instruments used in an orchestra, so I may get some wrong, guess at some, but I'll do my best. There's definitely a low organ sound as the piece gets moving, introducing the first movement which soon builds up with heavy percussion, strings and woodwinds until the whole thing is in danger of blowing out your speakers. For such a heavy piece, it starts deceptively low, so if you don't know it and are playing it for the first time, take my advice: don't turn up the speakers because you can't hear it at first. You will, as it goes on, believe me. A real fanfare of trumpets and horns brings the thing to a hammerpunch ending, almost, as the drums crash behind it and everything fades away for a moment, before violins and cellos rise again behind the organ and the drums finally thunder in to take the first movement to its almost apocalyptic conclusion (this is where you'll regret having turned up your amp so loud, and will rush to decrease the volume). “Mars,The Bringer Of War” certainly gives that flavour, the idea of an army marching to battle, the scent of blood in men's nostrils, the banners held aloft in the morning sun, or indeed a fleet of ships traversing the sea on the way to engage the enemy. Tanks rolling across muddy flats, helicopters zooming in over jungle fortresses - take your pick: “Mars, The Bringer Of War” anthropomorphises combat and leaves you in no doubt that the very God of War himself is in attendance.

As it punches to its end, the drums rolling out the cataclysmic ending, we slip into “Venus, The Bringer Of Peace”. The absolute antithesis to the previous track, this opens with soft viola and cello, sweetly humming organ and no percussion (or very little), flutes piccolos and oboes carrying the tune until a lovely laid back violin section drifts in, and indeed you may have heard this too, as it has been used in various films - or at least parts of it - usually in some sort of idyllic scene, which is exactly the image it conjures up. The horns get a little louder, the tiniest bit more forceful before the soft violin returns, accompanied by some beautiful brass and what sounds like a celesta.

The delicate notes of a harp pick their way through the melody as the piece reaches its halfway point, fading away almost as soon as they make their presence known, the violins now joined by cello and viola as the string section takes charge, and you can't help but relax in the luxuriant atmosphere created by this piece of music. The harp returns, the celesta chimes along and the violin as ever carries the tune. Some lovely little tinkling bells accompany the strings as the piece fades to its conclusion, taking in the shortest track of only seven on the album.

Upbeat, bright strings carry “Mercury, The Winged Messenger” in on indeed feather-light feet, the woodwinds coming up a little in the background, harp strings adding to the tune before solo piccolo (or maybe just a flute) takes the melody, then the strings come in very heavily as the piece gets louder and more insistent, before everything fades out back to the somewhat playful intro we heard, the kind of music that might remind the older among us of those Hanna-Barbera cartoons. There's a flurry of violins then, some xylophone and some bells before the track sort of fades out, like one of those will-o-the-wisps dancing over the marshes and disappearing into the fog.

Coming in very strongly then with powerful percussion and heavy violin and woodwind, certainly the most uptempo and powerful movement since “Mars”, “Jupiter, The Bringer Of Jollity” is another one you may have heard. In some ways it is similar to parts of Holst's countryman Elgar's “Enigma Variations”, particularly "Nimrod". There's a real sense of fiesta and joy about this piece, with its almost dancy rhythm (for the time), the sense of going around and around in a circle until heavy trumpets and trombones combine with solid drums to take the piece towards a more restrained, piccolo-led part and then into a stately, almost grave _largo_, harp and cello keeping counterpoint while the violins and brass carry the main tune.

It all breaks down then into another playful flute run with attendant viola before the trumpets and horns pull the movement towards its powerful, triumphant conclusion, a real fanfare that draws back in the stately march from earlier in the piece, more happy flutes and violins and then almost silence before the brass fanfares bring us back into the original rhythmic dance from near the beginning, which gets faster and faster, like someone spinning around until they get dizzy. A final fanfare and the drums break in heavily, leaving the trumpets to blare out the triumphant ending.

Holst's own favourite, such as that he had one, in the suite was reported to be “Saturn, The Bringer Of Old Age”. It opens on low, ominous organ and bells, like the very approach of advancing age itself, with solo violin and then cello, a celesta keeping the slow heartbeat rhythm going, lower, more bassy cello then slowly approaching violins giving way to walking trumpets and trombone, then the strings soaring in a quite beautiful but grave way. This is in fact the longest of the compositions, coming in at just over eight and a half minutes. There's a very ominous feel about this piece, much more even than in the first movement. There at least, in war, one has a chance to survive if they can, but who can stand against the rigours of old age?
[video=youtube;Isic2Z2e2xs]https://www.youtube.com/watch?v=Isic2Z2e2xs[/video]
Swirling, frenetic violins are drawn in by heavy timpani and bass drums, and a sense of panic pervades the piece, then it all drops back to a slow and stately walk by the violins and clarinets too, with a glockenspiel and harp taking the tune as it gets much softer, sweet violins adding in to the mood, before it all goes dark and bassy again as the music swells against tubular bells, pealing out like those of a church or in a graveyard, ending on gorgeous, rising strings which fade away, almost as if ascending to the very heavens themselves, the tolling bell giving one last peal before it too dies away.

“Uranus, The Magician” comes in on powerful horns and thundering drums, then stops as flutes and violins reminiscent of those in “Saturn” fly in, making the piece a little more whimsical, some glockenspiel and xylophone adding in to the percussive elements, before it all swells back up again in a powerful crescendo, riding along like a wave on the ocean, then crashing back down again and leaving the piccolos and flutes to carry things until heavy percussion and horns again come in, leading another heavy charge with a very militaristic theme. Definitely a sense of something going on, a sense of purpose. Brass plays a fairly strong part in this movement, as does the xylophone, if only heard in the background, but clearly, and adding a strong flavour to the piece.

It ends on a powerful explosion of brass woodwind and percussion, then in the fourth minute of its almost six goes quiet, with soft flutes and violin, until the horns again power in, along with the drums, one more time, making their point before the piece is left to finish on a fade out of celesta and flutes. And this takes us into the last movement, the closer, and the hardest of them all to review.

“Neptune, The Mystic” has been described as the closest to abstract painting that music can offer, and indeed it's very atmospheric, with no percussion, low trumpets and harp carrying the movement in an almost ethereal way, the very forerunner of ambient music, more than forty years before anyone would attempt such a thing. Spacey, eerie harp and celesta takes over mostly from the second minute of the piece, with some low violin coming in as it heads towards minute four, then the only vocal parts on the suite come in, a female choral vocal, otherworldly and ghostly, almost merging with the music. And these _are_ human voices: synthesisers had not been even thought of, never mind invented, in Holst's time. From about the fifth minute then, of the total seven and a half, the movement begins fading down, borne on the lightest of touches on the harp, the violin and the slowly fading voices of the female chorus. Eventually, all we're left with is the celesta, swirling and tinkling its way to the end like some sort of early signal being sent into, or from, deepest space.

It's hard to write a footnote to something as seminal as this. There are albums I like, albums I love and albums I rate as being essential to listen to. But if you never listen to any classical albums in your life, you should really listen to this. As I say, unlike many others I've listened to, the interest never drops; it's not overlong, nor too short. Each piece meshes perfectly with the next and the one that preceded it, and each movement gives you a unique picture of each of the planets, astrologically speaking. Why is Earth not included, you ask? Apparently because, seen as it was as the “base” from which Holst was writing, in astrological terms it has no value, and so he did not write a movement for it. As for Pluto, well, that would not be discovered until four years after his death. Of course, this century it would be “decomissioned”, as it were, no longer recognised as a true planet.

So all those years ago, almost a century now in fact, Holst had it right with just the eight planets, seven if you exclude Earth, which he did. But seven, eight or nine, _The Planets_ suite remains one of the most remarkable, cohesive, ambitious and enduring classical compositions ever attempted. Even now, as we pass the centenary of its birth, it's as popular as it has ever been.

*TRACK LISTING
* 

Mars, The Bringer Of War
Venus, The Bringer Of Peace
Mercury, The Winged Messenger
Jupiter, The Bringer Of Jollity
Saturn, The Bringer Of Old Age
Uranus, The Magician
Neptune, The Mystic


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## Trollheart (Sep 12, 2019)

[FONT=&Verdana]
*
Inhuman Rampage --- Dragonforce --- 2006 (Roadrunner)*[/FONT]

Okay, out with it! Why do so many people - metal fans particularly - despise this band? I don't understand it. Is it their reliance on sword-and-sorcery style lyrics? The fact that they augment their guitar sound with electronics? Do they appeal too much to young metalheads, and are they then seen as not a “real” metal band, or even a real band?

Formed in 1999, Dragonforce began life as Dragonheart, but after finding out that another band existed with this name already - and a metal one, to boot - they changed their name to Dragonforce. They have had, to date, seven albums, with their eighth to be released at the end of this month. They have gone through some lineup changes, with the vocalist on this, their third album, no longer with them.


The album kicks off with one of their biggest hit singles, “Through The Fire And The Flames”, with quite frankly incredibly fast guitar shredding by founder member Herman Li ably matched by some prog-tastic keyboard work from Vadim Pruzhanov, thunderous and steam-locomotive-fast drumming from Dave Mackintosh in a dramatic, powerpunch track that rocks along, unstoppable and as powerful as a thundering avalanche sliding down a mountain, taking everything in its path. Vocalist ZP Theart's voice is strong and clear, not growly or raspy, and though this is very definitely power metal it verges very strongly on the side of thrash metal. Very melodic though: you never get the feeling Dragonforce are just being fast because they can't play, which has happened with other bands on occasion. Each one here seems to be an expert on, or at least fluent with, his chosen instrument.

They also seem to engage in longer songs that your average power metal band, with two of the tracks nearing the eight minute mark, and one crossing it. Indeed, “Through The Fire And The Flames” is a very respectable seven and a half minutes itself. There's no letup for “Revolution Deathsquad”, and you can start to hear those electronic effects which do indeed give the idea of video games being played, but they don't really detract from the music to my mind. They don't add to it either, but they don't ruin it, not for me. I like their fantasy themed lyrics, and yes, on occasion the electronic fiddly bits get a little distracting, but Dragonforce balance this out by playing some of the fastest and hardest metal I've heard for quite a long time. Okay, at times they give you the sense of kids playing around, but hell, if my kids could play like that (if I had kids) I would not be complaining!

The twin guitar attack of Li and his bandmate Sam Totman works really well, giving Dragonforce a very full sound, and the inevitable comparisons to the masters of the twin axe attack, Iron Maiden, but they temper this with some truly exceptional keyboard work from Pruzhanov. Probably the fastest track yet - and that's saying something! - “Storm The Burning Fields” continues the battleground imagery of the first two tracks, with some smoking solos from Herman Li backed by the incessant assault of Mackintosh's nuclear drumkit. Even against this powerful cacophony of carefully orchestrated sound, Theart's voice rises strongly like an avenging angel, never needing to strain, just naturally strong and vibrant, magnetic even.


This is the first song so far to feature a solo on the keys from Pruzhanov, and may I say it has been worth waiting for! More electronic game-style bleeps sort of begin to get a bit annoying, but I really do think you can forgive Dragonforce that little hiccup, since they play so well, so cohesively as a unit and so effectively. Just a little bit slower, less frenetic is “Operation Ground And Pound” - with a title like that you'd expect it to be a real... oh, it just sped up. Okay, then, another hammerfest on the drums, screaming guitars going twice the speed of sound, strong vocals. Still can't see anything wrong with this. Perhaps a little samey. I wonder if they'll tackle a ballad at any time on the album? Would be interesting to see that side of them.

For all that, this comes across as their most melodic and, dare I say it, commercial offering so far, even given that the opener was their big single. The vocal harmonies on this song are almost reminiscent of the AOR greats like Journey, Night Ranger and Asia, though with a lot more kick behind them of course. Oh, looking at the Wiki entry I see this _was_ released as a single, but failed to chart! Well, there's no accounting for taste, is there? Seems “Through The Fire And The Flames” also only barely made it into the top forty, at least in the USA. There's no pause for breath as we charge headlong into “Body Breakdown”, with vocals this time taken by Lindsay Dawson, changing the dynamic somewhat, as his voice is a little rougher and more raw than Theart's. Still very effective vocal harmonies though, and even with the shredding toned down a little on this track, it's nevertheless heavy as hell.
[video=youtube;08cDtaYy_7U]https://www.youtube.com/watch?v=08cDtaYy_7U&amp;list=PL9D67ADDDFA67A6AE[/video]
A pretty amazing keyboard solo here, a break for a powerful vocal harmony and the drums slow for just a moment before they kick back into gear again, and we explode into “Cry For Eternity”, with a big, majestic keyboard intro, galloping drums and the twin guitar assault that takes the song over a minute in before Theart's vocals come in. There are definitely elements of Thin Lizzy in the guitar work and Queen in the vocals, hints of the likes of Fairyland and Epica in the lyrics and style, and yet Dragonforce are very much their own band. Couldn't see anyone accusing them of ripping off or copying anyone. Certainly not an album you could fall asleep listening to, this. Lots to keep you interested, great musicianship and somehow it never seems to deteriorate into technical wankery, almost as if the guys know how well they can play but are shrugging and saying, so what? There's not a sense of “look at me, how fast I can play”, more an idea of “listen to the music we make”. I'm listening. I'm liking.


Things continue to blast along on rocket rails for “The Flame Of Youth”, and you have to wonder if stagehands are standing by when Dragonforce play live, fire extinguishers at the ready! Those fingers must _burn_! A spacey, ethereal keyboard intro and piano opens “Trail Of Broken Hearts”, and it seems like this may be that hoped-for ballad. Yep, it is. Nice to hear the boys scale back the shredding for once to show that they can play “normal” guitar, and play it well. Even Dave Mackintosh has had his batteries removed and is just thumping the drums slowly and in a measured way, and it really works, with more great vocal harmonies. Possibly could have been a good choice for a single too; certainly one to get the old cigarette lighters out for! Wonder if they still allow that at gig now, with this obsession on health and safety, not to mention Homeland Security?

Lovely solo from Herman Li, great to hear something different on the album for a change, critics answered I think. Excellent piano from Pruzhanov, and fine interchange between Li and Totman make this song really something to remember, and quite brilliant as a closer to an album I have to say really hits the spot. I definitely don't get all the hate, but then, people will always find reasons, reasons they feel are valid, to tear something down. I personally would not be the biggest fan of Dragonforce, but I would never dream of putting them down. They play well, they write well, and they sell well.

And I think they represent power metal very well indeed. Now, when is that new album due again?

*TRACK LISTING*
[FONT=&Verdana]
[/FONT]Through The Fire And The Flames[FONT=&Verdana]
[/FONT] Revolution Deathsquad[FONT=&Verdana]
[/FONT] Storming The Burning Fields[FONT=&Verdana]
[/FONT] Operation Ground And Pound[FONT=&Verdana]
[/FONT] Body Breakdown[FONT=&Verdana]
[/FONT] Cry For Eternity[FONT=&Verdana]
[/FONT] The Flame Of Youth[FONT=&Verdana]
[/FONT] Trail Of Broken Hearts[FONT=&Verdana]

[/FONT]


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## Trollheart (Sep 12, 2019)

*

Science And Faith --- The Script --- 2010 (RCA)
*
The future of Irish rock? Or pop, take your pick; but is the label deserved? Are these guys as good as everyone seems to think they are? Or is it just more hype, built on the success of one or two hit singles? Is there an album worth listening to there, or is it all just surface gloss? The Script have been around since 2005 as an actual unit, though Danny O'Donoghue and Mark Sheeran have known each other since the late nineties. Recruiting Glen Power into the band, they released their debut, self-titled album in 2008 and have already had their music featured in videogames and popular (cough!) TV shows like_ Eastenders, The Vampire Diaries_ and _Made in Chelsea_, with Danny well known as one of the judges on the talent show _The Voice._

Tragedy dogged their early years in the band, with the death of Mark's mother followed by the loss of Danny's father, but though these were trying times they helped the guys grow musically as well as emotionally, and Mark has stated that through all the darkness it was music that kept him going. Their music has been well-received, giving them a top twenty single before the debut album was even released, with their next one, “The Man Who Can't Be Moved” hitting the number two spot. Time spent recording in the US and Canada, as well as a slot supporting the giant U2, has prepared them well for the big time, and it seems that's where they're headed.

This is their second album, as successful this side of the pond as their debut, coming in at number one, but much better received in the US, where it hit the number three spot on release, the previous album only getting into the sixty-fourth slot. It looks to be the first time the Script have used a full orchestra on their recordings.

It opens on “You Won't Feel A Thing”, with some nice guitar work, slightly reminiscent of the work of the Edge, with some strong vocals from Danny O'Donoghue and some nice backing vocals too, good keyboard work from Andrew Frampton, though I think perhaps one of the guys also plays keys: hard to say, as the album credits all guitars and keyboards just to “The Script”. Anyway, it's a boppy, uptempo opening and slides into a much more downbeat track in “For The First Time”, with a slight hint of slow rap in it, acoustic guitar and piano carrying the song until the electric punches in and the backing vocals come back in again; seems these may be a signature of this band.

It's pretty much an everyman song, kind of in the vein of Springsteen or Earle lyrically, as Danny sings _”I lost my job/ But I didn't lose my pride”_, and the downbeat theme has taken something of an upturn, almost like someone trying to see the good in a bad situation, keeping hope alive in what could be seen as desperation. This was the first single from the album, and hit the number one spot on release. Well, if I'm honest, this is good yes, but I don't see it as number one single material. But then, what do I know about the charts?

Another slightly downbeat track in “Nothing”, where Danny sings _”They say a few drinks/ Will help me to forget her”_ and then it kicks into a more uptempo song as the Script explore a position that just about everyone has been in at one time or another, wondering why they've been dumped. Some pretty fine drumming from Glen Power here, and a pretty emotional little song. I like this. The title track has a lot of Big Country in the guitar, a big punchy chorus, then things go a little more restrained for “If You Ever Come Back”, some nice vocal harmonies and chiming guitar with some touching lyrics: _”I'll leave the door on the latch/ If you ever come back/ There'll be a light in the porch/ And a key under the mat/ A smile on my face/ And the kettle on/ It'll be like you were never gone”._ Have to praise that sort of realistic songwriting.

A lot, if not indeed all, of the songs on this album seem to deal with love, and what's more, love lost, and “Long Gone And Moved On” is another example, as Danny sings _”I'm getting used to saying/ Me instead of us”_. Another good pop/rock song with a very catchy chorus and some fine guitar work from Mark Sheehan, then “Dead Man Walking” is a good uptempo break-up song, but I think perhaps in some ways that's the Achilles' heel of this album: it seems _every_ song has to do with love affairs, and broken ones at that. If that's a concept then okay, and the sleeve does feature two hands grasping one another, which could be taken to symbolise two lovers: it certainly looks to be a male and a female hand. But it's not made clear enough to make that assumption, and if that's not the case then I think some different subjects would have fleshed out the album more.
[video=youtube;yls-egcnt2k]https://www.youtube.com/watch?v=yls-egcnt2k[/video]
Surprisingly, then, “This=Love” seems to concentrate more on the reasons why we do the things we do, that it makes all the sacrifices we make worthwhile. This song doesn't seem to centre on any one single affair, any couple, any particular heartbreak, instead encompassing the entire world, for which courage and ambition you have to applaud the guys. This reminds me of a slightly toned-down Aslan, it's that good. Might indeed be the standout. I could probably live without the rap right at the end, but even that's not enough to ruin the song for me. It's followed by some lovely piano work on “Walk Away”, the song that most betrays the Script's love of rhythm and blues, but it does return to the recurring theme of broken love affairs that's so prevalent throughout the album it's almost saturation coverage. It also sounds a little too boyband-like for me, and I'd class it as the album's weakest track, personally.

I have to say, I haven't heard much to indicate there's an orchestra on this album, but perhaps the closer will change that. Well, “Exit Wounds” opens on acoustic guitar and piano, a pretty desperate vocal from Danny, yearning and urgent, with electric guitar breaking in but no sign of any strings that I can hear. Great lyrical imagery though: _”Can anyone help me/ With these exit wounds? / I don't know how much more love/ This heart can lose/ And I'm dying from/ These exit wounds.”_ Excellent songwriting, without question. And a very good and powerful closer.

I am impressed by this album, there's no doubt. It's a good rock/pop record, with some truly exceptional songwriting, and I can see why The Script have been tipped for the top, why they're doing so well. Absolutely the album you would play to get you through a difficult breakup, a real mixture of comfort and pain, and certainly speaks to just about every one of us, for who has never been in love, whether it was requited or not? I just would have preferred a slightly more varied lyrical theme in some of the songs, but for what they are, these songs are pretty damn near perfect.

Buy this album, and even if you don't listen to it, keep it handy for that next big breakup that could be looming on the horizon. Could save your sanity.

*TRACK LISTING
*
You Won't Feel A Thing
 For The First Time
 Nothing
 Science And Faith
 If You Ever Come Back
 Long Gone And Moved On
 Dead Man Walking
 This=Love
 Walk Away
 Exit Wounds


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## Trollheart (Sep 12, 2019)

[FONT=&Verdana]

*Waking Hours --- Del Amitri --- 1989 (A&M)
*[/FONT]
Surprisingly, this Scottish band had six albums released before they split up in 2002, and most of those did reasonably well in the UK, less well in the States, where they hardly bothered the charts there. I had expected a lot on the basis of the single, but once the album got going I knew that it was quite likely that particular song was going to be the highlight of a rather disappointing album. It wasn't, not quite, but there's an awful lot of filler on “Waking hours”, and it doesn't encourage you to check out any of their further material. Maybe that's my loss, but after listening to this I knew that I had heard about as much of Del Amitri as I wanted to.

By all accounts, if you ask the band members what the name means, “expect violence”. They have long tired of explaining that it apparently means nothing, was just made up, and though several ideas of what it could mean exist, they say they are all wrong. As for the album, it opens well with “Kiss This Thing Goodbye”, good jangly guitar and harmonica, the latter from guest Julian Dawson. Del Amitri employed three guitarists, one of whom was the lead singer and founder, Justin Currie. Great sounds of what must be a banjo in there too, though it's not credited. A very happy, uptempo song which starts what is generally a pretty bleak album in terms of lyrical themes.


Del Amitri used some traditional instrumentation like accordion and harmonica, and surely banjo (?) as well as more classical ones like violin and cello to create a different sound that had something of the Hooters in it, but was individual enough to always be seen as their sound. Currie is a good singer, in addition to his other talents, and the songwriting itself is of quite high quality. There's more a sense of soul to “Opposite View”, more rock than fusion; good guitar work from Iain Harvie and Mick Slaven with some warbling organ from Andy Alston on another generally uptempo song, then “Move Away Jimmy Blue” is a slower, more restrained song, though not quite a ballad with again Alston's heavy organ work helping to characterise the melody. It's a song of warning, as the lead character is warned _”Move away Jimmy Blue/ Before your small small town/ Turns around and swallows you”_ and contains a really nice guitar solo, though who is responsible I can't tell you.
<span id="docs-internal-guid-b5a0b47f-7fff-bee2-4b55-48de17bffe55">[video=youtube;ZuIfPhOodx4]https://www.youtube.com/watch?v=ZuIfPhOodx4&amp;list=PLEvr99j7ruPwlR8eZ9DKA_2A  mmeU2z-Re[/video]
Low keyboard intro to “Stone Cold Sober” with a nice bass line and some solid drumming, a sort of mid-paced song with a nice line in lyrics: _”Stone cold sober/ Looking for bottles of love.”_ I personally find this song quite reminiscent of Australian band Icehouse, then “You're Gone” is another uptempo rocker with a downbeat theme that hardly needs to be explained. Nice bit of slide guitar from - well, take your pick of three guitarists! - and very lively drumming from Paul Tyagi. Great bit of violin work from Robert Cairns, too. “When I Want You” is as close to indie pop that Del Amitri come, very boppy and happy with some jangly guitar and a catchy if simple chorus.


Things start to get a lot better as the album approaches its end. “This Side Of The Morning” is definitely one of the standouts, with its simple guitar line joined by cello and accordion to paint the bleak image of a man lying awake and mulling over the decisions in his life, and perhaps regretting them. A great line in the song is _”Trying to decide what you want/ Is like trying to divide ice from snow.”_ The celtic fusion feel is definitely back for this song, with Currie's vocal almost at once passionate and uncaring, quite a feat to pull off. “Empty” is another bleak song with a harsh message: _”At least a house when it's empty stays clean.”_

The album finishes strongly on “Hatful Of Rain”, a boppy, uptempo song driven on sharp guitar, more indie pop/rock, and then the closer is the very reason I bought this album originally, the highly politically-aware “Nothing Ever Happens”, riding on an acoustic guitar melody with a lyric that rails against the injustices in society, and the way we all turn our heads: _”They'll burn down the synagogues at six o'clock/ And we'll all go along like before”_ as well as the huge disparity in wealth and priorities _”While American businessmen snap up Van Goghs/ For the price of a hospital wing.”_ Great accordion and harmonica adds to the sense of the surreal in this track, with a truly soulful little violin solo halfway through, added to by mandolin for that extra touch.


It's a great song, a great closer and was Del Amitri's most successful single, but it brings to an end an album that, while not bad at all, fails to live up mostly to the promise of this remarkable song. There are a few that are as good as it, perhaps one better, but sadly there are all too many that fail to measure up, leaving the album lacking in many respects.

[FONT=&Verdana]*TRACK LISTING
*[/FONT]
Kiss This Thing Goodbye[FONT=&Verdana]
[/FONT]Opposite View[FONT=&Verdana]
[/FONT]Move Away Jimmy Blue[FONT=&Verdana]
[/FONT]Stone Cold Sober[FONT=&Verdana]
[/FONT]You're Gone[FONT=&Verdana]
[/FONT]When I Want You[FONT=&Verdana]
[/FONT]This Side Of The Morning[FONT=&Verdana]
[/FONT]Empty[FONT=&Verdana]
[/FONT]Hatful Of Rain[FONT=&Verdana]
[/FONT]Nothing Ever Happens[FONT=&Verdana]

[/FONT]


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## Trollheart (Sep 12, 2019)

*Snakes and Ladders --- Gerry Rafferty --- 1980 (United Artists)
*
Following the phenomenal success of his first two albums, the first of which had yielded the now-classic “Baker Street”, and the second giving him another top ten single, this was supposed to capitalise on the popularity of _Night Owl_ and_ City to City_, but didn't do as well as its predecessors. For all that though, it's a great album. Gerry would in fact have no more chart success after _Night Owl_, and would forever be identified with “Baker Street”, leading many to conclude he was a “one-hit wonder”, which is not miles from the truth, but he released some sterling albums in his time, even if they passed the mainstream charts by.


It opens in celtic style, with the excellent “The Royal Mile”, one of Gerry's many songs that reminisce about people and places, often from his own life. It bops along nicely, with jangly guitar, whistle from Richard Harvey and organ from Pete Wingfield, and is a nice uptempo start to the album. Guitar drives the next track, “I Was a Boy Scout”, more in the rock vein with some cool slide guitar from Bryn Haworth and horns from two legends, Raphael Ravenscroft and Mel Collins. There's a very annoying American accent voicing the intro to “Welcome to Hollywood”, but it soon fades away and the song rides along on a sort of Mexican influenced melody, with horns and gentle percussion, nice piano and restrained guitar, Gerry presumably singing about his experiences in Tinseltown. There's a great sense of _fiesta_ about this, with a soaraway guitar solo from, I think, Jerry Donahue. That annoying American (or someone parodying an American accent) is back for the fadeout, which is a little off-putting: why do people always say (as the voice does here) “You're gonna love it!”? How do they know? You might hate it, whatever it is...
<span id="docs-internal-guid-c339f86b-7fff-8490-9812-451fda77c1ad">[video=youtube;uOmNS2wyRDA]https://www.youtube.com/watch?v=uOmNS2wyRDA[/video]
Good, down and honest rock and roll for “Wastin' Away”, elements of “Get It Right Next Time” in the song, with some great piano runs, then the shortest track at just over two minutes is “Look at the Moon”, driven on acoustic piano and synthesiser strings and giving us the first ballad on the album, with an almost filmic score feel, and no sooner has it got going than it's over and we're into the standout on the album, and a song that, although not released as a single, nevertheless went on to become one of Gerry's most famous songs. “Bring It All Home” has a real blues/jazz rhythm, with fine performances from the two sax players and real blues piano from Billy Livsey. There's a real feeling of enjoyment and fun about this track, with a great instrumental jam at the end, and it's not surprising it caught on as it did.


Another ballad then in “The Garden of England”, slow, measured and stately, with some nice strings and keyboards, a melody and arrangement not a million miles removed from ELO, then there's more of an Alan Parsons Project feel to “Johnny's Song”, as the tempo kicks up again with some powerful guitar that really rocks along. “Didn't I” is a nice boogie blues number with some more fine guitar and a kind of campfire feeling about it, while “Syncopatin' Sandy” is driven on jazz piano but again betrays a certain sense of the APP in its melody.

Not surprisingly with a title like “Cafe Le Cabotin”, there's a French flavour to this song, with some rocking guitar and what sounds like accordion, a nice boppy tune. I wouldn't call it one of the strongest on the album, but it's not that bad. Kind of unremarkable, although it has a nice instrumental ending. The album finishes on “Don't Close the Door”, one final ballad to send us on our way, this one with a very country feel, what sounds like steel pedal and slide guitar, honky-tonk piano and some cool miramba-like percussion.


It's hard to see, with albums of this quality, why Gerry Rafferty more or less faded from the public eye. Perhaps it was that old curse, the “big hit single syndrome”; people expected him to better or equal “Baker Street”, and he never did. For all that, he released a total of nine albums during his career, right up to 2000 when his last album, _Another World_ was released. In 2009 he did put together an odd sort of compilation of older work, with some new material and apparently some hymns and carols (!) on it, but his last major studio release was the aforementioned _Another World._

Gerry was dogged by alcoholism which overshadowed the last decade of his life, and during 2009 he seems to have spent time moving from place to place, having “incidents” along the way, meeting his new wife and being happy for a time before finally succumbing to multi-organ failure brought on by his alcohol dependence. A sad end, and a great loss, but I prefer to remember him by the music he left us, and I'm sure this is how he would want to be remembered.

*TRACK LISTING
*
The Royal Mile
I Was a Boy Scout
Welcome to Hollywood
Wastin' Away
Look at the Moon
Bring It All Home
The Garden of England
Johnny's Song
Didn't I
Syncopatin' Sandy
Cafe Le Cabotin
Don't Close the Door


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## Trollheart (Sep 13, 2019)

I'm not, and never have been, much of a fan of Tina Turner, and I couldn't tell you what possessed me to buy this album, but I was very glad I did in the end, as it's truly excellent. Given that it's her sixth album it's perhaps not that surprising, since Tina had had at this point over ten years to have perfected her sound. However, she only really came back into the limelight and to prominence as a solo artist in 1984, having left Ike in the mid-seventies and struck out on her own with very little success. _Private Dancer_ was the album that thrust her firmly back into the spotlight, and into the charts, and during the latter half of the eighties she was one of the hottest properties in music, and could do no wrong.

*Break every rule --- Tina Turner --- 1986 (Capitol)*

After the phenomenal success of the previous album, and the virtual rebirth of Tina Turner as a saleable commodity, this album was really seen as the “second album syndrome”, the one which would prove once and for all whether _Private Dancer_ was a fluke, an aberration, a fad, or whether Tina was really back to stay. Like expensive wine discovered in an old cellar and consumed with gusto, was this album going to be the hangover that would have everyone wondering what the hell they had been drinking, and with the clear light of day and the cold reality of sobriety, consign _Break Every Rule _to the trash-heap of music history?

The album proved more than a match for its millions-selling predecessor, and also showed that Tina could call in some big guns when required, with people like Bowie, Adams and Knopfler all contributing, whether playing on, writing or producing the album. It's a storming statement that the Queen was back. But it very definitely is, to borrow an old footballing cliché, a game of two halves. It opens, it has to be said, rather disappointingly with the stolid, flat “Typical Male”, a sub-disco/dance number that was, unaccountably, the first single from the album, which makes me wonder even more why I bought the album, as I certainly don't rate this. There's nothing special about it; anyone could have written it and anyone could sing it, and yet her name was so big at this point that it went to number two. Well, I would say it _is_ number two, but there you go... 

Luckily enough it soon settles down, and “What You Get Is What You See” is far rockier fare, rather odd in a way, as it, and the next three, are all written by the same team that penned the godawful opener, Terry Britten and one half of Gallagher and Lyle, Graham Lyle. The guitar sound on this is classic Mark Knopfler, and though the album notes don't say so, he has to be playing geetar on this! It's just his sound, through and through, and he is on the album somewhere. It's a good boppy rocker, and soon banishes the memories of “Typical Male”, with a sort of “Twisting By the Pool”/”Walk of Life” melody and rhythm, then we're into “Two People”, a ballad with more than a touch of “What's Love Got To Do With It” from the previous album about it. Decent song though, with some very nice keyboards from either Billy Livsey or Nick Glennie-Smith, not sure which. The song also retains influences of Champaign's “How 'Bout Us”, and is light and breezy, not quite throwaway, but a bit of a letdown after the powerful track that preceded it. Not much in the way of guitar here, very synthy.

Things stay more or less light with the disco-like “Till the Right Man Comes Along”, and really up to this point I'm sure I was shaking my head and wondering what the _hell_ I had been thinking, buying this pile of cr--- but wait. Once we get beyond the Britten/Lyle machine things start to get a whole lot better, I definitely remember that. The whole timbre, style and most importantly quality of the album changes. Which is not to say the guys can't write a good tune - they did, after all, pen “What You Get Is What You See” - but the majority of what they contribute here to what would have been basically the first side of the album is very weak and generic, and had it not been for Tina pulling in the writing power of people like Bryan Adams and Mark Knopfler, this album could have been a real turkey.
[video=youtube;RSeZhHWeiHo]https://www.youtube.com/watch?v=RSeZhHWeiHo[/video]
Their last contribution, thank god, is “Afterglow”, another dancy, bass-ridden throwaway, with a nice bit of funky guitar it has to be said, and a certain sense of Judie Tzuke circa _Ritmo (_whaddya mean, who? Philistines!) and then we're into the real songs. It's almost like two different albums in one. The powerful, dramatic, almost ominous “Girls”, penned by the Thin White Duke himself, shows what Tina can do when given proper material to work with. Haunting keyboard strains keep up a counterpoint behind her as the song picks up a little speed, and the intensity builds as she sings of basically how hard it is to be a woman, but without any cliché (would you expect less of Bowie?). The song powers up to a strong, passionate climax (sorry; well, it does!), with Phil Collins firmly ensconced on the drumseat, and all of a sudden you're in a totally different land, almost having to check the album cover to make sure you're still listening to the same one!

And it just gets better from there on. With the mark of Bowie's class firmly imprinted on it, what could have been a second-rate failure becomes a true winner, a donkey suddenly becomes a thoroughbred, an ugly duckling turns into... well, you get what I'm trying to say. The album improves, is basically the thing, so much so that it really is amazing. Bryan Adams' “Back Where You Started” delivers another well-needed kick up this album's backside and also sets fire to it for good measure. With opening organ chords then crashing guitar you know this album has finally arrived.

Okay, so in fairness, it sounds like a Bryan Adams song: you can hear him singing it in your head, and she almost imitates his scratchy croak, but man is it a powerful song! The sense of relief I remember washing over me, starting with “Girls” and continuing to the end of the album almost without pause, is again a fantastic feeling. To think I believed I had wasted my money! Just proves you need to stick in there right to the end, just to make sure. The man is on piano, guitar and backing vox, and his old mate Jim Vallance (who of course wrote the song with him) is on percussion, with Tommy Mandel going crazy on the keys, and it's a revitalisation of the album: we're well on our way!

The title track just keeps the new quality of this album going, with a great uptempo rocker featuring some superb keyboard work from Rupert Hine, who also helps out on producing and co-writes this song. It's just infectiously catchy, if that's not an oxymoron: this sort of hook could land a Great White shark, I kid you not! You try sitting still when you listen to it, and the production is totally faultless. Perfect backing vocals just add to the layers of quality on this track, and it's Mark Knopfler who steps in next to add his writing expertise to the album, and though in fairness “Overnight Sensation” is something of the weakest of the “side 2” tracks - basically a Dire Straits song - it's still miles better than the bulk of side one.

But the album ends powerfully and strongly, on two perfect ballads. The first, penned by Irish star Paul Brady, “Paradise Is Here”, is a lovely mid-paced, almost uptempo ballad with some gorgeous sax from the great Branford Marsalis, and then the album finishes strongly and dramatically, on “I'll Be Thunder”, a real power ballad co-written again by Rupert Hine, with almost Steinmanesque phrasing, allowing Tina to really show off her powerful vocal chords, with strong, insightful piano, lovely guitar which is at once laid back and then fierce, and an emotive string section fleshing the song out to give it its full potential, and finishing the album with a dramatic flair and a real touch of class.

It's totally amazing, as I say, how different the two sides of this album are, and if I listened to it again, for purposes other than review, I'd elect more than likely to only listen to the second side, as the first is mostly just better forgotten. I got _Foreign Affair_ after this, and recall it not being a patch on _Break Every Rule_, so maybe I came in at just the right place, for me, within Tina Turner's discography. I doubt I'll listen to another of her albums again, but this was a hell of a surprise, and a very pleasant one, though I had to persevere to get to the good stuff.

Just shows you though: persistence pays off.

[FONT=&Verdana]*TRACK LISTING
*[/FONT]
Typical Male[FONT=&Verdana]
[/FONT]What You Get Is What You See[FONT=&Verdana]
[/FONT]Two People[FONT=&Verdana]
[/FONT]Till the Right Man Comes Along[FONT=&Verdana]
[/FONT]Afterglow[FONT=&Verdana]
[/FONT]Girls[FONT=&Verdana]
[/FONT]Back Where You Started[FONT=&Verdana]
[/FONT]Break Every Rule[FONT=&Verdana]
[/FONT]Overnight Sensation[FONT=&Verdana]
[/FONT]Paradise is Here[FONT=&Verdana]
[/FONT]I'll Be Thunder[FONT=&Verdana]

[/FONT]


----------



## Trollheart (Sep 13, 2019)

*

Three Hearts In the Happy Ending Machine --- Daryl Hall --- 1986 (RCA)*


I always admire a solo artiste who takes charge of their project, though of course conversely that can work against them, if they take on too much and aren't equal to the task. This is by no means a brilliant album, and I don't say that simply because I'm not a huge fan of Hall and Oates: this has its moments, but overall it is a little too much filler for my tastes. It was an album I took a chance on, and in fairness, there are enough decent tracks there that I never felt my money was wasted, but on the basis of this, Daryl Hall's second solo album, I never felt compelled to search any further, either forward or backward through his catalogue.

But there's no denying that on this album he gave his all, not only writing or co-writing every track and singing on the album (obviously), but he also plays guitar, keyboards, mandolin (!) and even attempts drum programming, not to mention producing the album, with assistance from some other luminaries like Dave Stewart. I always found Hall to be the “face” of the Hall and Oates duo; not surprising really, as he sang lead vocals and was essentially the frontman of the band, if a duo can have a frontman. John Oates always seemed more the workhorse, toiling away industriously at his guitar and adding those indispensable backing vocals. Definitely integral to the band, but you couldn't really see him without his “white soul boy”.

So perhaps Daryl Hall had less to prove than his bandmate, as he would not be “stepping out from the shadow” of anyone, being as it were the dominant force in Hall and Oates. However, this was not his first solo album; his debut, released six years previously, had been dogged by the label's refusal to release it as it was not seen as commercial enough, leading to a three-year delay, after which the album sold okay but did not hit any real chart positions and largely passed unnoticed. There was greater fanfare for the release of this, which RCA no doubt would prefer people to think was his first effort. As many people, including me at first, certainly did.

Right away there's a shock, a total change from the smooth soul/pop of “I Can't Go For That” or “Maneater”, with a heavy rock AOR song surely more suited to John Parr than Daryl Hall? “Dreamtime” is a great little track, and indeed gave Daryl his first, and only, hit single, getting to number five. Of course, great an achievement as that is, it has to be accepted that much of those sales would have been thanks to Hall and Oates fans; whether they liked what they heard after purchasing the single is debatable, but once the record was paid for it wasn't going back, and the sales pushed it up the charts.

There's a great utilisation of a string section in the song, which seems something of an anachronism, as it should not fit an upbeat, rocking tune like this, but somehow it works. Hall's voice is instantly recognisable of course, and there's nothing wrong with his pipes, even if you do sort of expect the lush tones of Oates to come chiming in on the chorus. Great guitar work from Dave Stewart helps give this opener a harder edge than we would have expected from this master of soul and smooth, and sets the album up nicely. Unfortunately, that quality is not maintained throughout, and takes something of a dive with the more soul/disco-infused “Only a Vision”. Much more in the way of drum machines, no searing guitar from Stewart, a far more restrained track, and not anywhere near as enjoyable.


This continues into “I Wasn't Born Yesterday” which, despite an interesting sax intro, quickly runs out of ideas and ends up repeating the title far too many times for me. Nice digital piano, decent synth sounds, but definitely lacking something. The first ballad comes in the very Cars-like “Someone Like You”, complete with chirping keyboards and Hall even sounding a little like Ocasek, but it's a nice little song, and certainly re-establishes the high bar set by the opening track. Some really nice blues style guitar from ex-Pretender Robbie McIntosh, and this is a song into which Daryl can really get his soul teeth, if you'll excuse the somewhat mixed metaphor; quite similar to his work with John Oates, and you could in fact see the two of them singing this later onstage together.
[video=youtube;s-CJzeup-FM]https://www.youtube.com/watch?v=s-CJzeup-FM[/video]
Great guitar outro, very impressive, but again sadly it doesn't last. This album is almost like panning for gold: occasionally you'll come across real nuggets in the dirty water, but most of the time it's just hard work for little reward. “Next Step” is another example of the latter, a more upbeat, rocking track but ultimately empty. Sort of not really sure what it's trying to be, as it veers between rock soul and disco, gets confused and ends in a bit of a muddle. Perhaps it's the influence of hip-hop DJ supremo Arthur Baker that makes this sound more like something New Order or Afrika Bambaata would be comfortable singing, but it just jars too much, at least for me.

Then we _hit_ gold! “For You” is a powerful, insightful love song that isn't a ballad. Driven on fine strong guitar, almost Johnny Marr-like in places, and lush keyboards with reverb and echo effects, then an almost Genesis bridge, circa _Invisible Touch _into a hooky chorus that just grabs at you and stays in your head. I'm probably being harsher on this album than I should be: it's only really the first few tracks (bar the opener) that fall flat in a row, after that you're basically looking at every second track being good, which is okay but still frustrating: you love track four, for instance, then track five is not great, you like track six, track seven's a yawn, and so on. So you sort of feel like you're constantly building up your hopes only to have them dashed, then realised, then dashed, all of which is more than a little unsettling.

This pattern continues unabated. “Foolish Pride” is another “meh” track, and I would be happy, or at least prepared, to say that it's on the ones penned by Hall alone that the album falls down, but whereas this is often the case, the last two good tracks on the album are his own solo efforts, and they're quite excellent. You can't even say that it's when he reverts back to more “Hall-and-Oatesish” songs that the formula breaks down, because although that's essentially what happens with this track, he managed quite successfully to meld the two styles on “Someone Like You”. This, however, sounds way too close to “I Can't Go For That”, just sped up a little, and I feel it's a very weak track.


It's followed though, by another nugget, in fact one of the standouts, the beautiful ballad “Right as Rain”, with the legendary Joni Mitchell providing backing vocals. It's soft, slow, relaxed, almost a lullaby with sparkling, tinkling keys and a beautiful little miramba-like percussion line, Daryl exercising those soul pipes as only he can. Some chiming guitar, very Police-like, adds to rather than destroys the gentle balance created here, and even when the proper drums crash in it's at exactly the right moment, and sounds expected rather than sudden or invasive.

The peaceful, almost hushed atmosphere is then blown apart by “Let It Out”, which I could definitely have done without. Elements of the Clash in here, maybe more Big Audio Dynamite really, and a healthy dose of John Cougar Mellencamp, but even with that pedigree it manages to be a very average track, and we go panning again. Luckily though, we do find some more gold, before we have to pack up and go home.

The closer is another ballad, and vies with “Right as Rain” as the standout, though I still plump for “For you” personally. “What's Gonna Happen To Us” is another solo Hall number, and the weak tracks on this album notwithstanding, if there was any doubt about his songwriting ability, this removes them for all time. With gentle percussion reminiscent of Peter Gabriel, some soft guitar and an echoey double-tracked vocal from Hall, it's a plea for sanity as the world hurtles towards its destruction. Sure, the subject has been tackled before - and better - but there's something very personal and passionate about Daryl Hall's take on the theme.


The instrumentation is kept very low-key and minimalist right through the song, Hall's yearning vocal carrying the sort of emotion few singers can adequately convey, a sort of African chant coming in on about the third minute and keeping pace with the music, the guitar adding a few licks, a few keyboard runs, but essentially maintaining the same melody throughout the song. It's an interesting end to the album, both downbeat and powerful, emotional and relevant even today.

Like I said, this is not a great album. But it's not a terrible album. It's got enough good tracks to keep you listening, just a shame that it's let down so consistently by songs that really don't deserve to be on it. If Hall had perhaps written some other songs of the calibre of “For You” or “Right as Rain”, or perhaps included some that didn't make the cut and left some of the weaker ones here off the album, I could be hailing this as a great effort from an already established vocal and lyrical talent, stepping out on his own.

As it is, it's not quite the happy ending I had hoped for, but it's not a horror story either.

*TRACK LISTING*

Dreamtime
Only a Vision
Wasn't Born Yesterday
Someone Like You
Next Step
For You
Foolish Pride
Right As Rain
Let It Out
What's Gonna Happen to Us


----------



## Trollheart (Sep 13, 2019)

*
Closer To You --- The Coronas --- 2011 (3u)
*
Although virtually unknown outside their native Ireland, the Coronas are big news here and just waiting to make the giant leap to international stardom. They've twice been nominated for the Meteor Awards, winning one for their last album. They've supported the likes of Paul McCartney and fellow Irish rockers The Script, and have twice appeared at one of Ireland's biggest outdoor music festivals, Oxegen. This is their third of so far five albums.

“What You Think You Know” opens the album well, with jangly guitar and squealing electric, and the song bops along nicely with a sense of Aslan mixed with INXS. Things continue to rock along for “Mark My Words”, where The Coronas really start to come into their own, with a very commercial song that would I think have had great potential as a single. Great hook here, and the song really hangs together well, some fine guitar from Danny O'Reilly, who also handles the lead vocals, and is helped out on the guitar by Dave McPhilips. Lovely little, somewhat unexpected, restrained piano ending, and then we're into the title track.

A lowdown funky stride, this smoulders along on Graham Cox's exquisite bass line before Conor Egan's staccato drums ramp everything up, then drop back and allow the bass to take over again, keyboards from O'Reilly peppering the song with little flashes of colour, some harder guitar coming in from McPhilips, the song taking on quite a Big Country feel, especially in the vocal lines of Danny O'Reilly. It ends quite abruptly though, and then “Dreaming Again” is a big, expansive half-ballad, with more than a touch of Irish traditional music in it, and a chorus that just demands a sea of waving arms, people swaying side to side in ecstasy. Definitely an infectious song.

Nothing here is particularly long, with the average song length being in the three to four minute mark, with only one or two going over that, and even then only by a few seconds. “Blind Will Lead the Blind” is one of the longer songs, just a second shy of the four minutes, and has an interesting percussion line, almost tribal in its way, the song itself relatively restrained but with Danny on song, as it were, guitars carrying the main melody, while the lead single from the album opens on a piano line quickly joined by boppy keyboards as “Addicted To Progress” gets going. You can see how this was selected as the first single, as it's very catchy and very airplay-friendly. Big, friendly guitars vie with the funky piano melody for supremacy, and above it all rises without any effort the voice of Danny, the heartbeat of The Coronas.
[video=youtube;rvKZ4igv1wU]https://www.youtube.com/watch?v=rvKZ4igv1wU[/video]
That heartbeat is thumping proudly as the acoustic-led “My God” slips in, Danny's voice taking command of the song while the twin guitars jangle along, electric joining acoustic as the song progresses. Lovely little bit of mandolin weaves through the melody, though I'm unsure as to who's playing it as they don't seem to be credited. More acoustic guitar on “Dreaming Again Part 2 (Wait For You)”, but it's soon pushed out by electric in a mid-paced slow rocker with anthemic ambitions. It's essentially the same basic melody as “Dreaming Again”, but sufficiently changed as to sound like a completely separate song.

“Write To Me” is probably the closest we get to a ballad, but it's a swinging, swaying one with a big acoustic chorus and some dour keyboards setting the tone; nice little song indeed. Danny manages to inject a real note of desperation into the vocal, and things stay relatively slow for “Different Ending”, with some really deep, introspective keyboard and piano work from Danny O'Reilly, slick little guitar brushstrokes added by Dave McPhilips, and steady, measured drumming from Conor Egan, Graham Cox adding the bass line to the rhythm section. The song gets a little more mid-paced as it goes along, and becomes a little different to your average ballad, great vocals also from Danny, the tension in the song increasing until it fades out on light piano, then we're into the closer, “Make It Happen”.

With a really smooth bluesy guitar opening, the song suddenly comes to life as the electric guitar is wound up and blasts out, then everything falls back as Danny comes in with the vocal, and the music comes back in strength in a sort of striding boogie rhythm. That doesn't last though, and it's back to the arrangement that opened the song, with some really effective and emotive guitar and keys, the song fading out on an instrumental ending, there having been very little really in the way of vocals on the track at all.

It's easy to see why The Coronas are so popular here, because apart from their obvious musical ability and the great vocals of Danny O'Reilly, the one thing that shines through about this band is their workmanlike approach to their music, as well as their honesty. You really get the feeling this is not an album written to get hit singles. If that happens then fine, but it's not the point of the thing, and nothing has been contrived or manufactured to be a hit. It's music for those who love and appreciate music, and taken in that vein, this is one hell of an album.

*TRACK LISTING
*
What You Think You Know
Mark My Words
Closer To You
Dreaming Again
Blind Will Lead the Blind
My God
Addicted To Progress
Dreaming Again Part 2 (Wait For You)
Write To Me
Different Ending
Make It Happen


----------



## Trollheart (Sep 13, 2019)

*
Out of Nothing --- Embrace --- 2004 (Independente)
*
I bought this album on the strength of the one song I had heard from them, which is in fact the opener to this, Embrace's fourth album: I was _that_ impressed by the song! Apparently, a lot of other people were too, as the album shot right to number one in the UK, so chances were there was going to be some damn fine music here. If anything even approached the quality of the one song I had heard up to then, this would not be money wasted. But before we get into that, who the hell are these guys?

Embrace are an English rock band who have been around since 1990, though they only achieved success - and huge success: a number one album with their debut! - eight years later. They were literally formed at the bottom of a garden by two brothers, Danny and Richard McNamara. Adding a bass player and a drummer, they decided to use the name Embrace for their band, despite there already being a band of that name, based in the USA. Securing permission from that band to also use the name, Embrace released their first album, _The Good Will Out_ in 1998 and it went directly to number one, a massive feat for an as-yet-unknown band at that time.

As is often the case though, they were initially unable to repeat this feat, and though their next two albums all hit the top ten, neither made it to the very top and they were dropped by their label. Signed to a new label they released their fourth album, _Out of Nothing_, which raced right up to the top spot, emulating the success of _The Good Will Out_, almost six years later.

As I mentioned, “Ashes” is the opener, and made such an impression on me when I heard it on the TV that I rushed out to buy the album. It's a perfect combination of pop and rock, with busy guitars, sparkling keys and a great vocal line from Danny McNamara, with a wonderful hook and great melody. It's got just the right mix of pathos and determination in the lyric, and I always regard it as a real “cheer up” song. Guitarist Richard McNamara certainly knows his way around a fretboard, and you can see why this album was so well-received. My only concern with the song is its sudden piano lead-out, which I think jars just a little.

[video=youtube;PdspIsvQmNg]https://www.youtube.com/watch?v=PdspIsvQmNg&amp;list=PLoGMNwUUggXFnsuLYc7re1xl  48NWSysXh[/video]
“Gravity” is co-written by Chris Martin, with whom the guys had become friendly when supporting Coldplay, and as a result it is very Coldplay in its sound. A ballad, it's a lovely song with a nice line in piano from Mickey Dale and an impassioned vocal, some great guitar work from Richard, and it was in fact their comeback single after two successful but not chart-busting albums and a lack of interest from Hut, their previous label. “Someday” has an almost acoustic opening, with some squealing guitar, a laconic vocal and a bare piano line, then it gets going with heavy drumming from Mike Heaton and some fairly Big Country-style sharp guitar from Richard. The song has a real anthemic quality in its chorus, with some great backing vocals. There's a quite unexpected burst of guitar right at the end, which certainly shows that Richard can rock out with the best of them.

More restrained then is “Looking As You Are”, which kind of reminds me of a more animated Travis, some very passionate guitar and some solid piano , and “Wish 'Em All Away” is a hard ballad, with a lot of power and honesty in its execution, while “Keeping” is also quite balladic in its structure, given added power by the inclusion of the London Session Orchestra, and there seems not to have been a fast uptempo song since “Ashes”, which is not a criticism, just an observation. No bad tracks so far. Atmospheric opening thanks to Dale's keyboards to “Spell It Out”, then Richard's guitar chimes out and Mike's drums take the song up a notch, and it becomes a mid-paced rocker, with some very distinctive guitar riffs throughout, more lovely orchestral arrangements lifting it to new heights, then a beautiful piano intro from Mickey Dale takes us into “A Glorious Day”, a love anthem if ever there was one, powerful backing vocals with bright piano mostly leading the melody.

Some guitar histrionics over a piano intro opens “Near Life”, with a dour, almost Chris Martinesque vocal from Danny, his brother's wild guitar making this the closest thing to hard rock on the album, but I'm not a fan of this style of singing, almost what I'd call slurred, in a way, or what comes across as uninterested, even though I know Danny is certainly full of passion for all his music. The album then ends on the title track, more lovely piano from Mickey Dale in a closing ballad that's certainly worthy of the quality on this album. Halfway through though it really jumps into life, and the guitar, not so much solo, as passage, that ends it has to really be heard for it to be appreciated how good a guitarist Richard McNamara is.

It's easy to see why Coldplay wanted them as support on their tour, as Embrace's sound is very similar to Chris Martin's band. So if you hate Coldplay are you going to hate these guys? I don't know; it's not a problem I have as I like Coldplay, but until reading about Embrace on Wiki I was unaware of the connection between the two, and maybe that knowledge has coloured my perception of their sound. All I know is this is a band who definitely deserve to be given a chance. Listen to the album and make up your own mind. I personally don't love it, but I do like it a lot, and it gets regular airplay on my media player of choice.

*TRACK LISTING
*
Ashes
Gravity
Someday
Looking as You Are
Wish 'em All Away
Keeping
Spell It Out
A Glorious Day
Near Life
Out Of Nothing


----------



## Trollheart (Sep 13, 2019)

*

This Is Serious --- Marilyn Martin --- 1988 (Atlantic)*

Those few of you who even remember the name will probably recall the hit Marilyn had with Phil Collins, on the single “Separate Lives”, and in truth though she was thought to be destined for big things, this, her second album, was her last, as the label dropped her on the back of poor sales. It's not a bad album though, and it certainly has its moments, but to be honest it was never going to set the world on fire. Even the inclusion of a song co-written by Madonna was unable to interest the record-buying public in this album, and in my own case I must admit I really bought it only out of curiosity, having heard her on the abovementioned duet with Collins.

It's that Madonna-penned song that opens the album, and perhaps that's a bad move, as it's very dance-oriented, quite throwaway and not at all representative of the quality this album often shines through with. But first impressions last, and anyone hearing “Possessive Love” is likely to have thought_ here we go, another disco diva who thinks she's a star. _It's the sort of song any female singer you care to mention could make work, as in it hasn't got too much about it, and I'm actually quite surprised to find that Madge was involved, and it's really pretty sub-par. But things don't stay that way for long, and the title track, which is next, ups the ante a little, giving more of a glimpse into the sort of music this woman could make.

It's still poppy and dancy, but puts me more in mind of the likes of the late Laura Branigan with a more, well, serious track, some very good guitar throughout the song, though who plays what seems to be a closely guarded secret. Marilyn's voice here is more ragged, raunchy and you can hear her love for rhythm and blues coming through, very sultry and with a lot more swagger. My old friends Terry Britten and Graham Lyle, who so damned the first half of the recently-reviewed _Break Every Rule_ for Tina Turner, are back to pen another weak song for Marilyn, and again “Best Is Yet To Come” is almost worth skipping, though at least the title does hint at the truth. Very dancy, very bland, very Britten/Lyle.


Thankfully, that all changes with the introduction of “Quiet Desperation”, the first of two ballads on the album. With a gentle, rippling keyboard melody carrying the tune, this is where Martin shines as she takes it down several notches, cutting back on the raunch and allowing her own naturally smoky sensuality to bleed through, imbuing this song with all the heart and passion she can muster, almost emulating the power and passion of Sam Brown. Lovely emotional little guitar solo and some measured drumming move the track along as it reaches its halfway point, but they never attempt to take it over, and the simple keyboard line drives the song into the instrumental ending, which takes up almost two of the five minutes and change the track runs for.


After that _tour-de-force_, Martin kicks out the stays and rocks out hard for “Lay Me Down”, perhaps one of the rockiest tracks on the album, and certainly one of the standouts. With a hard guitar and organ opening, it's suffused by pure joy and wild abandon as Marilyn plays the rock chick to perfection, letting her wild side out, her voice rising to meet the highest registers in the song, with some great soul-style backing vocals and a ripping guitar solo. “Love Takes No Prisoners” scales back the rock a little, with a dance beat but still some decent guitar, a real air of Prince about it, circa _Sign o' the Times,_ then it's kind of a Huey Lewis mix of pop and AOR for “Try Me”, very catchy with some stabbing keyboard chords and a busy bass line.
[video=youtube;gTG5g1LDgEo]https://www.youtube.com/watch?v=gTG5g1LDgEo[/video]
Much of the blame for Martin's lack of success must surely lie with Atlantic, who decided to showcase her talent by releasing two singles from the album, choosing the boring soundalike opener and following it up with “Love Takes No Prisoners”, thereby giving perhaps people the wrong impression of this artiste, while ignoring better tracks like “Lay Me Down” and “Homeless”. I don't consider either single to be properly representative of Marilyn Martin, and I really believe they missed an important point, and a chance maybe for her to break big. As it is, we continue on with the boppy “The Wait Is Over”, again quite dancy and with a drumbeat that slightly echoes Phil Collins' cover of The Supremes' “You Can't Hurry Love”, but with some pretty impressive guitar which largely goes unnoticed, and uncredited.

The second ballad comes in the form of “Homeless”, where again Marilyn reduces everything to basics, with a quiet digital piano melody almost like someone walking, short, booming percussion and a passionate and aching vocal as she relates the tale of homeless people better than, I believe, “Another Day In Paradise” ever managed. With the instrumentation so sparse and measured, it's left to her to carry the song, which she does in a voice almost cracking with emotion, some very nice backing vocals and then a beautiful little burst of Spanish guitar, and the album closes very well on an AOR tune which again recalls the best of Branigan, as “Pretender” brings down the curtain.


Dropped by her label, disappointed with her lack of success after her one big shot with Collins on the number one single “Separate Lives”, Marilyn Martin went back to her original career as a backup singer, a position from which she had been “discovered” by head of Atlantic Records, Doug Morris, who thought he saw something in her that should be encouraged. Sadly, her attempt to break into the big time faltered after two albums, and she eventually got out of the music business entirely.

Nevertheless, though this may not be by any means a perfect album, it's a short glimpse into something that could have been big, a talent that could, perhaps, had it been handled and managed better, have blossomed into something quite remarkable. This could, indeed, have been serious. But it wasn't to be, and after dabbling in the music world for a few years, Marilyn decided her future lay elsewhere.

*TRACK LISTING
*
Possessive Love
This Is Serious
Best Is Yet To Come
Quiet Desperation
Lay Me Down
Love Takes No Prisoners
Try Me
The Wait Is Over
Homeless
Pretender


----------



## Trollheart (Sep 13, 2019)

*

No Place Like Home --- Big Country --- 1991 (Vertigo)
*
Although I'm a reasonable fan of this band, I have to admit to owning only one other of their albums, and this is _Through a Big Country_, and since I rarely if ever review greatest hits packages - mostly for the simple reason that, crammed as they are with hits and singles, most people will more than likely know most of the tracks - that leaves me with just this album to concentrate on, if I want to talk about Big Country. Which I do. I'm quite aware there are better known albums from them - the likes of_ Steeltown, The Seer _or even _The Crossing_ that would be better material for a review, but I don't have any of those so I'm going with what I've got.

I couldn't even tell you why I bought this album. It was probably just a bargain, and I picked it up in one of the buying frenzies I used to indulge in: go to the record stores (ask yer da; think itunes but without... actually, no. Just ask yer da), look around, see if there was anything decent going cheap. I did that all the time in the eighties, when mostly the only way you could hear music was by buying it, and second-hand albums were always a good way to check out something you had perhaps not enough faith in to shell out the full price for. I knew Big Country's hits, of course, like most people, but would a full album be worth investing in? So perhaps this was bought as a test of that principle. Or maybe I just liked the cover, or it was cheap, or both. Whatever the reason, it was the only one of their albums, bar the greatest hits, that I ever bought, and I've never even listened to it up till now.

Of course, there's extra poignancy since the untimely death of lead singer, guitarist and frontman Stuart Adamson in 2001, an event that shook Big Country to its foundations and led to the band no longer touring until they reunited in 2010, after a brief reappearance in 2007 to put out a greatest hits/tribute album, and are now back on the road. But Adamson, the voice and heart of Big Country, will and can never be forgotten. I haven't heard any music from them post Adamson, but you would have to wonder how they could recreate that unique sound he imbued the band with, and whether Big Country without Stuart Adamson could be like Queen without Freddie Mercury?

But back to the album. Tying in with the title of the album, “We're Not In Kansas” opens on a jingly guitar and strong percussion, that classic Big Country guitar sound not as prevalent as you might expect, but Stuart's distinctive voice unmistakable. It's a kind of mid-paced song to get us underway, a lot of punch but more restrained that the sort of thing we've come to expect from this band. Very much a Delta blues opening to “Republican Party Reptile”, also kind of mid-paced but with more energy maybe than the opener, and some really good individual fretwork from Bruce Watson as well as from Adamson. Little touches of gospel too and a sharp, angry vocal as you would probably expect on a hard political satire song like this.
[video=youtube;M2vduLlsG3g]https://www.youtube.com/watch?v=M2vduLlsG3g&amp;list=PL45AD3DED7DB0F84A[/video]
Big keyboard and flowing guitar intro then to “Dynamite Lady”, heavy organ carrying the melody against Adamson's wounded vocal, the song becoming a swaying, swinging ballad, but I have to admit I haven't heard too much to get excited about yet. Still, we're only into track three of twelve. There are no hits or even well-known songs (to me, anyway) on this album, so there's nowhere to hide really: I'm hearing everything for the first time, and on its own merits. Things get a lot better with the uptempo rocker “Keep On Dreaming”, more like the sort of thing I'm used to hearing from these guys, then the country/bluegrass tinged “Beautiful People” rides along on Bruce Watson's happy mandolin and some great piano from Richie Close. Just infectiously upbeat, and though driven on mostly the same idea all the way through you don't really mind, it's so good.


There's nothing happy though about the next track, with a serious message and a lot of bitter anger in “The Hostage Speaks”, a powerful indictment of war and conflict, seen through the eyes of the innocent and the powerless, played somewhat in the vein of “Just a Shadow” or “Wonderland”, then we're back to hard rockin' for “Beat the Devil”, with twin guitars punching out the rhythm, and then a slower but no less powerful track in “Leap of faith”. Everything changes in style though for “You Me and the Truth”, where Big Country go all soul, with solid organ and riffling guitars (yeah, it's another word I made up: wanna make something of it?)  which actually works surprisingly well, would probably have made a good single.

Things stay soul-influenced for “Comes a Time”, while “Ships” has a real air of Marc Cohn or Bruce Hornsby about it, especially in the piano. A soulful ballad that really slows things down and allows you to catch your breath, it's actually the first time I've heard Big Country play a slow song. Even on their greatest hits the slower songs were not what I would class as ballads, but this definitely is, and Adamson puts in a superb vocal performance, passion and emotion creaking in his voice as he sings _”Where were you/ When my ship went down?/ Where were you/ When I ran aground?”_ The song exists on Close's gorgeous and plaintive piano melody, and sails along (sorry) on the fragile yet strong and bitter vocal of Adamson as he looks for answers. Standout of the album, no question.


It closes then on “Into the Fire”, almost Dire Straits in its makeup, with some joyful organ and a triumphant vocal by Stuart, the guitars more restrained but still there, proving I guess that Big Country don't survive or depend only on the big wide expansive guitar sound on which their name was made, and on which their reputation persisted throughout their heyday.

The first Big Country album I've listened to all the way though that isn't a collection, I can't honestly say I'm overly impressed, but I'm not disappointed either. _No Place Like Home_ has certainly got its moments, perhaps not enough of them, but it's a good rock album and contains a few surprises along the way. I didn't regret listening to it, and if you take the time I doubt you will either.

*TRACK LISTING
*
We're Not In Kansas
Republican Party Reptile
Dynamite Lady
Keep On Dreaming
Beautiful People
The Hostage Speaks
Beat the Devil
Leap of Faith
You Me and the Truth
Comes a Time
Ships
Into the Fire


----------



## Trollheart (Sep 13, 2019)

This album, released in 2014, marks the forty-fifth anniversary of Hawkwind. That's right: the band which gave us Lemmy and set up more trips than a whole fleet of trains and buses during festival season is fast approaching their half-century, an amazing milestone for any band, much more so for a band who are so, well, how can I put this? Weird.

It's fair to say Hawkwind are not to everyone's tastes. I've never been high (unless you count my few trips in a jet airliner) in my life, though I'm reliably informed that to really appreciate this band you need to be stoned. I do remember going to see them in 1984 and being almost choked by the aroma of cannabis cigarettes, so much so that I remember very little of the gig - possibly high on second-hand smoke? Nevertheless, despite being what most Hawkwind fans would deem a square, or whatever epithet they choose to hang around the necks of those who “don't, sorry”, I have enjoyed Hawkwind albums. _Levitation_ was a great record, as was _Masters of the Universe_ (okay, so it's a collection: what about it?) and even the eminently weird _Church of Hawkwind _had me nodding appreciatively, when I wasn't shaking my head in incomprehension.

As I mentioned, this is their twenty-fourth studio album, taking purely into account those only: this says nothing of the many compilations, live albums, retrospectives etc that have hit the shelves over the last thirty-odd years. Lemmy, of course, is long gone, but founder member Dave Brock, the brains and heart of Hawkwind, is still here, going as strong as ever, and though he has a good twenty years on him, Richard Chadwick is the next most permanent member, having occupied the drumseat since 1988. Most of the rest of the band have only been with Hawkwind since the first decade of this century, although keyboardist Tim Blake has been with them on and off for short stints in the seventies and the first years of the second (or is it third? I always get confused...) millennium.

_
*Onward*_* --- Hawkwind --- 2012 (Plastic Head)*

It doesn't matter if you've heard every Hawkwind album since their debut in 1970 (which I haven't, far from it), it's always going to be hard to predict what you're going to come across on a new outing from them, whether it's space rock, acid rock, prog-rock, psychedelic metal, proto-metal-space-fusion-jazz-ambient-futurist-rock, or insert genre plus as many sub-genres as you wish in this space. Hawkwind are a band that have continually defied categorisation over the decades, and while one album could be fairly close to what most of us would consider “normal” rock, another could go way out on some space-opera acid-fuelled tangent which bore no resemblance to the previous album. One thing you are always guaranteed though is that it will be different, and interesting.

This one, a double album, no less, starts off with humming synth, doomy pealing bells before guitar blasts in and “Seasons” opens the album, Dave Brock's voice as powerful now as it was in 1970, the usual crazy space-rock effects Hawkwind aficionados have come to expect fizzing everywhere, but the guitar hard and heavy. The vocals and backing vocals are strongly reminiscent of Floyd, and of course the two bands were around at about the same time, though they went off on somewhat different tracks. There is a lot of similarity between the two though. This is a little heavier than I would expect Hawkwind to be, but it's very welcome, and only the first of eighteen new tracks, so a treat in store?

Well, things stay heavy for “The Hills Have Ears”, with an almost punk-rock sound about both the hard guitar and the singing, though the fizzling, sweeping synth in the background keeps this track firmly grounded in prog/psych land, everything in fact quickly fading down after a punchy beginning to allow the synth to take centre stage as weird little space-rock runs, odd sounds and effects all too familiar to those who have followed this band down through the years take over. Then the guitar kicks back in and the music is rocking again; “Mind Cut” is a slow, acoustic guitar extravagaza with electric in the background and Brock's almost sixties-style psychedelia vocal bringing us right back to the summer of love, almost like smashing out of a black hole into a totally new universe.

Just over a minute long, “System Check” is one of those _intermezzos_ used so often by Hawkwind, with NASA-style reports and messages over spacey synth, then “Death Trap” goes back to the rocky sort of song I've heard from them before, like the title track to_ Levitation_, one of the few of their albums I've heard, a real cars-racing-down-the-highway song with some good vocal effects and some hammering guitar before we head into “Southern Cross”, with some bongo-style drums and rising keyboards, like some sort of bastard son of Vangelis and Santana, entirely instrumental and really laid back in fact, another string to Hawkwind's mighty bow.

Back to hard straight ahead rocking with an almost eighties New Romantic twist for “The Prophecy”, banks of keyboards providing the soundscape while guitar lays down its own groove upon this, and Brock sings like some lost poet or visionary trying to find his place in the new world. There's another short interlude in “Electric Tears”, which starts on xylophone-like chimes then pulls in strings and guitar, all in less than a minute. Impressive. Well, for any other band, that is: this is just standard for Hawkwind, though no less to be praised, just expected. The squealing guitar continues, taking us into “The Drive By”, with some fine drum work from longtime member Richard Chadwick, bright, breezy synth from Blake in another instrumental to close the first disc. Certain elements of Harold Faltermeyer or the Art of Noise on the synthwork here, though of course Hawkwind were doing this before those guys were even in long pants!

Disc two starts off on the heavy, gothic “Computer Cowards”, which a vocal from Dave Brock that's hard to make out, almost subsumed within the music, as if he's drowning in it. Great bass line from the enigmatically-named Mr. Dibs drives the song, Brock evincing almost guttural vocals, but sort of muttered: strange mix. Some great guitar work though, very little in the way of keyboards on this, ending on what sounds just like one of those old gas kettles boiling - anyone remember them? If you're as old as me you will - then it's synthery ho! As we head into “Howling Moon”, another atmospheric instrumental, with Brock's guitar almost acting as a metronome, until with the odd sound of howling wolves we're taken into another straight rocker, “Right To Decide” riding on the guitar line which is simple but effective, swirling keys and Brock's voice routed through some sort of vocoder or modulator to make it sound echoey, the song tripping (ahem!) along at a great pace with a really nice guitar solo adding to the many hooks in this song.
[video=youtube;8GEbNHLpq_s]https://www.youtube.com/watch?v=8GEbNHLpq_s[/video]
“Aero Space Age” is surely a typical Hawkwind song title, and this track is almost a continuation of “Right To Decide”, but based more along the piano and keyboard lines of Tim Blake this time. They even namecheck with a cheeky grin their biggest - possibly only - commercial hit, “Silver Machine”, with the lyric _”The silver machine is worth/ More than you're worth”_: possibly a dig at those who only know them for that single? Very spacey song, great synth work, and yes, in places it _is_ reminiscent of the song itself. The longest track on the album comes in slowly, something of a slowburner then again emulating the great Carlos as “The Flowering of the Rose” rides along on boppy organ, screaming skittering guitar and swirling synth (yeah, I know that's a lot of alliteration...)

Is it going to be another instrumental? Well, we're about four minutes into its eight-minute-plus length now, and so far no vocals, just a real workout on the keys and guitar, steady rhythm section holding everything together in a fine uptempo progressive rock piece. Yeah, it's an eight-minute powerful, energetic instrumental all right, and it leads into another track whose title is just so Hawkwind. “Trans Air Trucking” starts off with a lot of mixed sounds - phone message, growling, machinery - then powers into a Vangelis-like fast synth run, then a quick, thirty-second insert on heavy, ominous synth with spacey effects takes us into the penultimate track, a slow, heavy, Floyd-like piece called “Green Finned Demon”, some really inspired fretwork from Brock and a Watersesque vocal.

In typical Hawkwind fashion, the closer is not titled. At all. In fact, in some reviews of this album they only show seventeen tracks, not eighteen, but the one that finishes this two disc set is like something out of _Sonic Attack_, with a big busy guitar sound, whooshing synth and Brock's vocal not sung but spoken, like poetry, as he pilots his own personal starship across his own personal and unique galaxy, heading for who knows where? It's a real lookback to the Hawkwind of old, whereas much of this album is almost normal, as such; this is much more weird, spacey, out-there and probably will provide those among you who indulge with more than a few trips.

There's no question Hawkwind are legend, and have already long ago stamped their mark on music history, but even so, you can sometimes expect legends to sit back and watch the money roll in, having done their bit. Not so this band, who are still putting out amazing albums like this at the tender age of almost forty-five, and on the strength of this offering, I would venture to say that not only is there life in the old dog yet, but there's bite and energy and vigour too, and it may be a very long time indeed before this particular dog has had its day!


*TRACK LISTING*

_*Disc One*_
Seasons
The Hills Have Ears
Mind Cut
System Check
Death Trap
Southern Cross
The Prophecy
Electric Tears
Drive By


_*Disc Two*_
Computer Cowards
Howling Moon
Right To Decide
Aerospace Age
The Flowering of the Rose
Trans Air Trucking
Deep Vents
Green Finned Demon
(No title)


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## Trollheart (Sep 13, 2019)

_

*Maria McKee*_* --- Maria McKee --- 1989 (Geffen)*

Sometimes you just buy an album on spec, you know? On instinct, or on recommendation. I think this was the latter, with a bit of the other two thrown in: I feel that I read about this in my publication of choice as a twenty-something, _Kerrang!_, and they had praised it highly. This was prior to her hit with “Show Me Heaven”, which would the following year propel her to international stardom, but forever paint her as a one-hit wonder, this despite being already known for her helming of the rock band Lone Justice and having written Fergal Sharkey's chart-topping hit, “A Good Heart”.

But this album was pretty much ignored, reaching a measly 120 on the US Billboard chart, and failing to chart any singles released. Is that because it's a crappy record? Quite the reverse: as a solo debut this is nothing short of stunning, but in an era obsessed with quick-fire, repeating formulas for success, thoughtful, insightful music like this becomes criminally overlooked, and it wasn't until “Show Me Heaven” made it that people would stop saying “Maria who?”

The album opens on hard acoustic guitar in a sort of folky/rock bopper, and certainly one of the longer song titles I've come across. “I've Forgotten What It Was In You (That Put The Need In Me)” is filled out by breezy organ and piano, but it's the soulful, aching voice of McKee herself that takes charge and demands attention, like a cross between a country songstress and a rock chick, retaining the best of both. It's a powerful, bitter, almost wistfully angry song that really gets things going well, and some well-placed fiddle from Steve Wickham really adds to the country sound, then the mood slows down for “To Miss Someone”, with a sort of James Taylor feel to it, a downbeat song of realisation as Maria confides _”I'm petrified of running/ Out of things to do”_ and admits _”Guess I'm not so independent after all.”_

Lovely piano lines here, backed by solid organ and some gentle guitar, and you really get a feeling for Maria's songwriting when you see how she speaks to the everyman (and woman) in songs like “Am I the Only One (Who's Ever Felt This Way)?” - you can really identify with her lost loves and her failures, see that she's not some big star writing about other people's experiences, but a human being who has been hurt, loved and lost, and who often feels as confused, betrayed and dismayed as you and I do. This is a big, open country mid-pacer, with great fiddle, mandolin and guitar driving the song, in an upbeat melody, though the subject is certainly not happy.

She teams up with the famous Robbie Robertson for one of the standouts, the lovely, slow, gentle “Nobody's Child”, which rides mostly on the mournful organ sound laid down by Bruce Brody, with a great little guitar solo in the middle and of course Maria's wistful, almost tearful voice rising above it all. “Panic Beach”, up next, is an angrier song, lyrically very in Springsteen territory, on acoustic guitar and piano. This song is a real vehicle for the versatility of Maria McKee's vocals, and she reaches some notes that quite surprise you, as Brody's organ drones along in the background, adding a sense of gravitas and weight to the song. The sense of desperation, trying to survive, comes through strongly as she describes her landlord in lines like _”If a tear comes to his eye/ He may let a month go by/ Before he takes my key”_ and _”I'll do my time/ Then say goodbye/ To Panic Beach.”_

Rocking out to the full then, another long title, “Can't Pull the Wool Down (Over the Little Lamb's Eyes)” kicks the tempo right back up as the mistakes referred to, and cried over in the first few tracks are thrown aside and a fierce determination not to be fooled again takes their place. Another great organ performance by Brody and some powerful backing vocals, and Maria screaming her anger and frustration and promise to open her eyes in future makes this song, yeah, another standout. There are a few, believe me.
<span id="docs-internal-guid-0466a094-7fff-702a-0612-e8ceae610da5">[video=youtube;LdJOpb6dJlY]https://www.youtube.com/watch?v=LdJOpb6dJlY[/video]
It's good to see that McKee writes, or co-writes every track on the album, bar the closer, and can she write a good song! We go all gospel for “More Love Than a Heart Can Hold”, with Brody excelling himself on the ivories, and a vocal chorus to wring tears from a stone, Maria singing like a diva possessed who has seen the light, her voice seeming to reach to the very heavens themselves, climbing on the strength of her love and devotion, then her anger returns for “This Property Is Condemned”. Carried on sharp acoustic and electric guitar backed up by Hammond organ, it's nevertheless a stripped-down sound which again allows Maria to shine on vocals, her rage and frustration reaching dangerous levels, her band knowing just when to back her and when to fall back and leave her to fly solo.

“Breathe” is a dark, moody grinder of a love song, if you can imagine such a thing. Slow, heartbeat drumming and rising keyboards with a few pin-sharp flourishes on the guitar shape this song, flute and mandolin coming in to add their own touches, with some really nice double-tracked backing vocals helping maintain the atmosphere and mood of the song. We close on what I consider to be the standout, not just because it's a simple piano ballad, but because it approaches the whole idea of love and dating in a somewhat unique way.

Featuring Maria herself on the piano, “Has He Got a Friend For Me?” is the only song on the album she does not have a hand in writing, penned as it is for her by Richard Thompson. It's the painfully simple question of a girl who is not pretty or socially active, and wants to know if her more glamorous friend has someone she can date. Something in the vein of Janis Ian's “At Seventeen”, it's quite heartbreaking as she breathes _”If he knows someone who's graceful and wise /Doesn't mind a girl who is clumsy and shy/ I don't mind going with someone that I've never seen...”_ A beautiful yet painful end to a wonderful album.

I personally hated it when Maria hit fame with “Show Me Heaven”, as rather than then reissuing her album and getting it more notice, the label ignored it completely and she ended up basically living on that as her only claim to fame. She obviously hated it, as she refused for years to play the song live, and who could blame her? But if you like well-written, well-thought-out and, well, _real_ music, you could do a lot worse than take a listen to this album. Just don't hold that single against her, okay?

*TRACK LISTING
*
I've Forgotten What It Was In You (That Put the Need In Me)
To Miss Someone
Am I the Only One (Who's Ever Felt  This Way)?
Nobody's Child
Panic Beach
Can't Pull the Wool Down (Over the Little Lamb's Eyes)
More Love Than a Heart Can Hold
This Property Is Condemned
Breathe
Has He Got a Friend For Me?


----------



## Trollheart (Sep 14, 2019)

_
This Mortal Coil _--- Redemption --- 2011 (InsideOut)

I just love the story behind this album. Horrible news, to be told you have cancer and that you can expect to only live another five years maximum, but how swings the pendulum from despair to delight when that diagnosis is revisited and you're told you're free of the biggest bane on human existence in the last few hundred years? Such was the story of keyboard player and guitarist Nick Van Dyk, and the relief he (and, presumably, his bandmates) felt, this brush with approaching death only to be given a second chance, led to the title of the album, and its composition.

Now, according to the man himself as he states on the Redemption website, the album is not about him and his struggle with the news of his cancer, and his eventual release from its grasp, and I can respect that. As he says “I didn't want to write a concept album about me”. Of course. But that notwithstanding, there's no avoiding the heavy focus on the human condition and the mortality of people in this album, and there's equally surely no doubt that Van Dyk's experiences coloured many, if not all, of the songs here, as he wrote all the lyrics himself, alone. Surely something of his dread and fear and eventual resurgence of hope and finally delight must have seeped into the lines as he wrote these words?

The album cover is phenomenal, and could be interpreted a few ways, but I’ll leave that up to you to decide. This is progressive metal band Redemption's fifth studio album, and following the practice - whether intended or accidental I don't know - of releasing a new album every two years, it comes on the heels of 2009's _Snowfall On Judgement Day_. It also comes packaged as a special edition, which contains covers of songs that are, in the words of the band themselves, “A Collection Of Songs Originally Recorded By Other Artists That One Would Not Expect Would Be Performed By A Progressive Metal Band.” My copy features these, but as I usually don't include extra, additional, bonus or special tracks in my reviews, I'll just tip a nod to them at the end.

As it is, the album opens hard and heavy, as you would expect from these guys, with “Path of the Whirlwind” both metal and progressive enough to have you thinking in terms of bands like Shadow Gallery and Kamelot, some really great proggy keyboard runs from the man who has been reprieved, and Nick Van Dyk leaves us in no doubt as to how happy and relieved he is to be free of cancer, and how he intends to use his second chance to the fullest of his ability. Great guitar solo from Bernie Versailles, and Ray Alder's vocals are as ever gruff and raw, while never dipping into growl or “unclean” territory. This guy can _sing!_ The opener is a fast, riff-laden monster, and gets us well back into the swing after being the requisite two years without a new Redemption album. Come to think of it, the band name is sounding quite prophetic now, isn't it?

Although just under five and a half minutes long, “Path of the Whirlwind” concerns itself more with instrumentation, allowing keys and guitar as well as of course the solid rhythm section to take centre stage, with Alder's vocals, while always indispensable, a little more to the background of the song. “Blink of an Eye” then is a galloping rocker, almost more in the vein of power than progressive metal, guitars leading the song in as Alder's vocal takes over and we hear the first real inferences to Van Dyk's recent illness: _”I can't believe my ears/ I can't believe my eyes/ The silence disappears/ It's my time to die.”_ Some great keyboard solos from, it would appear, Greg Hosharian, who is credited with them, and the thing powers along on a big, heavy, epic groove, then the tempo kicks up even higher for “No tickets to the Funeral”, with a seriously heavy guitar opening and a certain sense of frustrated regret tinged with determination that the person dying be remembered well by his friends, and by the world. Don't we all want the same?

Great guitar work in this, and it's really a showcase for Versailles as he twists and wrings every last trick out of his instrument, Chris Quirarte's drums pounding after him like the pursuit of demons from Hell, and speaking of Hell, “Dreams From the Pit” is a nine-minute cruncher, Hosharian's keys merging with those of Van Dyk as the guitar winds up again and takes us into a hard-hitting metal opus, Alder's the voice of a tortured soul trying to understand the visions that assail him. Of course, Redemption are known for long tracks - “Something Wicked This Way Comes”, from their eponymous debut, runs for over twenty-four minutes, and the title track to “The Fullness of Time” clocks in at over twenty-one - so nine minutes is not that long, for them, but “Dreams From the Pit” is only beaten out by the closer as the longest track.
[video=youtube;gO2AWRABlWs]https://www.youtube.com/watch?v=gO2AWRABlWs&amp;list=PLmRlvxlJ-cbg_3v7KS8Bq03F9F1F0V9Uy[/video]
There's a nice piece of piano halfway in, joined by some expressive, strummed guitar as the song slows down, the drumbeat now measured and steady as a human heartbeat, then it sparks back into life with a soaraway guitar solo that lasts over a minute, then Alder roars _”I've been judged/ And I've been found wanting/ And I'm worthless!”_ as the song powers towards its conclusion on the back of increasingly heavy drums and chugging guitar, ending abruptly. An atmospheric, progrock style keyboard intro invites us, it would seem, into Hell, as “Noonday Devil” gets underway, and it's not long before Versailles is grinding his guitar through the song, with flourishes from Nick Van Dyk on the piano, a more stripped-down vocal from Ray Alder and the song ends on a hopeful note as he growls _” I won't be given up for dead!/ I'll focus on the road ahead.”_

Expansive synth opening then to “Let It Rain”, which I think may be as close as this album gets to a ballad, even a power metal one. Seeming very much to focus on Van Dyk's diagnosis, it's a nice, restrained (for Redemption, that is) slow ode to hope, as Alder sings _”Can the lessons learned/ Unburden the struggle/ For one fortunate enough/ To have the chance/ Fortunate enough to start again?”_ Very moving, and some very effective keyboard backing, and the sense of hope continues as the song nears its end, with the lines _I'm seeing what I can only hope/ Is light ahead/ I'm standing with an / Ever-growing faith/ That now is not my time.”_ Lovely piano solo with some fine deep choral vocals, and I'd put this as the standout on the album so far.

Despite a heavy guitar opening, “Focus” seems to slide into its own smooth balladic groove, and while not as much a ballad as the foregoing, it's still pretty low-key for these guys, and showcases some really good keyboard work, as well as a strong and determined vocal from Alder. The song also features some more fine piano work, Van Dyk's fingers flying across the keys like those of a man with a new reason to be happy, which of course he is. More powerful guitar work, but the song really rides on the keyboards, and I do find this track very Shadow Gallery, especially their latest album.

Another slow, atmospheric opening to “Perfect”, with some really impressive vocal harmonies in a mid-paced rocker examining how the constant search for perfection can lead us to miss the important things in life. Although not written as such, that I know, this album can be seen to be divided in two parts. The first seven songs all mostly deal with the approach of, understanding and to some extent acceptance of death, while the last four seem to be more in the vein of rejoicing in triumph over death, if only temporarily (for we all die). It's almost like a journey, from denial to acceptance to deliverance. In fact, it could almost be in three parts, with the tracks “Focus” and “Perfect” creating the midsection, that point where it would seem peace is being made, affairs being tied up before the great news breaks.

I know this is not how the album is written, but it could certainly be interpreted in this way, and if so, then “Begin Again” surely starts the cycle of renewed hope, though in fairness the lyric doesn't quite bear that out. It's a powerful song though, driven on Versailles' burning guitar and Alder passionate and strong as he sings that _”All we can do/ Is try to become whole again”_. Great keyswork and a really progressive passage as the song reaches its climax, ending abruptly and ushering in what is definitely a song of hope and defiance. “Stronger Than Death” is just what it implies, a heart and a will to go on, a refusal to give in, as Alder sings _”I won't pay the ferryman/ I won't be taken to the other side.”_ A rock cruncher in the best Dio tradition, it rattles along on hard guitar and swelling organ with Alder's vocal determined and unbowed.

The closer is, as mentioned already, the longest track, over ten minutes of the epic “Departure of the Pale Horse”, opening on solid, swooshing keyboards and jingly guitar with a real message both of hope and surprise as Alder sings _”I'm half surprised that I'm still standing/ I've returned to the road/ That I was on/ Before this happened/ The Pale Horse skulks away/ Its rider empty-handed.”_ Could there be better words of vindication? However there is a real sense of humility and mortality too in the lyric, as he declares _”It's not about some act of courage/ I only did what I was forced to do.”_ A real progressive metal masterpiece, it's been well-worth waiting for and caps a really superb album that has more personal experience in it that anything I've heard in a long time.

I have to say, despite his claims that the album is not about him and his ordeal, it's been a privilege to have accompanied Nick Van Dyk and Redemption on this painful and difficult journey through a personal Hell, and to have emerged out the other side stronger and wiser. They can rightly be proud of this album, and I would say that it should stand as one of their best to date, which is not to denigrate any of their previous outings, but this has the ring of something real, something terrifying, something fragile and human about it, and, though almost an interloper in their private world, I thank Redemption for having afforded me the opportunity to walk this dark road with them, and emerge with profound relief into the sunlight.

_Footnote: As I mentioned, there is a second disc of covers, but I don't usually review these. I won't be changing this policy here, and as a result I didn't even listen to the extra tracks - at least, not for the review. I may later, but right now I don't really have an extra thirty-five-odd minutes to spare. So for now, for those who want to know, a quick rundown of what those cover versions are:__
“Funeral For a Friend/Love Lies Bleeding” --- a ten minute version of the Elton John classic
“Jane”, by Jefferson Starship
“Hold the Line” by Toto
“Edge of the Blade” from Journey's Frontiers album
“Love To Love” --- seven minute version of the UFO song
and
“Precious Things” --- over seven minutes of the Tori Amos song._

*TRACK LISTING*
Path of the Whirlwind
Blink of an Eye
No Tickets For the Funeral
Dreams From the Pit
Noonday Devil
Let It Rain
Focus
Perfect
Begin Again
Stronger Than Death
Departure of the Pale Horse


----------



## Trollheart (Sep 14, 2019)

Originally, when I heard tracks off this via playlists I was less than impressed, but then, when you consider the album follows pretty strictly an established and well-known storyline, hearing selections from it out of context can be a little unsettling, and you only get the real experience by listening to the album all the way through. Then you realise what an amazing job the artiste has done with a story that many would possibly consider tired and hackneyed, at least at this point. Hard to breathe new life into one of the old Sherlock Holmes mysteries - in fact, perhaps the most famous of them all - but I think a very good job has been done here. Plus, you get two keyboard wizards for the price of one: can't say fairer than that!

_
The Hound of the Baskervilles_ --- Clive Nolan and Oliver Wakeman --- 2002 (Verglas)
The problem, of course, remains as with all concept albums. Often obscure, weird, hard to follow plotlines; sometimes it's hard to even trace the actual concept, even if you get the general idea. One sure way to make sure that the listener can follow the storyline though is to base your album around an already-established idea: a novel, a play, an opera. This is exactly what Clive Nolan and Oliver Wakeman did with this album, basing it entirely on the work of Sir Arthur Conan Doyle's greatest fictional hero, and the greatest of Sherlock Holmes's cases. Interspersing the music with spoken narrative, which can come at the opening to, in the middle of or at the end of the musical passages, the story of “The Hound of the Baskervilles” is condensed into just over an hour of music and narration, and it works brilliantly.

(_Note: if you have not yet read, or seen any of the many films of, this story, and intend to sample it at some point, be aware that this album contains not only spoilers, but the whole resolution of the mystery. This is then reflected in my review, so if you don't want your enjoyment spoiled then avoid reading. You have been warned!_)

Although it's the brainchild of Clive Nolan, who prog rock fans will know from his work with, among others, Arena and Pendragon, and the son of keyboard supremo Rick Wakeman, the album features a host of guest stars, including John Jowitt, Karl Groom, Arjen Lucassen and Bob Catley to name but a few. The narration is undertaken by the sonorous tones of one Robert Powell, who may be remembered for his stunning performance of Jesus in the miniseries _Jesus of Nazareth_, or if you're not that way inclined, you may recall him from his role as Dave alongside Jasper Carrott in _The Detectives_. The various characters are all voiced by separate people, giving the project a much wider and more inclusive feel, and you really do feel like you're stepping into the pages of Doyle's classic book.

All that's very well and good, I hear you say, but this is a music composition. What's the music like? Well, what would you expect from two such stars of the keys? Wakeman and Nolan have already successfully translated Lewis Carroll's _Jabberwocky_ to a musical interpretation, so this should be just as good, although I admit I have not heard the previous outing: it seems hard to get, and again, Carroll is not the easiest to get into, especially his “nonsense poems”. Holmes though is  a subject I have had much more experience with, chiefly through reading the stories for my sister. This one remains one of her favourites, and I’ve had to read it several times (in addition to watching some movie interpretations of the story), so I can follow the plotline easier, though even if you haven't it is set out in simple steps for you to follow.

Opening on eerie synth with the plaintive wailing of a great hound, it's Robert Powell's voice we first hear, intoning the prologue to the novel, recounting the warning about traversing the moors when it's dark, then big orchestral keyboard powers in with a dramatic overture, buzzing keys from both Wakeman and Nolan as, well, “Overture” gets going. Unlike many such introductory instrumentals though, this one is long, almost six minutes, and serves to lay the backdrop to the album. As you might expect on an album helmed by two keyboard players it's heavily keys-oriented, some of the playing giving the impression that there's an orchestra there, but I've found no evidence to support this theory, so must assume that the guys are just really versatile on their keyboards, which of course they are.

Powerful drumming from Tony Fernandez helps create the dark, oppressive air required for such a story, the keys getting into almost a “sabre dance” moment as the overture comes to the end, then harpsichord takes us directly into the introduction of the first chapter of the book, as Dr. Mortimer comes to talk to Sherlock Holmes regarding the death of Sir Henry Baskerville. Mortimer is played by Ashley Holt, who has worked with Clive Nolan before, and a very dramatic voice he has. The music swells behind him as the terrible tale is told, heavy keyboards and thumping drums, somewhat lightened by some flute from Ewa Alberling. Mortimer relates the tale of the appearance of the infamous and legendary Hound of the Baskervilles. I won't go deeply into the story, as it would take too long, but as the tale progresses the music gets suitably more frenzied and intense.

As Mortimer's story ends and Holmes agrees to travel to meet Sir Henry Baskerville, the keys fall back to harpsichord and Powell's narration returns as we move into “Three Broken Threads” with arpeggiated keyboards and violin, the latter from Jo Greenland, the tune quickly turning into a bouncy, keyboard-led chase theme with very proggy keys and galloping drums, some nice descending chord structures meshing with some choral vocals, then a faster, Genesisesque passage sliding into more Yes-style keys and some hard guitar from Threshold's Karl Groom bouncing off the edges. “Shadows of Fate”, which follows next, is a breezy, laidback piece on piano whose narration recalls Jeff Wayne's _War of the Worlds_, until Groom and Arjen Lucassen's guitars punch in, laying down an ominous, dangerous theme as Magnum's Bob Catley, as Sir Henry Baskerville, looks out the windows of the train and considers the plight of Seldon, the convict whom they have been told is loose on the moors. A marching, dramatic beat propels this song, Lucassen in particular putting in a great performance on the guitar, as you would of course expect. A nice relaxed synth and choral vocal passage provides some relief a little more than halfway through, then the guitars crank up again and Lucassen rips off a fine solo as Groom backs him.

A walking organ melody opens “At Home In the Mire” as Holmes and Watson meet Stapleton, the naturalist, voiced by Paul Allison, who tells them about his favourite place, the moors, and the mire where one misstep can result in disaster. The music moves into a fast, keyboard melody until what is generally the “Baskervilles theme”, the progression that opened the album and formed the backbone of the “Overture” returns, then the fast keyswork resumes, with guitar again from Karl Groom. The “Baskerville theme” is now incorporated and built into the main melody, and follows it as it runs along, carrying the song, with trumpeting keys from Nolan until Powell returns to advise that a long low moan has echoed across the moor - the Hound!
[video=youtube;usAsryUY]https://www.youtube.com/watch?v=usAsryUY[/video]
Interestingly, Nolan and Wakeman seem to have chosen not to assign actual voices to the two main characters, this possibly being because the Sherlock Holmes stories are all written from the journal of Dr. Watson, and though Holmes speaks it is usually in the voice of Watson, so seeing Robert Powell as the narrator, and therefore essentially Watson, there is no real need to hear Holmes's actual voice. “Run For Your Life” is in fact the first ballad on the album, sung by Tracy Hitchings as Beryl, whom Stapleton introduces as his sister, and who warns Sir Henry Baskerville to return to London at once. The song actually swings between soft ballad and more uptempo racer, and I must say Hitchings certainly sounds like Kate Bush to me! Groom's guitar reinforces the sense of desperation and urgency in Beryl's request, really more a demand, then a plea, as she tries to convince the heir to the Baskerville estate to leave this place.

Sir Henry, of course, is completely bewitched by the woman's beauty, leading to the first real ballad, as he sings “Picture of a Lady”. Catley does his usual fine job, backed by Nolan on the piano, with more lovely flute from Ewa Alberling, some soft arpeggios on the keys from Wakeman and choral vocals, a little acoustic guitar, but it's Jo Greenland's mournful violin - perhaps mirroring the use of the great detective's instrument of choice when he wanted to think a problem through - that opens “The Argument”, with three vocals, the first from Allison as Stapleton arguing with his “sister” Beryl, then Hitchings as the lady in question, and joined by Catley as Sir Henry. Great orchestral keyboards form the framework of the piece, with deep, rolling drums and heavy organ carrying it along, growing in intensity as the argument gets more heated. The vocal harmonies on this are quite excellent, each character crossing over the next, each vocalist complementing the other.

Powell's narration, missing for the last two tracks, comes back to fill in the story as the short track “Second Light” tells of the butler at Baskerville Hall looking out into the night as if trying to see something on the moor, and in fact answered by a light which echoes back from the dark wilderness. It's a short keyboard piece, but carried on the sumptuous tones of Powell as he advances the plot, and introduces Seldon, the criminal who has been said to have been loose on the moors. Some whining guitar from Karl Groom adds to the tension of the piece, then church organ and measured booming drums bring in “Seldon”, introducing Ian Moon Gould as the eponymous convict, the song racking up in tempo, carried on trundling drums and heavy keyboards with some sharp slices of guitar from Arjen Lucassen, a pretty cool solo from him that carries the first minute into the second, joined then by Groom as they mesh together to take the guitar passage into the third minute, Seldon growling out his defiance, his refusal to be captured and returned to prison.

Nice bit of acoustic guitar from Groom then, backed by low keys from Nolan until Wakeman comes in on the organ and rips off some serious arpeggios and solos, and as we move into “Death On the Moor”, Holmes is discovered to be in fact on the moor himself, watching without having told Watson that he was even there. A pomp-rock, uptempo keyboard melody carries this tune, as the two friends are reunited in curious circumstances, but there is little time for explanations, as a deadly cry cuts through the night air, and the pair rush to find someone lying dead on the ground. Checking his clothing, they deduce that it is their charge, Sir Henry Baskerville, obviously murdered by the dread Hound.

As the song reaches its climax though, they find that they are mistaken. This is not the heir to the Baskerville manor, but Seldon, the criminal, who had been given some of Sir Henry's old clothes by the butler. Relieved, they go to see Laura Lyons, in whose direction they have been pointed by the butler, grateful that he is not to be fired. This leads to the second ballad, “By Your Side”, another piano extravaganza with the part of Laura Lyons sung by Michelle Young. The mystery of Sir Charles Baskerville's death is beginning to become clearer, as this previously unknown mistress of the old lord is brought into view, and Powell as Watson narrates the plan to confront the Hound, now known to be controlled by Stapleton, the naturalist with a jealous and violent temper.

And so we move into “Waiting”, a breathy, moody synth piece which gives a final spotlight to Bob Catley as Sir Henry, then Groom's heavy guitar blasts in, kicking the sense of ominous dread and anticipation up several notches, Allison as Stapleton also coming in and Hitchings adding her voice as his sister, who has, if I remember correctly, turned out to be his wife. Guitar really drives the mood of this piece, as Groom and Lucassen set the scene with overlapping vocals creating a backdrop of tension and wariness as the hour draws closer when all will be revealed.

Resolution comes with “Chasing the Hound”, tribal drums and celtic rhythms with flute and whistle as the album, and the story, draws to a close, the sense of excitement and the adrenaline almost palpable as the Hound is slain, Stapleton escapes but is presumed dead as he has disappeared into the unforgiving mire, and Sir Henry takes his place as master of Baskerville Hall. Rumbling bass from John Jowitt helps draw the scene as Holmes and Watson confront the Hound, shooting it dead and return to Stapleton's house to find the naturalist gone.

With a final flurry on the keys from both Nolan and Wakeman, trundling drums and guitars going off all over the place, the album powers to its emphatic conclusion, bringing to an end one of the finest and best-constructed concept albums I have heard in quite a long while. Each vocalist does his or her job to perfection, both acting and singing, and when they join together in ensemble pieces they are just amazing. The musicians are unbeatable, painting the canvas upon which this masterpiece is painted, and Powell as the narrator binds everything together, keeping the listener up to date on what is happening in the story, for those who have not read the novel.

A fine job, a fine album, a fine cast and I look forward to future collaborations between Clive Nolan and Oliver Wakeman.

*TRACK LISTING*
Overture
The Curse of the Baskervilles
Three Broken Threads
Shadows of Fate
At Home In the Mire
Run For Your Life
Picture of a Lady
The Argument
Second Light
Seldon
Death On the Moor
By Your Side
Waiting
Chasing the Hound


----------



## Trollheart (Sep 14, 2019)

_

*White Ladder*_* --- David Gray --- 1998 (iht)
*
The first time I heard David Gray I thought “Jesus that guy sounds like Dylan!” And he does. But look deeper than the superficial soundalike and you'll find a thoughtful songwriter, a really good singer and a man who really cares about his music. Although this is by far his best known and most successful album, it's his fourth, and he's had five since. A friend of Dave Matthews (he of the band) it was he who released David's album on his own label in the US, leading to interest in it on the other side of the water, and the sudden fame and success for a man who had struggled to gain recognition for five years.

With every song written or co-written by Gray bar the closing cover version, he not only sings but plays guitar, piano, synth and organ. Although not initially a successful single, opener “Please Forgive Me” became one of his best known and popular songs, with its quietly rolling percussion and sparse piano opening, as bass joins in and then full strings on synth, but it's Gray's distinctive, very Dylan-like voice that carries the track, and which would become a regular sound on the radio during the latter half of the nineties. Near the end of the song, it all fades down to just the solitary piano supporting Gray's vocal, then the synth swells as the ticking drumbeat comes in, handclaps and then the bass, followed finally by the guitar as the song fades out on an instrumental ending.

A great start, and for a long time the only song I knew by Gray, but it's followed by another which was a bigger hit for him, “Babylon” carried on a jaunty guitar line and _chigga-chigga-chigga_ (sorry, there's just no other way to describe them) drums, almost nonchalant bass humming away. It's almost electric folk/rock, laid back but with a quiet energy all its own and a really nice signature guitar line running through it. The acoustic “My Oh My” is the first of three tracks (apart from the cover) on which he collaborates with his drummer, Craig McClune, and it's another nice little relaxing song, not totally acoustic in fairness: started off that way but then synth and organ joined in, and there's a really nice vibe going on it now.

Gray's songs all seem to be based in that most simple, and most complex of themes, human relationships, and “We're Not Right” is another example of this, with a downbeat vocal and a real CSNY feel, with what sound like female backing vocals, though I can't find any credit for them. This is another co-writing venture, this time including producer Iestyn Polson as well, but “Nightblindness” is one of Gray's own, a dour, fragile acoustic dirge with some lovely introspective guitar, and some whistling organ from McClune, then the mood lightens just slightly with “Silver Lining”, tinged with blues and gospel flashes, and some aching violin, before the title track again reunites Gray with Polson and McClune, for the last time. It's a more uptempo song, driven on a discrete little bassline and percussion that sounds like hands clapping, but I must say for the title track it's pretty weak, and not up to the standard of some that have gone before, and more that are to come.
[video=youtube;VsDMjet0fyo]https://www.youtube.com/watch?v=VsDMjet0fyo&amp;list=PLQGX2r3T1iMtsewsns3UkHMy  43FU3hgxB[/video]
Seems Gray flourishes best when he writes alone, as “This Year's Love”, another big hit single, is the album's single ballad, sung in an almost angry, sullen way against a backdrop of soulful piano joined by some beautiful mellotron from Tim Bradshaw. This song, if no other, demonstrates Gray's talent for crafting an almost perfect song out of the simplest ideas, and it hits you right in the heart. Another classic by him is “Sail Away”, the last song on the album written by him, with a jaunty, upbeat acoustic sound and a message of escape from the pressures in life. Some lovely strings on synthesiser from Craig McClune add to the majesty of the piece, and it would have been a great closer, but for some odd reason Gray chose to end with a cover version of Soft Cell's “Say Hello, Wave Goodbye”.

That would be bad enough on its own, but the version he includes here is over nine minutes long. I'm not sure that's a good idea for someone who was trying to push his own music, but then, the album sold over seven million units despite this, so I guess people weren't that bothered. Still, I would much rather have had one of his own originals instead. It's a decent version of the song, but I never liked the original, so that doesn't really say all that much.

But as a way of introducing David Gray to the world stage, _White Ladder_ certainly does its job. Hard to believe the guy had to finance this album himself, and that if it hadn't been for his mate Dave Matthews it might never have seen the light of release. I haven't heard any of his material since this, apart from one or two tracks from_ A New Day at Midnight,_ which I thought were okay, but they didn't push me to buy the new album at the time. Nevertheless, if he never sold another album, this cemented his reputation for all time in music, and you'll go a long way to find anyone who hasn't heard at least one or two tracks off this album. Not bad, for a struggling singer/songwriter who had no idea of the influence his music would have on the world.

*TRACK LISTING*

Please Forgive Ne
Babylon
My Oh My
We're Not Right
Nightblindness
White Ladder
This Year's Love
Sail Away
Say Hello, Wave Goodbye


----------



## Trollheart (Sep 14, 2019)

*
Black Holes and Revelations --- Muse --- 2006 (Helium 3)*

Do _what?_ You've never heard Muse? Pull the other one mate! Laugh? I nearly paid my television licence! And so on.

No, I freely admit that although I've heard _of_ the band (and caught a few short minutes of a live performance on TV) I have never yet listened to a full song, never mind a full album. This one - probably their most popular and successful, if I read things correctly - has been sitting on my hard drive for over a year now, patiently awaiting its turn, and that turn has now come. Hey, I'll probably hate it, or be totally disappointed with it, but comes with the territory. Course, I could be completely blown away by it, become a big fan of Muse or at the least not regret having downloaded the album.

Let's see how it pans out, eh?

Need I recount who the band are? Oh, all right then: formed in 1994 in the picturesque county of Devon by three schoolfriends, Muse were successful right from the off, with their debut EP scoring high on the indie charts, though it took an American label to have faith in them and release their first album, which failed to set the charts alight, just scraping into the top thirty. It was the second album, _Origins of Symmetry,_ that got them a top three hit, with the following _Absolution_ hitting the coveted number one spot and confirming them as a hot property, so that by the time this, their fourth album was released, comparisons with the likes of Radiohead which had dogged their early days and first album were forgotten, and _Black Holes and Revelations _again took the coveted top spot.

It's said Muse integrate many types of genres and styles into their music, such as progressive rock, electronica, jazz and heavy metal, but this album extended that influence and broadened their musical spectrum to pull in classical, latin and Italian music. It's also heavily political, with some fairly angry lyrics and a decent grounding too in science-fiction themes.

So it opens then on fast, frenetic keyboard with backing synth as “Take a Bow” accuses unnamed (but hardly unknown) political figures of corruption and evil, and of spreading their dark message beyond the borders of his own country, the vocal of Matt Bellamy low and understated but loaded with contempt. The keyboards get faster and more electronic, almost moving into trance territory (is it? I'm not certain what trance is to be honest, though I have an idea) as Bellamy's raw guitar cuts into the mix, and Dominic Howard gets tougher on the drumseat, pounding out the rhythm as the song heads towards its powerful climax, Bellamy warning _”You will burn in Hell/ For your sins!”_

Strong opener, and it gets better with the very New Romantic “Starlight”, a lovely buzzy bass line from Christopher Wolstenholme leading the song, the keyboards (also courtesy of Matt Bellamy) very poppy and upbeat, and the song contains the album title as he sings _”All of our hopes and expectations/ Are black holes and revelations.”_ After the slowburning opener it's a decent shift in tone, and shows that Muse are certainly capable of a lot of variety in their music, and this continues into “Supermassive Black Hole”, with a real hard rock guitar sound and a falsetto vocal from Bellamy, some sharp electronic drum patterns from Howard giving the song a very artificial feel, while the vocals are almost soul in their style, the song keeping the tempo high and upbeat. The style veers back into electronica/dance territory for a while with “Map of the Problematique”, Bellamy sounding like a wounded Bono, sharp staccato synthesisers stabbing the melody from all sides, as the song slides more towards a rock theme now, though retaining the new wave style synthesisers that characterised the sound of so many bands of the late eighties.
[video=youtube;wQXit0vly2I]https://www.youtube.com/watch?v=wQXit0vly2I&amp;list=PL05D50C6D0E3F3AAF[/video]
Everything slows down, and indeed is stripped down for the blues ballad “Soldier's Poem”, with Matt this time sounding to me like Fran from Travis (he'll probably hate that, if he ever reads this, which will never happen), with a sort of swirly, swaying chorus of backing vocals, coming close to Queen territory, and with some fine double bass from Wolstenholme. It's only a short song, but very effective, then we're into low humming synth and high-pitched (maybe hi-strung?) guitar with heavy organ and rolling drums to take us into “Invincible”, some wobbly and weird keyboard effects (maybe pitch-bent?) rising like the cry of a banshee over Matt's passionate vocal. Howard's drums beat out the rhythm in a military style until about halfway in, when he kicks into a more natural rhythm as the song progresses.

“Assassin” then takes us into a faster, more rocky vein with some good electronic elements, with a sort of moaning, crying style vocal and some great hard guitar work, then “Exo-politics” scales things back a little, still hard rock but not as fast, with a pretty angry edge to it, especially the guitar. Great backing vocals on this song, and a very catchy hook. “City of Delusion” has a lovely fast acoustic guitar intro, with a great bass line and then some powerful strings as the song kicks into high gear. An excellent bass solo in the second minute, joined by talk-box guitar and then more guitar and synth really opens up the tune as the strings slide back in, then a fantasically mariachi trumpet from Marco Brioschi is a star turn, making this one of the most interesting tracks on the album.

That has _got_ to be Spanish guitar at the start of “Hoodoo”, although it's not mentioned, then some lovely slide takes the song in as Matt's understated vocal is so low it's almost indiscernible for a few moments, as beautiful strings merge with gorgeous piano, which then fires up on all cylinders in a real classical way, hard rolling drums coming in and Bellamy's vocal rising like an avenging angel, the whole thing putting me in mind of the very best of the Divine Comedy. The song then ends on the fragile, beautiful guitar on which it began. Stunning.

The album closes on the sounds of horses galloping against a synthy background before heavy drums start slow then increase in tempo as “Knights of Cydonia” gets going with an almost old-western-movie melody, trundling along on the back of whirring synth and rolling drumbeats. Electronic dancy rhythms are counterpointed by sharp guitar stabs and choral vocals, with Bellamy's own vocal ranging from the low, quiet to the loud and passionate, even desperate, at one point only backed by the bass, with vocal harmonies coming to join him as the song ramps up for its end, drums rising like smoke out of the mist and guitar punching in to take control.

So, what was the end result of this album? Did I get into the music of Muse? Sorry, let me just check my download of their discography … thirty percent. Good. Soon be able to listen to more. And I _need_ to listen to more! Hey, I may be late to the party, but at least I've arrived!

*TRACK LISTING
*
Take a Bow
Starlight
Supermassive Black Hole
Map of the Problematique
Soldier's Poem
Invincible
Assassin
Exo-politics
City of Delusion
Hoodoo
Knights of Cydonia


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## Trollheart (Sep 15, 2019)

[FONT=&Verdana]_


*Bon Iver *_[/FONT][FONT=&Verdana]*--- Bon Iver --- 2011 (4AD)*
[/FONT]
Okay, okay! Enough already! Having been told how good these guys were, I've capitulated and decided to listen to some of their music. Nobody will shut up about them, so there must be something in it. However it appears the guys only have two albums, so I've gone for the most recent, last year's self-titled. Justin Vernon seems to be the brains behind the outfit, being not only founder member and producer, but sole composer both of lyrics and music, as well as playing guitar, bass, drums, piano, banjo and about twenty other instruments: hey, what does he need the rest of the band for? Well, original members Matt McCaiughan and Sean Carey add their own weird sounds into the mix, including things like bowed vibes, brushes, handclaps, and both seem to be involved in the choir that plays on the album. In addition to these guys, Vernon has brought in sax players, pedal steel and horn players, changing the sound and musical direction, apparently, from the debut album.

“Perth” is the opening track, quite laid back, gentle, nice piano and guitar, with then some rolling, military-style drums fading in almost, then the vocals begin, reminding me of CSNY to be honest, and then the music comes up a bit more strongly, not really upping the tempo, just becoming louder and more prominent. Vernon seems to have quite a high-pitched voice, which at first I must say I find just a little off-putting (there's no pleasing me, is there?), and the song then gets heavier and harder, electric guitar crashing in to meet the sudden influx of drums, with horns and strings riding along behind them. Quite interesting: I would not have expected the song to change style so sharply.

It segues, via a lone guitar line, directly into “Minneosta, WI”, and I only now notice that almost all of the tracks are named after cities or states. Guitar drops away and a nice violin/viola backing to Vernon's voice, lower this time, not so high-pitched, with some good sax there and banjo making its presence felt too. Heavy drums roll in, accompanied by a sharp electric guitar, but the song somehow doesn't really get that much heavier, which is quite a feat. Nice horn arrangement, but the instrument that takes up my attention most is that banjo, giving the song quite a country/folk feel. A bit jarringly, it seems to just stop suddenly, and we're into “Holocene” - which, as far as I know, is not a city or a state, though maybe it is? - and a nice gentle guitar melody accompanying the vocal, which is back high again, with some nice backing vocals. Little piano there getting in on the melody too, filling it out a little more, then those rolling drums are coming back in: seems to be a feature of the album so far.

This kind of puts me in mind of very early Eagles, like their first album, or maybe[/FONT][FONT=&Verdana]_ Desperado,_[FONT=&Verdana] and next track up, “Towers”, continues that similarity, while adding in touches of Neil Young and his compatriots in Crosby, Stills, Nash and Young. Slightly more uptempo but still laid back, it's the high-pitched vocal again in the ascendancy, the track carried mostly on guitar, with our good friend Greg Leisz putting in a star turn on the pedal steel, then the whole thing kicks up a gear and turns into a mid-paced country song, violins and strings arrangement keeping it from being just another country tune though. The cleverly-titled “Michicant” has very definite tones of Simon and Garfunkel at their height, another sparse, gentle little song, almost acoustic, the drums this time more bouncing in than rolling for once, and quite effectively too, like someone dropping tennis balls onto a floor. Echoey, you know? Nice organ passage near the end, then some electric guitar sidles in, almost unnoticed, the organ allying up with it, but the song is definitely carried on the close-harmony vocals which always grab your attention.
[/FONT]
[video=youtube;2Y692d0GPQw]https://www.youtube.com/watch?v=2Y692d0GPQw&amp;list=PLq7WK01oto53-MVqnQGHaLGyUpRqC6OGc[/video]

“Hinnom, TX” opens with sort of reverb piano, Justin Vernon's vocal this time lower in the register, the way I think I prefer it. Some very effective violin and viola, then acoustic, quite hard piano opens “Wash.” and Vernon goes back to his mostly higher vocal, sounding just a little at times like a 70s Peter Gabriel, just a bit. The piano is joined by violin, but the track is still very stripped-down and basic, which in fact works very well. The piano work on this puts me in mind of the very early work of Tom Waits, particularly on his debut album, [/FONT]_Closing Time_[FONT=&Verdana]. This is one of the longer tracks on this album, almost five minutes long, in fact just missing out on being the longest by about forty seconds (that was “Holocene”).

A more solid, synthesiser driven song then, “Calgary” starts off as a nice ballad - though few songs on this album could be said to be uptempo anyway - with again some nice vocal harmonies and a real feeling of yearning and longing for home. It picks up a little then, with drums and guitar pulling the song along, the percussion in particular leading the way. “Lisbon, OH” is then conversely the shortest track, just over a minute and a half of mostly synth and organ, with some odd little effects thrown in here and there, and we close on “Beth/Rest”, which has a nice digital piano opening, and a nice vocal line that reminds me of Bruce Hornsby (yeah, I know, but this album reminds me of so many artistes it's weird), with a lot of horns going on in the mix, and oh yeah, I personally hear Christopher Cross in there too.

I must admit, I'm not as blown away with this album as I expected to be, given all the hype, recommendation and indeed critical acclaim. It's in no way a bad album, and I'm glad I listened to it, but I really can't say that I see it as anything all that special. As I've mentioned above, I hear a lot of derivative stuff in it, which is no real criticism, just an observation. I did expect to be left with a feeling of why hadn't I listened to this before, but what I'm left with is a musical shrug of the shoulders. Obviously I'm in the minority, given the general acclaim this album has received, but though it was okay I have to say, in the end, nah, I don't get it.

[FONT=&Verdana]*TRACK LISTING
*[/FONT]
Perth[FONT=&Verdana]
[/FONT]Minnosota, WI.[FONT=&Verdana]
[/FONT]Holocene[FONT=&Verdana]
[/FONT]Towers[FONT=&Verdana]
[/FONT]Michicant[FONT=&Verdana]
[/FONT]Hinnom, TX.[FONT=&Verdana]
[/FONT]Wash.[FONT=&Verdana]
[/FONT]Calgary[FONT=&Verdana]
[/FONT]Lisbon, OH.[FONT=&Verdana]
[/FONT]Beth/Rest[FONT=&Verdana]

[/FONT]


----------



## Trollheart (Sep 15, 2019)

I have never been a fan of electronic music, though I’m beginning to make small inroads into a genre I had never really thought I would be interested in. When I were a lad, bands like Human League, Heaven 17, Pet Shop Boys and Fiction Factory were all treated with equal disdain by me, who was a long-haired rocker and metaller, and as a workmate labelled these bands, as “puff bands”, I had neither the desire nor the interest in exploring their music. I still don’t really, but when I heard about this album I thought I’d give it a go, for novelty value if nothing else.


All I know of Visage is encapsulated in one track - well, two, but mostly “Fade to Grey”. Everyone my age knows that, and it for me typified what these sort of new romantic/electronic/”puff bands” were all about: droning, soulless, lifeless drivel that made you want to slash your wrists and just depressed the hell out of you. It seems they have had something of an interesting career though.



*Hearts and Knives --- Visage --- 2013 (Blitz Club)*

Strictly speaking, we’re talking about Visage Mk II here. Seems the original band, of whom the mighty Midge Ure was once a member, split back in 1985, after their third album, released the previous year, bombed in every way. Steve Strange, founder of the band, hung around with various projects but eventually got the band back together, so to speak, in 2004 but no new material surfaced until 2007, and that only one track. So this is only their fourth album, with a gap of just short of thirty years between this and the last one. That has to be the longest any band has left their fans waiting.

And it’s not the same band. Strange is there, of course, but longtime founder members Rusty Egan and the man who later found fame with Ultravox and of course Live Aid is nowhere to be seen either. Essentially this is a new band, formed by Strange under the Visage name, so whether we can expect a radical departure from the downbeat electro of their eighties music or not I don’t know, but I intend to find out. Of course, the whole scene has changed now; electronic music is still popular certainly, in some ways even more so than when Steve and the boys trod the boards. But it has undergone something of a revolution and is barely recognisable from the likes of Ultravox, Depeche Mode and Bronskibeat, who commanded the charts and ruled the radio airwaves back then.

It’s a boppy, uptempo beginning that puts me more in mind of Human League or Ultravox really to get us underway as “Never Enough” announces the rebirth of Visage. And it’s not half bad. Definite shades of Phil Oakey here. Interesting that there’s quite a lot of guitar, though in fairness there are a total of five keyboard players used on the album, so it’s very much keys and synth-oriented, but then you’d expect that. It’s almost a return to the heyday of the New Romantic period in the 1980s; certainly a lot of restrained energy and while it’s hardly rock and roll, I could see people dancing to this. Good start.


Strange is in good voice for a man who hasn’t sung in a band since 2007, and yet I can’t shake the comparison to the Human League frontman. Maybe they just all sounded the same? This similarity in singing style continues into “Shameless Fashion”, where the synths take control more, especially the synth bass so recognisable from the music of that period. It’s still relatively uptempo though, and there is a decent guitar solo in the song. Interesting to see Visage kind of mock themselves, or at least the clothing fad at the time. A  little slower then is “She’s Electric (Coming Around) with some nice backing vocals, mostly courtesy of Lauren Duvall. Little keyboard riff there right out of Tubeway Army, and we’re into “Hidden Sign” with a nice funky bass line and the tempo rising again. Very synth-centric again. A spoken vocal section brings to mind Neil Tennant’s work with the Pet Shop Boys and again there are nice backing vox from Duvall.

[video=youtube;7inlaLkV2E4]https://www.youtube.com/watch?v=7inlaLkV2E4&amp;list=PLwwQ7naanFAH6B5tsI0fly26  4A2UYSLYA[/video]

“On We Go”. No, that’s not me saying on we go, though on we do go. It’s the title of the next track, and it has a nice sort of atmospheric, almost organ sound reminiscent of Kraftwerk and a big dark bassy synth carrying the tune in a somewhat ominous vein. Could very well be an instrumental, as we’re halfway through the song’s four minutes and so far no - ah no wait. There’s the vocal now. Very slow and almost menacing as the deep bassy synth propels the track, with another, almost vocal synth adding its own flavour to the tune. Probably the bleakest track so far on an album I expected to be fairly downbeat, and which so far has not really been. Though again I admit I know little of Visage’s work; “Fade to Grey” may not have been typical of them.


Something like cello or violin, probably synth-based, opens “Dreamer I Know”, the dark mood dispelled as the pop sensibility returns to the album, and it could almost be Johnny Hates Jazz or Curiosity Killed the Cat, or any of another hundred eighties pop bands; bit bland really and probably my least favourite track so far. Yeah, but it does make my toes tap, have to admit. “Lost In Static” has another nice atmospheric, almost ambient introduction, some soft piano ushering in the bass as the song gets going, tripping along nicely. Squelchy, bassy synth then takes control as the vocal comes in, and Strange is more subdued here, though truth to tell this is not the sort of music where you hear too much in the way of passion: a little mechanised, a little synthetic, a little - well, let’s be honest: a little soulless.


“I Am Watching” is not a lot better: very generic by-the-numbers electropop I feel, sort of mid-paced but not a lot to make me remember it. The rhythm almost puts me in mind of the dreaded Stock, Aitken and Waterman, though I wouldn’t be that disrespectful to any band as to link them with the awful Hit Factory. Still, it’s close. “Diaries of a Madman” is in fact the one track that presaged the return of Visage, the one Steve Strange recorded way back in 2007, and so is the oldest song on this album. Nice guitar intro, but then it descends into very much a Human League rip-off song; I could hear this on_ Dare_. The album then ends on a low-key ballad, not at all bad, with a nice soft texture and a smooth line flowing through it.


*TRACK LISTING*

Never Enough
Shameless Fashion
She’s Electric (Coming Around)
Hidden Sign
On We Go
Dreamer I Know
Lost In Static
I Am Watching
Diaries of a Madman
Breathe Life


Yeah, definitely not for me. I’m sure Visage’s fans, waiting for three decades for a new album will be delighted with it, and it will probably do well overall. But it’s not my kind of music. Echoing the dislike I had for electronic pop music back when I was young, this comes across as sterile, dull and pretty lifeless. There’s no doubt they’re good at what they do, all accomplished musicians and Steve Strange is a good singer, but there’s nothing here that excites or even vaguely interests me. I may be looking somewhat guiltily in the direction of electronica, thinking I haven’t exactly given it a fair shake down the years, and be searching for bands I can enjoy, but Visage won’t be one of them.


Unfortunately, a review that has to consist more of knives than hearts, I’m sorry to say.


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## Trollheart (Sep 15, 2019)

*Time --- Rod Stewart --- 2013 (Decca)*

Yes, I’ve been raving about this for months now, and it’s odd because I’m not a huge fan of Rod’s. Like everyone, I know the hits - “Maggie May”, “Do Ya Think I’m Sexy”, “Sailing” etc - but would not, prior to this, have considered buying one of his albums, bar his greatest hits, which I do own. And it was more curiosity than anything else that drew me to this on the new releases of my favourite album vendor. At first I took it to be a greatest hits compilation - after all, what did Rod do these days other than release greatest hits compilations? But looking further into it, I discovered it was a whole new studio album; new tracks, new songs, an original composition, his first since 2001, not counting his various covers and tribute albums released since then.


So I was intrigued. The guy’s a legend, after all, but would he still be able to cut it in the twenty-first century? Would he, like so many others before him and from his general era, try to update his sound, adding influences from today’s music? Would he collaborate with some of this century’s better-known stars? Or would the album sound dated, ageing, out of, as they say, time? Only one way to find out, so I bought it and played it. What I discovered was a man who, at the age of sixty-eight and with over twenty albums to his credit, over twenty top ten singles, five of which were number ones, can still stand shoulder to shoulder with the best and show ‘em how it’s done, and remains relevant even thirty-five years after his career took off.


It’s a little depressing to note that the singles released from this album so far have failed to even make a dent in the charts, and I guess ol’ Rod doesn’t have the pulling power he used to, when almost everything he touched turned to gold, and he only had to record a song for it to be a hit. But these are different times, people want different things, and this, so far as I can see with my limited knowledge of his music, is a very different Rod Stewart album. Of course, there will be those of you - most of you, probably - who will scoff and jeer at my championing the cause of the music of an old man, and to be honest I’m as surprised as anyone that this album impressed me as it did. But then, everyone seems to be raving about Elton John’s first album in seven years, and he’s from the same time period. It is however gratifying to see that _Time _slipped right in there at number one in the album charts, so _someone_ appreciates good music.


It opens with a big, bright, bouncy love song which affirms Rod’s happiness with his new love, and celtic instrumentation being the thing these days he has fiddle, accordion and also dulcimer and maracas giving the song a very folky feel. The album has been praised as his “most personal to date” and indeed it is: all through the album Rod either reflects on his past or looks to the future, and in every track, on every song he seems to be thankful for what he now has, his bad boy days gone. In many ways, he’s the antithesis of Robbie Williams, whose new album didn’t quite impress me. Robbie, now fast approaching forty, is still trying to be the Peter Pan figure and hold on to his fading youth on _Take the Crown_, trying to hold back time and age and live in a perpetual world of booze, birds and bad boy behaviour. Rod, on the other hand, seems much more comfortable in his skin, at peace with himself and his place in the world.


I get the impression this album was not necessarily released as an assault on the charts, or to prove he still has it, or even to make money, for why would he need that? To me, this seems more an affirmation of life, a joyous celebration of everything he has achieved, and perhaps as a thank you to the fans for putting him where he is today. Then again, maybe it _is _just for the money. But it certainly does not give me that sort of vibe. I also find that, despite the fact that the music here is pretty great really, this is an album which really transcends music. Yeah, that’s incredibly pompous, isn’t it? What I mean to say is that in many ways the music is not the most important thing on the record; it’s almost more a state of mind, a way of looking at things and the pure and simple joy of realising you’re alive, and all that entails, that informs the album. Granted, it’s a lot easier to be happy about life when you’re rich, but even so I get a sense of exuberance from _Time _which, while fully realising he is the age he is, makes you think of Rod as a younger man, full of hope and promise for the future.


Indeed, the second track almost confirms this, as “Can’t Stop Me Now” chronicles his early success and rise to fame, namechecking his famous hit along the way - _”Then along came Maggie May”_ - while still realising that it’s his millions of fans who put him where he is today. _”Thanks for the faith”_ he sings, and it really sounds sincere, _”Thanks for the patience, thanks for the helping hand.”_ Another upbeat song, it’s full of the youthful enthusiasm that must have filled the young Stewart as he suddenly realised he was on the way to making it big. It’s more a rock track than the previous, with harder guitar and a nice Scottish sound on possibly some sort of pipes; probably keyboards if I’m honest. It’s hard though not to get swept up in the optimism and excitement, and to feel yourself in the young man’s shoes, the world at his feet.


The first single from the album, which sadly did far worse than I would have hoped it would, is a bittersweet ballad where Rod realises a love affair has come to an end, and it’s best just to let it go. “It’s Over” is full of regret and loss, sorrow and pain, but also a sort of fatalistic acceptance. Well, no, not fatalistic. Realistic. It’s got some lovely orchestral arrangements, gentle piano and soft acoustic guitar, then the percussion cuts in and it gets a little harder - _”All the plans we had together/ Up in smoke and gone forever”_ - and for a man who’s been through more than his fair share of divorces, there’s a pragmatism about what’s important: _”I don’t want the kids to suffer/ Can’t we talk to one another?”_ It’s truly a beautiful song, and was the first point in the album where I sat up and thought, yes this is quite possibly going to be a great album. And it is.


Many of the songs here trace moments and events in Stewart’s life, such as the aforementioned second track with his rise to fame, divorce in this one, and the reflecting on a love that could have been in “Brighton Beach”. Not one of my favourite songs on the album I must say; I find it a little dull and pedestrian, but not bad. Evokes those memories we all have about what if and wonder where he/she is now? Carried on nice acoustic guitar backed by some mournful violin, another fine orchestral outing. Things get back rocking then with “Beautiful Morning”, as Rod lets loose and just exults in the joy of living. It’s a simple song, but then it needs to be. This is no complicated lyric, no deep meaning of life stuff; it’s just something we can all relate to, that morning when you wake up, the sun streaming in your window, your bank account fat and your lover by your side and just think _what a fantastic morning to be alive_. A real rocker, and one to make you come alive after the somewhat boring previous track.

[video=youtube;uh6CVL30z7s]https://www.youtube.com/watch?v=uh6CVL30z7s&amp;list=PLf_n2E3gq17fU-0MXC4mbnNzprwRsXQy1[/video]

_Time _doesn’t really hit that midpoint I often speak of, where an album reaches its peak in terms of quality and begins to slide, as if the artist is no longer really bothered, but there are weak tracks. Luckily, they come and go, and are followed by better ones, and the quality of the album only flags, if at all, momentarily before picking up again. As you might expect with all his songwriting expertise down the years, Rod pens every track, mostly with his producer Kevin Savigar, and occasionally other writers. All that is except one, which we’ll come to. 

“Live the Life” is a good track but it suffers from something that recurs through parts of the latter half of the album, which is plagiarisation. The opening is a rip-off of his own song “Maggie May”, while the main melody recalls Albert Hammond’s “It Never Rains in Southern California”, the bridge to the chorus putting me in mind of Carole Bayer Sager. There’s just a lot of influences in the song, too many to allow it seem original. Even the sentiment expressed in it is somewhat tired and overused, but it’s not the worst song on the album. That’s probably held for the next one, and “Finest Woman” is Rod back to his old bad boy days, leering at the girls and flashing his, er, smile. It’s perhaps a little disappointing given the lessons he’s telling us through this music that he’s learned, but I suppose everyone needs to let their hair down once in a while. Still, it’s not for me; sort of mixture of rock, soul and bit of gospel. Uptempo certainly, just a weak track in my opinion. Some sweet brass in it and good female backing vocals, but I’m waiting for the title track.


And here it is. And man, was it worth waiting for! A slow, powerful ballad with very much gospel overtones, “Time” tells us all that we need to know when to move on, when it’s finally time to quit. _”Time”_ Rod advises us _”Waits for no-one/ That’s why I can’t wait on you.”_ A gorgeous organ intro, almost church-like with a lot of blues in it pulls in some fine piano and excellent backing vocals from the ladies. There are echoes of Country in the song too, blues and a bit of soul. Superb work on the organ and keyboards by his producer, and Savigar really testifies on the keys as Rod pours out his heart and soul. Talk about personal! Super little guitar solo, but again it’s almost note for note from Bon Jovi’s “All I Want Is You”.


Rod has made no secret of his love of the music of Tom Waits, and the influence it’s had on his own music, and indeed he’s had two big hits with Waits songs. Here he takes a slightly lesser-known track, from the _Mule Variations_ album, and does a great job with “Picture in a Frame”. I’ve never had an issue with his interpretation of Waits’ songs, and he doesn’t disappoint here either. For those who may not know it, it’s a simple, piano-led ballad telling the story of the realisation of the singer that his girlfriend means more to him than he had originally thought. Truth to tell, he also covers “Cold Water” but it’s a bonus track and I just don’t do those, so let me just say he also does a great job on that. “Sexual Religion” is another “old” Stewart style song, with Rod marvelling at the power a woman has over him, and what she can make him do.


There’s a certain sense of seventies ABBA in the song, with powerful production values and a strong female backing chorus, the track itself a mid-paced one as Stewart sings _”If there’s one thing I don’t understand/ It’s the power of a woman/ And the weakness of a man.”_ Yeah, and the rest of us, Rod! It’s kind of close to the general melody of his big hit “Do Ya Think I’m Sexy”, but a much different song at the same time. More restrained and low-key is “Make Love To Ne Tonight”, in which Rod takes on the persona of a working-class grunt, facing the hard times but determined to make it once his girl is by his side. Sort of similar, lyrically is not musically, to “Livin’ On a Prayer” - wonder if Rod listens to Bon Jovi? On a bouncing, mostly acoustic rhythm, it’s an us-against-the-world song full of passion and optimism, and recalls some of Rod’s harder times, such as when he slept under the bridges in Paris while gigging, and it certainly speaks to the everyman in us all. Simple, perhaps simplistic, with a nice celtic lilt to it, it’s hard not to be engaged by its almost blind, determined sense of hope.


That old bugbear however resurfaces in the closer, and it really is a pity because it’s such a beautiful song, and a perfect way to end a really strong album. Maybe I’m just being a pedant and overly critical, but listen to the melody of “Pure Love”, and if you know the song you can’t help but hear the 1952 classic “You Belong To Me”, not to mention that the opening intro is “Send In the Clowns”. But that aside, it’s a touching, emotional message to it would seem one of his daughters, a father’s advice, carried on gorgeous piano and violin, with a heartfelt vocal as Rod sings _”Don’t ask me now where all the time has gone/I’ve loved you since the minute you were born”_. A truly stunning upsurge of orchestral strings near the end just paints the final stupendous layer on a finale to what is truly a remarkable album, and a real tribute to a man who has seen it all, done it all, and is, in the words of one of his contemporaries, still standing.


*TRACK LISTING*


1. She Makes Me Happy
2. Can’t Stop Me Now
3. It’s Over
4. Brighton Beach
5. Beautiful Morning
6. Live the Life
7. Finest oman
8. Time
9. Picture in a Frame
10. Sexual Religion
11. Make Love To Me Tonight
12. Pure Love


Look, you can all laugh: I’m used to that. People read my review of Andy Williams (not yet), Neil Diamond or Pixie Lott and make choking noises, and move on. Doesn’t bother me. But it’s sad if you avoid this album purely on the basis that it’s Rod Stewart. As I said, I’m no big fan but I was quite amazed by how mature and accomplished this album is, given that he could have just trundled out another greatest hits or even a by-the-numbers album of pop singles, paying others to write for him. He didn’t. This is, first and foremost, a personal account of where he has been, what he’s learned and how he’s dealt, in different ways, with different situations, to arrive where he is now.


If you leave your prejudices at the door and wipe that disparaging grin off your face long enough to give this album a chance, you may find that you’re pleasantly surprised. I know I was.


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## Trollheart (Sep 15, 2019)

There are a lot of people who really like Steely Dan, and rightly so I think, as they appear to have had quite an effect on the development and history of popular music. Me, not so much. I know a few songs of course, the hits - “Reeling In the Years”, “My Old School”, “Rikki Don’t Lose That Number” - but nothing much beyond that. And then in the early eighties I heard this. Well, to be fair, I heard the singles and maybe another track off it. I didn’t like it. But time changes our musical appreciation, and I have to wonder if maybe I might get it second time around? Or first, really, as I’ve never heard the album all the way through. Well it’s worth a shot, isn’t it?




*The Nightfly --- Donald Fagen --- 1982 (Warner Bros)*


This is Steely Dan co-founder Donald Fagen’s first solo album, and was a big hit for him at the time, possibly off the back of interest from Steely Fans (sorry) or maybe he just captured the spirit of the time. The album is said to be a mixture of reggae. soul, jazz and blues. Many of which are genres I have uneasy relationships with. This may be a bumpy ride.


I know of course the opener, “IGY (What a Beautiful World)”, with its slow reggae rhythm incorporating some soul/jazz horns and a nice bit of slide guitar. The song was his lead single and temporarily pushed him towards solo stardom. The song envisions wonderful advances and inventions in the future, and is dripping with optimism, perhaps misplaced given that one of the lines is _”By ‘76 we’ll be a-okay”_.The idea is that the lyric is sung by a guy in the early fifties as he thinks of how the world will be in twenty years time, tying in with half of the title, IGY standing for the International Geophysical Year, a collaborative effort between scientists.


Slightly more uptempo and jazz-oriented is “Green Flower Street”, with boppy electric piano and organ, ticking percussion from Jeff Porcaro and some sweet guitar from the legendary Rick Derringer. Sort of a Stevie Wonder feel to this, very upbeat and catchy. A cover of “Ruby Baby” is up next, with a stride tempo and some warbly organ driving the tune. Good backing vocals and a decent version, though it’s never been one of my favourite songs. Some nice sax licks from Michael Brecker, some super honky-tonk piano from Michael Omartian and a sweet little bass line from Anthony Jackson.


“Maxine” is like something out of a smoky nightclub, with tinkling piano and close-harmony vocals, swaying along and only missing the sound of clinking glasses and the murmur of people’s voices to transport you to some out-of-the-way bar in the affluent part of town where musicians play gigs to pay the bills, mostly ignored by the clientele as background noise. More super sax from Brecker in a quite lovely solo, then “New Frontier” sounds like it belongs on a Billy Joel album circa 1978, with uptempo piano and ticking bass, some slick harmonica as the tempo goes up a little. From the minimal music I’ve heard from them, this sounds like the closest Fagen comes to writing a Steely Dan song.

There is of course a lot of what comes across as youthful optimism, perhaps even naivete on the album, as it’s mostly autobiographical, Fagen recalling the dreams and fantasies he had as a boy, the things he would do, the places he would go. There’s a definite sense of vibrancy and of everything being new, which lends an almost endearing innocence to many of the songs. To some extent though, this can also be seen as bitterness, as the wonderful vistas Fagen, or his character, envisioned, mostly failed to materialise and he had to face the cold hard realities of life. The title track is a mid-paced laid back piece with a lot of jazz and blues in it, and backing vocals not a million miles removed from those of the three Gibb Brothers. As a title track it’s okay but I’m not mad about it.


Marimbas and vibes introduce “The Goodbye Look” with quite a bossa-nova feel, but this is becoming a little too laid back and caribbean for me. It’s all right again, but I’m pretty bored by it. Still, we only have one more track to go, and it’s a short one. “Walk Between Raindrops” has a nice rockabilly/blues rhythm and at least kicks up the tempo for once on the back of some sprightly organ. It’s a sudden injection of fun into what was turning into a fairly dreary album for me. It’s a pity more of the songs aren’t like this. It’s also the shortest track, just over two and a half minutes, but that’s not before we get a sweet organ solo from Donald.


*TRACK LISTING*


1. IGY (What a Beautiful World)
2. Green Flower Street
3. Ruby Baby
4. Maxine
5. New Frontier
6. The Nightfly
7. The Goodbye Look
8. Walk Between the Raindrops


I think my original impression of what this album would be like, garnered through the singles and the track or two I caught on the radio at the time, was pretty accurate. There’s some good tracks, the odd great one but a lot of filler, and that’s saying a lot in an album with only eight tracks.


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## Trollheart (Sep 15, 2019)

*Warning: Band name contains profanity! *

I like, on occasion, to randomly select an album in my collection which I haven’t yet listened to, and without checking any details about the artist, just dive in. I often call this “rolling the dice” (NOT Copyright Trollheart MMXIX). While a lot of the time I buy albums because I know and like the artist, have been waiting for the album or have had it recommended to me, often I have pretty trivial reasons fpr shelling out my hard-earned. An eye-catching cover, an intriguing name etc. There will be absolutely no prizes for guessing my motivation in choosing this one - I love an interesting title or band name, and you don’t get a whole lot more interesting than a band called Break My Fucking Sky, now do you? 

If I had to guess (and I’d probably be wrong) I would say this is a thrash/death metal band, just going from the name, but I really have no clue. That could be a massive pink salmon, sorry, red herring, and the band could be a folk indie rock outfit for all I know. Well, that’s probably not too likely, but a name doesn’t always tell the full story. Unfortunately I can find nothing about them on El Webbo, other than YouTube videos and the odd place that sells their album, so I guess we’ll just have to let the music do the talking.


*Final Breath --- Break My Fucking Sky --- 2013 *


Totally breathtaking opening with beautiful soft acoustic piano then deep synthesiser in an almost orchestral vein - could _be_ an orchestra to be honest, I have no information at all about this album as I say. Nothing about the players, their discography, their style. This could be their debut for all I know. One thing I do know is I (excuse the word) fucking love this! Soft, ambient, emotional, possibly (probably) instrumental. I find myself wondering though if I’m being set up for a fall, as I would almost swear this is metal, and may explode, if not in this track then in the next, shattering the lovely feeling I have here. Well we’ll see. Hmm. Second track is also piano-led, soft and instrumental with some sound effects loops thrown in.

Seems like it may all be instrumental. Piano certainly appears to be the main instrument, the lynchpin around which the rest of the music swings, the heart of the album. Some interesting drum loops almost give it a feel of slower hip-hop at times, and some really nice orchestral synth lays down further layers of beauty on this lush soundscape. Beautiful piece of evocative guitar in the gorgeous if grammatically-incorrect “So Silently Has Become In My World Without You”, then the last few moments of “Stop the Time” are the first where the music gets anyway fast, dropping back to gentle ambience for “Your Personal God”, with what sounds like violins. After all the soft piano tracks it’s almost a shock to hear what sounds pretty close to electronic pop in “You’re Living This Moment With Me” but it goes back to the slow atmospherics for much of the rest of the album, ending on a storming track just shy of six minutes which brings in sort of techno influences into the mix.

[video=youtube;f3dQ8kk73RY]https://www.youtube.com/watch?v=f3dQ8kk73RY&amp;t=580s[/video]

So I admit I’m surprised at the end, but mostly a good sort of surprise. As I  said, I had no idea at all what to expect, and the fact that this turned out to be an instrumental album, and such a good one, knocked me a little for six. There were no nasty revelations, no sudden changes in the music and no growly vocals. Well, no vocals at all. I’m a little mystified as to the title of the band/project though, considering it’s all pretty laid back instrumental stuff. It kind of precludes any airplay. Then again, instrumental music doesn’t get much of that. Very impressed though Wish I knew more about Break My Fucking Sky: I have a sneaking suspicion this could be one guy. Or girl. But there’s no way to confirm or disprove that, which is a pity.


*TRACK LISTING*

1. Final Breath
2. Aquarius
3. Moon
4. So Silently Has Become In My World Without You
5. Stop the Time
6. Your Personal God
7. Destruam et Aedificabo
8. Do Not Forget Me
9. Embrace My Night
10. Fire All Over
11. You’re Living This Moment With Me
12. Second Chance
13. Sense of Touch
14. The Last Minutes of Stars
15. Will You Save Me


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## Trollheart (Sep 16, 2019)

I would just like to offer an apology for the confrontational and defensive tone of the following review, especially in the closing paragraphs. This is based on the bias I had to suffer while at Music Banter, my former forum, from people who believed that because they were into free jazz or experimental music or vaporwave or whatever that they had somehow better taste than me. Taste, like music, is of course subjective: what one person loves another may hate, and neither is wrong. if you get what you want from the music (or don't) then you're right, in the most absolute sense of the word that matters to you. It's no use someone telling you a thousand times you MUST or SHOULD or HAVE TO listen to album X or artist Y, that you JUST DON'T GET IT: if you don't like it, you don't like it and nobody can force you to.

But this is what happened on a regular basis there. I would be looked down upon, sneered at and dismissed because of my "mainstream" music taste, and while other would rave about the latest album release from, say, Flying Lotus or Sun Kil Moon, if I didn't like it, I was at fault. And, according to these people, they should not be surprised, given the "crap" I listened to. I was regularly baited, denigrated and all but shunned for daring to enjoy the music of Bon Jovi, Marillion, Genesis and, coming up, Journey, among others. Nobody (or, to be fair, few) could understand this, but I had and have always been of the opinion that music I enjoy is music I enjoy and nothing more: I am not one of those who listens to what's cool because it's cool, and I am not a sheep, someone who will listen to something just because everyone else is listening to it (which amounts to the same thing, I guess). If my music is not popular with others, so be it, but they have no right to put me down over that. Just because I don't enjoy the latest release from this amazing electronic artist who records three hours of photocopier noises, beeps, buzzes, farts and people banging cans on walls, I'm a philistine (no offence to the member of the same name!) and my music taste is somewhere which might cause inconvenience should I wish to sit down.

I once had someone (who shall remain nameless) suggest, quite seriously, that the reason I didn't like a certain album was because I hadn't listened to it enough times to "let it sink in". After about the fortieth or fiftieth listen, I was told, I should get it. Who has time for that, and how arrogant is it for someone to intimate that only by metaphorically being banged over the head with music would I eventually begin to enjoy it? I mean, listen to anything for long enough and I suppose you may enjoy it in the end, but it's hardly an indictment of the music, is it? Like that stupid comment I heard once about Guinness I think it was: it takes time to acquire the taste. But if you don't like the taste in the first place, why bother investing the time to try to force yourself to like it? 

I endured this attitude all through my time there; in fact, I joined in 2008 but left soon after due to the elitist, snobby attitude there got to me, and only rejoined in 2011. After I decided I didn't give a curse what people thought, I got on better, but I still struggled against musical prejudice, which is why most of the time, at least for the first few months, I hid myself away in the Members' Journals sections where nobody could annoy me.

The sentiments expressed in the following review, then, are aimed at Music Banter and its cadre of intolerant musical bigots, and reflect the trouble I had just trying to convince them to leave me alone and let me enjoy my music, and are not intended to refer to anyone here. I know you are a much cooler crowd and would never do such a thing as laugh at someone for their musical taste, whether you agree with it or not. But I've left the comments in as an indication of the atmosphere that I had to endure there, and to show, or at least hint at, how hurtful people can be, and how it can be very cold when you're outside the clique looking in the window. I guess reading it over and editing it for posting here just brought up those feelings again, and I wanted to explain in case anyone thought I was getting worked up over nothing.


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## Trollheart (Sep 16, 2019)

They're a band who get a lot of hate from a lot of different quarters, possibly because people keep putting them into what I feel is the wrong boxes. I mean, a heavy metal band? Surely not. A pop band? No. I think the only proper label that fits Journey is AOR, and in that sphere they have flourished and grown to be one of the biggest stadium-fillers in the US, perhaps the world, over a career spanning forty years, but really only beginning in earnest in 1981, with the release of this, their most successful and best known album.


_

*Escape *_*--- Journey --- 1981 (Columbia)*


With the arrival of keyboard whizz Jonathan Cain from The Babys (which had also featured John Waite, a relationship they would renew when they and most of the rest of Journey would form Bad English in 1987), the scene was set for a cosmic shift in the fortunes, and indeed the music of Journey. While they had had six albums previous to this, none had really done much, although _Departure_ and the two previous albums had made some inroads on the charts and given them some hit singles. However Journey, generally, were still a well-kept secret for the most part. They had their fans, sure, every band does, and they had their hits, but their albums only began shifting massive units after this behemoth hit.

Straight into songwriting went Cain, with Neal Schon and Steve Perry, and together they crafted not one but four huge hit singles, two of which were to go on to become total rock classics, and the stuff of many a drunken karaoke night. The album became their breakthrough in a commercial sense, putting them firmly on the map. People might argue that Journey were already well on the map, and they were, but if you like, this album put them in the sat-nav rather than just being a place on a printed map. In other words, though Journey had had hits in the US before, it was only after this album that people all over the world suddenly began to know who they were. And so the hate began.

But I love Journey, though many of their albums I feel struggle by on some incredible tracks paired with some pretty poor ones, of which perhaps more later. If any of their albums can be said to be a classic though, it has to be this, and it would lead to other gems like _Frontiers_ and _Raised on Radio_, as what was almost the perfect AOR band lineup took shape. What I said above holds true too for this album: there are classic tracks and there are ones that are, shall we say, less than classic? But the good surely outweighs the bad, and at one point this album was voted as number one AOR album ever by the readers of that venerated metal mag, _Kerrang! _Not bad.

If there's anyone alive who does not know “Don't Stop Believin'” then I have yet to meet them. If only through the latter efforts of _Glee_, the song has become a standard even if some people don't realise who wrote it. With a haunting piano line that immediately lays down Cain's marker as the new guy taking control it features a bluesy vocal from Steve Perry, arguably the best ever Journey vocalist, before Neal Schon's searing guitar line bursts through and the song takes off. “Don't Stop Believin'” is somewhat of an oddity in Journey's catalogue, as it really doesn't feature a chorus, or indeed the title, until the last minute or so, with the verses all played one after another. The end result is a buildup that just makes you want to punch the air in exhliration when Schon's guitar solo peters out and ushers in Perry's hopeful, defiant vocal _”Don't stop believin'/ Hold on to the feelin'!_ Classic, and a a great way to open the album.

A loud, raucous staggered guitar riff takes in “Stone In Love”, Steve Smith's thumping percussion merging with Ross Valory's powerful bass lines and Perry's vocal coming in with a raunchy, sleazy delivery quite different to the song he's just finished. Great vocal harmonies, another hallmark of Journey's music, and very much more guitar-driven this time, as Schon gets given his head, Cain tailing back into the background and waiting for a chance to shine, as he does in the buildup to the instrumental section, where he puts a Yes-like spin on the music. He leads in the second hit single, “Who's Crying Now?” as his soon-to-be familiar piano notes lay down the background for one of rock's most powerful ballads. Again, there should be few among you who don't know this song. A passionate vocal from Steve Perry and just the right amount of punch from Smith takes the song along in a perfect path. Those vocal harmonies are back and so very sweet, Vallory putting a superb little twist on the bass line that forever marks the song with his unique signature.

This is only one of two tracks on which Perry and Cain collaborate without Schon, but the sublime breakaway guitar solo that ends the song leaves you in no doubt that he has more than contributed to it. Journey would get a lot of stick - still do - for the amount of “soppy rock ballads” they write, and indeed this album has three, but if you thought they were not a rock band then “Keep On Runnin'” should show you the error of your ways. Not the best of Journey songs certainly, but it has a real punch and drive about it, and Schon goes particularly crazy on it. Perry sings his heart out and again Cain takes something of a backseat to the guitar man, but as ever he's only waiting, gathering his strength and his energy for the lush ballad to come. “Still They Ride” begins on soft acoustic guitar and will always be recognised for Perry's first two words, _”Jessie rides”_ before Cain builds the soundscape with sonorous organ and powerful piano, Perry wringing every ounce of emotion out of the song. It's devoid of the usual vocal harmonies this time, but rather than suffer for it their absence seems to make it better, almost as if they would be superfluous here.

A soaring guitar solo screams off Schon's fretboard, climbing to the Heavens as the song reaches its climax, Cain adding piano flourishes and synth flair as they take the track home and into the title track. A big snarly guitar with piano_ glissando _and “Escape” gets underway, rocking along nicely with a bouncy beat, Cain emulating Jerry Lee Lewis almost on the ivories. He also must have given Geoff Downes some ideas and borrowed from Tony Banks, as I hear a sequence that would crop up on Asia's first album and had been used by Genesis earlier. A real stadium rock anthem, “Escape” brings the harmonies back in and they work brilliantly. There's even a shot of soul and gospel in the vocals. “Lay It Down” is down-and-dirty straight-ahead rock and roll, not a wimp in sight as Schon cuts loose and Perry gives it all he's got. I'm not sure whether the presence of ex-Lynyrd Skynyrd soundman Kevin Elson, who co-produces, has anything to do with this but it certainly has a southern rock feel about it.


[video=youtube;T8gTlHInJIA]https://www.youtube.com/watch?v=T8gTlHInJIA[/video]

And things keep rockin' for “Dead or Alive”, this time driven on the manic rock piano of Mr. Cain, a song just to have fun to really. A rapid-fire vocal delivery from Steve Perry as he grins _”Wanted dead or alive”_ five years before Jon Bon Jovi took that to the charts and reinvented cowboy rock for a while. Powerful work on the frets from Schon, a great almost metalworthy solo (shut up) and we're into the longest track on the album. “Mother, Father” runs for just a second short of five and a half minutes, and almost closes the album with a classical piano intro by Cain, a strong and determined vocal from Perry which quickly changes what seemed to be a ballad into a dramatic, yearning power anthem and would have made a great closer by itself. This is the only track on the album on which Matt Schon lends a hand to the songwriting team. I don't know if he is Neal's brother, but I assume he's related in some ways. This is probably the closest Journey return to their earlier progressive rock roots, and it really gets you in the heart, especially with the harmonies.

But it's not quite over. The final track is not only another single, but their biggest hit in the US, stopping just one short of the number one slot. This confounds me a little. I love “Open Arms”, and it's an amazing song, but I can't believe people liked it better than “Don't Stop Believin'” or “Who's Crying Now.” It's a showcase for Jonathan Cain as he drives the closing ballad on gentle piano, Perry's voice soft and wistful initially until the chorus when he punches it up into an emotional crescendo, and you can almost hear the passion leaking from his pores as he croons _”Now I come to you/ With open arms/ Nothing to hide/ Believe what I say.”_ Which kind of brings everything full circle in terms of lyrical content. I don't see an orchestra credited, but Cain certainly makes his synth sound like one, and for once Schon lets him do his thing and stays somewhat in the shadows, allowing the song to bring a gentle and triumphant close to a true classic of AOR.

*TRACK LISTING*

Don't Stop Believin'
Stone in Love
Who's Crying Now
Keep On Runnin'
Still They Ride
Escape
Lay It Down
Dead or Alive
Mother, Father
Open Arms

Listen, all you guys and girls who hate and laugh at Journey don't bother me. I listen to music because I like it, not because I'm told to or I think I should or someone says I should, and equally, I refuse to put down a band just because they're not popular or deemed worthy. This album is a true classic, and would spawn some amazing followups, cementing the name of Journey not only in rock's annals but also in the derision and sneers of those who judged them by their hit singles and probably never bothered to listen to a full album. Some people just like to feel superior - as Jimbo Jones once put it in _The Simpsons_: “It makes me feel like a big man!” And that's fine. You go ahead: haters are gonna hate. But you won't turn me off Journey.

And if you listened to this album maybe your opinion would change. But even if not, nothing stops _Escape_ being a classic of eighties AOR, and the yardstick that so many new and young bands still aspire to, over thirty years since it was released. If songs like “Don't Stop Believin'” can still inspire artistes to cover them and make them famous and popular all over again, then that has to say something about the album's longevity, doesn't it? You might prefer Husker Du, or Kendrick Lamaar, or even The Flatfish from Outer Space, who knows? And if you do, fair play to you and I hope you enjoy them.

This is what _I_ enjoy. Classic, timeless rock that speaks down the years and still seems as fresh today as when it was penned back at the start of the 1980s. And I will go on enjoying it. And Journey will go on releasing great albums. And you will continue to hate them. Probably. And the world will continue to turn. But with four hit singles and over twelve million units sold, and nary a bad track on it, there's no escaping (sorry) the fact that this is, and always will be, a great example of a classic AOR album.


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## Trollheart (Sep 16, 2019)

The story is oft told round the campfire of a wintry night how one day I was out and about with my Zen X-Fi (less popular but better than an ipod, probably obsolete by now)  and wondering what to listen to as I stood waiting for the bus, as those of us without cars or the money to buy them are forced to do. It just so happened that I had listened to most of what was at the time on the unit, and I came across this album and, having failed to even remember when or why I downloaded it, thought well why not? Give it a spin. I was very glad that I did.

_
*War and Peace and Other Short Stories*_* --- Sean Filkins --- 2011 (F2 Records)*

Those of you in the know who move in progressive rock circles will know of this man. He was with Big Big Train for six years, but only featured on two of their albums, 2009's incredible _The Underfall Yard_ being released after his departure. This is, to date, his only solo album but on the strength of what's here I'd be willing to lay down serious money it is not his last. Working with friends and fellow musicians Lee Abrahams from Galahad, John Mitchell from Arena and It Bites, Dave Meros and Gary Chandler, Filkins has come up here with an album that will, in fairness, take some beating when he gets around to writing a follow-up.

In typically English eccentric style (presaging the second track indeed) the album opens with “Are You Sitting Comfortably?”, which is basically an organ rendition of “Jerusalem” played against the sounds of someone making a cup of tea and settling down. The perfect way to set the scene I guess, and it quickly moves into the first “proper” track, which as I mentioned above is called “The English Eccentric”. It kicks off with a big squealy keyboard intro with hammering drums and then settles down into a song that reminds me of very early Supertramp, especially the _Indelibly Stamped_ album. It's not my favourite on the album to be honest, and made me reserve judgement until I got past it, but on repeated listenings I've come to quite like it. Still, everything else on the album was a hit with me first time around, so that says something in itself. Filkins' voice will be familiar to anyone who's heard _Gathering Speed_ or _The Difference Machine_; strong, clear with a definite English tinge that marks him as from the same vocal school as the likes of Gabriel and Hammill, but he has his own style and identity.

Most of the keyboard parts are played by John Sammes, who also helped flesh out some of the musical ideas Filkins presented him with, but the man whose name the album bears is no slouch when it comes to playing instruments either, adding guitars, blues harp, even didgeridoo at one point! “The English Eccentric” (surely a coincidence that BBT's last two albums were called “English Electric?” ) is a long enough song, about eight and a half minutes, but that pales when compared to “Prisoner of Conscience”, which is divided into two parts and runs to an immense thirty minutes between them. Yeah, I said thirty. Part one, which is subtitled “The Soldier”, begins with effects: a man walking through a forest, birds singing, then the sound of a jet aircraft flying overhead. Some dark synth and flute merge with a fast guitar, almost Classical guitar with what also sounds like sitar to create a very eastern feel as the soldier awakes in a hospital, voices mentioning “Oh good, he's coming around”. Mind you, it's almost four minutes into the track before that happens. Then we're off on some very Yes-style guitar as Filkins confirms he has amnesia: _”Please don't ask me who I am/ As I for one just don't understand.”_

The Yes comparisons grow even stronger when a lush keyboard backs him and he really channels Anderson as he moans _”I'm haunted by the ghosts / Of all the innocents/ That I betrayed along the way.”_ Cue a flurry of keyboard madness taking us into the seventh minute with bombastic drumming from Meros. It's hard to figure out precisely what this song is about, but I feel it's the tale of a soldier, possibly a pilot shot down over the country he was about to bomb, recovering from his wounds after being taken care of by the very people he had intended to destroy, and realising the country (unnamed) is a beautiful place he had never dreamed of it being before. From being just a target it has become so much more, and he is now questioning his orders, his career, the very reasons for whatever war he is engaged in. That's what I get from it anyway. Some superb guitar playing fleshes part one out, with a grinding fretworkout that just leaves me stunned, Filkins executing a buildup vocal that rises to a tortured crescendo as he realises _”I don't want this/ I don't need this/ I can't have this”_...

Suddenly, in the twelfth minute, the unnerving, eerie sound of the voices of all the people he has killed in his role as pilot (let's say) come crashing like waves against the cliffs of his head and he yells out, unable to face the truth they batter him with. The music gets heavier and more frenetic as he wrestles with this knowledge, that he may have - probably has - killed so many innocents whose names he did not even know. Everything flows then back into the guitar motif that runs through this part and into a soaring solo that puts me in mind of John Mitchell, though details on who plays what and where are almost impossible to come by. A Spanish Flamenco style passage then gets underway as part one moves towards its conclusion, sliding into another emotional guitar solo, some lovely bright piano and pealing bells with choral voices before it ends on a very Gilmouresque solo, taking us into part two.

“The Ordinary Man” opens then on soft organ, a much gentler vocal which again betrays traces of Anderson, bringing in some really nice vocal harmonies too. A rippling keyboard passage takes the third minute with choral vocals in attendance, into the fourth with a swaying rock rhythm bringing in Genesis influences, then another extended keyboard romp takes the tune, almost an Irish reel at times. In the sixth it changes to a rolling soft piano and oddly enough rerinds me of The Beautiful South on _Blue Is the Colour_, then back to Yes for some really superb vocal harmonies and another rising guitar solo as we move into the eighth minute. The triumphant resolution of the song (both parts) is really moving and attended by one more expressive guitar solo before we exit.

[video=youtube;2u1arLnkCbw]https://www.youtube.com/watch?v=2u1arLnkCbw[/video]

And yet, this massive epic is not the standout. That's to come, and is up next, in the slightly shorter but somehow even better “Epitaph For a Mariner”, which opens on Abigail Filkins singing the old hymn “Eternal Father, Strong to Save” with only church organ as accompaniment. The piece is broken into five sections, the first of which, “Sailor's Hymn”, has just been sung, the second, “Siren's Song” is characterised by a long piano and synth instrumental with effects and moaning guitars and a rising, mournful chant from Abigail Filkins that follows the music perfectly and does indeed make her sound like a siren luring sailors to their doom. Who could not follow that seductive voice? A sort of electronica piece next takes over, as the music gets faster and more urgent, guitar breaking through with a powerful voice, percussion hammering away like the wind battering a ship at sea.

In the middle of this compelling instrumental we suddenly hear a voice muttering about his wife and child, and part three, “Maelstrom” has begun, as a sailor, who has chosen to stay on land while his wife gives birth, worries about his comrades fighting for their lives on the harsh seas, as he accepts _”The sea's no friend to man.”_ We're now almost halfway through the piece and things begin to calm down (calmer seas?) as “Ode to William Pull” brings back in Filkins' vocal against a gentle, pastoral background of organ and guitar. A dreamy, drifting keyboard line takes the song as the vocal swells then descends and we pass into part five, “Epitaph”, the vocal continuing on as the keyboards get harder and more insistent, the piece building towards its climax now with guitar sailing in majestically, joining the measured drumbeats of Meros. The vocal fades out in the seventeenth minute, its work done, and a superb guitar and keyboard ending brings this amazing epic to its final conclusion, leaving me breathless. A final slow passage on the piano sets the final seal on the song.

And yet there's one more track to go before the album wraps up. It's pretty amazing to think that in reality we've only had four actual tracks so far, it sounds like about ten, but the closer is a short (in comparison) little gentle ballad, as “Learn How to Learn” is about as simple as they come. And yet it carries the full authority of what we have come to see as Sean Filkins' worldview in its seven-minute-plus length. Another very Yes-like song, it rides on gentle piano and acoustic guitar with a soft vocal, as if Filkins is reinforcing the lessons he has learned, and in turn passed on to us, through the run of this wonderful debut album.

*TRACK LISTING*

Are You Sitting Comfortably?
The English Eccentric
Prisoner of Conscience Part 1: The Soldier
Prisoner of Conscience Part 2: The Ordinary Man
Epitaph For a Mariner
(i) Sailor's Hymn
(ii) Siren's Song
(iii) Maelstrom
(iv) Ode to William Pull
(v) Epitaph
Learn How To Learn

To think I might never have heard this album! I should have been alerted to how good it is by the fact that it was placed high on Prog Archives' top albums for 2011, but so often these lists turn out to be just one person's choice and don't chime with what I believe are the pick of the bunch. Here though I definitely have to agree with them. As I said, I did not even know who Sean Filkins was, and had to check his pedigree to get an idea of what kind of music (I didn't even know it was prog) I might be listening to.

Now, all I can do is hope that he doesn't leave it too long before gracing us with his next composition. I'll be waiting.

(Note: I’m still waiting. This was, I think, originally written in 2015, and four years later I have yet to see Filkins release another album. Hope springs eternal, though.)


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## Trollheart (Sep 16, 2019)

I've made no secret of my love of the music of Vangelis, and yet, though I have all of his albums I've only listened to a select few. The ones I have though, usually stay with me and tend to get played quite regularly. Though this is one of his earlier efforts (recorded while he was still a member of Aphrodite's Child with the late Demis Roussos), and one of his shortest with a total running time of thirty-five minutes, it's nevertheless among my favourites from him.



*L'Apocalypse des Animaux --- Vangelis --- 1973 (Polydor)*

Although it's the soundtrack to the documentary of the same name, the actual film contains a lot more music so I kind of tend to treat it more as an album than a soundtrack. I assume it translates to “apocalypse of the animals” and all the titles are in French, since it was a French documentary. Some of them I can guess at the meanings of, others not so much. It's not really that important though, as it's the music that concerns us, not the titles. It's a mid-tempo percussive piece with marimbas and vibraphone that gets us underway, a short segment which is basically the title track, with some choral vocals added in before we get to the first real track (this one is less than two minutes long), with “La Petite Fille de la Mer” (The small daughter of the ocean), as dreamy piano backed up by surf sounds and low, lush synth slows everything down to a crawl, the tempo much of this album will take. It's a great one for just closing your eyes and drifting off to. Some gentle acoustic guitar comes in now, but the piano (sounds digital; maybe Fender Rhodes?) holds court over the music, as soft swirling keys now flow in like the waves lapping at the shore, advancing, retreating, advancing, retreating, as timeless as the ocean itself, as unhurried as nature. Sounds like some strings now, but I know Vangelis creates all these instruments himself on his banks of synthesisers. Still, it's very effective.

“Le Singe Bleu” (Blue something, obviously) keeps the soft piano line but marries it to a bit of echo and also introduces sax, low and smoky, which gives the composition a slightly jazzy effect. There's a very late evening feel to it, and if possible it's slower than its predecessor. The sax fades out now and leaves rippling keys to take the tune alone before it slips back in like the ghost of a voice almost forgotten but then takes the tune almost solo, its mournful tone carrying the piece towards its end, rising and falling, crests and troughs. A nice sprinkly effect from the piano falls in a cascade of notes as the sax pulls the tune along, then “Le Mort du Loup” (Death of the wolf) is driven on the soft piano with shimmering rivers of low synth behind it, while “L'Ours Musicien” has a deep, brassy synth with the first I've heard of any percussion, if low and muted, and at just over a minute long it doesn't have long to establish itself before it's gone and we're into the epic, a ten-minute “Creation du Monde” (Creation of the world) with a low, rising, buzzing synth allied to shimmering, wavering organ and dark bassy keys too.


[video=youtube;PGZp3KweVtA]https://www.youtube.com/watch?v=PGZp3KweVtA&amp;list=PLIoFxSeC9xA5cDBjyEvDjvE3  3iZXihqJA[/video]

A high guitar comes through, synthesised of course, joining in the melody as the synth continues to growl and hum as a backdrop, the whole thing taking on quite a spacey, atmospheric air, and now high, rising synth climbs over the darker one, like a dolphin jumping out of the water. A deep bass note adds a sense of portent to the piece, then fades out as quickly as it came in. A sound not completely unlike whalesong drifts over the composition, then some piano notes are sprinkled like fairy dust or pattering rain over the music, bubbling synths adding to the melody. You can get the sense of wonder and awe as the Earth cools and forms from the gases expelled by its parent star, and begins to rotate, creating gravity and an atmosphere, and taking its place in the solar system.

Now the tone changes to very much darker, broodier as the low synth that has been the canvas against which this mutli-textured composition has been created comes more to the fore, booming out and then receding back, more little sprinkly synth noises echoing as they fly off in the distance like passing comets or asteroids. That dark bass piano line returns, staying this time as it brings with it more guitar and the tone rises as the piece nears completion, fading slowly down on that dark piano and the slowly receding synth line.

Which leaves us with just one track before we close, and it's called “La Mer Recommencee”, which I think means the sea comes back, or the sea is reborn, something like that anyway. It opens on a high synth line, almost like a siren or a factory horn, then a lower, brooding synth before soft piano comes in, the original synth fading away but then coming back with renewed strength. A rising, falling melody now takes the tune, then a roll of muted percussion before cymbals crash and if that doesn't represent the waves rolling on the ocean then my name's not Wowbagger the Infinitely Prolonged. Which it isn't. Everything seems to be slowly winding down now as the album comes to a close and the sea takes over, rippling, sprinkling piano and little flashes of percussion dripping over the music like spring rain as it all slowly fades down and away, leaving you with a powerful sense of the infinite, the power of the ocean and the vastness of time.

*TRACK LISTING*

Apocalypse des Animaux - Generique
La Petite Fille de la Mer
Le Singe Bleu
Mort de la Loup
L'Ours Musicien
Creation du Monde
La Mer Recommencee

Yes it's a short album, very short, but it's also very effective. It's possibly an early example of what would go on to become known as ambient music: at times, it's almost abstract. Vangelis has a great way of creating landscapes, stories and vistas with only his synthesisers, and here, even though he had yet to embark on a proper solo career and win the many plaudits he would go on to garner for his work, especially in movies, he has produced an album that takes your breath away, both with its simplicity and its depth. As I said in the review of _Oceanic_, years ago, Vangelis has the power to take you on a journey with his music, and no matter where you go, or how far, you always feel safe, and know that he will return you to your home.


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## Trollheart (Sep 16, 2019)

The development of bands has constantly amazed me. How one can start as one thing and metamorphose over time into something totally different, for good or ill. This makes it all the more important to go back and check out these bands' often-struggling and stumbling first efforts, to see how they began and if they maintained that same music style throughout their career, or if they changed radically into another animal altogether. 


If you mention the word Supertramp to most people they'll think of “Breakfast in America”, “the Logical Song”, “Take the Long Way Home” or “Dreamer”, or perhaps, if they're a little younger, “It's Raining Again.” All good decent hits from a band who straddled the often precarious divide between progressive rock/pop and outright commercial AOR/MOR from the seventies to the eighties with a great deal of success. Their albums sold well, some of them going gold or platinum, and when founder member Roger Hodgson jumped ship in 1982 to pursue a solo career, the direction shifted and Supertramp became less of a “happy” band and more a “serious” one, leading to a period that has not, to be fair, been characterised with their best work.




*Supertramp --- Supertramp --- 1970 (A&M)*

But if you think albums like _Brother Where You Bound, Free As a Bird _and _Slow Motion _depart pretty radically from the established Supertramp sound, look how they began. Back in 1970 the band were just getting started, and their lineup had not by any means solidified. They were so nervous that superstition ruled the recording of their debut album, the boys believing that there was some secret knowledge of music to be gained by recording in the small hours, and with both Hodgson and Rick Davies, who were later to become the driving force and creative partnership behind the band's rise to fame, both reluctant to write lyrics, leaving it to Richard Palmer. Palmer apparently hated doing this, which is odd when you consider he later found fame with King Crimson and wrote the lyrics for three of their albums, but at the time he seems to have given the impression of having been pushed into it, or doing it because nobody else wanted to or could.

I'd love to say that the album really reflects this, in bland, emotionless songs that give every indication of having been written under duress and protest, but nothing could be further from the truth. Palmer must indeed be a very good songwriter, because even though he didn't want to, he wrote some pretty stunning songs. Yes, the album suffers from a lack of direction and an almost blind wandering around as Supertramp search for their own musical voice, but though this album has been largely forgotten in the wake of titanic successes like _Breakfast in America _and _Crime of the Century_, there are some absolute lost gems on it. That's not to say every song is good, and some of them are just downright woeful, but in general the good seem to outweigh the bad.

The album is I think unique in that not only does it open and close with the same song, but though one is merely a snippet of the other, neither are labelled anything like “intro”, “reprise” or even “Part 1”. Both are simply titled “Surely”, and this is how the album introduces Supertramp to a world who, on balance and for another four years, would not care. But it's a delicate and touching opening, as Roger sings the closing lines of the song with nothing more than acoustic guitar and piano, and the whole thing lasts just over thirty seconds before we head into “It's a Long Road”, which has more of a Peter Green-era Fleetwood Mac feel about it, with trumpeting organ from Davies and a steady guitar riff running through it. There's an extended boogie riff which really showcases Hodgson's skill on the bass as well as the drumming talents of Robert Millar, who would not last beyond this album. It also shows the deftness with which Rick Davies handles the keyboard, switching from piano to organ and then electric piano and back.

It's a nice uptempo number and gets things going nicely, then everything slows down at the end with a sort of bluesy riff almost reminiscent of later “School”, with some fine harmonica - which would become a staple of their music - from Davies. The whole thing then draws to a close on a rising organ line and then stops abruptly, which does not prepare us for the laidback lushness of “Aubade/ And I Am Not Like Other Birds of Prey”, with its soft harmonica and keyboard opening, almost ethereal, before it's joined by a jaunty, folky acoustic guitar with whooshing drums and a low-key vocal from Hodgson. This reminds me of early Genesis, though they would only have been getting going at this time also. There's touches of early Neil Young in the guitar too, though this then changes into a slower, almost Floydian style as Hodgson's voice gets more earnest and stronger. This is a song I often forget about when playing this album, and it really does deserve some attention.

A nice restrained line in flute comes in, and Hodgson's voice almost sounds like it's echoing, as the flute makes a sort of bird-call, the guitar keeping up its happy tone until percussion hits in powerfully for the bridge, but it also ends quite abruptly. It leads into one of those standouts I spoke of, carried in on a single organ line while Hodgson's vocal is at first very low and distant as “Words Unspoken” begins. A lovely guitar passage then slides in before with the cutting in of the drums the vocal coalesces and becomes stronger. The lyric is very poetic and quite hippyish I guess - _”How all good men try/ Look around and wonder why/ Can they shape this world to please me?”_ - but the song really comes into its own on Hodgson's mellifluous and soaring vocal on the chorus. It's all again very low-key and restrained, almost completely acoustic, and very gentle. I do find myself wondering however if Richard Palmer, chafing under the pressure of being the only lyricist, is sending his bandmates a bitter message when he writes _”Follow, and while you watch in wonder/ I'll pull my world asunder/ And show you who I am.”_

Although there are uptempo songs here, the one thing that cannot be denied about this debut is that it is very introspective, very broody and bleak , a sense of hopelessness and despair running through it, which I must admit does not say much of a band's aspirations. Just listen to some of the lyrical content: _”Sweet things come and go/ Give me shame I'll give you woe/ To live for love isn't easy”_ (“Words Unspoken”), _”__Oh, a life alone without a home/ Makes a man ask why he travels on/ When hope is gone”_ (“It's a Long Road”), _”Many the empty hopes his lips caress/ Sorry to say his days are spent in vain/ Chasing a dream of doom of nights in pain”_ (“Nothing to Show”) _”Only if I lied could I love you/ Nothing of our lives could we share”_ (“Surely”)But there's a certain indefinable magic here too, as if we're being invited into a secret world and allowed to see things through the eyes of Supertramp, the way only they can perceive things others would either miss or misinterpret. 

[video=youtube;h6m8u2dBZZk]https://www.youtube.com/watch?v=h6m8u2dBZZk[/video]

A very celtic flute opens “Maybe I'm a Beggar”, joined by a soft acoustic guitar, then it all stops and a barely audible vocal rises from the depths, this being one of the few songs on which Palmer adds his voice to Hodgson's. It is the latter we hear much more clearly though as he quite frankly takes over the song once he comes in. Some more lovely bass and ticking percussion, and it would seem that Palmer may be a great lyricist but he is no singer. Almost doing a Roger Waters on parts of _The Wall _here, he is barely heard, sort of screeching torturously in the background. Then for I think the first time a hard electric guitar punches in and the song takes on a whole new shape, sort of echoes of Carlos Santana here as Hodgson racks off quite a rocky solo, which comes almost as a shock, given the gentle, mostly acoustic nature of the album up to this point. Palmer screeches in the background I think but is largely unmarked, as Hodgson's guitar blows all before it away. I'm really not sure why they bothered asking Palmer to sing, as he adds nothing to at least this song, and almost in fact detracts from it.

The next shortest track after the opener is “Home Again”, just over a minute, a soft electric guitar and a clear vocal from Hodgson with a certain air of Country to it before we move into “Nothing to Show”, where the tempo ramps up almost startlingly, the electric guitar screeching out of the gate and the percussion sounding like Millar means business, as Davies's organ grinds away menacingly. This is the first song where Davies joins Hodgson, and the partnership is already looking better. Hodgson still holds court but his keyboard-playing bandmate is not just a passenger and you can really hear his contributions. There's also some fine work from him on the ivories, foreshadowing some of his work on “Fool's Overture” five years later. A jazzy kind of jam then ensues for the next two minutes, and we end as we began, with an abrupt piano chord ushering in superb flute and another standout on the album.

A breezy, gentle piano drives “Shadow Song” with a soulful vocal from Hodgson, and you can hear here the beginnings of songs like “Lord Is It Mine” or “C'est le Bon” in Davies's masterful piano work. The flute does its work too, again this is Hodgson playing the instrument, as he tells _” A story of a foolish man/ Who was playing with some twisted plans”_, his voice rising like that of an angel in a manner for which he would become renowned in later years. The early Genesis comparisons are impossible to ignore here, but as since I said both bands were recording what would essentially be their debut albums (I always consider _Trespass _the first real Genesis album) I can only think it was coincidence, unless they happened to associate together, which I have not heard to be the case.

Although it's the penultimate track, for me this is where the album loses its way a little. A twelve-minute boogie/psychedelic-inspired track following all this pastoral, acoustic material is more than a little jarring, and I know it stretched my patience the first time I heard it. Which is not to say that “Try Again” is not a good song, but it's way too long. Some lovely organ work from Davies again and a fine vocal from Hodgson, though here again Palmer decides to add his voice to proceedings, and while it's slightly better and more effective this time, I still don't see the need for it. There's a certain feel of The Alan Parsons Project in the tempo and rhythm here in places, and I think a balaika is utilised, which gives a very strange, eerie flavour to the song. An extended organ solo takes up over four minutes of the song and does seem to be that old bugbear of progressive rock, pointless noodling just to show off. There's no way this song needs to be this long.

About halfway through it kicks into a kind of boogie blues as Hodgson breaks out the electric guitar, and it does pump some life into the tune, but even this runs for another two minutes, whereupon the organ comes back in, which takes us to the eighth minute before Hodgson brings things back under control as he comes back in with the vocal. Even then, though, it literally stops for a second and then picks up again and this time we get frankly ridiculous messing about with experimental noises, a confused jam that goes nowhere and further extends a song that has no business being twelve minutes long. Thankfully, they did eventually learn their lesson, although you can hear a little of this farting around in the midsection of “Fool's Overture”.

Happly the album ends very well, with the full version of “Surely”, which begins almost the same as it did in the opener, except for one extra verse. Then, when you think it's stopped, it fades back in on Davies's muscular organ before Hodgson adds the final flourish with an emotional guitar solo, joining with Davies's keys to bring the thing to a trumpeting and triumphant close.

*TRACK LISTING*

Surely
It's a Long Road
Aubade/And I Am Not Like Other Birds of Prey
Words Unspoken
Maybe I'm a Beggar
Home Again
Nothing to Show
Shadow Song
Try Again
Surely

On one hand, it's not hard to see why this didn't exactly set the charts alight or have radio DJs reaching for the turntable in ecstasy. It's a very restrained, almost muted album in many ways, and does pretty much everything it can to stay hidden and out of the way, almost as if it doesn't want to be noticed. And yet there are some truly magnificent moments of utter beauty on this neglected debut, moments when the true talent and almost magnetic personalities of Roger Hodgson and Rick Davies shine through, and though it would be a seer indeed who would have predicted these guys would go on to be so successful and conquer both sides of the Atlantic, when you listen to the first Supertramp album now you can hear flashes of brilliance, hints of the glory that was to come and you can begin to see images, snapshots of what they could be, what they could, and would, rise to.

Lyrically it's quite a compelling album, almost as I said earlier poetic in style, and that's surely a tribute to the man who did not want to write the lyrics, but yet did a great job on them, proving I guess that no matter what you do, you can't keep a good wordsmith down. But the undoubted stars are Hodgson and Davies, and soon they would take control of the band and shape it into the powerhouse that would go on to sell millions of albums and provide us with anthems and hit singles, and forever cement their place in music history. It's interesting to note that this is the first, and only, Supertramp album not to use what would become one of their trademark sounds, the saxophone, and you can see points in the album where the songs would definitely have benefitted from one.

Oddly enough, after the lukewarm reception their brand of “hippy blues” received - let's be honest: it crashed and burned, didn't it? - Supertramp, though minus Palmer and Millar, went on to record a second album that was, if anything, less attractive than their debut. It would be four more years before the dynamic duo would finally sort themselves out, get over their fear of writing lyrics (they would pen _Indelibly Stamped_ between them, but it was again a flop and suffered from some pretty pedestrian songs) hire musicians who would share their vision and create a record that would go gold for them and give them a hit single. After that, it would be pretty much plain sailing for the Supertramp ship.

But this tentative, quiet and almost apologetic whisper of an album which would develop into an exuberant and confident and joyous shout over the next ten years or more,  is where it all started, and though it was somewhat at odds with the kind of music they would eventually become famous for, it deserves recognition as the album that set that mighty vessel afloat and on course for a glittering career in music.


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## Trollheart (Sep 16, 2019)

Possibly the worst criticism a reviewer can give of a movie is to say “The only good thing I can say about it is that I came out humming the theme tune”, and it can definitely be true more often than not. Sometimes a movie is just so bad that the only thing that even slightly rescues it is the soundtrack. Now of course if a movie is good and has a great soundtrack too then that’s perfect, and naturally not every great movie will have a great score, which of course leads us to the bottom of the barrel, the movies that are terrible and have awful music. But the one I want to discuss does not fall into that worst category, although in fairness without the music that supports it it would most certainly be down there.

Yeah, I’m sure you all remember this classic! Stallone does his best (read, worst) to emulate Eastwood and comes off looking not so much Dirty Harry as slightly mucky Harry. It’s a truly awful movie, as can be said of the vast majority of Stallone’s cinematographic output. WeIl at least, in my humble opinion anyway. One of its small saving graces is that it had a half-decent tagline, which got absorbed somewhat into the popular consciousness, though most people who use it today would probably be hard-pressed to remember where they heard it. To be honest, I don’t even know if it was an original line: maybe the writer stole it from somewhere else. But that’s not important.


Neither is the movie. It’s a pretty bargain-basement cop revenge thriller trying to masquerade as something of higher quality and failing utterly. Probably the only line I recall from it is Stallone, as Cobra, throwing a lighted match down on top of a suspect who had been doused in petrol and muttering “You have the right to remain silent!” Oh, hilarity ensued! And this man would later play my favourite of all crimefighters, the fascist totalitarian future cop Judge Dredd. And screw that iconic role up in a way that still has me occasionally waking up bathed in sweat and screaming “He took his helmet off! Dredd _never_ took his helmet off!”


But enough of such reminiscences. The thing that saves Cobra from being a total turd in all areas is the soundtrack. Peopled with the likes of John Cafferty, Jean Beauvoir and Miami Sound Machine, it’s a clear example of the adage, which I just made up and claim copyright to in perpetuity in all territories extant or to be discovered in the future, “forget the movie, listen to the music” (Copyright Trollheart MMIII, all rights reserved). This movie has such a good soundtrack that you can almost - almost - forget how bad the actual film is. Of course, while watching it the one time I did, in the cinema, I was basically unaware of the music, as I tried to keep up with the plot - bad mistake: there basically _is_ no plot! But afterwards when I saw the album I thought _sure why not?_ In fact, if I recall, I bought it for the song that becomes the opening track and in fact if I remember (and want to) closes the movie.


_
*“Cobra” Original Motion Picture Soundtrack*_* --- Various Artists --- 1988 (Scotti Brothers)*


Now I believe I still have this somewhere in my record collection, but in 1988 I was mostly still buying vinyl, and truth to tell this didn’t see the light of digital release until four years later, so the vinyl copy is all I got. Sadly I no longer have a turntable, and though I got a USB one for Christmas last year (or was it the year before that?) I am too lazy to even open the box and so have never used it. Ah, don’t get me started!


So I’ve searched for it online but have had no luck. I’m therefore reduced to trying to recreate it, track by track, via YouTube, so if there are tracks I can’t get we’ll just have to muddle through as best we can. I’m sure you’ll be able to contain your disappointment. As it goes, I’ve noted in passing most of the better tracks are available, so we might just be missing one or two, perhaps instrumentals, but we’ll find out as we go.


That track I bought the album for initially is there. John Cafferty and the Beaver Brown Band rock us in with “Voice of America’s Sons”, with a sort of John Cougar Mellencamp vibe melded to some heavy AOR, blasting keyboards and growling guitars, Cafferty’s voice a raspy growl as he laments the state of America for the ordinary workingman. A great hook in the song, punchy powerful and rocky, and indeed a good ending song for the movie - I seem to recall Stallone riding off, stone-faced on a motorbike as the song played behind him, his mirror shades hiding the conflicting emotions that weren’t playing across his eyes as he departed with a grunt. Great guitar solo but in many ways it’s the peppy keyboards that carry the song with a real sense of upbeat, er, ness, and a nice little sax break there near the end.


You’d think after a powerful opener like that the chances of getting a good followup would be small, but you’d be wrong. Jean Beauvoir, known for his association with the Plasmatics and Little Steven from the E Street Band, hits us with a menacing, smouldering rocker in “Feel the Heat”, which was in fact a hit for him, and you can see why he is so sought after, with the kind of voice that just screams AOR and hair metal. Slower than the opener certainly, more restrained and with a sort of oppressive feel about it, it’s still powerful and retains enough of the acceptable face of rock to have made it a hit for him.

Of course, every film (well, nearly every film) has a love scene and where would the ballad writers be without them? The “Cobra” OST has two, but I prefer the second one more, even though there are some fairly heavy hitters on “Loving On Borrowed Time”, with both Gladys Knight and Bill Medley taking vocals on the song. I don’t know who wrote it and I don’t much care; it’s fairly standard ballad material, with a big shimmering digital piano opening and a melody that seems to evoke that other sugar-sweet movie ballad, “Somewhere Out There”, but there’s no denying the talent of both singers, who have both been around for a long time and really know how to turn it on, even if it is only for a crappy movie nobody will remember in five years time.


They’re well matched, and indeed Medley contributes to the other ballad, taking another female partner this time. More of that later, but right now all I can say about this song is that it doesn’t suck, but it’s not something you’d listen to much or put on any special playlists. But, you know, as I said, it doesn’t suck. Totally. And if there’s a ballad, you can be sure there’ll be instrumentals. And there are. The thing is, some of them are really good, like Sylvester Leavy’s (yeah I don’t know who he is either) “Skyline”, which just plods along at the right pace while still retaining enough suspense to make it something you want to keep listening to. Even a few touches of _The Wall-_era Floyd in there, if you listen closely, though mostly it’s carried, again, on some pretty super synthwork. There is, it has to be said, a great guitar solo near the end.

_(Well will you look at that! Only six years later, and someone has put the whole album up on Youtube! Where was this in 2013?)_
[video=youtube;cA-k9qpCca8]https://www.youtube.com/watch?v=cA-k9qpCca8[/video]

Gary Wright is, according to Wiki, one of the members of sixties group Spooky Tooth, but whether he’s the same Gary Wright who pens “Hold On to Your Vision” or not I don’t know. Perhaps "Hold On to Your Money" might have been better advice to filmgoers!  It is however the first point where the album diverts from what I would call rock and hits into electropop territory, and even the presence of some decent guitar can’t take from the lighter feel of this song, not helped by the whistling keyboard that runs through it. Sounds like something you’d hear on the soundtrack of a really crappy mov- oh, wait…  Yeah, about the first time I felt the quality of the album, such as it was, began to slip, and while I can certainly listen to Gloria Estefan, I’ve never been a big fan of her work with Miami Sound Machine. “Suave” is not the song that was ever going to change that stance, with its upbeat salsa rhythms, boppy brass and overall sense of fiesta. Pass.


That’s the last low point, for me anyway, of the album, the second of Sylvester Levay’s instrumentals recalls the dark tension of “Terminator”, grinding along on swishy wind sounds and a growling, menacing synth. It’s probably the one that opened the film credits, as it definitely has the sort of introduction sound to it, and I think I can remember this being the case. Things keep rocking for Robert Tepper’s superb “Angel of the City”, with its industrial, mechanical rock themes and its weary vocal somewhat reminiscent of Joe Cocker which punches its way in on the back of some almost Genesisesque synth, and then just takes off with some really nice female backing vocals. Interestingly, Tepper’s first big hit was from another Stallone movie, released in the same year, and which you’re all more likely to know: “Rocky IV”, so 1986 was obviously a good year for him. This is certainly one of the better tracks on the album, and it’s followed by the second, and final, instrumental. Our friend Mr. Levay, who holds the dubious distinction of having the same first name as the star of the show, returns to hit us with “Chase”, which turns out to be the only track I can’t find online, but with a name like that you can guess how it would have gone. All squibbly keyboards, screeching guitars and a sense of pursuit and capture. To be honest, I can’t remember myself how it goes but I’m sure that’s close enough.


We end then on a high note, with the second ballad which, as already mentioned, features a return for Bill Medley, this time duetting with a lady by the name of Carmen Twillie, though who she is or was I couldn’t tell you. I do actually remember this one, as it did play over a love scene and I remember thinking what a good song it was. It may also have been a factor in my decision to buy the album when I saw it included, I don’t know. Again it opens with the dreaded digital piano, but somehow it’s more restrained this time, less as if it’s taking over the song. When Twillie’s voice joins the song you do have to wonder what happened to her, as she really has a nice voice, one that complements Medley’s well. Which is not to say that Gladys’s didn’t, but she’s a well-known and legendary figure in music. This lady, to my knowledge, is not, and bearing that in mind she does a great job.


There’s some real passion in the song, which makes me wonder if there was something between the two vocalists, though maybe not. Absolutely mind-blowing sax break then, which the piano works with very well and it all builds to a crescendo, but sadly fades out and rather too soon, but still it’s a great ending to the album.


*TRACK LISTING*


1. The Voice of America’s Sons (John Cafferty and the Beaver Brown Band)
2. Feel the Heat (Jean Beauvoir)
3. Loving on borrowed time (Bill Medley and Gladys Knight)
4. Skyline (Sylvester Levay)
5. Hold On to Your Vision (Gary Wright)
6. Suave (Miami Sound Machine)
7. Cobra (Sylvester Levay)
8. Angel of the City (Robert Tepper)
9. Chase (Sylvester Levay)
10. Two Into One (Bill Medley and Carmen Twillie)


I suppose I should in some ways not slag off the movie so badly, because I’m pretty sure that had I not endured - sorry, watched it, I would most likely have passed this soundtrack by, and thereby missed a lot of really good music that should in fairness not have to be associated with such a turkey of a movie. But if sitting through an hour and a half of watching Stallone play tough and trying to struggle with his limited  lines is the price I paid for getting this album, then it’s one I’m happy enough to have paid.


At least I can confidently say that something good came out of that movie for me, which is a claim I fear most others who went to see it can’t make.


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## Trollheart (Sep 16, 2019)

*Given to the Wild --- Maccabees --- 2012 (Fiction)*

I’m notorious for buying albums on a whim, because I like the cover, title or because it just looks cool, but this album was one I had been hearing about, though without hearing any of the actual music. Seemed like a lot of people were putting it in their “pick of 2012”, and granted these were people I didn’t know, but even so I wondered was there anything to all this high praise, or would this turn out to be yet another overhyped boring generic album, with people going mad about some band who would induce nothing but the deepest shades of meh in me? Only one way to find out.


I was really quite amazed at what I found. Considering I have never heard of this band before the level of quality and professionalism on this album just floored me. Every track just gets better as you listen to it, and there is no tipping point, no demarcation zone after which you can say well the album was great up to here but then it began to slide. It really doesn’t. Right up to the last track it holds the quality and keeps the attention, and the only real disappointment is that there are only thirteen tracks on it, because I would happily have listened to twice that.


If there is any letdown at all - and it’s a big if - it’s in the opener, which really doesn’t count as it’s not even a track as such, not even an instrumental, just two minutes plus of mostly ambient sound, with deep organs and sound effects, and a sort of softly chanted vocal basically consisting of the title,  leading us into the first track proper, where it all gets going. The title track actually segues in on some nice laid back guitar into “Child”, acquanting us with the vocals of Orlando Weeks, the smooth basswork of Rupert Jarvis and the understated but no less great fret style of Felix and Hugo White, while brother Will makes some great horns sounds on the keys. “Child” is a slow enough song, but something I found to be a trademark of the Maccabees, at least on this, their only album I’ve heard to date, is that slow songs often pick up in tempo near the end, as this one does, kicking out the stays and rocking along nicely, taking us into what was their second single.


Amazingly to me, “Feel to Follow” did stupendously badly in the charts, not even breaking into the top 100. It’s a great uptempo track with a fine piano backbone, great vocal harmonies and a real sense of northern soul in it, with an infectious chorus. Halfway through it winds down for a few seconds before coming back strongly on the back of the Whites’ superb guitar work and some excellent percussion from Mark. This should have been at least a top ten single, and I could not tell you why this didn’t happen. In fact, none of their singles did well it would seem, but since when was that a hallmark of a good album? “Ayla” then dances along an a totally catchy rippling piano line and a hook to die for. Weeks is in fine form on this, and again though released as a single it seems to have bombed.


Another uptempo song, it rocks along with real purpose and features a little less of the guitar work from the White brothers, letting the keys come more to the fore, with some quite heavy percussion working almost in counterpoint. It’s the sort of song you’re still singing long after it’s finished, and we head towards “Glimmer”, with a really nice drum opening and some chimy guitar that kind of reminds me of Simple Minds at their best. Good slice of classic Prefab Sprout in there too, some really bright keyboards peppering the tune, then one of my favourite tracks on the album is “Forever I’ve Known”, a big, bouncy rocker with bags of enthusiasm and energy, though it starts off more like something out of Tom Waits’s catalogue, with screeching, howling guitars and echoey percussion, a slow laid back vocal, sort of a feeling of Native American melody about it before it picks up in about the third minute, the ease with which the previously somewhat discordant screeching guitar melds in with the melody and complements it truly impressive. A real example of a song building up to something special.


A guitar reminiscent of The Edge takes over then as the percussion gets stronger and more insistent, as it all falls back in the fourth minute on soft keyboard, coming back in on single guitar notes before the whole band punches back in to take the song to its powerful and energetic conclusion. Superb, a real standout. And they just keep coming, with “Heave” up next, introduced on a strings-style keyboard from Will White, a slow instrumental intro almost Floydesque in places, a soulful, almost mournful vocal from Weeks tearing at your heartstrings. It seems to be hard to know when you can class a song by these guys as a ballad, but “Heave” does seem to fit the bill, soft, shimmering percussion and lush keyboard supported by little guitar riffs, but then it kicks up in the third minute and becomes a pretty different animal. Certainly nobody could call this band predictable.

[video=youtube;mEf2m1H_uE8]https://www.youtube.com/watch?v=mEf2m1H_uE8&amp;list=PLKXedD1N7y0tIpIYRddf_iRj  53E_3WVuB[/video]

“Pelican” was the lead single, relatively well known I believe even though it also fell flat on its face chartwise, and it’s very much an upbeat song, with the lyric sung three times each line, so you get _”Before you know it, before you know it, before you know it/ You’re pushing up the daisies.”_ Probably one of the hardest rock tracks on the album, it’s driven on sharp guitar work from the Whites, with growling bass from Jarvis and punchy drumwork, the vocal almost African chant in nature in places. The beat really picks up in the third minute as the song goes into overdrive, and if you can keep your feet and fingers from tapping while listening to this, you’re a better man than I am! Another fast song then is “Went Away”, though it starts off low-key enough, with simple synth lines and Weeks’ vocal sounding very much like Ricky Ross from Deacon Blue, then guitars and drums launch in as the intensity of the track increases.


Like so many of The Maccabees’ songs, this gets dialled back for a moment before it comes storming back with a huge finish, keyboards and guitar joining, as the drums punch it forward and Weeks’ voice strengthens and gets more passionate, the tempo upping near the end then abruptly stopping, as what surely must be a drum machine brings in “Go” with sampler keyboards before they’re supplemented by heavier synth lines and joined by strong guitar from the White brothers. A tale of, I think, love trying to survive against the odds, it’s a vocal full of fire and passion from Orlando Weeks, and a nice little bass solo from Rupert Jarvis, with a big powerful punch of an ending.


An atmospheric synth melody then draws in “Unknow”, which features Catherine Pockson from The Alpines on vocals, Weeks’ own vocal returning almost to the keening, moaning style of the opener. The Whites power the song along on their twin guitars while the rhythm section lays down the backbone of the track along which Weeks winds his way vocally. Another hard powerful rocking track, it has some of the strongest guitar on the album, but Pockson is I feel somewhat wasted on it, being relegated to the background mostly.  It’s not really till the last minute or so that she gets her chance to shine, and then she does extremely well. “Slowly One” is a much more low-key affair, almost an _acapella_ opening, Weeks supported only by soft guitar on a sort of motown-ish vocal. It’s not till about halfway through that the song comes properly to life on the back of some wah-wah guitar and a powerful seventies-style keyboard. Nice sung instrumental ending (if you know what I mean) with some great vocal harmonies.


“Grew Up At Midnight” ends the album, and like much of the work I’ve listened to here from this band it starts off slow but then really gets going. With a sort of church organ keys start, and a falsetto vocal, it seems to be a remembrance of youth and first love, picking up a little after the first minute but it doesn’t really hit its stride until nearly the third minute, with a big shouted chorus and a powerful guitar ending, then cutting off right at the end to return to the muted keys sound and end the album close to how it began.


*TRACK LISTING*


1. Given to the Wild (intro)
2. Child
3. Feel to Follow
4. Ayla
5. Glimmer
6. Forever I’ve Known
7. Heave
8. Pelican
9. Went Away
10. Go
11. Unknow
12. Slowly One
13. Grew Up at Midnight


It’s always gratifying to try something and find you really like it. This is even truer when it comes to music, because usually - though not always - this can lead to further new enjoyment as you then seek out the artist’s other work. I haven’t done that yet, but this is The Maccabees’ third album, so I’m definitely going to take a look at what they did prior to this. Just proves that sometimes hype can be correct, and also that just because your singles flop it doesn’t mean that your album isn’t worth listening to.


This went down, I think, as one of my top albums of 2012, or if not, that was only because I listened to it after I had already compiled my list. It’s certainly getting into my alltime top albums though, as this is one album that, no matter how many times I listen to it I still enjoy it, and in fact, sometimes relistening to it just reminds me how damn good it is.

_Note: Sadly, as I now repost this I read that the band only released one more album in 2015 before deciding to break up two years later. A real loss, I feel, though perhaps their lack of success led them to the conclusion that the music business - or at least, this band - was not for them. They do have a total of four albums though, so at some point I’ll definitely listen to those. A sad loss, I feel, to the music world, though even sadder is the fact that I expect few people shed a tear for their passing. Here’s to you, lads. Best of luck in whatever you end up doing._


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## Irwin (Sep 16, 2019)

Trollheart said:


> _Note: Sadly, as I now repost this I read that the band only released one more album in 2015 before deciding to break up two years later. A real loss, I feel, though perhaps their lack of success led them to the conclusion that the music business - or at least, this band - was not for them. They do have a total of four albums though, so at some point I’ll definitely listen to those. A sad loss, I feel, to the music world, though even sadder is the fact that I expect few people shed a tear for their passing. Here’s to you, lads. Best of luck in whatever you end up doing._



I blame Antiochus IV Epiphanes.


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## Trollheart (Sep 16, 2019)

Irwin said:


> I blame Antiochus IV Epiphanes.



I have no idea what that means. :scratch:


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## Trollheart (Sep 16, 2019)

I’m a great one for slagging off pop/chart music, but in an attempt to be a little more inclusive  I’ve decided to try reviewing a few pop albums. Mostly new ones, though they won’t always be. I’ll try to review them with my usual lack of bias, but will be mentioning what I thought of the artist (if anything) prior to hearing the new album and how, if at all, my opinion of them changes after that.




*Britney Jean --- Britney Spears --- 2013 (RCA)*

And who better to start with than a lady who made her mark on the charts with poppy, bland little dance songs but who looked great in a school uniform? After seven albums Britney is now more a musical corporate entity than just a singer, and she’s certainly been down the “bad celeb” route, none of which particularly interests me. What I want to know is, is this, her eighth album in fourteen years, any good? To be fair, I’ve never heard a Britney album up to now, but who could not be familiar with her hits. I said HITS! Yes, I know I used that joke before. Yes I know it’s annoying. Yes I know I’m still doing it.

But what are her albums like? I’ve pointed out before that sometimes the hit singles are not the real measure of the person. Labels will of course release the catchiest songs off an album with the hope that they will become hits, get into the charts or at least garner some airplay for the artist. But often hiding away on the album are some pretty excellent tracks which would never be released, and may show a whole different side to the performer.

Or not.

The opening track doesn’t impress me from the start, with its staggered synth and the autotune seeming to be used on her voice. “Alien” moves at a sort of mid-pace, and it’s co-written with William Orbit, so I guess I can hear his trance-y sound here. Give her her due, she has a hand in writing every song here, so you’ve got to admire that. I actually think I’ve heard this song before. Meh, it’s okay. I do find again the amount of people involved in an album like this a bit ridiculous. Including producers, engineers, photographers etc there are over sixty people credited here! “Work Bitch” is an annoying eurodance song with plenty of synth and that thumping beat that always turns me off trance music. Bleh.

She sings well, there’s no doubt about that, and this is one of those songs that, despite my initial dislike of it, I can see bouncing around in my head for hours after finishing this review. Damn it! This was the first single, or so I’m told. “Perfume” is slower, with again synth backing and piano, a song on which Britney exercises the more passionate side of her voice, the yearning tone we’ve heard in the likes of “I’m Not a Girl, Not Yet a Woman” and, well, that’s about all I know of her ballads, though this is not a love song, more a  sort of a bitter revenge type one. Wiki calls this a power ballad, eighties-influenced. It’s not. It’s nothing close to that. I wouldn’t even call it a ballad. Nice track though. Think I’ll end up with this in my head too later on.

[video=youtube;qoZlXGxvLMc]https://www.youtube.com/watch?v=qoZlXGxvLMc[/video]

Featuring a guest vocal from Will.i.am (why can’t he just call himself William?) “It Should Be Easy” typifies the kind of pop I hate: autotune, bouncing piano and synth, empty vacuous trash. And I mean that in the best possible way. No I don’t. This is bloody awful. This is the kind of crap I would regularly hear pouring from my neighbour’s bedroom on a hot summer afternoon and wish her teenage daughter would listen to some real music as I turned up my own metal or rock. Sigh. On we go. Another guest is rapper T.I who lends his voice to “Tik Tik Boom”, on which Britney’s voice is certainly sexy on a sort of half-rap in a mid-paced tune with some nice keys, but I really don’t have time for rappers sorry. He certainly sounds good at what he does, this T.I chap, but it’s not for me. Mercifully it’s not a long song and we’re on to the next one, which is called “Body Ache” and is another dance number.

So far, this album is exemplifying pretty much everything I hate about the charts, dance and pop music. It all just sounds empty to me, soulless. Well, not all of it. But a lot of it. Too much squawking synth, not enough guitar. Possibly not any guitar, or if there is any there I can’t hear it, drowned out by the multiple banks of Korgs, Moogs and whatever else. “Till It’s Gone” features that “ay-ay-ay” thing I hate in pop vocals, where they stretch out each word to infinity. It’s yet another electro/dance number, and bar the second and third track so far I’m hearing little to recommend this album to me at this point. The autotune is as ever very annoying, as are the bouncing, growling, farting synths.

I suppose I should be grateful that at least the songs are all short, with only one over four minutes. It could be so much worse. But even so it’s pretty bad. I’m in the same frame of mind as I was when reviewing Kylie’s_ Aphrodite_ album. After one decent single I was crushed by how bad the rest of it was. This is turning out the same. Generic pop pap, nothing to so far change my mind, either about Britney nor about pop music itself. A slower, slightly menacing track is “Passenger”, with a much better vocal from Britney and even some guitar coming through. Sort of reminds me of Imagine Dragons or someone like that. “Chillin’ With You” features a duet with her sister, Jamie Lynn, who apparently has chosen the country music route for her bid for fame, and has at least some nice acoustic guitar driving it. Balladic certainly, it features drum machines but slower than has been the case up to now until the chorus when it speeds up a little, kind of ruins it.

The closer then is “Don’t Cry”, with a western feel to it, whistling intro and acoustic guitar then some really nice basswork taking us into a kind of anthemic ballad that finishes the album much more strongly than I had been expecting. Actually, the last three tracks greatly improved the overall quality of the songs on the album but we’re still left with a midsection of pretty mediocre tracks after a reasonably good beginning. To use an old football metaphor, the forwards are good and the defenders know what they’re doing but the midfield needs a lot of work.


*TRACK LISTING*

1. Alien
2. Work Bitch
3. Perfume
4, It Should Be Easy
5. Tik Tik Boom
6. Bodyache
7. Till It’s Gone
8. Passenger
9. Chillin’ With You
10. Don’t Cry


They say this is a concept album. I don’t see it. I’ve read the overview and I still don’t understand it. What I do know is this is a pretty formulaic album that falls back on the usual tricks of bringing in songwriters, producers and guest vocalists that pop music seems to revel in. I still can’t get my head around why one album needs so many personnel? But to be fair, if what resulted was a masterpiece, a classic, then I would accept it. This is not, in my opinion, a masterpiece. But then, maybe it wasn’t intended to be.

I know, as I say, little of the vagaries of pop music, but the albums I’ve listened to all seem to follow the same basic formula, the formula that seems to bring them chart success, so maybe that’s all Britney Spears is doing here. Gotta eat, after all. And buy clothes. Lots of clothes. Still, it’s not for me and has done nothing to change my mind about pop music. Perhaps next time? But as far as Britney is concerned, I’d have to say, baby, don’t hit me one more time…


----------



## KenTR (Sep 16, 2019)

Trollheart said:


> I would just like to offer an apology for the confrontational and defensive tone of the following review, especially in the closing paragraphs. This is based on the bias I had to suffer while at Music Banter, my former forum, from people who believed that because they were into free jazz or experimental music or vaporwave or whatever that they had somehow better taste than me. Taste, like music, is of course subjective: what one person loves another may hate, and neither is wrong. if you get what you want from the music (or don't) then you're right, in the most absolute sense of the word that matters to you. It's no use someone telling you a thousand times you MUST or SHOULD or HAVE TO listen to album X or artist Y, that you JUST DON'T GET IT: if you don't like it, you don't like it and nobody can force you to.
> 
> But this is what happened on a regular basis there. I would be looked down upon, sneered at and dismissed because of my "mainstream" music taste, and while other would rave about the latest album release from, say, Flying Lotus or Sun Kil Moon, if I didn't like it, I was at fault. And, according to these people, they should not be surprised, given the "crap" I listened to. I was regularly baited, denigrated and all but shunned for daring to enjoy the music of Bon Jovi, Marillion, Genesis and, coming up, Journey, among others. Nobody (or, to be fair, few) could understand this, but I had and have always been of the opinion that music I enjoy is music I enjoy and nothing more: I am not one of those who listens to what's cool because it's cool, and I am not a sheep, someone who will listen to something just because everyone else is listening to it (which amounts to the same thing, I guess). If my music is not popular with others, so be it, but they have no right to put me down over that. Just because I don't enjoy the latest release from this amazing electronic artist who records three hours of photocopier noises, beeps, buzzes, farts and people banging cans on walls, I'm a philistine (no offence to the member of the same name!) and my music taste is somewhere which might cause inconvenience should I wish to sit down.
> 
> ...



You go Trollheart!

This post got me to delete my Music Banter bookmark. I'll have to admit that after a cursory view I was somewhat impressed by some of the posts there. For example, _not_ listing Blink 182 among the best punk albums of all time. But had I delved a little deeper, I'm sure I would have noticed some of the nonsense you speak of. I was able to see, without really looking, that you had quite a presence there. Some people liked you!

I think one reason some pantomaths dismiss the hugely popular acts is because they base their opinion on the songs they've heard ad nauseum on the radio. Sometimes digging in around the well known tracks by a band you think you dislike will show you another side of the artist in question. After all, singles and AOR tracks are frequently not the ones a band would choose to represent themselves. Getting back to Pink Floyd, what novice would ever think that an album with "Another Brick In The Wall Part ll" could also contain a track like "Comfortably Numb"? The age of radio was great, but the downside was that listeners were often force fed songs they didn't like. But it's still better than today's streaming services, which, in my opinion, are killing music history. Just try to find the original version of Devo's "(Sloppy) I Saw My Baby Getting" on one of these digital graveyards. You can't. Unless you have the money to shell out for the original vinyl, all you'll be left with is their redux version, clean and polished, without any of the original's edge or humor. To a lesser extent, this is true with films also; after sitting through a movie you really liked, or one that truly moved you, Netflix will not give you the opportunity to sit through the end credits without frantically reaching for the remote (which is God-knows-where because you've just spent the past two hours in another world and for the moment, you have no idea which way is up). I used to like sitting through the (somewhat) overlong opening to "Mindhunter". I liked it's cold, creepy ambience. But it just wasn't the same with all those obnoxious messages popping up on the screen.

I too dislike those "100 Albums You Must Hear Before You Die" books and lists. They should just be called "Songs I Like Because I Know More About Music Than You Do."

Enjoying your reviews, mainly because so far none of them have been about any records I'm familiar with. Who knows? You just might get me to listen to some Journey!


----------



## Trollheart (Sep 16, 2019)

*

Chasing Locusts --- Strawfoot --- 2007 (Self-released)*


The first time I heard this album I just loved it. It completely takes you by surprise, from the weird album cover to the even weirder music practiced by this seven-piece. “Gothic Country” they call it, and I’d have to agree. This is the kind of music Waits or Cave would compose while mucking out stables down on some ramshackle farm in the arsehole of nowhere, as the Devil plays fiddle outside while strange dark winged shapes fly overhead. Country music for the Apocalypse? You’d dang well better believe it, boy! We don’t like strangers round these here parts!


But who are Strawfoot? Well that’s a hard question to answer, as they all seem to come with made-up names or personas, each member of the band appending “Brother” to his name, while the leader and frontman, and also vocalist and composer, Marcus Elder, goes by The Reverend Marcus or The Dapper King Libertine. He’s reputedly related some way down the line to that old Southern firebrand Samuel Clemens, known to the world as Mark Twain.


This is their debut album, and it just leaves me wanting more. Starting with a cool banjo and nothing else, the vocal comes in in a sort of mono sound as “Wayfarin’ Stranger” opens the album with a very western type feel, and you can hear  how strong Elder’s voice is, that it needs nothing else to accompany it other than the banjo. It’s a short song, really more a taster which leads us into “Achilles Heel” as the full band kicks in with banjo, accordion, fiddle and percussion. Some nice electric guitar gets in on the act too, and it’s a real rip-roaring fun fest that just has your feet a-tappin’ from the start. Great harmonica solo - yeah, that’s what I said! - by the brilliantly-named Brother Mississippi, while Brother Eric keeps the bass upright and tight, as we slow things down with the dark tale of “Cursed Neck”, a real Cavesque ballad that just smoulders with bitterness and resentment.


Great guitar in this, Brother Steve just goes crazy, while Sister Jenn’s violin moans and wails through the song, then my old favourite, the mandolin, takes charge for the Waits-inspired-it-would-seem “Strawfoot Waltz”, which bounces along nicely with an almost Diablo Swing Orchestra feel, Elder at the top of his game. The only song then not written by Elder is “My Dog”, a real hoe-down frenzy penned by Brother Eric, the bass player. It just oozes fun and frivolity, and you can hear someone shouting in your head “take your partner by the hand…” Yeah, it’s just fun all the way and played at top speed. When I heard this first I thought elder was singing “My doll”. Puts a whole new complexion on the song.

[video=youtube;VewlUC-HVZU]https://www.youtube.com/watch?v=VewlUC-HVZU&amp;list=PL3YmhgcQRy9HLH__QSEkRpyWnJA1LKGGL[/video]
Great fiddle work there too, and as it’s his song Brother Eric makes sure his basswork is all over this. There’s some superb slide guitar to open the storming “The Lord’s Wrath”, almost a blues country folk tune, just excellent. Heavy thumping percussion adds to it and some fine harmonica as well. Elder even throws in some yodelling! “Damnation Way” is a mid-paced song driven mostly on violin and maybe jews harp, with a real driving beat and a sense of desperation in the lyric: _”You made me what I am/ You filled me with hate”_ then things kick right up into high gear for the hot-rockin’ “Cloth” with more squealing violin and some tough percussion, plus great clangy guitar from Brother Steve.


“Fiddle and jug” is a great troubador’s ballad - not an actual ballad now - and thumps along at a slow but deliberate pace with, not surprisingly, fiddle in the lead of the melody, which switches to acoustic guitar with mandolin, but violin adding its voice for the lovely ballad “The Sky is Falling”, probably one of the standouts on an album almost of standouts. Gorgeous little violin passage there near the end and a very impassioned vocal from the Dapper Libertine King. It’s almost “Classical Gas” then to start “Effigy”, a low-key opening to a drinking song that quickly kicks up and becomes a reel or jig or something but man does it rock along!


As we began, so we close, as “Wayfarin’ Stranger (Reprise)” bookends the album with a much longer version of the song that opened it, harmonica and mandolin led. It’s really more a case of the opener being the intro and this the full song, and it’s great to hear it again before we bid au revoir to Strawfoot. I don’t say goodbye, because I know for certain I will be back here again, when my weary path crosses this dusty ghost town and I need to rest, water ma horse, kick back and raise some hell with these guys. I’ve made some friends for life, I feel.


*TRACK LISTING*

1. Wayfarin’ Stranger
2. Achilles Heel
3. Cursed Neck
4. Strawfoot Waltz
5. My Dog
6. The Lord’s Wrath
7. Damnation Way
8. Cloth
9. Fiddle and Jug
10. The Sky is Falling
11. Effigy
12. Wayfarin’ Stranger (Reprise)


This is nowhere close to anything I would have thought to have checked out before. I knew gothic country existed, but not what it was like. I thoroughly enjoyed every moment of this album, and I hope to be able to check out their other releases as soon as time permits. It’s nice to get into a new genre, especially when I wasn’t trying or expecting to. Sometimes these things just sneak up on you, ya know?


Hallelujah, brothers and sisters!


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## Trollheart (Sep 16, 2019)

KenTR said:


> You go Trollheart!
> 
> This post got me to delete my Music Banter bookmark. I'll have to admit that after a cursory view I was somewhat impressed by some of the posts there. For example, _not_ listing Blink 182 among the best punk albums of all time. But had I delved a little deeper, I'm sure I would have noticed some of the nonsense you speak of. I was able to see, without really looking, that you had quite a presence there. Some people liked you!
> 
> ...


Not to get all soppy and maudlin on ya, but thanks so much for the comment! It really helps to know that someone is reading what I'm writing (even if what I'm writing is only what I transcribe from work I did years ago, it's still stuff I wrote) and pushes me to keep up the reviews.

As for MB, again I don't want to do them down. They know their stuff, and by and large they're a friendly crowd, but a small percentage of them are arrogant beyond belief, and will say, and have actually said, the fact that you don't like the music I like proves how little you know about music. Not in those exact words but the sentiment is the same. I strove for years, literally, trying to convince one guy there in particular that I wasn't his enemy. He played (ahem) the guitar in a way that I personally thought might have been marginally better managed by my cats, but he thought he was a musician. Maybe he was; what do I know? I tried playing the synthesiser and wasn't very good at it. To each his own. But I tried to understand his approach to the music, both his own and the stuff he liked, and while occasionally, very occasionally, our tastes would coincide, mostly they were on vastly divergent paths. That was okay from my point of view: he wanted to be into Naked City or Captain Beefheart or Merzbow or whatever, more power to him and I didn't tell him his music sucked. But he did not reciprocate, and took every opportunity to put my music down, so yeah, he became my nemesis.

Guy was arrogant to a fault, and really up himself, and that was bad enough until they made him a moderator! Then, things really got bad. But I wouldn't have stayed at the forum if I wasn't getting something out of it, and I found out about and got into some great music there, and apart from that, when I was going through some bad stuff they were all there for me. So I wouldn't just dismiss them, and you might want to reconsider hanging out there. If you do though, you will, eventually (and probably quite quickly if you go into the political section or the lounge) witness the drama I have spoken of, where members both old and new get subjected to what can often only be referred to as abuse, behaviour which can and does drive potential new members away. There's kind of no filter there; they behave as they wish to and expect everyone to understand and not take offence.

And yes, I know I'm something of a minor legend there. This was borne out when I wanted to leave, a few years back (was absolutely determined to) and many of them convinced me not to. I know they miss me, but I just can't go back to that kind of daily drama, not for anything really. It's nice to know they still talk about me though.

Thanks again for reading, and hopefully the albums will continue to be interesting. If there's something you'd like me to review, do let me know and if I can I will.

TH


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## Trollheart (Sep 16, 2019)

*

Coven of the Wolves --- When Bitter Spring Sleeps --- 2013 (Pagan Flame)*


Hmm. The joke may very well be on me with this one. When I sampled this before buying it I was intrigued by its laid back, lush, pastoral feel and thought it might all be like that - kind of Antimatter or Lake of Tears - but when I checked for this review I see they are listed as (gulp!) Black Metal and that their front (and only) man has been in other bands called, er, Satan’s Mighty Penis and Destroy Humanity. Um. Doesn’t sound too pastoral to me. Has Mister Cock-up checked in for a single room with bath, I wonder? Hold onto your hats, guys (and if you don’t have a hat, run out quick, buy one, and hold on to it!) we’re goin’ in!

Interestingly, after their demo released in 2008 When Bitter Spring Sleeps (we’re obviously going to be calling them WBSS from now on) shared an album with Panopticon, which really impressed me with its mix of country and death metal. So will this be anything like that I wonder? I really don’t know what to expect, so let’s just push play and see how we get on.


Ambient sounds greet us and are joined by a nice acoustic guitar as “Like a Flame In the Fields” opens the album, some really nice keyboard sounding like pipes or flute coming in too, making a nice sort of medieval atmosphere. I hear feedback electric guitar getting ready to snarl though and percussion ramping up, and now yes it gets harder and more aggressive, the electric guitar punching in and the drums slowly pounding away. With a sound like a wounded animal, one-man-band Lord Sardonyx brings in the vocal, and you know, it’s not at all bad. I can understand it: sort of viking or pagan metal is what it puts me in mind of. The song is a slow grinder with a lot of power, and let’s remember this is one man doing all of this apparently.


It’s said about WBSS that they (or he) really espouse the old pagan ways in their music and retain a reverence and respect for nature and the Earth, so it’s kind of eco-metal maybe? At least, though the tag is shown as Black Metal, they don’t seem to be singing about Satan. Yet. It’s powerful stuff though, and His Lordship is clearly upset with Man as he snarls _”We've honoured your gods/ Far too long/ And now we sing /The Earth's own song.”_ Fair enough really. The electric guitar and indeed the percussion drops out entirely in the sixth minute of the almost nine this runs for, leaving the pipes and acoustic guitar, then just the guitar to carry the tune with the pipes coming back in right at the end as it fades out.

[video=youtube;G0pGslzIZh8]https://www.youtube.com/watch?v=G0pGslzIZh8&amp;t=225s[/video]

There are only seven songs on this album, but apart from two short instrumentals nothing is less than eight minutes, and the longest runs for over eleven. The next one is just short of ten, with Lord Sardonyx again railing against the misuse of Earth’s resources in “Rest In the Ground” as he asks _”Why do you condemn /The ground you walk upon? /Why poison the soil /That brings you life?/ There is magic in these trees /And lost wisdom /No longer able to see /Through your sleeping eyes.”_ Sentiments you can’t really argue with. This too starts off gentle but soon kicks up into a harder, faster metal tune with lots of buzzy electric guitar. Sardonyx actually seems to have a really good voice, almost like an operatic tenor, but he uses it in a different way, nearly drawling the lyrics as he sings, and it’s very effective.

It’s also quite incredible how quickly a ten-minute song goes by, and before I realise it we’re at the end, with a quote from Edvard Munch that surely encapsulates the Lord’s beliefs here: _"From my rotting body/ Flowers shall grow /And I am in them /And that is eternity"_ A short instrumental, complete with birdsong effects and some nice acoustic guitar takes us into the title track, which starts off with the sort of walking tread, maybe similar to the opening of “Prisoner of Conscience” in the recently-reviewed Sean Filkins album, then a sort of gypsy camp revellery punctuated by the cries of wolves and the shriek of crows, before hard guitar smashes in and takes the melody in a heavy, powerful direction, Lord Sardonyx’s vocal almost chanting as he sings about the lord of the wolves: _”He is father to the mighty wolves /Raising only grey sons/ Hidden deep in forgotten lands /In caverns there he feeds revenge.”_ Good uptempo percussion joins the guitar and it’s quite the headbanger with some Maiden/Lizzy style fretwork in it. 

As we move into the third minute the tempo picks up and the song changes from marching through the forest to trundling along on metal rails, possibly in a sled of some sort pulled by wolves, who howl in the background. Again, powerful stuff. There might be an element of Ragnarok, the Norse legend of the Twilight of the Gods here, as His Lordship declares _”Hammer of hearts and steaming breath /They thunder into nighttime fields /To conquer this world of man /A ravenous sea of blood and fangs.” Ragnarok is also called The Time of the Wolf. Hmm. Could be just coincidence?__


The song slows down for a bit of ambient instrumental amid the baying of the wolves in the
seventh minute, and their calls take it to its end. Sort of a little pointless really: almost a full minute taken up by nothing but wolf howls and cries and barks. Wonder if they got paid as session men, er, wolves?  The second instrumental is up next, basically just native-style drums, very slow and hollow, with some recordings of speech playing under it. It lasts for just over a minute and then the epic begins. Clocking in at just under twelve minutes, “The Sky Has Not Always Been This Way” opens with the by-now-familiar birdsong then a nice folky acoustic guitar, suddenly blasted aside by snarling electric as the drums slide in almost unobtrusively beneath it. It’s over two minutes before the vocal comes in, the guitar remaining tough and growly, something like a violin joining it as Sardonyx wails ”The old ones they say /That the sky has not always been this way.” Well, I guess the old ones would know, wouldn’t they?


Really nice instrumental break from about the sixth minute to the seventh then the vocal comes back in, and again it’s another song that though it runs for almost twelve minutes seems to be over all too soon, taking us to the closer, the just short of nine minutes “Homestead Hailstorm”, which opens with the sounds of rain and muted, distant thunder, the sound of what could be an iron gate swinging in the wind and banging against its gatepost. In fact, the whole song, all eight minutes and fifty-two seconds of it, is just that: the sound of a gentle rainstorm, which, I guess, given the title we might have expected. Still, no music at all? I guess Lord Sardonyx really takes his nature worship seriously!


*TRACK LISTING*

1. Like a Flame In the Fields
2. Rest In the Ground
3. Crossing Paths
4. Coven of the Wolves
5. Tomorrow Tribe
6. The Sky Has Not Always Been This Way
7. Homestead Hailstorm


First off, I must repeat this is all the work of one man, and it’s pretty damn impressive. Though it wasn’t quite the laid back acoustic music I had been expecting from the samples I heard it didn’t veer too wildly away from that, and though the guitar work at times (most times) was pretty heavy, at other times it was quiet and introspective, and the percussion never made itself too obvious or took things over. The vocals were certainly decent and while I wouldn’t list His Lordship as one of my favourite singers he is definitely suited to a genre of metal, maybe doom or pagan but I don’t think black. I don’t feel this album really flagged for an instant, and even though I sort of felt a little cheated with the closer, it was clever, well done and totally in keeping with the objects, aims and beliefs of the man known both as Lord Sardonyx and When Bitter Spring Sleeps. He certainly remains true to his faith, right to the end.


Most of you will probably not even regard this as metal - I’m not sure I do - but if you need an album that makes you think about what we’ve done, and are doing, to the planet, without all that new age wishy-washy nonsense, then this could be a stepping stone you should try balancing on. If nothing else, it proves that you can love the planet and still be hard as nails: I doubt anyone would dare label Lord Sardonyx as a tree-hugger, though he might not mind.


A very surprising and indeed very satisfying album, and I look forward to more releases from this multi-talented artist.

_


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## KenTR (Sep 16, 2019)

Trollheart said:


> As for MB, again I don't want to do them down. They know their stuff, and by and large they're a friendly crowd, but a small percentage of them are arrogant beyond belief, and will say, and have actually said, the fact that you don't like the music I like proves how little you know about music. Not in those exact words but the sentiment is the same. I strove for years, literally, trying to convince one guy there in particular that I wasn't his enemy. He played (ahem) the guitar in a way that I personally thought might have been marginally better managed by my cats, but he thought he was a musician. Maybe he was; what do I know? I tried playing the synthesiser and wasn't very good at it. To each his own. But I tried to understand his approach to the music, both his own and the stuff he liked, and while occasionally, very occasionally, our tastes would coincide, mostly they were on vastly divergent paths. That was okay from my point of view: he wanted to be into Naked City or Captain Beefheart or Merzbow or whatever, more power to him and I didn't tell him his music sucked. But he did not reciprocate, and took every opportunity to put my music down, so yeah, he became my nemesis.
> 
> Guy was arrogant to a fault, and really up himself, and that was bad enough until they made him a moderator! Then, things really got bad. But I wouldn't have stayed at the forum if I wasn't getting something out of it, and I found out about and got into some great music there, and apart from that, when I was going through some bad stuff they were all there for me. So I wouldn't just dismiss them, and you might want to reconsider hanging out there. If you do though, you will, eventually (and probably quite quickly if you go into the political section or the lounge) witness the drama I have spoken of, where members both old and new get subjected to what can often only be referred to as abuse, behaviour which can and does drive potential new members away. There's kind of no filter there; they behave as they wish to and expect everyone to understand and not take offence.
> 
> ...



I used to be a music snob when I was younger, but I wasn't pathologically narcissistic about it. It was a youth thing. Nowadays, I don't care what people listen to. If they love it, that's all that matters. I've known people who barely enjoy music.

As I said, for the moment, I doubt I'll join there. I spend enough time on two forums as it is, and am having trouble finding the time to write. Political forum? Hell no. I'm sure I can hold my own, but that would mean getting caustic and I don't really see any advantage in that. What is a political forum doing on a music site anyway? That's like throwing a dead racoon into a flower garden.

I always enjoy checking out music I've overlooked or dismissed. One never knows. Tastes change. Haven't had a chance to read everything you've posted, but I've been digging that Bon Iver track. Your writing is breezy and friendly. Not at all as smug as so much of it is today. Would I be too far off to guess that a portion of posters on MB are critics themselves? I forgot where I heard it or if I'm even quoting accurately but _those who can't play get paid five dollars a word to rip other people's music to shreds. 

_I may want to dig up and hose off some of my old fanzine reviews in the future, but I suppose it would be better if I was a little harder on myself about getting back to writing my script.

In the meantime, keep 'em coming!


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## Trollheart (Sep 16, 2019)

*Ego --- Millenium --- 2013 (Lynx Music)*

Now this one I do know. I’ve been playing this for the last few weeks, having originally mistaken it for the long-awaited fourth album from the American AOR band of the same name who impressed me so much with their album _Hourglass i_n 2010.,I was initially confused by the proggy keyboards, atmospheric sounds and soft guitars, and then wondered why the vocalist sounded … different … Slowly the penny dropped. This was not the American Millenium, but despite spelling their name the same (incorrect) way, with one “n” instead of two, this was a totally different band.


As it happens, I have two of their albums already downloaded but have never listened to either. On the basis of this, I’m going to have to rectify that very soon. Millenium (this Millenium) actually come from Poland - yes, the land of Riverside, Hipgnosis and Satellite , and have been in existence since just before the turn of the, um, millennium. Possibly where they got their name. Discounting live albums and EPs, they have released a total of eight albums in that time, of which this is the latest.


The title track gets us underway, with some nice soft guitar and lush keys, and when it gets going I feel the melody has more than a touch of _Aura_-era Asia (there’s a thing to say!) about it. Powerful guitar from Piotr Płonka leads most of the tune in till at about the third minute vocalist and founder Łukasz Gall comes in, his voice strong and clear with a hint of an accent like you might expect. He’s joined a little while later by guest singer Karolina Leszko and then keyboardist Ryszard Kramarski who puts in a fine shift. This is one of three ten-minute songs on the album, the next one being nine, with only six tracks in total, but not a moment wasted on one. Every track here is pure twenty-four carat gold. Plonka engages in some Marillion style introspective guitar as the song begins to wind down to its conclusion, then rips off a fine searing solo which treads close to the footsteps of guitar god Dave Gilmour. With a final almost tragic vocal and simple piano line the song comes to a slightly abrupt end, my only quibble with this superb opener.


“Born in 67” recalls the heady days of rock and roll as a picture is painted of a more or less idyllic world - “_”He spent hours with his friends outside/ No mobiles and no web”_ - that is probably being viewed through the rose-tinted glasses of age. Lovely backing vocals from Leszko here and something that sounds like a banjo or mandolin, and some soulful trumpet work from guest musician Michał Bylica which really helps this song take off. There’s a real sense of loss and regret in this song, as of the passing of something that will never return. As Gall sings _”It’s so hard to find a friend/ In the ocean of despair”_ you can feel his frustration for the way things have gone.

[video=youtube;oxirYKCqsLU]https://www.youtube.com/watch?v=oxirYKCqsLU[/video]

A great keyboard motif rides along the guitar line, with a superb little sax break from yet another guest, horn player Darek Rybka as the song heads towards its conclusion and into what I suppose I would call another standout, except that this is literally an album of six standouts. I really can’t find one track I don’t like, and while I like one or two more than the others, there’s nothing here that’s not immense. With a sort of country-style acoustic guitar the song turns a little harder fairly quickly, mostly on the keyboard work of Kramarski, including some beautifully minimalist piano, very Nick Cave at moments. A searing solo from Plonka takes the song, then we return to the kind of country feel before the song heads off again on a heavier line. Kramarski then leads with a stunning lush solo on the keys which brings us to the midpoint of the track, Karolina Leszko again lending her voice to the backing vocals before the tempo ramps completely up, and on first keys then guitar we get what I can only describe as a prog take on Southern Boogie. This is just incredible and unexpected and carries the tune almost to its end, where it finishes with a staccato rhythm which reminds me of Genesis’s “The Musical Box”, then fades out on an ultimately unsatisfying piano line and soft vocal.


The ballad comes in the shape of “When I Fall”, and gives Leszko finally the chance to really show what she can do, as she partners Gall here in the chorus and complements him perfectly against the backdrop of Kramarski’s melancholy piano. Emotional and effective strings synth ramps the piece up and stirs the passion, then about halfway through Plonka winds up his guitar and ups the tempo of the song, though it falls back on a repeated fading vocal line very reminiscent of Floyd. Soft piano takes over again with the synth backing it with the strings sound, and we move into one of the standsouts among the standouts. “Lonely Man” has a driving beat but a dreamy innocence about the guitar, recalling everything from the Alan Parsons Project to the Beatles and early ELO. A lovely violin-like synth introduces the song which then gets going on acoustic guitar and some sleek percussion from Tomasz Paśko.


It’s another long song - ten minutes and change - but again not a moment of it is wasted or unnecessary. The overall melody is heartbreakingly lovely, and interestingly almost every line begins with the two words that make up the title. Karolina Leszko is back again to add soft angelic backing vocals, and some pastoral flute-like synth gives the song a gentle early Genesis feeling. Rybka adds another sumptuous sax solo that just wrenches the emotion from you and completes the song, and in the seventh minute, following that solo, Laszko takes over the lead vocal, switching with Gall as the song grows in power and intensity. Some thick organ from Kramarski is joined by a sweet solo from Plonka and again my only problem with the song is that it ends, after building to a real crescendo, too abruptly. A common failing, it would appear, with this band, or at least this album.


The closer is another ten-minute track, and does not disappoint as “Goodbye My Earth” sees us out in fine style. With a big guitar opening that reminds me very much of_ Immortal?-_era Arena, then dark synth backs Gall as he sings about the end of things, bookending the album as it began with a newborn trying to come to terms with his life, a real life cycle. Karolina Laszko gives a final, terrific performance on the chorus here, backed only by Plonka’s acoustic guitar, then the song gets more passionate in the last five minutes as both Gall and Laskzo join together, with Kramarski adding in some very Supertramp-like Fender Rhodes in a boogie style. The vocal is then run through a vocoder for some reason, the voice I assume to be Gall’s, while Kramarski riffs off another fine solo on the keys before Plonka goes all rock on the guitar, screeching out a solo that would please the most ardent metalhead. Maybe.


Everything finally comes down with Kramarski’s strings-like synth and hard guitar from Plonka and it all fades down until only the lonely piano line is left, slowly drifting away like the last vestiges of a soul leaving the body.


*TRACK LISTING*

1. Ego
2. Born in ‘67
3. Dark Secrets
4. When I Fall
5. Lonely Man
6. Goodbye My Earth


Poland is fast becoming - or has already become - the centre for new, dynamic progressive rock and it looks like remaining that way. It has been perhaps an unlikely quarter to expect prog rock to come from, as there is no real history there but bands like Riverside, Satellite and others have made it one of the freshest places for prog, virtually a breeding ground there. Like Scandinavia birthed, or rebirthed the black metal revival, prog rock is now having its second coming in Poland.


There is, as I have said, very little I can find fault with on this album. There are no bad tracks. None. If I have to pick holes it would be with Millenium’s annoying tendency to set you up for a really good ending to a song and then just stop, as they do three or four times here. But that’s a small complaint and everything up to that disappointing ending on this album has been next to perfect. Everyone knows their place and their function. Most of the band members play only the one instrument - or in Gall’s case, sing - and don’t burden themselves, as many of their contemporaries do, with trying to fulfill several roles at once. Concentrate on what you’re good at: it’s a maxim that certainly works for Millenium, and here they’ve crafted, in my view, close to the perfect progressive rock album.


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## Trollheart (Sep 16, 2019)

With the fourteenth Asia album released only days ago --- technically the fourth under the new/old lineup, but minus Steve Howe --- and considering how disappointed and dismayed I was by the previous outing, 2012’s godawful _XXX,_ I thought it might be time to revisit what I consider one of Asia’s best albums, the seventh in an almost unbroken line that stretches back to their debut in 1982 and the last truly great album to feature vocalist, singer and songwriter John Payne. To my mind, Asia struggled with their next release, got it together with 2008’s _Phoenix_, did okay with the followup but then blew it with_ XXX._ What the current one will be like I have yet to hear, but this reminds me of a time when Asia were a band you could always rely on to turn out consistently brilliant albums. The end, perhaps, of an era, did we but know it?




*Aura --- Asia --- 2000 (Recognition)*


You can say what you like, and laugh all you want, but I really feel Asia began to lose their way when they abandoned the idea of titling albums with words that began and ended with “a”. From their self-titled debut in 1981 we’ve had _Alpha, Astra, Aria, Arena_ and then this one, after which they called the next album _Silent Nation_, and since then they’ve really disposed of the idea, although 2010’s _Omega _does kind of retain echoes of the old days, both in title and quality. Now it’s probably, almost certainly coincidence, but it’s hard to argue against the fact that the first seven albums (I don’t count _Then and Now_, as it’s half a live album, nor_ Rare_, which is all instrumental) showed the band at their height, and even with a lineup change halfway when Payne took over for 1992’s _Aqua_, a kind of comeback album as prior to that the band had not released any material since 1985 -- again, I don’t count 1990’s _Then and Now_ --- the quality remained, indeed improved as the albums mounted up.


It’s hard for me to pick out a favourite Asia album. Many of them suffer from the odd weak track (I find _Astra_ in particular to fall into this category) but almost all have powerful, strong ones to keep them interesting. Probably my alltime favourite would be _Alpha,_ their second album, followed perhaps by _Aqua,_ but this is certainly high in the rankings. I won’t say it’s a return to form for the band as the previous album, _Arena_ was pretty damn special too. That album featured what I believe is the first, and to date only, example of Asia starting with an instrumental that then leads into the title track. But I’ll probably review that later at some point.


_Aura _is the first, and only, Asia album to credit only Geoff Downes and John Payne as the actual band, with everyone else who plays on it shown as “additional musicians”. But then, there are so many of these: Pat Thrall, Guthrie Govan, Michael Sturgis, Ian Crichton, Elliot Randall, Chris Slade, even Steve Howe, though I assume that’s because he played on older tracks that were used? I can’t confirm that though. He had surely not rejoined the band at this point, though he would later. Some of the above musicians would indeed join the main band and feature on 2004’s _Silent Nation_, on which there would be, again, a host of other “additional players”.


The artwork, any Asia fan will be able to tell you, is by Roger Dean, who had created the art for the covers of the previous albums since the debut, but who would not be involved in the somewhat lacklustre and very un-Asia cover for _Silent Nation_. Perhaps realising how deeply he was tied in to the band, or perhaps because Payne had been replaced by original singer John Wetton by then, Dean would return to create the artwork for all further albums from _Omega_ onwards.


A drum roll takes us into a sprightly keyboard line as “Awake” opens the album, Payne singing about his hopes for humanity if only we can put aside our prejudices and hatred. The song is apparently based on a poem but I don’t know it so can’t comment. It’s very upbeat though, with restrained guitar and some fine vocal harmonies, a chorus that consists of only one word but Payne puts a universe of emotion into those two syllables. Some nice piano work from Downes, who handles all keyboard duties. There are tons of guest guitarists but no way is he allowing anyone to steal his thunder! And who can blame him? The man’s a keyboard genius and Asia would certainly not be the same without him. This, among other songs on the album, really showcases though how strong a singer John Payne is, and how, over a short period from 1992 to 2004, he really made Asia his, no mean feat when you consider he was trying to almost erase the memory of the original vocalist. And more or less succeeded. Even now, he tours with his own band, John Payne’s Asia, and they do great business.


A superb turn from David Grant’s Gospel Choir, taking the song into the realms of the spiritual and leading into “Wherever You Are”, on which Payne and Downes are assisted by 10CC alumni Graham Gouldman and Andrew Gold. It’s a nice mid-paced song, though it’s a little pedestrian after the explosive opener. It has a nice tinkly keyboard line and some _pizzicato _strings synthwork with a decent rhythm, a fine solo from Payne and some crashing guitar from him near the end. Asia seldom if ever cover another artist’s song but this is what they do next, with a version of 10cc’s “Ready to Go Home”, a striding, emotional desire to see one’s homeland, starting out on a low, whistly keyboard line with an impassioned vocal from Payne and some great backing vocals too.


It kicks up in intensity shortly, but remains a slow song, almost a prayer in a way as Payne sings _”Lord shine a light for me/ I’m waiting to be born.”_ Powerful, stirring organ from Downes paints a sepulchral backdrop as Payne sings in almost, but not quite, a gospel style, and the choir from the opener return for a fine performance. A wonderful guitar solo from Guthrie Govan, who would go on to become a permanent member of the short-lived band which would only record one more album before being pushed aside in favour of the original lineup in 2008.


The tempo rises then a little for “The Last Time”, with a bouncy synth melody leading us in and a busy bassline from Payne, while Steve Howe handles the guitars. As I say, I don’t know whether this is because he recorded original sections of this song, as in, it’s an older Asia song, but I doubt he would return only to perform on one track. There’s a very typical Asia vocal harmony on this, recalling the best from _Alpha_ and _Aqua_, and you can certainly hear the influence of the original guitarist and founder on the track. A very stirring bridge as Payne sings _”All these fields/ That once were green/ Have turned to smoke and steel/ The sun will fall, and the last moon rise/ Don't turn this tide away.”__


A dramatic synth line then with bubbling keyboards in the background and a rising guitar as “Forgive Me” nods back in the direction of previous album Arena, with a jaunty line in the melody which belies the lyrical theme, which seems to be another of Asia’s many eco-related ones but may also have something to do with TV evangelists as the line ”I am direct salvation/
Just send in your donation/ I can promise that you'll be saved” would seem to indicate. Great beat in the song and again a fine, fine performance from Payne. One of my favourites on the album is up next, as “Kings of the Day” opens strongly with a rhythm that’s hard not to nod your head or tap your feet to. Some nice sparse fretwork from Govan again, and Payne sings like a man possessed as Downes lays down the soundscape against which his bandmate bares his soul.


If any track on Aura can be described as funky, Govan’s guitar here makes this the closest they come, but the strong keyboard presence from Geoff Downes keeps things decidedly progressive rock oriented. It’s not really even AOR, which is a label that befits some other Asia albums: this is pure prog rock. Super little guitar solo halfway through, again quite funky and jazzy, while the final two minutes or so of the song are taken by an extended instrumental that displays both Payne and Downes at their best. There are a few words thrown in, but basically it’s enough of an instrumental to me to qualify for the label.


“On the Coldest Day in Hell” opens on gentle acoustic guitar and breathing synth with a reflective idea in the lyric as Payne asks ”Do you remember years ago? /All our hopes would ebb and flow/ We thought we'd find a promised land /Our footprints in the sand.” It’s probably the closest to a ballad on the album, which, given Asia’s propensity for two or three on an album, is surprising. Payne’s voice is soulful as a fallen angel here and Michael Sturgis does really well on the percussion here, holding it back and making it very tasteful. Great synthwork from Downes complements a lovely acoustic guitar solo from Govan and a sublime vocal from Payne to end the song as it starts to fade out, but then ends on a dramatic keyboard passage.

[video=youtube;TrXGLaR5k08]https://www.youtube.com/watch?v=TrXGLaR5k08[/video]
This takes us into the longest song on the album by far, almost nine minutes of “Free”, which is certainly also the rockiest, kicking the tempo right up and bringing back memories of tracks like “The Heat Goes On” and “Rock and Roll Dreams”. Downes goes crazy on the keys here, squealing and twiddling all over the place, with Steve Howe back on guitar, joined by Pat Thrall and Ian Crichton, and with Payne himself that makes four axemen: you can really hear it in the guitar attack! Despite being the longest and hardest rocking track, “Free” is far from my favourite on the album, in fact it comes in close to the one I like least. But there’s no denying the energy and passion in it. I’m not quite sure why it needs to be as long as it is though: I think a five or six-minute version would have worked just as well.


There are of course several guitar solos in the song, including one on what sounds like Spanish guitar, but Payne throws down a really nice bass line in about the fourth minute too as the thing builds back up to a crescendo and heads into the sixth. I’m glad however to report that, although as I say, “Free” is not my most liked track here, Aura does not suffer from the “midpoint syndrome” that so many albums do. It’s consistently good all the way through, and despite the oddly pop nature of the next track, “You’re the Stranger” is still a very good and very much Asia track, with whining synth and interesting percussion from Luis Jardim. Great vocal harmonies too; the song is mid-paced and somewhat restrained after the finger-blurring fretwork and speed of “Free”, but in ways it’s just what’s needed, as the chance to catch your breath after that monster is definitely welcome.


Elliot Randall this time joins Guthrie Govan on the guitar, and rips off a fine solo as the song powers along, more ecology themes in it as Payne asks ”Where the eagle used to fly/ They carve their concrete in the sky /Tearing at our mother's skin /Taking all her blood within /Remember how it used to be?” A powerful guitar then punches in as “The Longest Night” almost winds up the album with a strong, stirring vocal and ominous keyboard, the tempo slowing down but this is no ballad. Based on the Wilfred Owen poem, the song decries the futility of war, as Asia have done down their career with songs like “Too Late” and “Countdown to Extinction”, as well as “The Day Before the War” and others. It’s a powerful indictment, Payne giving it all he has on his final outing on the album. The closer is a typical Asia instrumental, and also the title track. It’s a fast upbeat piece with as you would expect plenty of input from Downes on the piano and keys, and flourishes from Payne on the guitar. More great percussion from Sturgis and a sort of choral vocal with the synth complements a really nice organ sound. One last solo from Payne and we’re out of here.

*
TRACK LISTING*

1. Awake
2. Wherever You Are
3. Ready to Go Home
4. The Last Time
5. Forgive Me
6. Kings of the Day
7. On the Coldest Day in Hell
8. Free
9. You’re the Stranger
10. The Longest Night
11. Aura


Note: there are three bonus tracks on my CD, but as per my usual MO I won’t be talking about them. In addition to detracting from the purity of the album itself I find it takes long enough to write these reviews and I always have one eye on how many more tracks are left, so including bonus tracks just makes more work for me. For the record, of the three, the best is probably “Under the Gun”, though the other two aren’t bad. As is often the case with additional material though, the quality of none of the three is quite up to the overall level of the album itself, another reason why a) they’re bonus tracks and b) why I don’t review them.


Despite what I said above, for a while I used to approach a new Asia album with the smallest amount of trepidation. Every one had been great, I would think, up to this. Surely this one will be the one that breaks that pattern? And when you’re paying full price for a CD as I used to, that’s something of a gamble to take. But I always felt in my heart confident that Asia would deliver, and they always did. I suppose it’s ironic that the first time they failed to was with a digital download, so that although XXX fell far below the standard I had come to expect from this band, it only cost me a dollar or so to find that out. Still, it was a huge disappointment, sort of like the first - and so far, only - time Marillion let me down, or when I suffered through Abacab by Genesis. You just don’t want your favourite bands to turn out bad albums, even if you get them for free. It’s part pride I guess and part a feeling of being cheated, even if it’s not out of money. There’s also the fear that this is the tip of the iceberg, the point at which the artist’s material will begin to nosedive in quality and that the next album or albums you get from them you can expect them all to be as poor as this one, or worse.


I haven’t, as I say, listened to Gravitas, the latest offering from the new/old/new Asia yet, but my expectations have been battered down after the last one, so I’m not really expecting all that much. I may be overstating the case, but I feel that after this album the shine began to rub off a band which had existed for nearly twenty years at that point, and though they achieved something which is rare enough in music, a second rebirth with the album Phoenix and the reassembling of the original 1982 lineup sixteen years after they released their debut on the world --- an album which still contains their only hit singles ---the only way from here was down.


Silent Nation did not overly impress me, Phoenix was admittedly excellent and Omega a decent followup though nothing terribly special, while quite possibly the death knell for Asia was sounded two years ago with the album that marked, ironically, their thirtieth anniversary. John Wetton, far from revitalising Asia (which didn’t need revitalising anyway and was doing quite well under John Payne, thank you very much) seems almost intent on destroying his legacy, taking apart a decade of great music and leaving us with only the older albums to enjoy. That said, Gravitas could be their best album yet, though I think I see a pig flying …which reminds me...hmm.


If the latest album is to be Asia’s last gasp, and if it’s anything like XXX, maybe it’s better they give it up as a bad job now, before we’re subjected to a string of substandard albums. Personally, I’d rather they made Gravitas their finale and left us with superb albums like this one to remember, and try to block out the awful memory of XXX._


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## Trollheart (Sep 17, 2019)

KenTR said:


> I used to be a music snob when I was younger, but I wasn't pathologically narcissistic about it. It was a youth thing. Nowadays, I don't care what people listen to. If they love it, that's all that matters. I've known people who barely enjoy music.
> 
> As I said, for the moment, I doubt I'll join there. I spend enough time on two forums as it is, and am having trouble finding the time to write. Political forum? Hell no. I'm sure I can hold my own, but that would mean getting caustic and I don't really see any advantage in that. What is a political forum doing on a music site anyway? That's like throwing a dead racoon into a flower garden.
> 
> ...



Hah! I assure you, it's pure coincidence that the very next album I reviewed was Millenium's_ Ego_! I laughed when I saw what you wrote about the guys on MB. No, to my knowledge, none of them are critics, if by that you mean they get paid. The only one who is, ironically, is a guy called Anteater and he is one of the nicest and most tolerant people you could come across. He's also a fantastic writer, at least about music. I hope to get him to join here at some point.

Thanks for the compliments on my writing. I always tried to write in a way that shows that I know what I'm talking about (hence a LOT of research before I do the review, usually through Wiki and RYM) but inject a note of humour too, and ensure I never preach to people, even when it's a subject, like Genesis, Marillion or Waits, on which I have almost encyclopedic knowledge. Nobody wants to be talked down to, and I try to make my reviews as engaging as possible. I'm glad you're enjoying them, and may find some new music to try out through them, which is part of the whole reason I used to write, not that anyone ever took any notice. The only two who did, to my recollection, were that Anteater guy, who told me I got him into the music of Chris Rea, and another guy who got totally into Prince, but had never heard his music before I reviewed Purple Rain, so that's always gratifying.

Thanks again; I'd love to see some of your reviews, and good luck with your screenplay.


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## Trollheart (Sep 17, 2019)

[FONT=&Verdana]Sometimes stars are born, sometimes made, but mostly you only discover them when they burst onto the scene. Occasionally, an artiste you've been following makes it big, and you can grin and say “told you so!” - a friend of mine was well into Michael Bolton years before he made the big time. But it's rare that you get advance warning that a new star is due to shine, and that you had better look out for them.
[/FONT]
[FONT=&Verdana]But such is how the nascent career of one Charlie Sexton was foreshadowed, and with good reason. Part of Bob Dylan's band from 1999 to 2002, and having toured with the Rolling Stones, learned guitar from some of the greats in the field, especially Joe Ely and the late Stevie Ray Vaughan, Sexton was marked for greatness. He was a pretty phenomenal guitar player, could sing like a pro from an early age, and had cut his teeth and paid his dues where it mattered, on the road. He would have big names to recommend his work and to call upon if needed, and associations with such heavyweights could only add clout to his stab for the big time.
[/FONT]
[FONT=&Verdana]But amazingly, that big break never arrived. Which is not to say that Sexton did not make it as a musician. In fact, he has had a fairly stellar career, working with even more giant talents like Ron Wood, Jimmy Barnes, Don Henley, Keith Richards, Clapton and Bowie, and has produced albums for the likes of Lucinda Williams, Double Trouble (Stevie Ray's band), Edie Brickell and Shawn Colvin. He has been hailed as a major talent, and is in great demand as a session musician, even playing the guitar on Justin Timberlake's version of “Hallelujah”.
[/FONT]
[FONT=&Verdana]But despite all that, the glittering solo career and superstardom that was foretold in his stars has not come to pass, and it's even odder when you consider his debut album, his first proper introduction to the world as a solo artiste.

[/FONT]
*[FONT=&Verdana]Pictures for Pleasure --- Charlie Sexton --- 1985 (MCA)
[/FONT]*
Even from the photo on the sleeve you could guess this guy was going to make it big. Hell, you'd have put your house on it! The broody, James Dean-esque teenager staring out of the picture, his hair in a quiff, his eyes dark and mysterious, rather a lot of heavy makeup on his face and a leather jacket pulled casually around his shoulders would perhaps put you in mind of one of those [/FONT][FONT=&Verdana]_X-Factor/American Idol_[FONT=&Verdana] wannabe “stars” who think they're a rocker. But you can't ignore or deny the image: _this_ is a guy with the face record companies and producers kill for, the sort of face that can sell records on its own.
[/FONT]
The difference here is that Sexton _can_ rock, and does on his debut album. [/FONT][FONT=&Verdana]_Pictures for Pleasure._[FONT=&Verdana] He has the kind of voice Cowell would kill for, and the sort of stage presence only gained through years on the road with bands who are the masters of their craft. And he's not just a pretty face either: he plays guitar, bass, piano and keyboards, sings and indeed writes or has a hand in writing some of the songs on the album. The full package, indeed.
[/FONT]
[FONT=&Verdana]So where did it all go wrong? Why was this album not a huge, chart-topping smash that launched Charlie Sexton on the road to superstar nirvana? I really can't answer that. The first single from the album is excellent, so much so that it pushed me to buy the album, and that's damn good too. Yet his next album seems to have sold very badly, and he only released two more solo albums after that, in total four, six and ten years between the last. Obviously, as detailed above he was very busy, either playing with other bands or producing albums, and he probably hadn't time to record much of his own solo work, but after the single I heard nothing more from him, and I had so much expected to.
[/FONT]
[FONT=&Verdana]The album opens with “Impressed”, a good hard rocker in the vein of John Cougar Mellencamp, and you can already hear the talent of this guy, not only on vocals but on guitar too. It's a good opener, with a great hook, and would have made a good single, but it's the next track that _was_ the single, and deservedly so. “Beat's So Lonely” is a fantastic slice of fast power-rock, melodic to the max, with a great lyrical theme about how it's lonely at the top and how things look different from there. Charlie cuts loose with his first proper guitar solo here, and it's a doozy!
[/FONT]
[FONT=&Verdana]This is also one of the songs he helps write, with producer Keith Forsey, and it's a real slice of Americana. Charlie's often relaxed, southern Texas drawl puts me in mind of the late Stevie Ray: the man's influence has certainly rubbed off! “Restless” is another track on which Charlie co-writes, this time it's a more electronica/funk type with lots of fiddly keyboard and some very bright piano, still retaining the rock shell the album is built upon.
[/FONT]
[FONT=&Verdana]Perhaps surprisingly, given his pedigree, Sexton eschews the idea of calling in famous names to play on his album, possibly afraid that such “guests” might misrepresent his music to the masses, or maybe he just wanted to make it on his own, after years of playing in the shadow of titans, standing, as it were, on the shoulders of giants. The only recognisable name on his crewlist is that of guitarist and producer extraordinaire, Richie Zito.

[video=youtube;42vvpKi2Da0]https://www.youtube.com/watch?v=42vvpKi2Da0&amp;list=PLp8sncEUV-K4TSTKPtD90ZDgJH__odFQw[/video]
[/FONT]
[FONT=&Verdana]A strange choice for a cover version next, the 1933 semi-classic “Hold Me”, which Charlie gives the full eighties rock treatment, updating the old love song for 1985. Another great little solo in this song, and some truly exceptional playing from Charlie, and the song is instantly his. It seems everything this boy puts his hand to, no matter how obscure or old, or seemingly inappropriate, turns to pure rock gold.
[/FONT]
[FONT=&Verdana]The title track is next, and again Sexton has a hand in its penning. “Pictures for Pleasure” is a boppy, keyboard-led slice of eighties AOR, with a certain Cars vibe about it, probably the most laid-back track on the album so far, although nowhere near a ballad. It should also be remembered that at the time of this album's release, Charlie Sexton was a mere slip of a lad at only sixteen. Displaying a maturity way beyond his tender years, he then launches into “Tell Me”, one of two tracks solely written by him. A real hard rocker, it combines the best of his keys work with heavy, snarly guitar, conjuring up visions of Survivor after a particularly hard day at the studio meeting up with Ric Ocasek and heading off for a drinking session with John Parr. Another super solo marks this track out as special, and it's on to his second attempt at writing a song on his own.
[/FONT]
[FONT=&Verdana]“Attractions” is a far different beast to its predecessor, with somewhat confused melody and a darker, more ominous vocal with nevertheless great backing vocals, and more guitar-driven than the previous “Tell Me”. I find the singing a little muddy on this track - I would say possibly due to production, but then Keith Forsey is acknowledged as a great producer, so I'd have to say it's down to Charlie's singing style, at least on this track. I have to admit, I'm not as fond of this as the previous, in fact, this goes down as my least favourite track so far.
[/FONT]
[FONT=&Verdana]“You Don't Belong Here” gets things back on track after the somewhat unexpected “curve ball” (don't you just hate those American phrases?) thrown by “Attractions”, with another good rocker with tons of hooks and some great guitar work from Charlie. Sort of mid-paced, it's not as frenetic as the likes of “Restless” or “Impressed”, but it holds its own, with a strange sort of Pretenders/Bryan Adams guitar riff running through it. Closer “Space” is written by those stalwarts of the rock song, Holly Knight and Mike Chapman, and it shows.
[/FONT]
[FONT=&Verdana]The song reeks of commerciality, but I really feel it does not suit either Sexton's voice or his style, and as such it seems incongruous here. Perhaps the decision to take this song was a bad move: virtually everything up to that had been good, but as a closer this just feels like it was written for someone like Go West or Eurythmics. Just doesn't sit well here, and finishes the album in the wrong vein for me.
[/FONT]
Having heard “Beat's So Lonely”, I bought this album fully expecting it to be loaded with filler, and was more than surprised to find it really is a good listen. Having read about Charlie Sexton in the musical press of the day, I totally expected this album to be the springboard to launch him to worldwide fame and success. I'm amazed that it didn't happen, and though [/FONT][FONT=&Verdana]_Pictures for Pleasure_[FONT=&Verdana] is not a classic album, and does suffer from some deficiencies, remembering that it's the debut effort from a guy sixteen years old, this is good stuff! As mentioned, Charlie did experience a lot of success, with other bands and other avenues, and he'll always make a living as a session muso. He's in demand, and will most likely continue to be, and certainly he'll never starve.
[/FONT]
But superstardom, it would appear, for reasons that remain unclear to me, seems to have eluded him. On the strength of this album, it's one of the mysteries of the rock universe, and one that I fear will not be solved any time soon, if ever. Steve Lukather, Danny Kortchmar, Mike Landau, are all names we know well. They're accomplished and famous session musicians (Lukather not so much now, having joined Toto and made a name for himself), and do well, but would we go to see any of them if they were in concert? Charlie Sexton deserved to become a household name, but sadly, and unaccountably, the likely response you'll get when mentioning his name now, outside of musical circles, is “Charlie who?”

*TRACK LISTING*
Impressed[FONT=&Verdana]
[/FONT]Beat's So Lonely[FONT=&Verdana]
[/FONT]Restless[FONT=&Verdana]
[/FONT]Hold Me[FONT=&Verdana]
[/FONT]Pictures for Pleasure[FONT=&Verdana]
[/FONT]Tell Me[FONT=&Verdana]
[/FONT]Attractions[FONT=&Verdana]
[/FONT]You Don't Belong Here[FONT=&Verdana]
[/FONT]Space[FONT=&Verdana]

[/FONT]


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## Trollheart (Sep 17, 2019)

[FONT=&quot]Trying to fly the flag for my own country, and having already reviewed The Coronas I thought it might be time to check out some more of the best in Irish music. Not rock by any means - but then, while Ireland has its share of rock stars we’re known more for our traditional and folk music than anything, so this is an essential album indeed, by one of Ireland's favourite and best-loved sons, the inimitable Christy Moore.

[/FONT]

_Ordinary Man _[/FONT][FONT=&quot]--- Christy Moore --- 1985 (Walker)

Christy has long been acknowledged as one of the best ever songwriters and musicians the Irish folk scene has ever produced, and his output ranges from out-and-out traditional, folk and some blues influences to rockier material and some gorgeous ballads, including the superlative Jimmy McCarthy song, “Ride On”. Some of his songs are satirical, some sharply so. His song “Lisdoonvarna”, written about the Irish music festival that takes place there annually, is just good fun, as is “Don't Forget Your Shovel”, but he can write some very cutting stuff too. This album opens with “Sweet Music Roll On”, a lovely little trad-type ballad on acoustic guitar with oileann pipes backing. “Delirium Tremens” is a hilarious but very serious little ditty, ostensibly about the “D.T's”, the withdrawal symptoms from alcohol addition, but features many references to Irish poloticians, religion and other Irish figures too. Most of the lyric will probably be incomprehensible to anyone not Irish, but it's a great little song, carried on acoustic guitar and bodhran.

Christy tends to sing a lot of his material almost _sotto voce_, in a manner somewhat similar to John Martyn: he seldom raises his voice and you often have to strain to hear him, but his singing is the better for this. The standout track on the album breaks this habit, as Christy snarls out the title track, a sharp indictment of the plight of the workingman. You can hear the vitriol in his voice as he laments the oft-told story of the little guy being stepped on by Big Business, where phrases like “rationalistation, “not viable” and “downsizing” all mean one thing to the ordinary Joe: redundancy. When he snaps _”The owner says he's sad/ To see things have gone so bad/ But the captains of industry/ Won't let him loose/ He still drives a car/ Smokes a big cigar/ He still takes his family on a cruise!”_ you can get a sense of his anger at the hypocrisy of a boss who spreads his hands and shrugs “what can I do?” It's a mid-paced ballad, with great guitar and some nice steel pedal guitar too, tom-toms keeping the percussion beat.

Most of the album is simple acoustic guitar with minimal percussion, some banjo and the odd keyboard flourish, the oileann pipes adding some colour as well as harmonica and maybe fiddles, hard to say and I have no instrumentation listing. But it's very, very Irish and very, very Christy. “The Reel In the Flickering Light” opens on mournful keys and banjo or mandolin, features some lovely piano too, then Christy's guitar takes over and he returns to the normal way of singing for him, which is almost that of a man practicing alone in a room. This is part of Christy's charm: there are no airs or graces about the man. He plays on stage as he would at home alone, or on his records, and he's as honest and unassuming a man as you're ever likely to meet.

Another ballad then in “The Diamandtina Drover”, and there's another instrument to add in: the accordion. Not normally one of my favourites, but it works very well here. “Blantyre Explosion” opens with sounds of rain and thunder, and settles into another laid back ballad about a mining disaster in Scotland. “Hard Cases” is another little jaunty tune, in something the style of “Delirium Tremens” but a little slower, and a _lot_ of accordion, while “Continental Ceili” (pronounced “kay-lee”) recalls his satirical “Don't Forget Your Shovel”, another jaunty, pleasant little ditty just celebrating the Irish traditional way of life (a ceili is an Irish dance with traditional music), and “St. Brendan's Voyage” recalls the journey of the Irish Saint Brendan the Navigator with a typical Christy Moore slant as he asks _”Is it right or left/ For Gibraltar?/ What tack do I take/ For Mizzenhead/ I'd love to settle down/ Near Bantry Harbour/ Saint Brendan to his albatross/ He said.” Great stuff!__
[video=youtube;2ylrHy9iBUE]https://www.youtube.com/watch?v=2ylrHy9iBUE[/video]
The album was supposed to have included a song written by Christy commemorating the forty-eight young people killed in one of Ireland's worst accidents, the fire at the Stardust nightclub in 1981, but legal complications prevented him from adding it, and so instead, where “They Never Came Home” should have been, we have “Another Song is Born”, which itself alludes to why songs are written, a direct attack at the powers that stopped him releasing “They Never Came Home”, which was sharply critical of the Irish government for their treatment of the disaster and its aftermath, as well as the Butterleys, the owners of the nightclub, who themselves had strong ties to the party in power, Fianna Fail.

The album closes on the lovely “Quiet Desperation”, featuring ex-Clannad member and solo artist Enya on backing vocals and keyboards. It's another lonely ballad, fragile and beautiful, perfectly crafted and delivered with gorgeous mandolin accompaniment from Donal Lunny, and it brings down the curtain on a fine album by a national Irish treasure.

[FONT=&quot]*TRACK LISTING*

[/FONT][FONT=&quot]Sweet Music Roll On
[/FONT][FONT=&quot]Delirium Tremens
[/FONT][FONT=&quot]Ordinary Man
[/FONT][FONT=&quot]Matty
[/FONT][FONT=&quot]The Reel in the Flickering Light
[/FONT][FONT=&quot]The Diamondtina Drover
[/FONT][FONT=&quot]Blantrye Explosion
[/FONT][FONT=&quot]Hard Cases
[/FONT][FONT=&quot]Continental Ceili
[/FONT][FONT=&quot]St. Brendan's Voyage
[/FONT][FONT=&quot]Another Song is Born
[/FONT][FONT=&quot]Quiet Desperation

[/FONT][FONT=&quot]I would never actually consider myself a fan of Christy Moore’s music - I’ve heard little enough of it - but you’ll search hard to find any Irishman or woman who has a bad word to say about him, and this has nothing really to do with his music, though millions all over the world do enjoy it. It’s more about the man. Christy (he’s almost never referred to as Moore, as most artists tend to get tagged by reviewers by their surname, another indication of both the high esteem in which he’s held here, and the friendliness towards him as just one of the guys) is the type of man who can play a sell-out gig and then meet you in the pub afterwards for a stout. He’s not to be seen being ushered from the stage by mirror-shaded goons holding back the crowds, refusing to sign autographs and shading his eyes from the flash of cameras as he’s bundled into a limo where three bimbos await his company. 

[/FONT][FONT=&quot]He’s much more likely to go out among the crowd and shake your hand after the concert, talk to you and listen to your views, laugh with you, curse the government and bewail the state of the world while perhaps indulging in a good old Irish singsong in the local. Mind you, I’m not saying this is his routine after every gig - probably happens less often than I would wish. But he’s one of the few famous artists you can look at and think, yeah, I could go for a pint with him, and he wouldn’t pretend not to know me. He’s just like me, another working slob. Sure, he plies his trade with a guitar while I work down the supermarket, but at heart he knows we’re just the same, ordinary men trying to do our best in an uncaring world.

[/FONT]It may very well be the secret of his success, and if so, sure wouldn’t we all do well to learn from and follow his example? Ride on, Christy, ride on. _


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## Irwin (Sep 17, 2019)

Trollheart said:


> I have no idea what that means. :scratch:



Antiochus IV Epiphanes persecuted the Maccabees in the Bible. The rebellion of the Maccabees is the story of Hanukkah.


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## Trollheart (Sep 17, 2019)

[FONT=&Verdana]_

*Tapestry*_[/FONT][FONT=&Verdana]* --- Carole King --- 1971 (Ode)*
[/FONT]
One of the mega-albums of the early seventies, a huge hit and a massive success for fledgling singer/songwriter Carole King, [/FONT]_Tapestry _[/FONT]was in fact her second album, which makes it all the more remarkable that there were _five_ hit singles from it, four of which reached number one! Since its release, to date, [FONT=&Verdana]_Tapestry_[FONT=&Verdana] has sold over 25 million copies. Not bad for a second effort!

Carole King did of course go on to write songs for huge artistes, and others had hits with her songs, like Aretha Franklin, who made “(You Make Me Feel Like) a Natural Woman” something of a signature tune for herself, and of course James Taylor, who scored a massive hit and enduring success with “You've Got a Friend”. But this is Carole's album: she writes or co-writes every track, and what she doesn't write on her own she contributes the music to, as in two tracks where the lyric is supplied by Toni Stern. On three others she shares songwriting duties with ex-husband Gerry Goffin.

The album opens with “I Feel the Earth Move”, a pacy, upbeat song about love, which has been covered by many artistes down the years, the most recent I recall being Martika. The style of the album from the off is quite laid-back, almost jazzy, folky in places, but it's by no means an album of ballads. “So Far Away” is one though, a wistful, almost pleading song asking why people don't stay together. It's a simple piano-driven song, with King's voice as simple and yet as distinctive as that of the late Karen Carpenter, singing as if she's been doing this all her life.

“It's Too Late” is one of the standout tracks on the album, a disarmingly boppy song whose subject matter is far from fun, the bitter realisation that a breakup is unavoidable, as Carole sings _”Stayed in bed all mornin' just to pass the time/ There's somethin' wrong here, there can be no denyin'/ One of is changin', or maybe we just stopped tryin'”_. It's carried on bouncy piano with some nice acoustic guitar, and was one of the many hits from the album. It's also one of the few Carole did not write, lyric duty falling to the aforementioned Toni Stern, music by Carole.

A great fusion of pop and folk modes, [/FONT]_Tapestry_[/FONT] was in fact the biggest-selling album by a solo artiste until Michael Jackson came along with [FONT=&Verdana]_Thriller_[FONT=&Verdana], and smashed all records. Not bad though: that was 1982, so she kept the top spot for eleven years. The album features some names which were to go on to be rather huge, including Joni Mitchell, James Taylor, Russ Kunkel and a young Danny Kortchmar. Another piano ballad, with country flavour and a touch of gospel, “Home Again” keeps the quality high with some lovely piano from Carole, and a simple melody and theme.

“Beautiful” is a much more uptempo, happy song, with a “smile and the world smiles with you” idea, with an almost carnival ending, while “Way Over Yonder” fuses blues and gospel perfectly in a touching little ballad that's almost a hymn in disguise, with some supersmooth sax work. There's just nothing that can, or needs, to be said about the next track. A huge, massive hit for James Taylor, as well as others, I think everyone knows “You've Got a Friend.” It's followed by “Where You Lead”, a sort of mid-paced rocker with some great keyboards and a soul chorus line. It's the second track on the album written by Toni Stern, though interestingly there's a line in it which very closely mirrors one in “You've Got a Friend”... The song would be seen nowadays as sounding like the words of a submissive, subservient woman, with lines like _”Where you lead I will follow”_ and _”If you wanna live in New York City/ Honey you know I will”_, but come on, this was 1971!

[video=youtube;umvblNSqt2s]https://www.youtube.com/watch?v=umvblNSqt2s&amp;list=PLX68ZEYlh74vWJaklyD8bWbA  W-gOpvu87[/video]
Another hit next, already a big success for the Shirelles in the sixties, again everyone knows “Will You Love Me Tomorrow?” and yes, Carole King wrote it, along with Gerry Goffin. Her own version is a much slower, laid-back and piano-led version than the bubblegum pop of the original release, and so much better for taking its time, with excellent and powerful backing vocals from James Taylor and Joni Mitchell. Another collaboration with Goffin, “Smackwater Jack” was also a hit, although of the singles taken from the album, this is one I have never heard prior or since, but it's a bluesy bopper, with a great piano line and striding guitars. Without question the most fun track on the album.

The title track is a nice little ballad played on piano and guitar, almost the testament of a much older woman, with an interesting little parable within its lyric, and the album closes on another by-now famous song, that one that made Aretha so famous, “(You Make Me Feel Like) A Natural Woman” ending this incredible debut on a high, with a powerful, anthemic love song with gospel overtones.

Carole King is one of those people who a lot of music fans will not know, or even know of, but the chances are that her music has touched almost everyone, whether it's through TV or film soundtracks, hits for other artistes, or her own music. Like the title of the album says, it's all part of the one wonderful interwoven tapestry. Now approaching seventy years of age, Carole is still busily recording, and doesn't look likely to slow down for some time. And it all began here, with a classic, iconic and timeless offering from a woman who has had more impact upon the music scene over her forty-year career than just about anyone else I can think of.

[FONT=&Verdana]*TRACK LISTING
*[/FONT]
I Feel the Earth Move[FONT=&Verdana]
[/FONT]So Far Away[FONT=&Verdana]
[/FONT]It's Too Late[FONT=&Verdana]
[/FONT]Home Again[FONT=&Verdana]
[/FONT]Beautiful[FONT=&Verdana]
[/FONT]Way Over Yonder[FONT=&Verdana]
[/FONT]You've Got a Friend[FONT=&Verdana]
[/FONT]Where You Lead[FONT=&Verdana]
[/FONT]Will You Love Me Tomorrow?[FONT=&Verdana]
[/FONT]Smackwater Jack[FONT=&Verdana]
[/FONT]Tapestry[FONT=&Verdana]
[/FONT](You Make Me Feel Like) A Natural Woman[FONT=&Verdana]

[/FONT]


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## Trollheart (Sep 17, 2019)

[FONT=&Verdana]_

*A Place Where the Sun is Silent*_[/FONT]* --- Alesana --- 2011 (Epitaph)*

 I know nothing of this band, and the thing that drew me to their latest album was, believe it or not, a combination of the title and the sleeve. I mean, how more seventies prog rock can you get? Although I have to wonder at the title: I mean, when does the sun ever make noise? The sun is always silent. Anyway, on we go...

As it happens, this band are _not_ a progressive rock band, though they are a rock band. Lucky for me: in searching for new albums to download I came across one called [/FONT]_Songs of the Ungrateful Living_[FONT=&Verdana] by an outfit called Everlast. Sounds metal, yeah? Sounds prog, maybe? Wrong: it's a hip-hop group. Now I have nothing against rap, or hip-hop, or grime, but it's not my bag, so there's an example of being led by your heart (or in this case, your eyes) and not listening to your head. I could have downloaded the album and then been really disappointed. So I checked out Alesana before I clicked the button, listened to some samples, and what I heard made me happy enough to get the album, which I will now review for the first time here.

But first, a little about the band behind the album.
The first, and most striking thing about Alesana is that they have _three_ vocalists and three guitarists. Interesting. One of the vocalists, Dennis Lee, is credited as “unclean vocals”, and as I've heard some samples where those bloody “death growls” I hate so much come in, I have to assume that's what's meant by that description. The full current lineup is as follows:-

Shawn Mike --- “clean” vocals, rhythm guitar, piano
Patrick “Peezee” Thompson --- lead guitar
Alex Torres --- lead guitar
Shane Crump --- bass guitar, backing vocals
Dennis Lee --- “unclean” vocals
Jeremy Bryan --- drums

Perhaps I'm the only person who doesn't know about these guys, and you'll all be shaking your heads, clucking your tongues and saying to each other in knowing tones, “Where has this guy been?” but so be it if that's the case: this is the first I have ever heard of Alesana, so I'm going to come at them from that perspective.

This is their fourth album, their debut having been released in 2006, although they had an EP the previous year which apparently got them noticed. They seem to create concept, or at least themed albums, each time. Their first was based on Greek mythology, their second on the fairytales of the Brothers Grimm, and their third loosely based around the work of Edgar Allan Poe. This time, their focus is on Dante's [/FONT]_Inferno_[FONT=&Verdana]. So not your usual “rock all night” fare then!

So, to the album then. It certainly opens very prog-rock, even folkish, with lilting piano and soft vocal on opener “The Dark Wood of Error”, and you could almost think you were listening to the likes of Mostly Autumn, perhaps touches of Kamelot in the spoken (Italian? Latin?) lines that accompany the music, almost like narration, but then second track “A Forbidden Dance” kicks in, and ups the ante with a powerful rocker, and you can right away get the impact of those three guitars. I would of course, as those who know my musical tastes will not be surprised to hear, be happier not to hear the “unclean” vocals of Dennis Lee screaming all over the place. I've never seen the point in them personally, and if anything they seem totally at odds with the music and the other vocals in the song, not quite ruining it for me, but I'd be definitely happier without them. Still, they're not as bad as others I've briefly suffered through.

The rest of the song is great though: excellent hooks, great melody, and the “clean” vocals of lead singer Shawn Mike certainly have a lot to recommend them. “Hand in Hand With the Damned” is another rocker, carried of course on sharp and powerful guitars, with solid drumming, and it quickly becomes apparent how tight this band is, switching from mad triple electric guitar attack to lovely, understated acoustic at the drop of a plectrum, never missing a beat. Hard to believe they've only been together for seven years.

It's not surprising that they're garnering a hell of a following though, on the basis of the music presented here (and I haven't heard anything from their previous three albums), as “Beyond the Sacred Glass” slips in almost unnoticed from the previous track, riding on a moody, atmospheric keyboard intro before the guitars kick in. It's the longest song on the album, at just over six minutes, quickly metamorphosing into another fast headbanger, with shades of Iron Maiden in there in some of the guitar work. It's the first track where I hear the “clean” and “unclean” vocals mesh and start to actually complement each other, and to be fair when that happens it works quite well.

[FONT=&Verdana]And then suddenly everything slows down as electric yields to acoustic guitar, and a lovely piano melody takes over, overlaid with some really fine soloing which, while not shredding or anything close, is just as effective, if not more so. Almost Santana in its style, I feel. The tempo picks up again and the song gets rocking again to the end. Probably could have lived without the sudden, jarring abrupt ending to so sublime a track, though.

[video=youtube;RfZrJNknVOw]https://www.youtube.com/watch?v=RfZrJNknVOw&amp;list=PL45F64D68634DE2DE[/video][/FONT]

Like many concepts, it's a little hard to follow the story if you haven't read the source material, and let's be honest, not too many of us will have struggled through[/FONT]_ Inferno_[FONT=&Verdana]. I tried, but found it a little dry and replete with too many references to Italian society and politics, but I have a basic idea, like most people, of the work. Nonetheless, it's a little hard then to marry up the songs to the story, but “Circle VII: Sins of the Lion” does at least mention the seventh of the nine circles of Hell, and is suitably bombastic and operatic in its execution to give you a good idea of travelling through Satan's kingdom.

“Vestige”, on the other hand, returns to the style of the opener, with simple piano and clean vocals, and there's little doubt that there are female backing vocals in there somewhere, but I can't find a credit for the unknown songstress anywhere, not even on the band's own website (which is sorely in need of an update - the discography doesn't even contain this album!), while “Lullaby of the Crucified” kicks up the speed again after the brief interlude, with an interesting choppy guitar part in the middle, spoken, almost tannoy-like vocals echoing in the background while the guitars get more insistent and louder, until they punch out of the song and take over again.

There's no doubting the musical talent of these guys, even though from the picture on their home page you'd take them all for members of the college chess club. Guitarists Patrick Thompson and Alex Torres certainly know how to ply their trade, and while Shawn Mike adds in rhythm guitar along with lead vocals, he's really proficient on the piano, letting those fingers glide across the ivories and adding a real sense of the classical to Alesana's music. Most of it is basic fast rock though ,but that's no bad thing. There's definitely more than a hint of Maiden in the guitar attack, which again is a compliment and not a criticism.

A nice little laid-back, semi-jazzy part is unexpected but welcome in “Labyrinth”, which runs without pause or change into “The Fiend”, where Dennis Lee comes across very well as the Dark One, growling and roaring like a man possessed. To be honest, his “low” unclean vocals are much better and more effective I think than his “high”, screaming, throat-searing yells and roars. The former I could listen to more easily, whereas the latter really, to me, just seems to be screaming for the sake of making noise. Hey, I _said_ I hated death vocals, didn't I?

There's another supersmooth segue directly into “Welcome to the Vanity Faire”, and if I have a criticism - or indeed, just an observation - about this album it's that there is, so far, no clear-cut ballad. No, every album does not have to have one, but considering the style of music Alesana are producing, and the largely untapped talent of Shawn Mike on the piano, I feel a nice slow song would be good to hear, as everything so far has been, generally, loud and fast, though certainly not without melody and not without a great deal of thought obviously having gone into both lyrics and music. It would just be nice to rest for a while, put our feet up on our way through Hell and take a breather.

Well, “The Wanderer” comes close, a nice piano-led slower piece, with some very nice female backing vocals, but it's only a minute and a half long: I would have liked this to have been expanded on, to see what Alesana can do when they try something a little less, shall we say, hectic? Manic, even. “A Gilded Masquerade” starts off promisingly, but soon kicks into the usual fast rock song. A good song, nothing wrong with it, but like I say, a proper ballad would have been nice. If nothing else though, the album is great value for money, with the closer, “And Now For the Final Illusion” clocking in as track number sixteen, with only two of those being a minute or shorter.

It's a good and effective closer, with a feeling of epilogue about it. Great mass vocals, with pretty much the same melody running through from beginning to end, very sparse lyric - apart from the opening muttered monologue, I only hear the one phrase - then a very nice piano piece with what sounds like the title of the album murmured over it to the end.

I don't really know what it is that makes Alesana stand out from the pack: perhaps it's the unusual effect of having three guitarists, maybe the classical piano or the progressive rock flavoured themes. It could even be the “unclean” vocals of Dennis Lee, which to be fair do add a huge amount of energy to songs that are never dull, slow or boring, but do get something of a kick from his manic screams and growls. Whatever it is, it seems certain these guys are going to be around for a long time, so my advice is check them out, but make sure you have a guide. Unlike AC/DC wrote many years ago, Hell _is_ a bad place to be.

[FONT=&Verdana]*TRACK LISTING
*[/FONT]
The Dark Wood of Error[FONT=&Verdana]
[/FONT]A Forbidden Dance[FONT=&Verdana]
[/FONT]Hand in Hand With the Damned[FONT=&Verdana]
[/FONT]Beyond the Sacred Glass[FONT=&Verdana]
[/FONT]The Temptress[FONT=&Verdana]
[/FONT]Circle VII: Sins of the Lion[FONT=&Verdana]
[/FONT]Vestige[FONT=&Verdana]
[/FONT]Lullaby of the Crucified[FONT=&Verdana]
[/FONT]Before[/FONT] [FONT=&Verdana]Him All Shall Scatter[FONT=&Verdana]
[/FONT]Labyrinth[FONT=&Verdana]
[/FONT]The Fiend[FONT=&Verdana]
[/FONT]Welcome to the Vanity Faire[FONT=&Verdana]
[/FONT]The Wanderer[FONT=&Verdana]
[/FONT]A Gilded Masquerade[FONT=&Verdana]
[/FONT]The Best Laid Plans of Mice and Marionettes[FONT=&Verdana]
[/FONT]And Now For the Final Illusion[FONT=&Verdana]

[/FONT]


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## Trollheart (Sep 17, 2019)

[FONT=&Verdana]_





*Analogue*_[/FONT][FONT=&Verdana]* --- a-ha --- 2005 (Universal)*
[/FONT]
When most people think of a-ha, they inevitably hear “Take On Me” in their heads, but there's a lot more to this band than that one hit single, or the others they had around the late eighties. Although there's no way they could ever be called a rock band, a-ha for me transcend the usual formula of pop bands: their material is their own, they're not controlled by any mega-star producer, and they explore interesting themes in their songs. Okay, they're not going to set any rocker's world alight, but I consider myself primarily a rocker (albeit an old one!) and I really love this band.


As far as music is concerned, mostly Norway seems to be associated with death/doom/black metal bands, all Viking and brooding stares, guttural growls and screeching guitars. Against this backdrop came a-ha, bursting onto the charts in 1985 and looking like escapees from a conventional of male models. They could have been just another flash in the pan, with the mega-success of “Take On Me” and follow ups “The Sun Always Shines On TV”, “Cry Wolf” and “Manhattan Skyline”, but when all the chart hits are done and the trendy kids have forgotten them and moved on to the next flavour of the month, a-ha have stood fast and weathered the test of time, producing nine fine albums over a career spanning almost 25 years, and though they are now no more, having disbanded in 2010, their music lives on.

_Analogue_[FONT=&Verdana] is their eighth studio album, and in my opinion, one of their best. It contains both fast-paced boppy poppers as well as thoughtful tracks and of course ballads. Of the former, “Don't Do Me Any Favours” rattles along on the flowing keyboards of “Mags” - Magne Furuholmen - which have created the distinct soundprint of the band since the first arpeggios of “Take On Me” smashed the charts wide open, while the guitarwork of “Pal” - Paul Waaktar-Savoy - may not be as overwhelming as you would expect in, say, a Gary Moore or Bryan Adams album, nevertheless hold the melodies together perfectly. And of course what need be said about the clear, unmistakable voice of Morten Harkett, still sounding like a boy of eighteen even after all these years?
[/FONT]
“Halfway Through the Tour”, clocking in at almost seven and a half minutes, is a monster track that becomes more or less the [/FONT]_denouement_[FONT=&Verdana] of the album, starting off as a fast, chugging, bopper and then slowing down near the end and becoming almost an instrumental waltz as it fades out. Great stuff! Other notable tracks include the rather poignant “Birthright”, the bittersweet “A Fine Blue Line”, which showcases Morten's soulful and sweet voice as he croons “[FONT=&Verdana]_We read each other's book/Gave each other look/Like we couldn't trust ourselves/And we knew it/ So tell me where you've been/ And I'll show you where you're going/ You can shout, you can scream your way through it.. “
_[/FONT]
[video=youtube;t_AlWxgzJ7o]https://www.youtube.com/watch?v=t_AlWxgzJ7o&amp;list=PL2YeXti0iR1eDKnnXI1JdsZi  3gZp01zHm[/video]
Another fine ballad follows in “Keeper of the Flame”, with Mags's beautiful piano lines forming a musical canvas on which Morten paints the most delicate vocal lines, while “Over the Treetops” is a song that just makes you want to dance. No bad thing, I would say! The closer is an oddity. “The Summers of Our Youth” is a beautiful, heartbreaking ballad, a fitting ending to the album, but for only the second time in his career in a-ha, Morten hands over vocal duties to Pal, and a very fine job he does on it, too, joined in the choruses by the mainman.

_Analogue _[FONT=&Verdana]is not going to make anyone rush out and buy the album, or become an instant a-ha fan, I would expect, but it's well worth a listen if you have dismissed one of Norway's biggest and most successful musical exports as “that band who had that hit”....
[/FONT]
*[FONT=&Verdana]TRACK LISTING
[/FONT]*
Celice[FONT=&Verdana]
[/FONT]Don't Do Me Any Favours[FONT=&Verdana]
[/FONT]Cosy Prisons[FONT=&Verdana]
[/FONT]Analogue (All I Want)[FONT=&Verdana]
[/FONT]Birthright[FONT=&Verdana]
[/FONT]Holy Ground[FONT=&Verdana]
[/FONT]Over the Treetops[FONT=&Verdana]
[/FONT][FONT=&Verdana]Halfway Through the Tour
[/FONT][FONT=&Verdana]A Fine Blue Line
[/FONT][FONT=&Verdana]Keeper of the Flame
[/FONT][FONT=&Verdana]Make It Soon
[/FONT][FONT=&Verdana]White Dwarf
[/FONT]The Summers of Our Youth
[FONT=&Verdana]
[/FONT]


----------



## Trollheart (Sep 17, 2019)

[FONT=&Verdana]



*Once and Future King, Part 1 --- Gary Hughes --- 2003 (Frontiers Records)
*[/FONT]
There are albums, there are concept albums and then there are musical phenomena. In the latter category you'll find and probably recognise behemoths like [/FONT]_Tommy _[/FONT]by The Who, Jeff Wayne's [/FONT]_War of the Worlds_[FONT=&Verdana] and of course [FONT=&Verdana]_The Wall _[FONT=&Verdana]by Pink Floyd. To this pantheon, I believe, should also be added this perhaps lesser-known but in no way inferior double album, which you really have to hear to believe.


Based (not surprisingly, given the title) on the legend of King Arthur, [/FONT]_Once and Future King_[FONT=&Verdana] is the brainchild of Gary Hughes, vocalist and songsmith with Manchester melodic-rockers Ten, and was three years in the making, seeing the light of release in 2003. A true rock opera in every sense of the word, the album features performances from some of the very best talent in the world of melodic/prog rock, as Gary has assembled a cast of stars, among them Diamond Head's Sean Harris, Magnum's Bob Catley, superstar Arjen Anderssen, Lana Lane, Sabine Edelsbacher and Erik Norlander, who also helps engineer the whole thing. Each member takes the part of a player in the drama, roles listed below further on.


When I say this is a double album, that's not exactly true. Mindful of the cost to the fans of an expensive double-disc, Gary actually released Part 1 and Part 2 as separate discs, though in the same year, so that these are two physically separate recordings, though one follows on from the other. Think the original release of [/FONT]_Back to the Future II_[FONT=&Verdana] and III and you'll get the idea. Together but separate. Nonetheless, although each track is self-contained and can very much be enjoyed on its own, or as part of a playlist, to get the real feel for the album you have to listen to both discs through from start to finish. It's an amazing achievement, and a fitting testament to Gary's vision for the project.

It's of course primarily a rock album, and there are loads of fast, upbeat, fist-punching rock anthems in there, with some really nice ballads too - Gary writes some great stuff: listen to “Rainbow in the Dark” or “Soliloquy (The End of the World)” by Ten to get an idea -but perhaps surprisingly on a rock opera, only the one instrumental, and that on Part 2.


The whole thing kicks off with as might be expected a sort of overture, piano and choral voices giving way to thundery keyboards as the mood turns dramatic and insistent, driven by the unmistakable presence of prog god Arjen Lucassen behind the keyboards. The overture swells and gets louder and louder until the opener “Excalibur” powers into life, and the album sets off at a breakneck pace, with the crowning of Arthur, as he accepts the magical sword that bears the opening track's name. First of several vocalists on the two albums, it's Damian Wilson (Threshold, Ayreon, Star One) who takes song duty on this track, narrating the coronation of the new monarch, and the pace keeps up for “Dragon Isle Cathedral”, with Gary himself taking over vocal duties as he takes the role of the eponymous king, while the guitars of John Halliwell and Chris Francis (Ten) battle it out in a glorious fight for supremacy, as Gary outdoes himself by providing swirling, squealing keyboards in addition to singing.


The approach taken by Hughes to the Arthurian legend is very different to some standard ones. Eschewing the tack taken by various movies, or the TV series [/FONT]_Merlin_[/FONT], and cutting out the more romantic/less historically accurate elements, Gary actually takes a page from Richard Carpenter's approach to the legend of another mythical British hero, Robin Hood, in his retelling of the story for Goldcrest's TV series [/FONT][FONT=&Verdana]_Robin of Sherwood._[FONT=&Verdana] Like that series, Gary's take on the legend of Arthur brings in more mystical and pagan elements, the old gods, and his characters are less black and white than other interpretations have painted them. Gary says he used “[FONT=&Verdana]various sources such as the Mallory Poem and the Geoffrey of Monmouth version of the Arthurian legends which is probably the earliest. Various other documentation from various authors, things like the Bernard Cornwell novels Excalibur, Winter King, Enemy of God and various things like that which I thought were probably as close to my interpretation as I could get.
I tried to avoid the Hollywood-isms and tried to concentrate on Arthur the battle lord trying to unite the tribes which is what it was all about” (Excerpt from his interview with MelodicRock.com --- http://www.melodicrock.com/interviews/garyhughes-oafk.html)


[FONT=&Verdana]Guinivere makes her entrance in the next track, “At the End of the Day”, played by the multi-talented Lana Lane, performing a beautiful duet with Gary as Arthur. The song is, not surprisingly, a love song as each sing of their love for the other: “I saw a miracle arrive/ For an angel walked into my life/ You make the flames of a heart so cold/ Ignite, at night you melt my soul” While Guinivere sings “I will be everything you need,/ For the timeless one brought you to me,/ Safe in my arms as the torches fade /With the light at the end of day “. The song is driven on a haunting piano melody, almost acoustic; there is a tremendous guitar solo halfway through, though whether this is Chris Francis, John Halliwell or indeed Gary himself I don't know, as all three take guitar duties across the album, but the texture of the solo sounds to me like some of Gary's best work from Ten.
[/FONT]
[video=youtube;ZeV2oJJsd_c]https://www.youtube.com/watch?v=ZeV2oJJsd_c&amp;list=PL-EtP2HJ2kKLIUQo-6Za9S1HTqF2Jy5aD[/video]

The mood stays generally balladic for the next offering, with Danny Vaughn taking centre stage as Lancelot, asking the eternal questions as “The Reason Why” gets underway. Vaughn puts in a fine performance as the honourable man caught up in a web of his own making as he sings [/FONT]_“Show me the reason why we put chains on our lovers/ How can we justify this kind of control?/ Show me the reason why we enslave one another.”_[FONT=&Verdana] Things kick into high gear again then as Morgana makes her entrance, in the shape of Irene Janssen, who sings her heart out on “Shapeshifter”, a real rocker after the previous two low-key tracks.

Enter Merlin, played by Magnum's Bob Catley (a good choice!), and we see that he is far from the kindly old magician of many previous Arthurian stories. Gary has chosen here to represent the wizard as someone longing for the old days, as magic begins to lose its grip on the emerging new world and the Dark Ages start to fade out, and he wishes to bring back the old gods, believing that only they can return the world to the way it was. When he sings [/FONT]_“They must be freed/ Drive out the Christian seed”_[/FONT][FONT=&Verdana] you know Gary has not asked him to emulate the merry old wizard of so many Arthurian tales, and he backs this desire for a return to the old ways when he vows [FONT=&Verdana]_“If I was king for a day, this land would burn in the mystical flames/ Born through the fire the old gods would reign.”_


“King for a Day” is a sort of slow heavy waltz, not a ballad, but a slowburner certainly. The grinding, doom-laden tone is driven by Paul Hodson's keyboards and piano lines, and paints a disturbing picture of the most powerful man in Britain at the time. It's followed by the return of Danny Vaughn as he reprises his role as Lancelot in what is perhaps one of the most commercial songs on the album, and could indeed have been lifted as a single. “Avalon” is pure AOR heaven, as Lancelot begs Guinivere to stay with him, despite knowing it to be wrong.


The rest of the album stays in fairly high gear to the end then, with “Sinner” another power-rock stormer, Diamond Head's Sean Harris taking the role of Galahad as he rails at Guinivere for her betrayal of Arthur with Lancelot:[/FONT]_ “You're the queen, it's obscene/ how you lied and schemed/ You're a fake; there's a snake deep within ya/ It's a web that you weave out of vile deceit/ You've got blood on your hands /You're a sinner.”_[/FONT][FONT=&Verdana] This leads into Merlin's last turn on the first part of the album as Catley denounces Guinivere for her part in the fall of Arthur. “In Flames” is an anthemic, powerful thumper, with swirling keyboards and groaning guitars mirroring the shame of the Queen's betrayal, and what it means for the Monarchy. Merlin cries [FONT=&Verdana]_“Crawl out, bruised by the landslide /Fool’s fate, destiny's jaws/ Ground down,// used and abused by Love/ like a silent blade/ Shout; bleed as the damned die/ Too late, venom and claws, /Gouged out, wounded and tongue tied /Love! Love cuts you down in flames! “_

Merlin demands Guinivere be burned at the stake, but Arthur intervenes, instead sending her away, as he growls through his heartbreak [/FONT]_“This web of lies is to blame, binding the pain,.You betrayed me time and time again,/ Why don't you answer me?/ You left me crying in the rain, blind and afraid,/ Now the broken words I have to say/ Echo but my heart has turned away,/You'll never lie me again “ _[FONT=&Verdana]The role of Arthur is again taken by Gary Hughes for the closer on the album, and “Lies” does not disappoint as an ending track, as Gary pours his entire heart into the image of a man who has been cruelly and unexpectedly betrayed and who, despite his wish to forgive, is in the position that he cannot do so and retain the respect of his peers, and so is forced to exile his Queen.
*[FONT=&Verdana]
TRACK LISTING
[/FONT]*
Excalibur[FONT=&Verdana]
[/FONT]Dragon Island Cathedral[FONT=&Verdana]
[/FONT]At the End of Day[FONT=&Verdana]
[/FONT]The Reason Why[FONT=&Verdana]
[/FONT]Shapeshifter[FONT=&Verdana]
[/FONT]King for a Day[FONT=&Verdana]
[/FONT]Avalon[FONT=&Verdana]
[/FONT]Sinner[FONT=&Verdana]
[/FONT]In Flames[FONT=&Verdana]
[/FONT]Lies[FONT=&Verdana]
[/FONT] [FONT=&Verdana]

[/FONT]
And so ends the first part of this excellent opera. See the next entry for part 2, the continuation and conclusion.
[FONT=&Verdana]
[/FONT]


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## Trollheart (Sep 17, 2019)

[FONT=&Verdana]_
*Once and Future King, Part 2 *_[/FONT][FONT=&Verdana]*--- Gary Hughes ---2003 (Frontiers Records)*
[/FONT]
As Part 1 ended on a heartbreaking note, and with a slow, sad song, so Part 2 begins with a juggernaut, echoing some of Rainbow's best work from [/FONT]_Rising_[/FONT], “Kill the King” pounds its way out of the speakers (or headphones I guess!) as newcomer to the project D.C Cooper from Royal Hunt takes the part of King Aelle, lusting after Arthur's crown. The track thunders along on metal hooves, kicking up dust all around as Aelle declares [FONT=&Verdana]_“I wanna kill the King of Britain dead /I wanna thrust a knife deep in his chest/ I wanna feel and see his blood run red!”_[FONT=&Verdana] No ambiguity there, then! The track is in some ways similar to the opener on Part 1, “Excalibur”, even to the point of having a musical “overture” to get it going. Great guitar work in there, but the thing that really drives the track along is the pounding drums of Greg Morgan.

Time for introspection then as Arthur reminisces and Gary Hughes returns for another cruncher, “There By the Grace of the Gods (Go I)”, before he lapses into maudlin reproach as he croons to his now-vanished Guinivere in the first and perhaps best ballad on the album, “I Still Love You (I Still Do)” featuring another excellent guitar solo.[/FONT]_ “I'm still trying to fight the memories, it's my legacy of pain / I was broken but survived to fight another day / I will never understand your reasons: that will never change/ But wonder if the time has come to try again?”_[/FONT][FONT=&Verdana] Guinivere, singing separately, answers in “Oceans of Tears”, a more upbeat track in which Lana Lane accepts the Queen's culpability in her crime against Arthur, but there will be no reunion, no trying again, as she sings [FONT=&Verdana]_”I'll cry no more ocean of tears/ Don't know why I'm alive/ What my heart's beating for”_

And that's the end not only of the Queen's contribution to the album, but of the King's too, as the story is taken up by other characters in the saga. “Rise from the Shadows” powers out of nowhere as Morgana declares her opposition to Arthur and her wish to supplant him on the throne with her own son (and, some believe, Arthur's), Mordred. Irene Janessen reprises her role, putting in a great performance, which is to be her last on the album, and the melody itself again echoes that of “Excalibur”, which opened Part 1 and the entire saga, a nice touch.

[video=youtube;93c6zJcxfis]https://www.youtube.com/watch?v=93c6zJcxfis&amp;list=PL5FgSaLRKdmAwlcvb775F76m  oYCnatGYk[/video]
Things slow down then for the final song from Bob Catley as Merlin, as he takes one side of a beautiful love duet with Nimue, played by Edenbridge's Sabine Edelsbacher, the song carried on a beautiful, luxuriant bank of keyboards and acoustic guitar. “Believe Enough to Fight” sees Nimue exort the wizard to find the courage and conviction to fight for Arthur against the hordes of Mordred, ranged against them, and he responds[/FONT][FONT=&Verdana]_ “I will return the gods to Britain/ This heart will burn/ I pledge my soul/ I will return the gods to Britain/ This tide will turn.”_

And then the battle begins in earnest. As the climax of the story, and the album, approach,  Doogie White (Praying Mantis/ Yngwie Malmsteen/Tank) takes the role of Mordred for “The Hard Way”, declaring he will defeat Arthur and take his throne. Nimue returns for “The Pagan Dream”, another fast rocker, and Mordred for “Demon Down”, before the only instrumental on the album “Deius”brings a close to the battle, as Arthur is killed, but (if legend is to be believed) kills Mordred also. It's really more a chant carried on a military backbeat than a true instrumental, though it's credited as such on the album, and it takes us into the battle proper.


The finale of the album is taken up by two glorious pieces, the first sung by Galahad, played again by Sean Harris, as he laments Arthur's passing in “Without You”: [/FONT]_“I thought I'd found the answers but I'll never understand/ The whys, the hows the wherefores/ In this godforsaken land/ You raise a man to saviour/ You bow to his command/ Then break him where he stands.”_[/FONT] The closing lines are particularly poignant, and point to a prophecy mentioned in the closing track:[FONT=&Verdana]_ “And now my eyes betray me/ Through this callous twist of fate/ Imprinted on the landscape like reflections in the lake / Across the sky at sunset/ With every dawn that breaks/ I swear I see his face....”_[FONT=&Verdana] It's a bittersweet song that in some ways deserves to be the closer, but then you get to hear the actual final track, and to be honest, there could be no other.

The finale is the title track, and is sung by Harry Hess. He's not given a credit as a player, so perhaps like Damian Wilson at the beginning of the first album he's more a narrator than a participant. The battle is long over, Arthur is dead, or taken to Avalon, depending on how much you believe the mythology, and his legend has begun to grow. In a stately homage to the Once and Future King, Hess sings [/FONT]_“They've slain the man/ But not his heartbeat/ His spirit soars on the wind/ They claim the day/ But the fire inside remains/ For the lost once and future king.”_[FONT=&Verdana] It begins as a piano ballad, with a riff borrowed from Pink Floyd's “Echoes”, and later with the sudden introduction of a screaming guitar (one assumes Gary Hughes, but there's no way to confirm this) it morphs into a huge, powerhouse anthem celebrating the legend Arthur has left behind, the man he was, and the story he began.


As I said, I truly believe this is an underappreciated [/FONT]_magnum opus_[FONT=&Verdana], and would definitely recommend a listen, but again as I said, to get the full benefit from the project, you really have to listen to both albums through all the way at least once. Okay, so that's over 100 minutes of your time, but I promise you, it will be time well spent!


*[FONT=&Verdana]TRACK LISTING
[/FONT]*
Kill the King[FONT=&Verdana]
[/FONT]There By the Grace of the Gods (Go I)[FONT=&Verdana]
[/FONT]I Still Love You (I Still Do)[FONT=&Verdana]
[/FONT]Ocean of Tears[FONT=&Verdana]
[/FONT]Rise from the Shadows[FONT=&Verdana]
[/FONT]Believe Enough to Fight[FONT=&Verdana]
[/FONT]The Hard Way[FONT=&Verdana]
[/FONT]The Pagan Dream[FONT=&Verdana]
[/FONT]Demon Down[FONT=&Verdana]
[/FONT]Deius[FONT=&Verdana]
[/FONT]Without You[FONT=&Verdana]
[/FONT]Once and Future King


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## Trollheart (Sep 17, 2019)

_

*Closer*_* --- Josh Groban --- 2003 (Reprise/Warner)
*
I first heard Josh singing “Remember When It Rained” on an unnamed American internet radio station, and was so impressed that, although I couldn't remember his name, had a very basic idea of it and searched the record shops around Dublin, asking questions until I finally found out who he was, and bought this album. When I first hit PLAY I was initially a little disappointed/taken aback,as the first track (and seven others on the album, out of 15) were sung in a foreign language. I could hazard they were (some of them) Spanish, Italian, maybe Portuguese, but the truth is I didn't then and don't now know. However I persevered, the voice was so enthralling, and so luckily avoided making a major and ill-informed decision that would have been to my detriment.


In other words, I listened on, and even though I could not tell what he was singing about, the songs were so beautiful and the voice so captivating that I found I didn't care. I would find myself trying to sing along with efforts like “A Quiera Sella Mon ni Ere!” which means absolutely nothing, is not correct and probably nothing like what's on the track, but hey, I really liked them that much that I had to (try to) sing along!

That's the beauty of Josh Groban's music. It really doesn't matter what language the songs are sung in, and whether or not you can understand them, or know what they're about: the songs are enough on their own, and to be fair, it's a rare artist that will convince me, though the pure power of their songs and their singing, to ignore, or try to surmount, the language barrier.

_(Note: This used to be true, but in the intervening years since I wrote this - think this was around 2011 - I’ve become much more open to listening to “foreign” artists, just as I have relented in my refusal to watch subtitled movies or series, a decision that has allowed me to enjoy some major drama I would otherwise have missed. But that’s a story for another time. Now, back to Josh.)_


Most of the songs on this, his second album, are sung in a classical/operatic style (think Andrea Bocceli or Il Divo), with powerful and effective orchestral arrangement, and the whole thing is wonderfully produced by one of the top men in the field, David Foster who, I 'm reliably informed, actually discovered Josh Groban and gave him his first big break.
[video=youtube;CXzIQn4IyOM]https://www.youtube.com/watch?v=CXzIQn4IyOM&amp;list=PLsKhNIrr3wVHLbEXzdFBXLFS  17EHDXMR2[/video]

There are tracks sung in English too (hey, if there are 15 tracks on the album and 8 are in other languages, then there are 7 in English, right?), but the beauty of this album is that it really doesn't matter either way. “Se Volvero a Mi” is just as enjoyable as “Broken Vow”, and “Caruso” stands up perfectly beside “When You Say You Love Me”, or his wonderfully understated version of the late Michael Jackson's “She's Out of My Life.” Music that transcends language barriers, without doubt.

They're pretty much all slow ballads -- what many people would refer to as Easy Listening, which is probably where you'll find Josh Groban's albums stored in a music shop, or on itunes, but some of them are very powerful, like the opener. “Oceano”, once it gets going, and “Per Te”, later on. Other tracks are gentler, more restrained, such as the heartbreakingly smooth vocal delivery on “Remember When It Rained”, and the triumphant yet low-key cover of “You Raise Me Up”. Although none of these songs are written by Josh (you can't have everything!) he makes each and every one his own, even “She's Out of My Life”, made mega-famous by Michael Jackson, although it was actually written by Tom Bahler in 1979.

_Closer_ is an album I find perfect for relaxing to, even falling asleep to, though that's not to say that it's in any way boring. True, it's not an album you'd put on to work out to, or while driving down the highway with the top down, but it's an excellent, flawless album which deserves a listen. Don't be put off by the non-English songs: they're worth getting into, and you may after a short while find yourself, like me, very unsuccessfully trying to sing in another language as you try to sing along to “Caruso” or “Mi Morena”....


*TRACK LISTING
*
Caruso
My Confession
Mi Mancherai (Il Postino)
Si Volveieras a Mi
When You Say You Love Me
Per Te
All'improvviso Amore
Broken Vow
Caruso
Remember When It Rained
Hymne a l'Amour
You Raise Me Up
Never Let Go
Mi Morena
She's Out of My Life


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## Trollheart (Sep 17, 2019)

*
Rainbow Rising --- Rainbow --- 1976 (Polydor)
*
Boasting what was probably the classic Rainbow lineup of the late Ronnie James Dio on vocals, Ritchie Blackmore on guitar, the late Cozy Powell on drums, Jimmy Bain on bass and Tony Carey on keys, _Rainbow Rising_ (often just called _Rising_) represents this phenomenal band at the height of their creative career. Though this was only their second album, and they would go on to cut many more before splitting in 1984, reforming after a fashion and then finally disbanding for good in 1998, I personally feel that with this record they reached the zenith of their creative peak, and although other albums were good - _Long Live Rock and Roll _springs to mind, as well as _Down to Earth_ - for me, they never quite hit the “sweet spot” on other recording as they did on _Rising_. Sure, other albums yielded hit singles, and sadly for those outside the rock world it is those songs for which Rainbow will be remembered, but for me, this album was what Rainbow were all about.

You can see it just by looking at the sleeve. The imagery there grabs you - you know this is not going to be an album full of truckin' or love songs: the themes explored here are what some would probably call neo-classical, mystical, legends and folklore being used in the lyrics, and in some ways I guess you could argue this is the Rainbow album that comes closest to being progressive rock, though nobody would ever describe them as being a prog band. Of course, RJD (may he rest in peace) was always interested in these sort of ideas - dragons, princesses, towers, castles, and of course, rainbows! - and would go on to explore them deeper, both with his own band and during his short time helming Black Sabbath after Ozzy left. 

Blackmore, weary and disillusioned by the “funk/jazz groove” his former band, Deep Purple had been slipping into, wanted to return to his rock roots, which is why he formed Rainbow in 1975, and this album is a triumphant vindication of his vision.
The prog influences are definitely there though. The opener, “Tarot Woman”, kicks off with a two-minute keyboard intro by Tony Carey before it's joined by Blackmore's chugging guitar, and Ronnie James belts out the opening lines. The song itself is a good hard rocker, galloping along at a decent pace, and no doubt made a great introduction for the band's live shows around that time. Even the title has prog rock written all over it! Great solos as always from The Man In Black, with Cozy thumping out a solid beat and reminding us why we miss him so much, now that he's gone to the Great Gig in the Sky. The song ends as it began, Carey taking us out on a long warbling keyboard riff that fades out. It's followed by a song which would become the hallmark of Dio's solo work, as “Run With the Wolf” lopes out of the speakers. It's a bit more funky (ironic really, as part of the reason Blackmore quit Deep Purple was that he thought they were getting too funky and less rocky!), slower and sort of reminiscent of “Sixteenth Century Greensleeves” from the previous album.

The next track is probably the weakest on the album, and you can see it having possibly been written with one eye on the singles charts, as it's the most straight-ahead rocker, almost pop in its way, recalling the likes of the Sweet as the band launch into “Starstruck”. I personally find it an anachronism: I could see it on the debut, but here it seems out of place. Nonetheless, Ronnie's in fine voice and the band certainly have fun with the song, and I'm sure it proved popular at gigs. It's kind of more a jam than anything else, I feel. Things kick back into high gear then for “Do You Close Your Eyes?”, a great anthem and power-rocker, with RJD in top voice and Blackmore cranking out the solos and making his guitar scream as he does so well.

As someone once said, “It's a game of two halves”, and I know I've used that reference before, but again it's appropriate here. In particular, as when I bought the album we had none of yer compact disc rubbish, and it was on vinyl, and so “Do You Close Your Eyes?” actually completes side one of the album. Even though on today's CDs and MP3 recordings there is no longer any distinction between “sides”, and no dividing line, there is clearly a change in the whole approach of the album from here on. Side 2, as it were, is taken up by two tracks only, but they're monsters, each over eight minutes, and linked by a central theme.

[video=youtube;gITM2AvXzeY]https://www.youtube.com/watch?v=gITM2AvXzeY&amp;list=PLUM8KXmgEe5S4y_yNPchGYRU  qTqUWRbxq[/video]

“Stargazer” is the story of a wizard who believes he can build a tower to the heavens, and touch the stars, and for whatever reason, is able to recruit slave labour from the surrounding lands to carry out the work for him. One would assume it's similar to the ancient pharaohs press-ganging the local citizenry to build their pyramids and tombs. The song centres on the lament of one such slave, who wonders how long they will have to remain there, what will happen, and what it is all for?_ “In the heat and the rain/ With whips and chains/ Just to see him fly/ So many died/ We built a tower of stone/ Out of our flesh and bone/ To see him fly / Don't know why!”
_
The song is a majestic, epic slowburner in the tradition of Led Zep's “Kashmir”, and uses many Arabic and Eastern-sounding themes and sounds, so that you really begin to feel the sweat dripping off the slaves as they labour under the harsh, unforgiving sun. But their revenge is at hand: _“All eyes see the figure of the wizard/ As he climbs to the top of the world/ There's no sound, as he falls/ Instead of rising! / Time's standing still/ Then there's blood on the sand.” _This sort of melody would be echoed in years to come, in part at least, in Dio's second album, _The Last in Line_, on the track “Egypt (The Chains Are On)”. As the song fades out and winds down, Ronnie sings _“I see a rainbow rising/ back on the horizon,”_ an obvious nod to both the title and the artwork on the sleeve.

The closer, “A Light in the Black”, takes off the kid gloves and the band, heads down, legs no doubt firmly planted apart, thunder to the conclusion of the album, as RJD as the now-released slave heads for his home, wondering if he will ever see it again?_ “Won't forget his face.”_ he sings as the song opens,_ “What a lonely place/ Did they really let us go?/ All the time that's lost/ What's the final cost? / Will I really get away?”_ Cozy really comes into his own here, the backbone of the song as it careens along, with perhaps one of Blackmore's most powerful and evocative solos halfway through, when the man's grasp of the use of classical music is left in no doubt. In fact, his extended solo covers almost half of the entire track: it's a real showcase for his talents. Showoff? Maybe, but when you have the talent this guy has, why not?

The song comes to an explosive end, with RJD singing his lungs out, and by the end, you're left literally catching your breath. Now THAT's rock and roll!

*TRACK LISTING
*
Tarot Woman
Run With the Wolf
Starstruck
Do you Close Your Eyes?
Stargazer
A Light in the Black


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## Trollheart (Sep 18, 2019)

_
*Paradise in Flames *_*---- Axxis --- 2006 (AFM Records)*

I've always had something of a soft spot for German metal bands - Accept, Helloween, Bonfire, Scorpions, Vanden Plas, Primal Fear, MSG... the list goes on. There's something very sincere about what they do, as if they're really trying their best to emulate the better of the British and American metal gods, and sometimes they reach these dizzying heights, sometimes fall short. Axxis have been together for over 21 years now, and have produced 12 albums over that period, some good, some not so good, some occasionally brilliant. This is the album I would rate as their top to date (though I readily admit I have not yet heard 2007's _Doom of Destiny_ or their most recent, 2009's _Utopia_) - it just hits all the right places and I really think there's not a bad track on it. From opener to closer it's metal heaven all the way through, and while Axxis may not be as “seriously metal” as, say, the Scorps or Gravedigger, I really like their approach to music in general: they sort of become the German Bon Jovi for me - whether that's good or bad I guess depends on your attitude towards New Jersey's finest...


_Paradise in Flames_, their tenth studio album, opens with a short instrumental, keyboard and choral voices, very fantasy movie-like, but in my opinion it could be longer than the one-minute-plus it clocks in here. Nevertheless, it serves as an interesting intro to the album, and things immediately blast off with “Dance with the Dead”, a track we used to call “a real headbanger” in my day! Duelling guitars, thundering drums and the distinctive voice of frontman Bernard Weiss rising over everything, with some truly excellent backing vocals by a lady whose name so far I have only established to be Lakonia? A great keyboard solo by Harry Oellers completes the track, which then powers into another without taking breath, as “Tales of Glory Island” gets going. Like most of the tracks on this album (and indeed, most of Axxis's material) it's not going to win any awards for innovation, or even originality, but if you enjoy good melodic metal then you'll likely have little to complain about with this album.

[video=youtube;3Qf_g0kUQdg]https://www.youtube.com/watch?v=3Qf_g0kUQdg&amp;list=PLx5tuz1gDOm_y5nU8-DmZXIivVcVsBW9D[/video]

The same sort of theme continues in tracks like “Will God Remember Me?”, “Lady Moon” (with snippets of a reprise of the intro) and “Talisman”, with the only real reduction in speed being for the rather lovely ballad “Don't Leave Me”, where Bernard truly sings his heart out, in a romantic duet with Lakonia, and “Stay by Me”, which is not so much a ballad as a mid-paced rocker, but with some very balladic elements. The elusive Lakonia adds her lovely feminine vocals to “Take My hand” as well. as To be honest, the only track I don't like on this album is “Passion for Rock”, which comes near the end of the record, and is to my ears anyway a far too simple straightforward rock song with very little thought put into the lyric. I feel the songs here, while as I said not breaking any moulds or any new ground for heavy metal, are thoughtful and well-arranged and written, whereas “Passion” seems like a throwaway, something added in for the sake of it. Just doesn't do it for me.

The real point about this album is that it's very melody-friendly: you find yourself singing along with just about every track, and they do stay in your head long after the laser has shut down and the CD has been returned to its sleeve. The keyboard playing on the album is flawless throughout, almost classical in places, and serves to raise this above the level of much stereotypical German heavy metal. You can tell there was a lot of thought put into the album, and a lot of time spent creating it. Personally, I think it was well worth it!

*TRACK LISTING
*
Paradise in Flames Intro
Dance with the Dead
Tales of Glory Island
Take My Hand
Will God Remember Me?
Talisman
Don't Leave Me
Lady Moon
Ice Wind
Stay by Me
Gods of Rain
Passion for Rock
Break Your Soul
Tales of Glory Island (Extended Version)


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## Trollheart (Sep 18, 2019)

_
*Oceanic *_*--- Vangelis --- 1996 (WEA/Atlantic)*

Without question one of not only my favourite Vangelis albums, but a favourite to fall asleep to, or just relax to as well. _Oceanic_ is themed, not surprisingly, around the ocean and the sea, and such is Vangelis's talent and skill that not only do the titles reflect this, you can hear it in his music. Opening with the sound of surf rolling at the beach, this soon gives way to a cinematic introduction, all rolling drums, string sections (probably played by the man himself on several banks of synthesisers!), swelling and falling like the very sea itself captured in music. Stirring stuff, and it leads neatly into the first real track, “Siren's Whispering”, featuring choral voices sounding like (as presumably they're meant to sound) mermaids, enticing the listener in until he or she is lost in the music, floundering and drowning, and quite happy about it. The music reaches for you, wraps around you and drags you under, and for just over 50 minutes you're in another world, sailing the oceans and exploring the undersea depths with Vangelis's music as your guide and companion.


The music itself is never anything less than relaxing and restful, making this perhaps Vangelis's most “new age” recording, where he eschews the stabbing keyboard chords, drum machines and the more electronic synth sound for an album which is much more organic, where you can almost imagine a full orchestra playing the symphony of the sea. An environmentally friendly musical experience, indeed!


As you might expect on such a concept album, each track flows into the next, like the sea itself, and if it isn't the actual music that melds the tracks it's the ocean sounds as they flow from track to track, the pulsating, living heartbeat of the album, the natural glue that holds it all together, the musical map that takes you on your journey and never misses a step. The music is never less than beautiful, and I defy anyone to remain in a stressed-out, bad mood after listening to this: it's the perfect antidote to a bad day at the office!


“Dreams of Surf” slips in almost unnoticed from the previous track, a truly lovely piano carrying the tune as it gently caresses your ears and seems to waft you along on the calm seas, flutes and what sounds like a harp taking it out to wider seas, and then inward towards shore, where “Spanish Harbour”, with its rolling synth and gorgeous Spanish guitar washes over you, gentle percussion taking the track to its conclusion, where once again we put out to sea as “Islands of the Orient” picks up the pace just ever so slightly, with some lovely piano and synth runs, some bassy piano chords giving this piece just a little more bite. It's also one of the longer tracks on the album, clocking in at just over seven minutes. The drums get going here, whereas up to now they have just been keeping the beat. Here, they come to the fore a little more, underlining the track and marking its departure from that which has gone before. As it comes to an end, “Islands” momentarily sounds a somewhat more ominous tone than previous tracks, before all is suddenly and gently restored as “Fields of Coral”, the longest track on the album by a few seconds, comes into play.


Carried on an echoing synth-line, the track ebbs and flows, and you definitely get the impression of diving undersea to watch the many-coloured shoals of fish dart among the coral reefs beneath the ocean. There are slight echoes of “Alpha” from _Heaven and Hell_ here, just the barest remembrances. It's actually quite amazing how a track that lasts for seven minutes and forty-three seconds can flow along on basically the one theme, the one melody, and yet never get boring or samey. True genius at work. It seems Vangelis never has to work to make his music meaningful: it just seems to happen in the same way as day follows night, and the sun rises. Effortless, or so he makes it seem.

[video=youtube;LVTi4zo-dvY]https://www.youtube.com/watch?v=LVTi4zo-dvY&amp;list=PLnlCh0nLPR-M0h3LUoqLfU5lcjerzW0sC[/video]

The final minute (yes, a full minute) of the track is taken up by the sounds of surf and wind, with just the tiniest of keyboard notes here and there to accompany it to the end, then the pace lifts again slightly for “Aquatic Dance”, with the return of the choral voices from “Sirens' Whispering”, some lovely harp-sounding runs, steady heartbeat bass and sad violin - one can almost imagine the lovely mermaids or sirens performing their hypnotic dance in the sea, to attract unwary sailors. The track ends on a sad fluting sound which takes us into the endgame, as “Memories of Blue” begins, with its almost retrospective of what we have experienced on this journey, taken along by crystal clear piano, its notes floating on the breeze as we sail along, turning now towards home, our journey almost at an end.


As our home harbour drifts into sight, “Song of the Seas” takes us there, the sounds of surf and seagulls and wind wafting us closer, Spanish guitar leading us along as the percussion clicks gently in the background like a metronome, counting out the beats as we sail towards our home once again. The album ends, as it began, with the sounds of the sea breaking against the shoreline, and our journey is over.


It's hard to review a Vangelis album to be honest. He does everything: there's no band to single out, he composes all the music and he also produces his own albums, so it's in every sense of the word a one-man-band, but what a band! The music really has to be heard to be properly appreciated: no words I've written here can ever do justice to the beautiful tapestries Vangelis weaves with his music, so if you're unsure then click on the YT offering above. If you're having trouble sleeping, need to relax or just want an album that will make you forget, for nearly an hour, the rat race, then _Oceanic_ is one you should definitely have in your collection.


*TRACK LISTING
*
Bon Voyage
Sirens' Whispering
Dreams of Surf
Spanish Harbour
Islands of the Orient
Fields of Coral
Aquatic Dance
Memories of Blue
Song of the Seas


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## Trollheart (Sep 18, 2019)

*Perfect Balance --- Balance of Power --- 2001 (Massacre Records)*

Balance of _what?_ Never heard of them? Not surprising, as Balance of Power, despite going now for over 14 years, are less well-known in their native UK than they are in Japan and most of Asia. With five decent albums under their belt, and making music of this calibre it really is a shame that more people don't know about them, but I'll attempt to educate you, my readers, here, through the medium of what is perhaps their best album, 2001's _Perfect Balance_.


Think a (much) heavier Journey, a metal Asia or a lighter Iron Maiden, and you'll be somewhere within the framework of what this band can do. Kicking off with the stormer “Higher Than the Sun”, it's the frenetic keyboards of Leon Lawson and the twin guitar attack of Pete Southern and Bill Yates that pull you in, but it's when vocalist Lance King opens his mouth that you really take notice. A graduate of the Bruce Dickinson School of Power Vocal, his voice grabs you and shakes you about like a pitbull going for the throat. There are definitely similarities to the “Air-Raid Siren” in his vocal delivery, and no doubt he spent his formative years spinning Maiden albums on his stereo, and yet King manages to stamp his own style and signature on the music his band creates, so he's not just a Dickinson wannabe or copy.

The main thing about BoP is that they are without a doubt melodic. Many metal bands make the mistake of thinking you only have to be loud, or fast - or loud AND fast! - to be a good band, but I've always preferred to be able not only to discern what the singer in any band is singing about, but to be able to hum the tune - try doing that to Motorhead! Much as I love them, of course. So in a way I guess Balance of Power are a mix of melodic metal and AOR - perhaps AOM? Anyway, they're a joy to listen to, and really should be better known.

[video=youtube;9sm9Erw1KyA]https://www.youtube.com/watch?v=9sm9Erw1KyA[/video]
“Higher Than the Sun” is a long track - just over seven minutes, how's that for an opener? - and no sooner has it snapped off than we're treated to another opus, as “Shelter Me”, one of the best tracks from the album, gets into gear. King's voice really comes into its own here, running from one end of the scale to the other, with the super-tight band painting a fantastic melody behind him, a song which is so catchy it really should have been in the charts. The bombast of Lionel Hicks's drumming knits with the spot-on bass work from Tony Ritchie (hah! Imagine if they switched first names?) and keeps the track well on course, as the next offering keeps up the pressure. “Fire Dance” is a “Metal-march” in the tradition of “The Last in Line” by Dio or “Open Fire” by Journey, with a fine solo by, well, either Pete or Bill, no way to know which, and slams into “One Voice”, another slice of absolutely radio-worthy commercial rock/metal, with steamhammer drumming from Hicks and stabbing guitar from the guys pulling it along. The melody on the chorus could easily be Journey, Styx or even Europe or Bon Jovi, with a great keyboard solo to boot, but like every other track on this album it's carried by the powerful and distinctive voice of Lance King.


Rather surprisingly there are no ballads at all on _Perfect Balance_, not even a real slow song. In that respect I suppose nitpickers could be excused for pointing out that the album is not a “perfect balance”, as all the songs are hard rockers, but it's a small imperfection in what otherwise is an album that really lives up in all other respects to its title. The mood slows slightly for “Pleasure Room”, but it's more a hard-crunching rocker in the mould of Heart's “Bad Animals” or Ten's “Spellbound”, even if it does feature some fine piano by Hicks as well as the obligatory guitar solo. Things continue more or less as they began right through to the end of the album, with “Searching for the Truth” powering things out and recalling bands like Glass Tiger and Night Ranger.

It's been fourteen years now since Balance of Power's last album, and that was a live double, and sixteen since their last studio offering, which should surely indicate that they are broken up, though there are whispers coming out of the Facebook pages of former members apparently that might give the lie to that conclusion. I certainly hope so, because a band as good as this deserves better than to sink into the mists of rock obscurity. However that may turn our though,  I would still advise any self-respecting rocker to check out their product, especially the above reviewed.


*TRACK LISTING
*
Higher Than the Sun
Shelter Me
Fire Dance
One Voice
The Pleasure Room
Killer or the Cure
House of Cain
Hard Life
Searching for the Truth


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## Trollheart (Sep 18, 2019)

*Nebraska ---- Bruce Springsteen --- 1982 (Columbia)*

There are a lot of singers, a lot of good singers and some great singers, but the proof of the pudding can often be the answer to the question: how does the singer/star stand up without his/her band behind them? In other words, are they accomplished enough an artist to stand out there and do their thing solo, or do they perhaps hide behind a great guitar player, keyboard wizard or drummer? Bruce Springsteen has long been acknowledged as one of the music world's premier singer/songwriters, a consummate artist and entertainer, and in many ways a voice for his age. He had nothing to prove really, having “made it” by the early eighties with albums like _Darkness on the Edge of Town, Born to Run_ and of course _The River_, but when he released _Nebraska,_ only two years after that chart-smashing double album, it was very much against the grain and not what people had been expecting, least of all his fans.


Recorded originally as demo tracks for the next E Street Band album, every track is acoustic, sparse and with very little in the way of production, leading to a very raw feeling on each. Springsteen eventually decided to release the demos as the next album, and _Nebraska_ was born, as he recounts below:


"_I was just doing songs for the next rock album, and I decided that what always took me so long in the studio was the writing. I would get in there, and I just wouldn't have the material written, or it wasn't written well enough, and so I'd record for a month, get a couple of things, go home write some more, record for another month — it wasn't very efficient. So this time, I got a little _[/FONT]_Teac_[/FONT]_ four-track cassette machine, and I said, I'm gonna record these songs, and if they sound good with just me doin' 'em, then I'll teach 'em to the band. I could sing and play the guitar, and then I had two tracks to do somethin' else, like overdub a guitar or add a harmony. It was just gonna be a demo. Then I had a little _[FONT=&Verdana]_Echoplex_[FONT=&Verdana]_ that I mixed through, and that was it. And that was the tape that became the record. It's amazing that it got there, 'cause I was carryin' that cassette around with me in my pocket without a case for a couple of week, just draggin' it around. Finally, we realized, "Uh-oh, that's the album." Technically, it was difficult to get it on a disc. The stuff was recorded so strangely, the needle would read a lot of distortion and wouldn't track in the wax. We almost had to release it as a cassette."_


_(From interview with “Rolling Stone” magazine, December 1984. Courtesy of Wikipedia)_


Whether it happened as he relates above, or whether it was all planned ahead of time to be this way, what emerged was an album which has polarised opinion among his fans. Some loved it, seeing it as the “real” Springsteen, stripped of - well, everything! - and the man going back to basics. Others thought it was a bleak, depressing record, and after the highs of 1980's [/FONT]_The River_[FONT=&Verdana], it was a real come-down. Personally, I love it, and though it's not an album you listen to if you want to be cheered up (!), it stands as a classic in the man's considerable repertoire.


Kicking off with the title track, you get a good idea of what you're in for here. Low, mournful harmonica, sparse acoustic guitar, no percussion whatever, and Springsteen's powerful yet quiet voice, like a prophet crying in the wilderness. Similar to Steve Earle's “Billy Austin”, “Nebraska” tells the tale, in the first person, of a “Bonnie and Clyde” couple who are so bored with their humdrum lives that they decide to go on a killing spree in a car:[/FONT]_ “From the town of Lincoln, Nebraska/ With a sawed-off four-ten on my lap/ Though the badlands of Wyoming/ I killed everything in my path.” _[/FONT][FONT=&Verdana]Apparently this song is based on the real-life killer Charles Starkweather. There's no explanation at the end, no reason why the couple did what they did, when they're caught and sentenced to death: [FONT=&Verdana]_“They declared me unfit to live/ Said into the great void my soul'd be hurled/ They wanna know why I did what I did/ Sir I guess there's just a meanness in this world.”_

These are not songs of love, nor redemption, nor good-time songs. They're not songs of hope, but mostly of despair, as the characters realise they can never break out of their situation, like “Johnny 99” later in the album, or the unnamed driver in “State Trooper”. There's no escape for these people, and the sense of brooding frustration that coats every track, every line, bleeds through the album like liquid desperation. It's America, far from the land of the free, or the home of the brave, that Springsteen sings about here. It's honest, ordinary, unremarkable for the most part people, going about their dull lives and doing their best to survive, doing what they have to do to make it through to the next day.

[video=youtube;fxsHA0M8gtM]https://www.youtube.com/watch?v=fxsHA0M8gtM&amp;list=PLiN-7mukU_REqiENrjkvrz8IjpBwQKgSl[/video]

“Atlantic City” is a “Jungleland” for the 80s, a more uptempo track but still in essence a tale of people trapped by their circumstances and their station in life: [/FONT]_“I'm tired of comin' out on the losin' end/ So last night I met this guy/ And I'm gonna do a little favour for him.” _[/FONT][FONT=&Verdana]The aforementioned “Johnny 99” is almost funny in its way, as the poor guy gets 99 years for an attempted bank robbery, but the message is clear as Johnny makes his plea: [FONT=&Verdana]_“Your honour, I do believe I'd be better off dead/ And if you can take a man's life for the thoughts that's in his head/ Won't you sit back in that chair/ Think it over just one more time/ Let 'em shave off my hair/ And put me on that execution line?”_


After the bleak introduction of “Nebraska” things do rock out a little more with tracks like the above, “Atlantic City” and later on “Open All Night”, but mostly they're dark, desolate ballads which always tells a story. The paucity of instrumentation and lack of a band pushes you to concentrate on the content of the songs, to listen to the stories, like the tough decision faced by the cop in “Highway Patrolman” as he tries to balance doing his job with looking after his troublesome brother, Frankie. [/FONT][FONT=&Verdana]_“I catch him when he's fallin'/ Like any brother would/ Man turns his back on his family/ Well he just ain't no good.”_

One of the best tracks, in my opinion, on the album, comes up next, the toe-tappingly catchy “State Trooper”, with nothing but Springsteen's voice and his strumming guitar to carry the song, his voice echoing into the darkness like the cry of the damned on a highway to oblivion. The guitar work gets quite loud and insistent here, the closest to electric on the album, apart from the later “Open All Night”, which truly rocks out. Before that, there's a stark contrast between Springsteen's current status of rock god with the kid sung about in “Used Cars”, as he declares [/FONT][FONT=&Verdana]_“Mister the day the lottery I win/ I ain't ever gonna ride in no used car again.”_

Then we're up to the standout track, as already pointed towards earlier. By far the fastest and rockiest, and even most upbeat of the songs on[/FONT]_ Nebraska_[FONT=&Verdana], “Open All Night” is a fifties-style rocker that just radiates exuberance, joy in the face of bleak despair, for a while. A real “cars and girls” song, the kind of thing Springsteen made his name on, it's a real “Two fingers to the world”, and a short oasis of hope in a sea of despair. In some ways, it really doesn't belong on the album, which is so dark, and yet, through every night must shoot some shaft of light, be it the first glimmer of the dawn, the stars blinking in the sky high above, or just the moon peeking out from a cloud for just a moment, before it is once again swallowed by the night, and the world plunged back into darkness.


If you approach [/FONT]_Nebraska _[/FONT]expecting another [/FONT]_Born in the USA _[FONT=&Verdana]or even [FONT=&Verdana]_Tunnel of Love_[FONT=&Verdana], you'll be disappointed, but if you want to hear WHY Springsteen was once rated as the best singer/songwriter since Dylan, this is the album you want to listen to. Just leave the razor blades out of reach, okay?


[FONT=&Verdana]*TRACK LISTING*
[/FONT]
Nebraska[FONT=&Verdana]
[/FONT]Atlantic City[FONT=&Verdana]
[/FONT]Mansion on the Hill[FONT=&Verdana]
[/FONT]Johnny 99[FONT=&Verdana]
[/FONT]Highway Patrolman[FONT=&Verdana]
[/FONT]State Trooper[FONT=&Verdana]
[/FONT]Used Cars[FONT=&Verdana]
[/FONT]Open All Night[FONT=&Verdana]
[/FONT]My Father's House[FONT=&Verdana]
[/FONT]Reason to Believe[FONT=&Verdana]

[/FONT]


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## Deleted member 56686 (Sep 18, 2019)

Nebraska is my favorite Springsteen album. I think it's the starkness of the tracks that makes this such a great album. I rated this as my favorite album of 1982. Nice review, Trolls.


----------



## Trollheart (Sep 18, 2019)

*The Wake of Magellan --- Savatage --- 1997 (Atlantic)*

Savatage started life as a standard metal band, but after vocalist Jon Oliva saw _The Phantom of the Opera_ he decided to change the band's direction towards a more progressive feel, and albums like _Gutter Ballet_ and_ Streets: A Rock Opera_ reflect this. Recorded in 1997, _The Wake of Magellan _turned out to be their penultimate album, as a few years previous they had formed the Trans-Siberian Orchestra, which has proved so popular and successful that they are now concentrating on that project, and no new Savatage albums have been released since 2001's _Poets and Madmen_.


A concept album, _TWoM_ is based on two real-life events, and basically follows the journey of a Portugese sailor who strangely enough shares the same name as the great explorer, Ferdinand Magellan, whose name is in the album title, and who has decided to end his life by sailing out to sea and sinking his ship. On the way though he encounters a man adrift in the ocean, this being apparently a reference to the three castaways thrown overboard by the captain of the _Maersk Dubai _in 1996. Doing his utmost to save the man and take him back to shore, the sailor is left with a new appreciation for life. The album also loosely includes the tragic story of Irish journalist Veronica Guerin, who battled to expose the criminal element in Irish society and was killed by them as a consequence, but whose work opened the floodgates for these people to be brought to justice and properly tackled by the authorities.


Opening with a piano instrumental, “The Ocean”, the power soon kicks in as the band launch into “Welcome”, virtually a second intro in its own right, with its almost “Pinball Wizard”-esque intro, guitars crashing like breakers on the shore as the song takes wing. It's a short song, just over two minutes, and thunders into “Turns to Me”, which starts slowly but builds into a monster of a track, six minutes long and the first “epic” on the album. The vocal power of Zachary Stevens, who would leave the band after this album, are given full vent on this song, and the keyboards of Jon Oliva squeal and keep pace while the pounding drums of Jeff Plate paint a background against which the song gallops along. The central motif of the album surfaces in “Turns to Me”, and will return in other tracks, subtly altered, giving the true “concept album” feel. The track goes through changes itself, moving from power rocker to introspective passages, through guitar solos and back into power mode as it thunders towards its conclusion. The solo by Chris Caffrey/ Al Pitrelli on axe duties takes the song to its end, as it fades and “Morning Sun” begins.

This too is a song shaped by changes, as it begins easily, with acoustic guitar and a calm vocal suddenly grabbed by the throat as Plate's drums hammer out the beat and the guitars rev up and Stevens growls _“I can't wait for the morning sun/ As I stand with the sea/ And the ocean she understands/ Just the man I could be.” _This is another long song, just short of six minutes, with again another great guitar solo halfway through, and something of an axe duel between the two guitarists, indeed it ends on a guitar solo, kicking into “Another Way”, recalling Metallica at their best, as Jon Oliva takes over lead vocals, on perhaps one of the heaviest tracks on the album, heavy in a Led Zep/Dio way: crunching, grinding, Oliva growling the vocals in sharp contrast to the more melodic voice of Stevens. Definite echoes of Jimmy Page's “Come Go with Me” (or, should I say, Zep’s timeless and oft-copied “Kashmir”?) in part of the melody.

Things continue heavy, and turn sort of Thin Lizzy-ish (circa _Thunder and Lightning_) for “Blackjack Guillotine”, before Oliva again takes over on vocals for one of the standout tracks, “Paragons of Innocence”, which begins with a _Tubular Bells_ intro on the piano, which keeps up behind the grinding guitars and thumping drums, with Oliva singing _“Paragons of innocence/ Questioning of your intent/ Never quite sure what you meant/ From the other side / Moments on the carousel/ Must admit we ride it well/ And the horses never tell/ That no-one leaves alive.”_ Apparently the new Pendragon album features (gasp!) a rap, but here Savatage do it so much better, and almost 15 years earlier as Oliva rattles off without taking a breath: _“There always comes a time/ When you do what you want to do/ You know you shouldn't do it/ But you do it anyway/ And when he had that time/ When he knew what he wanted to/He quickly placed his order/ Though he never thought he'd pay/ But the lines turned to lies/ And the lies turned to tangles/ And you're pale as a cadaver/ Though you think it doesn't show/ So you live with the lies/ And the friends that it gathers /But somewhere in your heart you know you/ Got to let it /Got to let it go.”_


The instrumental “Underture” recalls the central theme of the album begun on “Welcome” and “Turns to Me”, with at times Queen-esque guitar, while the last instrumental passage, “The Storm”, is quite amazing in its versatility, but it's the title track that steals pride of place on the album, another six-minute monster, tracing the evolution of the theme of the album, essentially covering the whole journey of the central character in one track, as Stevens cries 

 
[video=youtube;TTvKmFt-XzE]https://www.youtube.com/watch?v=TTvKmFt-XzE&amp;list=PLLbzZ5FIKZYINbUcmbo6eTA_SKOdq7BT1[/video]

“_I believe what the prophets said/ That the oceans hold their dead/ But at night when the waves are near/ They whisper and I hear.”_​
The longest track on the album is also the last. Clocking in at a massive eight minutes and five seconds, it brings everything back full circle as the sailor, having rescued the drowning stowaway, leaves his ship and walks along the shoreline, contemplating life and no longer thinking of suicide. He recalls his journey: _“The wind touched the sail/ And the ship moved the ocean/ The wind from the storm set the course she would take/ From a journey to nowhere towards a soul on the ocean/ From the wake of Magellan/ To Magellan's wake.”_ --- to his sudden realisation that he wants to live: MUST live, in order to save this man, and his desperate plea to God --- _“Could you keep our lives together/ Safely back onto the shore/ Could you grant this last ilusion/ Only this and nothing more?” _--- till he is safely back on land with his rescued friend --- and so to the closing lines of the song, and the album, and the resolution of the story.

_“Standing once more by a boat on the river/ He pushes it off while he stays on the land/ And seeing the hourglass now so much clearer/ Which someone had refilled by hand/ And somewhere that boat's now adrift on the ocean/ The mast at full sail and there's no-one on board/ The hourglass no longer sits by the ocean/ Only his footprints all alone on the shore/ And soon they're no more.”_


It's a rare and difficult thing for an established heavy metal band to make the transition to progressive metal, or rock, though some claim the quintessential metal band, Iron Maiden, are doing just that. However, here I believe Savatage got it just right. The album is still heavy, with great melodies, vocal harmonies and screeching guitar solos, yet deep, thoughtful lyrics and contemplative piano work which all goes together to make this a truly excellent effort, and well worth listening to. At some point, I'll review an album by the Trans-Siberian Orchestra, to compare the two as it were incarnations of the band, but for now, this stands as a testament to their expertise.


*TRACK LISTING
*
The Ocean
Welcome
Turns to Me
Morning Sun
Another Way
Blackjack Guillotine
Paragons of innocence
Complaint in the System (Veronica Guerin)
Underture
The Wake of Magellan
Anymore
The Storm
The Hourglass


----------



## Trollheart (Sep 20, 2019)

*Mind Bomb --- The The --- 1989 (Epic)*

If there's one man who knows his politics, and isn't afraid to show it in his music, it's Matt Johnson. The driving force behind uncategorisable band The The, Johnson scored a massive (and largely unexpected, one would assume) hit with his previous album, the million-selling _Infected_, which spawned four chart singles and made being into The The “cool”. This fad was soon dropped of course, as fads always are, and the glitterati moved on, to pursue the Next Big Thing. But Johnson's work stands as a testament not only to the man's vision and prowess as a songwriter and musician, but to his dogged refusal to shy away from the more controversial subjects in his music. In short, if Johnson felt strongly about something, he wrote and sang about it, and to hell with airplay,

_Mind Bomb_ was The The's third official album (Johnson had released a debut in 1981 called _Burning Blue Soul,_ but it is generally not regarded as an official The The album), and after the garish and even nightmarish artwork on previous opus _Infected_, the sleeve of this album was blank, a white canvas with the title in red underneath a simple black and white photograph of Matt's head, he looking every inch the nasty skinhead, a contemptuous smirk on his lips, proving once and for all that you cannot judge a book by its cover.

In many ways,_ Mind Bomb_ carries on the themes explored on _Infected _- alienation, despair, desperation and contempt, along with a healthy dose of savage sarcasm and satirical wit - but in a different vein to the rather dancy previous album. The opener, “Good Morning Beautiful”, starts with what sounds to be an Islamic chant - you know the sort, the ones they call from the minarets for prayers (apologies to any practicing muslims if it isn't, but I don't know too much about Islam. Enlighten me through these pages if you wish), before a solitary piano takes up the rather mournful tune, joined shortly afterwards by a saxophone, and Johnson's voice, dripping with anger and barely-restrained violence, snarls _“I know that God lives in everybody's soul/ And the only devil in your world/ Lives in the human heart.”_ Okay, “Love Me Do” it's not gonna be!

The song is slow-paced, like a fuse slowly burning down, and you know that when it reaches the end there's going to be one hell of an explosion! As the track progresses, drumbeat keeping steady rhythm like the drum on a slave ship, Matt's voice gets more and more angry, as if he's losing patience with someone who just will not see, can't understand what he's talking about, what he's trying to tell them. _“Who is it?”_ he asks, _“that can turn your blood into spirit/ And your spirit into blood?/ Who is it who can reach down from above/ And set your souls ablaze with love?/ Or fill you with the insanity of violence/ And its brother, lust?”_ The basic melody remains the same through the entire song, which is no mean feat, considering it's over seven minutes long! Eventually he gives up, snarling in contempt_ “Oh children, you still got a lot to fucking learn/ The only path to Heaven is via Hell!”_ The song ends on a very ominous bass piano note, and my own personal belief is that Matt is playing God, literally, in this song: he is looking down on the world from Heaven (or, according to Homer Simpson, his palace on the moon!) and wondering when mankind will grow up and realise its potential: or will it just destroy itself? Powerful stuff, and a great opener to the album.

Matt shows his playful side next, with the frankly hilariously dark intro to “Armageddon Days are Here (Again)”, recalling the Sweet from the intro to “Ballroom Blitz”, as he asks_ “Are you ready Jesus? Buddha? Mohammed? Well alright fellas, let's go!” _Even the drumbeat recalls the Sweet's classic, as Johnson launches into a tale of the state the world is in, an ominous hum behind him like the Welsh Male Voice Choir is coming up from the rear. “Armageddon” carries some fantastic lines, including incredible foresight in lyrics like_ “Islam is rising, the Christians mobilising/ The world is on its elbows and knees_” - and remember, this is 1989, 12 years before nine-eleven! Johnson digs at Thatcher too, recalling the Falklands War with_ “You watch the ships sail out of the harbour/ And the bodies come floating back.”_

But the best line in the song is about halfway through, when he snaps_ “If the real Jesus Christ were to stand up today/ He'd be gunned down cold by the CIA .../ But God didn't build himself that throne/ God doesn't live in Israel or Rome/ God doesn't belong to the Yankee Dollar/ God doesn't plant the bombs for Hezz'bollah/ God doesn't even go to church!”_ The tempo of the track is about mid-paced, a toe-tapper apart from the lyrical material, with strings section adding to the eastern flavour of the song, and taking it to its frenetic conclusion.

And with a backdrop of rolling thunder, and an evangelical voice shouting “As long as God gives us everything we want, we love Him!” we're into one of the sharpest of the tracks on the album, “The Violence of Truth”, with organ and harmonica (organ and mouth-organ?) introducing a tough, again mid-paced track focussing on the evils in the world. The unmistakable guitar of ex-Smiths Johnny Marr take the track into its second minute before Johnson opens his mouth, and asks _“While the niggers of this world are starving/ With their mouths wide open/ What is it that turns the coins we throw at them/ Into worthless little tokens?”_ The album is a good rocker, and if you ignore the lyrics, you can dance to it, if you want to, but it's as a political statement that _Mind Bomb_ really comes into its own. Hey, if this guy ran for election, I'd vote for him! Course, I'm Irish, but it's the thought that counts!

I'm no big Sinead O'Connor fan, but she puts in a star turn in this duet with Matt on “Kingdom of Rain”, the ultimate anti-love song. Carried on a wave of guitar and piano, with a throbbing bass keeping time with an almost mocking organ, this is the song which possibly prompted Jon Bon Jovi to write “This Ain't a Love Song”. If you've ever had a bad break-up (and who hasn't?) this is the song for you. More a revenge/told-you-so song than a ballad, lines like _“You were the girl I wanted to cry with/ You were the girl I wanted to die with/ You were the boy who turned into a man/ Broke my heart and let go of my hand”_ show the sentiments behind this song. This is love in all its nasty glory, when the hearts and flowers have faded, when the kisses are no longer warm, when the sparkle in the eyes has dimmed, when, in effect, the honeymoon is over. Sinead sings _“I just wanted someone to caress/ This damsel in distress,” _while Matt moans _“But as silent as the car lights/ Move across the room/ As cold as our bodies/ Silhouetted by the moon/ And I would lie awake and wonder/ Is it just me?/ Or is this the way that love is supposed to be?”_ But the end result is unavoidable: _“Our bed is empty, the fire is out/ And all the love we've got to give/ Has all squirted out.”_ Do NOT listen to with your new girl or boyfriend, you have been warned!

[video=youtube;ImI44EGIJ_0]https://www.youtube.com/watch?v=ImI44EGIJ_0&amp;list=PLDTHlyB6oKSPgEe9Qt0Se11E  s_X-QxMWl[/video]

The next track up could be sung by the Beautiful South, it's just that boppy and poppy, and was in fact a hit single from the album, but don't be fooled. Look deeper, listen to the lyric, and you'll see it's just “Heartland” from _Infected_ dressed up. It's another song about poverty, destitution and an uncaring government. “The Beat(en) Generation” is absolutely the most danceable and catchy tune on the album, but even here Johnson does not take a break from his urgent preaching about the state of the world. I had a workmate once who, when this was in the charts, would go around humming the tagline, but knew nothing further of the lyric, much less what the song was about. A danger always in catching the attention of the record-buying public, who can tend to ignore the deeper message in a song in favour of its beat, but then, Matt has to eat, so we'll have to let him have that one!

Sadly, the remaining three tracks do not live up to the incredible standard set by the five that went before, and I find them somewhat unremarkable, especially the closer, “Beyond Love”, which really is something of an attempt I think to reduce the dark, desperate, almost suicidal tone of the album, and which for me does not work. Ah well, it's a rare album that has no flaws, eh?

There's no doubting that the musicians on this album are accomplished (who would deny it of Johnny Marr?), but there are no mad guitar solos, no long keyboard intros, and in fact in many ways the music is only there of necessity, to form a backdrop to the lyrics, the ideas and the thoughts of the album's creator. It would not be a stretch to say this could in fact be spoken as poetry, which is not to take away from the music or the players, but the heart of_ Mind bomb_ IS the lyrics, and if you were to somehow strip out the vocals and listen to it _karaoke_-style, you would probably think it's an okay album, but it's not the juggernaut that I write of here without the deep and meaningful, and intensely personal lyrics that Johnson uses, like Doctor Frankenstein using electricity, to bring his project to life. It really is an album that has to be listened to, and not just in an offhand way, You'll get so much more from it it you immerse yourself in it totally, and yes, as the title suggests, if you sit back and allow it to, this album will blow your mind!

*TRACK LISTING*

1. Good Morning Beautiful
2. Armageddon Days are Here (Again)
3. The Violence of Truth
4. Kingdom of Rain
5. The Beat(en) Generation
6. August and September
7. Gravitate to Me
8. Beyond Love


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## Trollheart (Sep 20, 2019)

*Lady Macbeth --- Lana Lane --- 2005 (Think Thank)*

Lana Lane is the wife of prog-rock supremo Erik Norlander, and he both produces and plays on her albums, as he does here. _Lady Macbeth _is her seventh studio album, and is loosely based around the concept of the Shakespeare saga, told from the point of view of the infamous Lady Macbeth. I have to say that although this was the first time I had ever heard of Lana Lane, let alone heard her music, the album absolutely blew me away. Sadly, her other material has not impressed me much at all, but this album stands out on its own.

Kicking off with essentially the title track, although it's actually called “The Dream that Never Ends”, the album starts with a deceptively slow and gentle intro, until it kicks into high gear and gets going, metamorphosing into a prog rock monster, thundering along with Lana's clear, distinctive voice introducing us to the lead character - _”Lady Macbeth/Marked by death.” _ As mentioned, Erik Norlander plays on the album, taking keyboard duty, and he does a fine job as ever. The following track is a little slower, a little lighter, perhaps trying to paint Lady Macbeth in a more sympathetic light than she is normally seen. “Someone to Believe” is a decent song, but it's really overshadowed by “Our Time Now”, the first of three excellent ballads on the album, with great guitar solos and a lovely piano line, echoes of Pink Floyd in the vocal harmonies.

Everything slips back into high gear then for “Summon the Devil”, a powerful, sharp rocker, containing the Shakespeare chant for the three witches: _”Bubble, bubble, toil and trouble/ Fire burn and cauldron bubble/ By the pricking of my thumbs/ Something wicked this way comes!”_ Great grinding guitars give this track a real bite, and they carry the track with a Whitesnake-like riff, circa _Love Hunter_. A nice little acoustic guitar then slows everything down as “No Tomorrow” begins, with a  nice kind of Rush vibe to it, but it soon bares its fangs and proves to be no ballad, though the song alternates between slow and gentle for the verses and harsh and faster for the chorus. Perhaps a half-ballad? The lyric betrays it though: _“Your castle will burn in the sun/ My will will not be undone.”_ The song ends suddenly, almost unexpectedly, and leads into another slow intro which again turns out to be far from a ballad.

[video=youtube;ZmHlOMpvLmo]https://www.youtube.com/watch?v=ZmHlOMpvLmo[/video]

“Shine on Golden Sun” is a good track, some really nice acoustic guitar married with some tough electric, Lana's voice clear and vibrant as ever: she really has a powerful voice, recalling the likes of Heart's Ann Wilson. Other comparisons I  could make would be Sabine Edelsbacher of Edenbridge, with whom she sang on Gary Hughes's _Once and Future King_, reviewed here earlier. “The Vision” is a five-minute-plus instrumental, showcasing the talents of the no less than three guitarists who play on the album, then we're into “Keeper of the Flame”, another fast rocker in the vein of the opening track, before things slow down as the album draws to a close with two lovely ballads, the first being the bittersweet “We Had the World”, on which Lana sings her heart out, and you really feel for her in her role as the tragic figure. The curtain comes down with the  simple but hauntingly beautiful “Dunsinane Walls”.

I have to admit, I'm not that familiar with “The Scottish Play” (Oh, that would be Macbeth, would it?)  so I can't really comment on how well or otherwise Lana tells the story, or how the songs reflect that, but even putting the whole concept aside - something I wasn't even aware of when I first heard the album - it's still a great listen, and to date, for me, the creative peak for Lana Lane.

*TRACK LISTING*

1. The Dream that Never Ends
2. Someone to Believe
3. Our Time Mow
4. Summon the Devil
5. No Tomorrow
6. Shine on Golden Sun
7. The Vision
8. Keeper of the Flame
9. We Had the World
10. Dunsinane Walls


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## Trollheart (Sep 20, 2019)

*The Sea of Love --- The Adventures --- 1988 (Elektra)
*
A little-known Irish rock band, the second album from the Adventures is a joy to listen to. A seven-piece band from Belfast, they recorded a total of four albums, of which I have only heard this one and its follow-up, _Trading Secrets with the Moon_, which is also an excellent album. It's a criminal shame these guys never made it, as in ways their sound is quite reminiscent of the Waterboys, and I would have thought that maybe they might have latched on to the success of the Scottish superstars, particularly around the _Fisherman's Blues_ era, which would have tied in with the release of this album. However it was not to be, and although they have reformed to play the odd gig here and there, with their last release being in 1993 it seems unlikely we will ever hear from them again on album.

Which makes listening to this album even more important. It's a real example of how a band can put together an almost flawless record, gain critical acclaim and yet not crack the big time. As our American cousins say, go figure.

The very first thing you hear when the laser hits the CD is a drawn-in breath, which is very real, not having been edited out of the production and therefore giving the feeling of a band who really care about and enjoy their music. The next thing you hear is the powerful voice of Terry Sharpe singing _“Oh I'm drowning in the sea of love!”_ before drums, guitar and keys crash together to get the title track underway. Backing vocals by Eileen Gribben meld with Terry's, while her brother Pat crashes out the power chords. It's a song of holding on, with a powerful beat and a great melody. Would have been a perfect single, you would think, and it was. But it never got into even the top 40! I blame _The X-Factor_. Yeah, I know it wasn't around in 1988, but hell, I blame _The X-Factor_ for the decline of modern music, so I ain't going to let a little fact like that stand in the way!

Following on from “Drowning in the Sea of Love” is the song that ended up being their only top 20 single, the wonderful “Broken Land”. Opening with a tinkly little piano line from keyboardist Jonathan Whitehead, it's not long before the rest of the band crash in, Paul Crowder's drums in particular making their presence felt in no uncertain terms as they drive the song along. _”When did the boy become a man?”_ sings Terry, _”And lose his right to love?/ So much confusion to this plan/ These times are not changing.”_ “Broken Land” is more Celtic-sounding than the opener, having something like oileann pipes on it, and was in fact my introduction to the music of this band.

“You Don't Have to Cry Anymore” has another acapella introduction, like “Drowning in the Sea of Love”, but is a heavier track, while the standout track (after the first two) is “The Trip to Bountiful (When the Rain Comes Down)”, which seems to be based on the film of the same name, concerning an old woman who travels, against her family's wishes, back to her hometown in Bountiful, Texas. I haven't seen the film, but the song is immense, chock-full of emotion and a very catchy bass line from Tony Ayre, who sadly died just before Christmas 2009. It starts off with Eileen singing like a Siren, _“Come home”_, before the bass line takes command of the track, joined by Crowder's drums, a slowburner that soon gets underway with the piano and Gerry “Spud” Murphy on guitar joining in. There's also a sort of reprise within the song, an instrumental passage that contains a fine piano run and takes the track to its conclusion, amidst choral vocals to the end.

[video=youtube;PR1HUSA3ws8]https://www.youtube.com/watch?v=PR1HUSA3ws8&amp;list=PLL78ExoPCnEYozpl3-1PMuCaaZoHxjO-R[/video]

There's no denying the power and majesty of this album, but like many others it kind of peaks after the abovementioned. The rest of the tracks are great, but they're not the classics-that-should-have-been that form what I guess I would term the first part of the album. Surprisingly, with the title it has, the album has no actual ballads, certainly nothing that would be recognised as such. “Broken Land” is slow enough to be a ballad, but I wouldn't class it as such. Most of the other tracks are either too fast or have the wrong lyrics for a ballad. Some albums would suffer from such a deficiency, but that isn't the case with this opus. Every song is catchy, commercial, well-written and flawlessly played. Why they never made it is beyond me.Terry Sharpe's voice is clear, warm and rolls over the ears like a gentle river, “Spud” Murphy is a great guitarist, able to rip loose with a powerful solo or keep things ticking over in the way great axemen can without effort. The keyboards talents of Jonathan Whitehead are all over the album - in many ways he characterises the sound of the band. With support from the other four member of the band, it's truly a mystery why they never broke the market, and why more people didn't get into their sound. 

I guess in the end, the Adventure was not to be.

*TRACK LISTING*

1. Drowning in the Sea of Love
2. Broken Land
3. You Don't Have to Cry Anymore
4. The trip to Bountiful (When the rain comes down)
5. Heaven Knows Which Way
6. Hold Me Now
7. The Sound of Summer
8. When Your Heart Was Young
9. One Step from Heaven


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## Trollheart (Sep 20, 2019)

*Like a Rock --- Bob Seger and the Silver Bullet Band --- 1986 (Capitol)*

Bob Seger is one of that rare breed of true American songwriters, in the mould of Springsteen, Cash and Nelson; he writes songs of ordinary people in ordinary situations, and he writes with an honesty and openness that is often lacking in music. _Like a Rock_ is his thirteenth studio album, but far from being unlucky, I personally rate it as one of his best, if not the best he has produced. I love albums like _Stranger in Town, Night Moves_ and _The Distance_, but there always seems to be one or two “filler” tracks on his albums, songs that let down the overall excellence of the recording. I've always wanted Seger to record the perfect album, and I think here in 1986 he finally did. Nothing, in my opinion, he released prior to, or indeed after, _Like a Rock_, has equalled, much less exceeded the greatness of this record.

Originally to have been titled _American Storm_, it's this that kicks the album off in fine fashion, a bouncy, rockin' flag-waver, paying tribute to the spirit of his country. _”It's like a full force gale/ An American storm/ You're buried far beneath a mountain of cold/ And you never get warm.”_ Seger's omnipresent backing band, the Silver Bullet Band  are on fine form as ever, and it's the rock'n'roll piano of Craig Frost in particular, backed by the thundering drums of Russ Kunkel that really drive the track. It's a powerful opener, and sets the mission statement of the album from the off. It's followed by the much slower and bluesy title track, reminiscences of youth  in a theme partially explored on the title track to 1980's_ Against the Wind_, but expanding on it here. Bob recalls "_Standing arrow-straight.../ Chargin' from the gate.../ Carryin' the weight.”_ Great guitars from Dawayne Bailey, with superb slide guitar from Rick Vito. Essentially acoustic, the track goes electric for the chorus and then back for the verses. Bob's voice as ever is raspy, rough, gruff and powerful, elucidating each line perfectly and with excellent timing.

Then we're into “Miami”, things speeding up again for the tale of those who came to Florida's coast to make their fortune or start a new life. Where the previous track was mostly acoustic, this is very definitely electric, with great keyboards from Bill Payne, backing vocals by two ex-Eagles, Timothy B. Schmidt and Don Henley, as well as a full horn section. Bob relates what would have been the first look these new settlers had of Miami: _"Oh it must have seemed/ Something like a dream/ Shining through the night/ All those city lights”_ It's a great rocker, with powerful drumbeats driving the song along and a truly great saxophone outro. 

It leads into the second ballad on the album, the bitter tale of love turned bad in “The Ring”. Again going for a mostly acoustic feel for this track, as he often does for his ballads, Seger weaves the story of a woman who marries but finds there is after all no pot of gold at the end of her rainbow. _”And sometimes in the wee hours/When the traffic dies down/  She'll hear the sound of some bird on the wing/ And she'll look out the window, look at his picture/ But not at the ring.”_ Rick Vito, this time joined by Fred Tackett, do a great job on the acoustic guitars, while Gary Mallaber takes drumming duties. The tinkling piano lines give the song a nice country feel.

[video=youtube;sNGVUkobXpQ]https://www.youtube.com/watch?v=sNGVUkobXpQ&amp;list=PLsknm2WDsOp339g64jvoIxfG  fgZ1aeGZF[/video]

Things get VERY electronic then for “Tightrope” - it's almost like a totally different album now. Heavy, almost organ-like keyboards drive this track, with backing vocals by the Weather Girls, among others. This is one of only two songs on the album (apart from the closing CCR cover) not written by Seger alone. On this he collaborates with keyboard player Craig Frost, who also wrote the next track with him, “The Aftermath”, a rocker that lopes along at a great lick, keeping things in high gear as “Tightrope” comes to an abrupt end and the next track takes over almost seamlessly. 

And the pace doesn't slow for the next offering, in fact if anything it gets faster! “Sometimes”, a real boogie rocker, takes things to a new level, perhaps the most frenetic song on the whole album, with some truly great piano playing as Frost channels Jerry Lee Lewis! You would think after that they'd be ready to slow down, but no, “It's You”, though a lot slower than “Sometimes”, still ticks along at a good pace, though far less manic than the previous track and nowhere near as heavy as “Tightrope”. It's close to a ballad, but the beat belies that for me. The closer IS a ballad, and as per usual with Bob Seger, it's a belter. 

“Somewhere Tonight” is the tale of a thousand break-ups, people leaving, people falling out of love, and the unbearable sadness of it all. As Bob sings _”There's a cold wind blowin' from the north/ And the summer birds are leavin' / As the sun slips ever further south/ The lakes will soon be freezin'. / And the ice will claim the empty shore/ Where the ones in love went walkin'/ And the hard blues skies will shiver/ As the winter clouds come stalkin'/ And unless you find someone to hold/ Unless someone starts caring/ Unless you find the warmth you need/ Unless someone starts sharing/ When the long dark nights come closin' in/ And the winter winds comes howlin'/ You don't know if you'll make it/ Without someone you can count on.”_ - well, you just want to take your loved one in your arms and be happy they're there. Or wish you could.  Vito and Fred are once again a perfect pair on acoustic guitars, with Frost on lonely piano. Seger albums usually end on a great ballad, and this is among his greatest.

For me, that's where the album ended, as I bought the vinyl LP when it came out in '86, but apparently the CD version comes with a cover of Creedence Clearwater Revival's standard “Fortunate Son”. It's a great song, performed live, but for me it sort of ruins the end of the album, as I had, as I said above, always listened to “Somewhere Tonight” as the closer, and for me that track ends the album as it should be ended.

Although Seger has released three more albums since _Like a Rock_, with a fourth scheduled for release this year, I personally believe this is the one on which he got everything right (I discount the inclusion of “Fortunate Son”, as I believe that's down to the label, not the artist, as it wasn't on the original vinyl release), and it stands as the quintessential Bob Seger album. Maybe he'll surpass it this year, but he's going to have to work damn hard to do so!

*TRACK LISTING*

1. American Storm
2. Like a Rock
3. Miami
4. The Ring
5. Tightrope
6. The Aftermath
7. Sometimes
8. It's You
9. Somewhere Tonight
10. Fortunate Son (live) --- CD only


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## Trollheart (Sep 20, 2019)

*Original Sin --- Pandora's Box --- 1989 (Virgin)*

When I first picked up this CD, purely out of curiosity due to the cover, I caught the words “Written and produced by Jim Steinman” - that was all I needed to know. Being a big Meat Loaf fan, I was aware (as I'm sure my readers are) that Steinman was the creative force behind the big man's phenomenal successes like _Bat out of Hell _and _Dead Ringer_, and had released his own solo album prior to this, under his own name. This, however, is a project, and though Steinman writes most of the songs, plays the keyboards  and produces the album, he does not take vocal duties. The project goes under the name of “Pandora's Box”, and this was their only album. Amazingly, it was a total flop, but then, I'm sure you have tons of albums in your collection that were less than successful when released - doesn't mean they're bad albums. Maybe some people just don't know a good thing when they see it.

I would hazard that, had this been released as a Meat Loaf album, with the man singing on it, it would have been a lot more successful. Perhaps even had it been heralded as “Jim Steinman” it might have garnered more interest, but to the average record-buyer, before the inception and global dominance of itunes, this was just another mildly interesting rock record sitting on the shelf, and unless you picked it up and examined it with more than a cursory glance, you missed seeing that Steinman's name was attached to it. I really think the marketing (or lack of it) sabotaged this album's chances of breaking commercially.

All that aside, it's a fantastic record, a real gem. Combining the best of Meat Loaf (without him of course) and Jim Steinman, and recruiting people like Ellen Foley, Roy Bittan and King Crimson's Tony Levin, it's a powerful and dramatic rock opera, complete with choirs, a full orchestra and even monologues and soliloquies, not to mention some amazing songs.

It starts with a spoken intro, twenty seconds long, spoken by Ellen Foley, known from her work with Meat Loaf, then kicks right into the title track, a storming rocker with vocals by at least three girls: Ellen, Laura Theodore and Gina Taylor. The lyric puts a twist on the term “original sin”, changing it from the Adam and Eve connotation to the idea of something that hasn't been tried before: _”I've been looking for an original sin/ One with a twist and a bit of a spin/ And since I've done all the old ones/ Till they've all been done in/ Now I'm just looking/ Then I'm gone with the wind/ Endlessly searching for an original sin.”_ The song features a great “arena moment”, when the music stops for a moment as clapping hands keep the rhythm and all the voices chant the chorus. A great start.

Next up we hear the famous 20th Century Fox theme (you know the one, from all those films you've watched), and we're into a cover of the old Doors classic, updated to reflect a male instead of a female character. It's a very funky number, almost disco in parts, Ellen Foley again taking vocal duties as she sings _”He's the king of cool/ He's the devil who waits/ Since his mind left school/ He never hesitates.”_ Featuring some great piano work from Roy Bittan from Bruce Springsteen's E Street Band, and a great horn section, it bops along with great verve, with a line from Wilson Pickett's “In the Midnight Hour” thrown in, and ending with the famous keyboard riff from “Light My Fire”. Sweet!

One of the best tracks is also one of the best ballads on the album, Gina Taylor taking over for “Safe Sex”, with its clever lyric _”Baby there's no such thing/ Baby it just ain't true/ And there's no such thing as safe sex/ When it comes to loving you.”_ It's driven on a piano and guitar melody, heavy thumping drums helping the song along, but it's Gina's powerful and tortured voice that really makes the track. There's real raw emotion in her voice as she cries _”There's always the danger of losing control/ And of breaking my heart / And exposing my soul/ There's just no protection from the look in your eyes/ Or the touch of your hand when I break down and cry.”_

Much of Steinman's work has ended up recycled and reissued on later albums, often those recorded by Meat Loaf: “Surf's up” originally appeared on Steinman's first solo album and was later on _Bad Attitude_, and “Lost Boys and Golden Girls”, from the same solo album was later the closer on Meat Loaf's follow-up to_ Bat out of Hell, Back into Hell: Bat out of Hell II_. Here, the song “Good Girls Go to Heaven (Bad Girls Go Everywhere)” also resurfaced on that album, but I prefer the original, having heard it first here. It's a real rocker very much in the style you'd expect from a Meat Loaf album, which is probably why it was included on _Back into Hell_. Steinman's lyrics are always slyly sarcastic, and the title tells it all. Elaine Caswell takes over to sing this one, and does a really good impersonation of Bonnie Tyler too!

[video=youtube;2Ssqr4eKryw]https://www.youtube.com/watch?v=2Ssqr4eKryw&amp;list=PLIRYYt1d-gNMl6S6rEnQOrNDlBJ2F_ASW[/video]

Ever heard Verdi's “Requiem” for guitar and keyboards? You will if you listen to this disc! Steinman calls it “Requiem Metal”, and it leads into a track which, although it isn't a song, is still one of the best and most innovative on the album. Steinman himself voices the monologue to “I've Been Dreaming up a Storm Lately”, with the sounds of wind behind him as he takes the role of a serial killer who believes he sees reflections of his future victims in his mirrors at home, and then has to go out and find the person and kill them if they don't measure up to the reflection. Which of course they never do. _”I've been dreaming of mirrors/ Millions of mirrors/ An endless army of mirrors/ Out of control/ Reflecting people to death.”_ He goes on to explain to his newest potential victim _”They create a reflection and then/ I have to go out and find the real thing/ That matches it./ And almost always, when I put the real thing in front of the mirrors/ It is not nearly as beautiful as the reflection that came first/ And at that point I have to destroy the real thing."_ You can hear the unhinged menace in his voice when he snarls _”They decide themselves what they want to reflect/ They won't obey me!”_ Sends shivers down yer spine!

The track that follows you will probably know, as it was hijacked by Celine Dion and became a big hit for her, proving my theory that had this album been properly marketed it could have done so much better. “It's All Coming Back to Me Now” is the second ballad on the album, and sold with power and emotion by Elaine Caswell. If you aren't a fan of La Dion, then you may have come across it on Meat Loaf's _Bat out of Hell III: The Monster is Loose_. It leads into the instrumental “The Opening of the Box”, which features the New York Philharmonic Orchestra, and runs into another spoken monologue, this time voiced by Ellen Foley, with absolutely incredible rhythm as she reads out “The Want Ad”, a caustic rebuff to all the people who have answered her personal ad. There is great echo reverb on the track too, giving it an extra dimension. It has a great little black humourous ending too, and then she stays on vocals for the dancy “My Little Red Book”, written by songsmith Burt Bacharach, then we're into the final slow song, if not actually a ballad.

“It Just Won't Quit” is sung by Elaine Caswell, in her final action on the album, and was also covered by Meat Loaf on _Bat out of Hell II._ It recalls elements from the title track, and rocks along nicely. The penultimate track is a truly exceptional piano solo by Steven Margoshes which encompasses the title track, the above and also “It's All Coming Back to Me Now” and goes under the title of “Pray Lewd” (Prelude, geddit?) before things come to an explosive end with “The Future Ain't What It Used to Be”, again also covered by Meat Loaf on _The Monster is Loose_. It's a storming piece, and well worthy of being the closer to the album. Gina Taylor takes vocal duties for the last time, and a great job she does with the track. Great lyric as always: _”Say a prayer for the fallen angels/ Stem the tide of the rising water/ Toll a bell for the brokenhearted/ Burn a torch for your sons and daughters.”_ My only small gripe is that instead of leaving it ending on a very effective piano melody, there's a sort of reprise with a kind of gospel-choir chanting to the end. I personally think it doesn't work, and would have preferred the track, and album, to have ended on the piano outro. You'll know what I mean when you hear it, and you can make up your own minds.

_Original Sin _really is the classic that never was, and it's such a pity. Few people will ever get to hear and enjoy this album, and probably a large percentage of those will hear it by accident. Perhaps reading this review will help add to that number, and if so, then I'll be happy.

*TRACKLISTING*

1. The Invocation
2. Original Sin (The Natives Are Restless Tonight)
3. Twentieth Century Fox
4. Safe Sex
5. Good Girls Go to Heaven (Bad Girls Go Everywhere)
6. Requiem Metal
7. I've Been Dreaming up a Storm Lately
8. It's All Coming Back to Me Now
9. The Opening of the Box
10. The Want Ad
11. My Little Red Book
12. It Just Won't Quit
13. Pray Lewd
14. The Future Ain't What It Used to Be


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## Trollheart (Sep 20, 2019)

*

Casanova--- The Divine Comedy --- 1996 (Setanta)*

The biggest problem with the Divine Comedy is categorising their music. It's pretty hard, well nigh impossible, due to the many different influences and styles used on the albums, and _Casanova _is no exception. Everything from baroque classical to Britpop is there, and you would think with such a varied amount of styles and songs it would all get horribly messed-up, but the genius of the Divine Comedy is that it doesn't: somehow, it all fits and a song about a ballet dancer played by a chamber orchestra can sit comfortably beside a song about going on a bus played in a pop style. 

Kicking off with “Something for the Weekend”, it's a nice slice of pop, jogging along at a decent lick, with some of the most absurd lyrics you will have ever heard - unless you've listened to other DC albums! _”Get it through your sweet head/ There's nothing in the woodshed/ Except maybe some wood.”_ The song actually starts off with a Kenneth Williams-like voice saying “Hello” as girls giggle in the background. This is the sort of thing you will come to expect of The Divine Comedy, which  is essentially created, driven and given life by singer/songwriter/musician/all-rounder Neil Hannon. His distinctive voice is strong, cultured, upper-class-sounding, and definitely not the sort of thing you would expect to hear on a “popular music” record! The songs are generally short, snappy, and about as different to each other as is possible, with “Becoming More Like Alfie” a case in point. The songs on the album are all loosely linked by a general theme of sex (hence the title), but really, no two songs are alike.

“Middle Class Heroes” again begins with a cultured voice speaking, this time saying_ “Hello, what have we here? A young lady? How may I be of service this dark and wintry night?”_ Turns out to be a fortune teller, who goes on to tell the girl what she can expect in her future life. _”I see oriental paper globes hanging like decomposing cocoons/ While exotic candles overload/ The musty air with their stale perfumes.”_ The song is carried on a slow, almost jazzy beat, trumpets, trombones and tubas painting a sad and bitter tale of the realities of life for the “middle class heroes”. 

Hannon tends to see love as it is, and his sarcastic and acerbic comments on the “happy ever after” envisaged by starry-eyed couples shines through on each of his albums. This is not to say he does not believe in love, but he does have harsh words for those who think it's all hearts and flowers. You get the impression in his songs of a lot of knockbacks, failed romances and lessons learned. It's quite refreshing, and for perhaps his most acid “lovesong” you should check out “If...” on his _A Short Album About Love_. But back to this album, and on to the next track, “In and out in Paris and London”, a sort of grungy rock arrangement, with Hannon's mellifluous voice almost incongruous against this melody. The song is an unashamedly brazen report of romantic conquests, as is “Charge”, this time against the backdrop of a tango beat, likening the sexual act to a battle - _”Cannon to the left, cannon to the right/ They'll go bang-bang-bang/ All night!”_

[video=youtube;ZFjfa_RB6Pc]https://www.youtube.com/watch?v=ZFjfa_RB6Pc&amp;list=PL72C30328F201FEF7[/video]

“Songs of Love” you may find naggingly familiar, so I'll put you out of your misery and tell you that it's the theme tune for the hit comedy series _Father Ted_, which Neil re-arranged specially for that show. It's a great little tune in its own right, almost entirely on acoustic guitar, with some great lyrics: _”Their prey gather in herds/ Of stiff knee-length skirts/ And white ankle socks./ But while they search for a mate/ My type hibernate/ In bedrooms above/ Composing our songs of love”_ You'll hear the _Father Ted_ theme right there in the instrumental section near the end. Then, after a fairly innocent and heartfelt ballad, it's back to satire and sniping attacks with “The Frog Princess”.

It starts off with a riff from the “Marseilleise”, the French national anthem, then becomes a nice little ballad, but with a hidden message, as the princess in the tale declares _”You don't really love me/ But I don't really mind/ Cos I don't love anybody/ That stuff is just a waste of time/ Your place or mine?”_ But the best line is reserved for near the end, when Neil sings _”I met a girl/ She was a frog princess/And yes, I do regret it now/  But how was I to know that just one kiss/ Would turn my frog into a cow?”_ and then, with some glee_”And now I'm rid of her/ I must confess/ To thinking of what might have been/ And I can visualise my frog princess/ Beneath a shining guillotine!”_ complete with the sound of a guillotine blade falling down!

This really serves to illustrate Neil Hannon's peculiar talent for poking fun - often savage fun - at love and its foibles, and that his characters are almost always flawed, in one way or another, whether the prodigal Alfie, the stuck-up and self-absorbed frog princess, or the heartbreaker in “In and out”. More philandering occurs in “A Woman of the World”, with its carefree whistling intro and jaunty melody, its 40s/50s chorus _”She's a fake/ Yeah, but she's a real fake/ On the make/ Making up for lost time/ Just you wait/ Hey give the girl a break/ And a fistful of dollar bills will see to that!”_

One of the most powerful tracks on the album comes next, and Neil really has saved the best for last. “Through a Long and Sleepless Night” is a searing, heart-pounding, almost terrifying journey through one man's psychosis (*), with an almost breathless vocal describing a descent into madness and isolation, possibly to link in with the final track. _”It's four o'clock and all's not well/ In my private circle of Hell/ I contemplate my navel hair/ And slowly slide into despair.”_ His acerbic humour again comes through even here as he sings _”You deserve to be horsewhipped/ But I've no horse/ That joke's so shit/ And whips would only make it worse/ Don't tempt the lonely and perverse!”_ You can hear the rage and frustration in Neil's voice as he spits out the lyric, and the music tries to keep up with him. An acoustic passage about two-thirds of the way through has him sing _”Bored with normality?/ Why not go mad?/ It's easy to do if you try.”_ The song picks up again then for its thundering conclusion as Neil slides into madness and perhaps close to death.

Before the closer we have a really weird track, called “Theme from Casanova”. Introduced like a radio programme that has just ended, credits are read and the instrumental plays out as “one extra item”. In of itself, that could have been a good enough closer, but eager to outdo himself, Neil hits us with a parting shot, the amazingly powerful and emotional “The Dogs and the Horses”, which looks at a man on his deathbed (the same man from “Through a Long and Sleepless Night”?) and notes that as he dies, all the dogs and horses he has had, who have passed on before him, gather round to say goodbye. _”Sing a happy song”,_ he advises, _”For spring does not last long/ A flower blooms and then it's gone.”_ 

It starts off very very gently, with piano and acoustic guitar, and Neil singing very quietly, but when he gets to the chorus the orchestra kicks in and the song simply soars to new heights, and becomes a real powerhouse. _”So the only thing to feel sad about is/ All the dogs and the horses you'll have to outlive/ They'll be with you when you say goodbye.”_ The orchestration on the track is immensely moving, and when the track finally ends on a last “Good... bye...” you really feel like you've been through the wringer.

I can go on and on about how great the Divine Comedy is, but there's no way I'll ever have the words or the skill to do them justice. You simply have to take the plunge and listen to the recordings to properly appreciate the breadth of this man's genius, and _Casanova_ is not a bad jumping-off point. It was mine, and I've listened to all his output since, and not looked back once.

_(*) = Of course, that's what I THINK it's about, but Hannon's lyrics are so obscure and ambiguous at times that it's virtually impossible to say for certain what he means in any of his songs._

*TRACK LISTING*

1. Something for the Weekend
2. Becoming More like Alfie
3. Middle-class heroes
4. In and Out in Paris and London
5. Charge
6. Songs of Love
7. The Frog Princess
8. A Woman of the World
9. Through a Long and Sleepless Night
10. Theme from Casanova
11. The Dogs and the Horses


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## Trollheart (Sep 20, 2019)

_

*Thunder and Lightning *_*--- Thin Lizzy --- 1983 (Vertigo)*

The last Lizzy studio album ever, due to the untimely and tragic death of frontman and bass player Phil Lynott, _Thunder and Lightning _stands as one of their finest recordings. It's so good that, if you didn't know better, you would think Lynott knew he was going to die, and was determined to make the best album possible before he went. Chock-full of power chords, swirling keyboards, thumping drums and songs with the sort of hooks that fish get entangled on, it's a tremendous swan song for the band, and  a fitting monument to the powerhouse of rock music that was Thin Lizzy.

Kicking off as they mean to go on, the title track finds the band in exuberant form, rockin' hard under the twin guitar attack of Scott Gorham and John Sykes. It's a song that absolutely flies along, a true metal classic, grabs you by the throat and shakes you around like a dog with a rabbit, and  does not let go. At the end of it you feel absolutely drained, but in a good way. Turn this up to 10 and watch your speakers hop off the shelf! The lyrical theme is nothing special, no great message, just a get-down-and-rock anthem, and it works beautifully as an opener, and as a statement of intent.

Things keep rockin' for “This Is the One”, then slow down for one of the finest tracks on the album. There are, to be fair, few ballads in Thin Lizzy's repertoire. Unlike other rock bands like Bon Jovi, Queen, Rainbow or even Whitesnake, you would be hard-pressed to point to a classic Lizzy ballad. Even their most famous “slow song”, the superb “Still in Love with You”, speeds up halfway through. So it's with no small sense of achievement that they've crafted the wonderful “The Sun Goes Down”, which in a really ironic and tragic way could be seen as a musical epitaph for Phil Lynott, who would breathe his last three years later. Driven on an inspired keyboard base, Darren Wharton at his very best, with minimal percussion and a great guitar solo halfway through, it's a fantastic song, but don't ask me what it's about!

_”There is a demon among us/ Whose soul belongs in Hell/ Sent here to redeem us/ She knows it all too well/ She comes and goes/ She comes and goes/ He knows it all too well/ But when all is said and done/ The sun goes down.”_ Despite the cryptic lyric though, it's a great song and definitely one of the standout tracks on the album.

Things kick back into high gear then for “The Holy War”, with an interesting lyric concerning the fanaticism of those who fight wars for religion. _”And if God is in the heavens/ Why did God let children die?/ If you don't ask these questions/ There is no reason why.”_ It's a vicious and powerful attack on organised religion, and Lynott is in fine voice throughout, with the guitars of Gorham and Sykes again taking centre stage.  Then we're into one of the very best tracks on the album.

Released as a moderately successful single, “Cold Sweat” smashes its way onto the stage, beginning with a muted guitar intro before the double axe-attack kicks in, and Phil steps things up a gear as he relates the tale of a gambler who believes he can make the big score. _”I've got a whole month's wages/ I haven't seen that much in ages/ I might spend it in stages/ Move out to Las Vegas.”_ In the same vein as the title track, it's a stormer that grabs hold and doesn't release you till the final guitar chords churn out the end of the song, and again you feel like you've been chewed up and spat out. In a good way. Brian Downey's thundering drums add great backbone to this track, and it's an instant Lizzy classic by the time you've heard it once.

Think you'll be able to catch your breath after that? Fat chance! “Someday She Is Going to Hit Back” is another fast rocker which never lets up, the story of an abused woman who has had enough. It opens with a powerful instrumental, almost cinematic intro, then gets going and never stops. _”Woman don't like it!”_ growls Lynott menacingly _”Hurting her this way/ Someday she is going to hit back!”_ There's a great guitar duel throughout the song, but even at that there's an air of commerciality about the song, though it was never released as a single. 

[video=youtube;PTNzuBh6zTg]https://www.youtube.com/watch?v=PTNzuBh6zTg&amp;list=PLNXsXCu4FrPcSOhNNuhRT5Gp  cMibwu7LC[/video]

So, after that then “Baby Please Don't Go” has to be a ballad, right? BUZZZZ! WRONG! A little slower yes, but still another rocker, in the mould of “Dancing in the Moonlight”, but considerably faster. The guys basically keep their foot pressed to the pedal right to the end, with “Bad Habits” echoing elements of “Do Anything You Want to” and “Jailbreak”, with the brilliant line _”Boys will be boys/ And girls will be trouble!”_, then  the album comes to a speeding and crashing close with “Heart Attack”, again almost prophetic in its lyric: _”Mama I'm dyin' of a heart attack/ Heart attack/ I love that girl but she don't love me back”_ and later _”Papa I'm drinking for an overload,/ Overload, overload!/ The gun in my pocket is all ready to explode/ Papa I'm dying of an overdose,/ Overdose, overdose/ I tried to warn you don't come too close.”_ Terribly sad, in the light of future events, but there's no denying it's a powerful killer punch to bring to a triumphant end the last studio album ever recorded by a band who secured their place in rock history, and who will always be remembered fondly.

*TRACK LISTING*

1. Thunder and Lightning
2. This Is the One
3. The Sun Goes Down
4. The Holy War
5. Cold Sweat
6. Someday She Is Going to Hit Back
7. Baby Please Don't Go
8. Bad Habits
9. Heart Attack


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## Trollheart (Sep 21, 2019)

*SPOILER ALERT! Obviously, if you've for some reason not read or seen any of the movie versions of this classic tale, avoid this review as the ending is revealed. You have been warned!*


*Jeff Wayne's Musical Version of “The War of the Worlds” --- Jeff Wayne --- 1978 *


So far as I know (though I could of course be wrong; has to happen sometime!) this was the first “rock-opera” written originally for vinyl, as in, there were many rock operas of course, but all the recordings accompanying them were more soundtracks to the show, be it stage or film. This particular project was the first I ever remember that began its life on record, and then later spawned other media like a stage show, DVDs, computer game etc.

Conceived by composer Jeff Wayne, and bringing together some of the cream of the UK's acting and musical talent, this album formed a huge part of the soundtrack to my teenage life. I recall one summer morning in 1979 lying in bed listening to my little radio, and delighted to hear the opening track, “The Eve of the War”. When it had finished I was more than surprised to hear narration and then the second track, then the third and so on. Sitting up in bed, I realised with delight that the DJ had either snuck off for a cigarette break, got waylaid somewhere in the radio station or had decided to let the album play, at least part of the way through. Now, this was before YouTube, before itunes, and the only way you could hear an album in its entirety was to buy it. In 1979 I was 16, so I wasn't exactly flush with cash, and  a double album like this was going for somewhere in the region of 12 Irish pounds! That doesn't seem much by today's prices, but consider that a newly-released single album could be purchased for about £5.99, and you can see how expensive it would seem. Before I would take the plunge and buy this album I would have to know it was worth it.

As I listened in rapt amazement that July morning, and the DJ failed to fade in and change the record, and the entire thing played out before my disbelieving ears, I made my mind up to buy it that very day, and so I did. I never regretted it. Now a piece of musical history, the album screamed class, from its amazing sci-fi cover to the names of the individual tracks, and the gatefold sleeve that opened to reveal a painting from the story and more credits that you could read in one go, to the airplay it was getting at the time. Without doubt, this was the “must-have” album of 1978!

Built of course on the solid grounding of the story of H.G. Wells's 1898 classic, the album alternates between songs, instrumental passages and spoken narration/action. It's all seen from the perspective of The Journalist, played by the inimitable late Richard Burton, and his mellifluous, grandiose voice adds real gravitas to the persona of the character. The album kicks off with a voiceover from Burton, as he ominously intones, without any music whatsoever behind him, _”No-one could have believed/ In the last years of the nineteenth century/ That human affairs were being watched/ From the timeless worlds of space./ No-one could have dreamed that we were being scrutinised/ As someone with a microscope/ Studies creatures that swarm and multiply/ in a  drop of water./ Few men even considered the possibility/ Of life on other planets./ Yet, across the gulf of space/ Minds immeasurably superior to ours/ Regarded this Earth with envious eyes./ And slowly, and surely/ They drew their plans against us.”_

The music then kicks in, with what you will probably have heard at some point, even if it's a crappy cover version on one of those “space themes” albums, or off the radio. “The Eve of the War” sets the tone, with an urgent synthesised soundtrack, piano and keyboards by Ken Freeman, as well as string sections building up the drama as the tune rocks along on a boppy drumbeat. The track ends dramatically, but the theme is continued, and becomes the unofficial motif of the album. There is both spoken narration by Burton and some singing on the track. In his character as the Journalist, Burton describes how, one night in August, strange cylinders are seen coming from Mars towards Earth. Concerned, Burton consults his friend Ogilvy, who is an astronomer, but he assures everyone there is no danger. This then becomes the only lyric to the tail-end of “The Eve of the War” as Burton recalls his words _”The chances of anything coming from Mars/ Are a million to one, he said/ The chances of anything coming from Mars/ Are a million to one/ But still they come!”_ This lyric is actually sung by the Moody Blues' Justin Hayward, whose role is that of the Journalist's thoughts. A strange one, but it works.

“The Eve of the War” continues its musical theme until the first of the cylinders are discovered on Horsell Common, and Ogilvy arrives to examine it, but is pushed back by the intense heat as the lid of the thing begins to move. Is someone, or something, trying to get out? Burton recalls how weird it is, how everything seemed to be so ordinary, so normal, up until this moment, and he finds it hard to believe what is happening all around him. The second track, “Horsell Common and the Heat Ray” is introduced on an ominous, waiting bass line, then joined by synth as the humans have their first view of a Martian, as it comes struggling out of the cylinder. It's a musical passage which to me recalls Genesis' “The Colony of Slippermen” from _The Lamb Lies Down on Broadway._ As the tune progresses, Burton's horrified Journalist relates how, after the Martian has exited the cylinder, an unearthly heat ray turns on the crowd, frying people where they stand.

The second track is over eleven minutes long, and with “The Eve of the War” forms what was originally the first side of the double-album, clocking it at just over twenty minutes. Running from the destruction, Burton escapes and writes an account for his newspaper before falling asleep. Waking, he hears weird sounds of hammering from the crater created by the impact of the Martian cylinder. It seems the invaders are building something, but no-one knows what, and anyone who dares to venture too close is easy prey for the deadly heat ray!

It's kind of hard to describe the way the music paints the landscape for the story: you really have to hear it to understand. But _The War of the Worlds _is as much an album on which you listen to the narration and the action as much as you listen to the actual music. It really IS a story, and whether or not you've read the book, or seen any of the films, you find yourself drawn into the story. As “Horsell” comes to a fading close, the army arrive and set up, and another cylinder is seen in the sky, heading Earthwards, and Burton realises that his own house is now in range of the heat ray, as the Martians clear their path.

Side two opens with “The Artilleryman”, and we are introduced to the second character in the drama, a soldier played by David Essex, whose platoon has been wiped out by the Martians. He ends up in Burton's house, running from the invaders. He tells Burton that the Martians have constructed massive fighting machines, and are now on the move. The ominous bass line carries the track, then kicks into what becomes the theme of “Forever Autumn”, the hit single from the album, as Burton and Essex both decide to flee to London, the latter to report to HQ, and Burton to seek his girlfriend. The sense of urgency grows as the two make their way across the countryside, hiding from Martian fighting machines. The Martians, when attacking, let out a hideous cry which sounds like “Uuu-llaaa!”, and becomes their musical battlecry, recurring throughout the album.

It's without doubt a keyboard and synth-driven album, and the soundscapes lain down by Ken Freeman characterise the story and paint the picture of humanity on the run. But it's also the vocal and acting performances of people who up until now have never acted that makes the album so special. It's like watching one of those old episodes of _The Twilight Zone _set to music. Truly phenomenal. 

During one of the Martian attacks Burton and Essex are separated, the Artilleryman running away while the Journalist jumps into the water. When Burton emerges, everyone is gone, and he must continue on his own towards London. However, when he reaches his girlfriend's house, it appears that both she and her father have already left. Then we get the hit single, “Forever autumn”, sung by the talented Justin Hayward, as he voices Burton's despair that he has missed his girl, and hope that he may be reunited with her. You surely know the song, driven on flute and acoustic guitar, with a beautiful lyric that tugs at the heartstrings: _”Through autumn's golden gown/ We used to kick our way/ You always loved this time of year/ Those fallen leaves lie undisturbed now/ Cos you're not here.”_ The song is however interrupted by narration from Burton, unlike on the single, as he makes his way towards the coast  and a boat out of England.

[video=youtube;uJrbz0wiT28]https://www.youtube.com/watch?v=uJrbz0wiT28[/video]

This leads to the standoff at the dock, where the valiant warship _Thunder Child _holds off the Martians long enough for the passenger steamer to get out of range and escape. Burton, however, has been forced back, having seen in despair the face of his love already on board the ship but unable to join her, and he is left on the shore as her ship sails away. But at least, he consoles himself, she is safe. The song “Thunder Child” closes the second side, and first disc of the album, and is sung by Chris Thompson, taking the role of “the Voice of Humanity” as they urge the valiant warship on to their defence, wish it success and finally salute it as it bravely slides beneath the waves.

When the album was originally released, on vinyl, the first record (sides 1 and 2) was subtitled “The Coming of the Martians”, and this ends with “Thunder Child” and the escape of the steamer. Side 3, record 2, opens “Earth Under the Martians.” There is no resistance left. The army have been swatted aside like flies, the government (never mentioned, but one assumes) fled, and the Earth (ie England) is now ruled by the invaders. The final words of part 1 are Burton despairingly declaring _“The Earth belonged to the Martians.” _This is symbolised and driven home by the opening track, “The Red Weed”, which depicts a new weapon the Martians inflict on the Earth, a thick, choking weed that strangles all flora and vegetation, replacing it and turning the Earth from green to red. The synth lines evoke a slimy, writhing red snake, making its way across the planet and choking every growing thing it sees, replacing it with its own hellish vegetation. Freeman has great fun with the keyboards, throwing in all the weird sounds he can, to build an alien landscape on Earth. It's almost all keyboards and synth, with a little bass and the odd flurry of percussion, and some nice guitar work near the end, but essentially it's Freeman's baby.

Burton staggers through the “lurid landscape”, completely alone, until he comes across the body of a parson lying in a ruined churchyard. Unable to leave him he decides to bury the priest, but just then a female voice calls “Nathaniel!” and the parson's eyes flicker open! Phil Lynott makes his entrance with his total star turn as the insane Parson Nathaniel, while Julie Covington is his wife, Beth. The church has been destroyed by the Martians, and the parson, believing them to be devils, has lost his mind and now launches into “The Spirit of Man”, a duet between Lynott and Covington, another standout from the album. _”If just one man could stand tall/ There must be some hope for us all/ Somewhere in the spirit of Man.”_ she sings, but Lynott's parson has lost his faith: _”Tell me, what kind of weapon is love/ When it comes to the fight? / And just how much protection/ Is truth, against all Satan's might?”_ he asks, declaring fatalistically _”Forget about goodness and mercy/ They're gone!”_ He is convinced that the Martians are God's judgement upon the evil of men, and have been sent to destroy humanity.

“The Spirit of Man” is an oddity: half fast-rocker, half-ballad as Lynott and Covington exchange views on the possibility of survival, Covington insisting _”There must  be something worth living for/ There must be something worth trying for”_ while Lynott snaps _”When the demons arrive/ The survivors will envy the dead!”_ Just then another cylinder arrives, crashing into the church-house, killing Beth and trapping the trio in the pit it has made. As Parson Nathaniel and Burton watch from hiding, they see the Martians take human captives. The musical theme from “The Red Weed” returns, and the two men watch in horror as the Martians drain the blood from humans and consume it. This finally pushes the parson over the edge, and believing he can save them - _”Those machines are just demons in another form!/ I shall destroy them with my prayers! / I shall burn them with my holy cross!”_ - he decides to confront the Martians, and Burton has to knock him out. Later he is taken by the questing Martian machine, and there is nothing the Journalist can do to prevent it.

“The Red Weed, Part 2” takes the third side of the record to its conclusion, as the Journalist comes out of  hiding and makes his way along the road. All of a sudden he comes across his old friend, the Artilleryman. Not recognising him at first, Essex's character challenges him, but quickly each realises who the other is, and the Artilleryman invites Burton to the place he has found, as side 4 kicks off with the last actual song on the album, the overly optimistic and totally unrealistic plan the Artilleryman has to rebuild society, as “Brave New World” relates his idea about living underground, in the sewers, starting everything from scratch.

It's a guitar driven song, bouncing along with hope and promise, but with an edge of madness too, featuring some  great lyrics _”Take a look around you/ At the world you've loved so well/ And bid the ageing empire of Man/ A last farewell/ It may not sound like Heaven/ But at least it isn't Hell!”_ It's Essex's only real chance to shine on the album, and he doesn't waste it, putting in a convincing performance, both spoken and sung, as a man who really believes he can rebuild the world in a very short time. Sadly, Burton sees that the Artilleryman has made only the smallest of progress, and realises the impossibility of his companion's dreams coming true. As he sings _”Listen! Maybe one day we'll capture a fighting machine, eh?/ Find out how to make them ourselves/ Then WALLOP! Our turn to do some wiping out!/  WHOOSH! With our own heat ray!/ WHOOSH! And them running and dying/ Beaten at their own game! / Man on top again!”_ Burton shakes his head and slips away, leaving the Artilleryman to his grandiose dreams.

Having finally reached London, Burton wanders the deserted streets, with “Dead London” as his background, a bluesy reworking of the “Horsell Common” track and with bits of “The Red Weed” thrown in, guitars and sax playing equal parts with piano keeping the beat like a metronome. Suddenly, struck by the seeming hopelessness of his situation, all fight goes out of the Journalist and he decides to commit suicide by offering himself up to the Martians. Heartsick, weary, with his girlfriend who knows where and his species on the edge of extinction, he no longer wants to live. However, the fighting machine he approaches has a dead Martian in it, and it seems that (no spoiler here, we all know how this ends, don't we?) the invaders have been destroyed by germs in the Earth's atmosphere.

The theme from “Eve of the War” reprises as the album ends, as Burton contemplates the nature of life, how something so microscopic as bacteria could lay low such seemingly unstoppable creatures. He envisions the return of all those who have fled, and that life will come back to the city. They will rebuild, and his lover will also come back to him. The final melody on the album is a triumphant march of victory (why, since Man did not defeat the Martians? Oh well...), and fades out.

Unfortunately, Wayne saw fit to thrown in an epilogue, concerning NASA as they watch over the first manned landing on Mars, and we hear the sound we heard on Horsell Common as the Martians moved about in their cylinders. Oh dear... I could have done without this, particularly the annoyingly nasal voice of the NASA controller, but I usually stop the album before this anyway. 

Whatever way you look at it, _Jeff Wayne's Musical Version of the War of the Worlds_ is a classic album, and if you haven't heard it this far into your life, do yourself a favour and pick it up. It's a slice of music history you'll want to be part of.

*TRACK LISTING*


*Part I: The Coming of the Martians
*
1. The Eve of the War
2. Horsell Common and the Heat Ray
3. The Artilleryman
4. Forever Autumn
5. Thunder Child

_*Part II: Earth Under the Martians*
_
6. The Red Weed, Part 1
7. Parson Nathaniel
8. The Spirit of Man
9. The Red Weed, part 2
10. Brave New World
11. Dead London
12. Epilogue
13. Epilogue, Part 2 (NASA)


----------



## Trollheart (Sep 23, 2019)

*Arrival --- Journey --- 2000 (Columbia)*

So, what's my favourite Journey album? _Escape_? Nah. _Raised on Radio_? Do me a favour! _Frontiers_, maybe? Not even close. Although these albums are seen as being the best in Journey's large catalogue, particularly because of the hit singles that came from them, that's not how I see it. I often think a “classic” album like _Escape_ for instance can rely far too heavily on its hit singles, and this then allows the acceptance of lower-grade, often filler tracks. It's like Manchester United without Wayne Rooney, or Liverpool without Steven Gerrard: without these lynchpins what is left is often shown up to be far below the grade, and this I find definitely to be the case with the three albums listed above. To my mind, a band's best album should be one which you can listen to all the way through, without having to skip one track. Now, few bands release albums of such calibre: there's usually one or more tracks that need to be fast-forwarded through, but on this album I really believe Journey got it almost perfect, despite the prevailing wisdom among the band's fans.

Even though it was less of a commercial success than the aforementioned albums, my personal favourite album is 2000's_ Arrival,_ and here's why. From the opener “Higher Place” to the closer We Will Meet Again”, the boys hardly put a foot wrong, and it's as close to a perfect Journey album as I've seen them come. 

The first test for new singer Steve Augeri, who had the almost impossible task of replacing talismanic singer and longtime member Steve Perry, it's actually scary how similar the guy sounds to his predecessor! In fact, if you were handed this album, and a Perry-era disc like _Escape_ or _Frontiers_, I really believe you'd be hard-pressed to notice the difference. The guy's voice is clear and distinct, powerful and able to reach the high notes with Perryesque ease. “Higher Place”, as mentioned, kicks the album off in superb style, rocking along at a great pace, Schon and Cain as ever on top form, and new drummer Deen Castronovo making his presence felt in no uncertain fashion. It's the ballads that really make this album though, and people can say what they want, sneer as they like at the “soft-rock”, “slush-rock” or whatever that Journey produce, but man, they know how to pen a great ballad! There are no less than seven distinct ballads on this album, almost half the song count, and each one is a classic. Nearly.

First on the scene is “All the Way”, a lovely piano-led tune on which new guy Augeri helps out with the writing, and he seems to know what he's doing: _”Speak your heart and I will listen/ Don't hold back, we'll find what's missin'/ I'll take you all the way/ Close your eyes and think forever/ If you believe we go together/ I'll take you all the way.”_ Okay, it's not “Who's Crying Now?” but it's a damn fine ballad. Moving things up a gear then for the next track, “Signs of Life” is a refusal to lie down after bad things have happened. It's a mid-paced rocker, with great drums and piano, and a lyric that just makes you want to say YEAH! _”Try to not think about you/ I'm not a dead man walkin' without you/ You know I'll be alright/ I'm showin' signs of life/ You left me barely breathing/ But I've had time for the healing/ Now I've opened my eyes/ I'm showin' signs of life.”_ Castronovo's drums punch a triumphant military beat throughout the track, and as usual Neal Schon lets his guitar do the talking, even throwing in a cheeky riff from “Who's Crying Now” near the end!

Things stay fast for “All the Things”, then slow down again for the second ballad, “Loved by You”. It's a gorgeous little song, with Jonathan Cain again taking control of proceedings as his fingers fly like whispering breaths across the keyboard. Sung with power and passion by Augeri, particularly the chorus, this sends a shiver down my spine whenever I hear it: _”If I should die before I wake/ I'd go into the night whispering your name/ If lying in your arms is the last thing that I do/ At least I'll know that I've been loved by you.”_ The following track is also a ballad, but a little heavier and more direct, evoking a sense of urgency and things which have to be done before it's too late. Introduced in a lovely little piece of pick guitar, “Livin' to Do” is a real bluesy ballad, and again Augeri's voice shines through on this, as on most if not all tracks.

[video=youtube;V7wtIJ745u4]https://www.youtube.com/watch?v=V7wtIJ745u4&amp;list=PLkLimRXN6NKwgs2FuK0aJL5L  TQmC0nNHv[/video]

“World Gone Wild” and “I Got a Reason” recall memories of tracks like “Be Good to Yourself” from _Raised on Radio_ and “Faith in the Heartland” from later _Generations_, but for me they're a little unremarkable, and it's not till we get to “With Your Love” (yes, another ballad) that things again click into place for me. It's not that the previous two tracks are poor: they're not, but the overall quality of the ballads on this album forces most of the faster tracks into second place for me, and while I realise it's few albums that would consist only of ballads (step forward, Air Supply!), and you need a few uptempo tracks on any recording, these two just don't cut it as well for me as those which have gone before, or indeed some of the ones to follow. I have to admit though, “World Gone Wild” features a, well, wild guitar solo from Schon to take it to its conclusion. Great to see the man can still rock out with the best of them!

Once you hear those crystal clear piano notes you know another ballad is on the way, and “With Your Love” does not disappoint. With its lyric it surely was and will be played at many a wedding of Journey fans: what girl wouldn't be impressed to hear lines like_”On this day, to be standing here with you/ There's no doubt: I know this love is true/ See my tears; only you can understand/ A state of grace; I feel blessed to hold your hand.”_ Another great solo from Neal completes a great, great ballad, and before there's time to draw breath and let that sink in, we're into another. With a powerful punchy drum intro and then the ubiquitous piano, “Lifetime of Dreams” is another of those songs you just know people will be holding lighters up at concerts for, and swaying side to side. It's not quite as deep as the previous song, but a nice ballad nevertheless. In ways it's sort of reminiscent of Bryan Adams' megahit “Everything I Do”...

“Live and Breathe” is a heavier ballad, somewhat in the mould of “Livin' to Do”, and the penultimate slow song on the album. There's real passion in the singing here, and for once it's less piano-driven, riding along on a nice guitar and bass line, with keyboards taking more of a background role. Castronovo's drums punctuate the track perfectly, giving it that slightly heavier feel, as Schon's guitar breaks out the power chords as if he's just realised what you can do with an electric guitar! 

“Nothin' Comes Close” is a good standard rock song, but nothing about it stays with me the way some of the other tracks on this album do. I wouldn't go so far as to call it filler, but I could certainly listen to _Arriva_l without it. “To Be Alive Again”, on the other hand, is an instant classic. There's a great exuberance about the song, with the band clearly enjoying themselves. Great hooks, great chorus, nimble fingerwork on the piano keyboard, Augeri's powerful voice and solos from Schon - what more could you ask for? 

There's one more ballad to finish up with, and it's a good one, though not in fairness a great one. Given the admitted oversaturation of ballads on this album, it's possible we could have gotten away without “Kiss Me Softly”, but it's not a bad track, certainly a better closer than “We Will Meet Again”, which actually finishes the album. To be honest, my choice for closer would have been “To Be Alive Again”, but that's how the disc spins, I guess. Sort of takes away from the general brilliance of the album that it ends relatively weakly, although it must be said that it's only due to the superior quality of the tracks which have preceded these last two that they are seen as substandard: on another Journey album they would probably be hailed as triumphs. Shows you how high the bar was raised on this album.

I would suppose that anyone who was worried that Journey would fold, or be less than they were, after the departure of Steve Perry, had their answer with this album. Although it suffered low sales and chart position, I believe that was more down to fans not giving Steve Augeri a chance, and assuming that he would ruin the album. Perry purists, I'm looking at you! Hey, it's your loss!

*TRACK LISTING*

1. Higher Place
2. All the Way
3. Signs of life
4. All the Things
5. Loved by You
6. Livin' to Do
7. World Gone Wild
8. I Got a Reason
9. With Your Love
10. Lifetime of Dreams
11. Live and Breathe
12. Nothin' Comes Close
13. To Be Alive Again
14. Kiss Me Softly
15. We Will Meet Again


----------



## Trollheart (Sep 23, 2019)

*

Anderson Bruford Wakeman Howe --- Anderson Bruford Wakeman Howe --- 1989 (Arista)
*
Conceived as Jon Anderson's attempt to break out of the strictures he felt the recent Yes albums (_90125, Big Generator_) had placed on him, this was a project which involved former members of Yes coming together to record what was essentially a new Yes album done the “old Yes” way. You can tell by the names who were in the project - Rick Wakeman of course, legendary keysman on some of Yes's best albums, Steve Howe, who left to join Asia, and drumming icon Bill Bruford from King Crimson. Contractual and copyright problems prevented the new supergroup from using the name Yes, so after some brainstorming they decided the safest option was to just use their names. Makes for a long album title, but hey, like everyone else, we'll refer to them from now on as ABWH, okay?

I seem to recall I bought this album on the strength of the cover alone (though of course I knew the names of the performers, so knew what the music was likely to sound like) - who wouldn't, with that fantastic Roger Dean artwork, which certainly appealed to someone who was getting into the likes of Frank Frazetta and Boris Vallejo? I bought this on vinyl originally, and it was presented in a beautifully lavish gatefold sleeve. To be honest, I had never been a huge fan of Yes, but I had enjoyed the last two albums, and I liked Rick Wakeman's work. I was also familiar with Anderson's collaborations with another of my favourite artistes of the time, the singularly talented Vangelis. So it wasn't a difficult sell as far as I was concerned.

But the needle tells all (sigh! Ask your parents, willya? MAN I feel old!), so what sort of music have we here? There's a deceptively gentle opening, tinkling piano as Wakeman introduces the first piece of music, and you feel yourself settling back. BAD idea! Within a few moments Bruford's drums come crashing through, the pace jumps to about third or fourth gear, and the first song is well into its stride. The clear, piercing voice of Jon Anderson dispels any initial belief that this may have been an instrumental. As it goes, ABWH is broken into four multi-part compositions, with some self-contained complete tracks complementing these larger works, but all seems to feed into the one overall concept, and the album plays very much like one huge slice of music, almost an hour in length. The aforementioned piano intro is called “Sound”, and forms the first of a triplet of songs that make up the first composition, called “Themes”. As the drums kick in and the singing begins, we're into “Second Attention”, which goes on for about half the track. Really, it's a bit fatuous to call “Sound” a third of the track, as it's really nothing more than a piano intro, a few seconds long, not even a minute really, and the rest of “Themes” is divided between “Second Attention” (the larger part) and “Soul Warrior”, which is totally instrumental, and runs for just over a minute and a half.

The next track is a self-contained one, just over three minutes long. “Fist of Fire” is much slower, heavier and darker than the previous. There's a real sense of ominousness about this: stabbing keyboards, thumping drums and Anderson's urgent vocal carrying the track. _”Through the darkest age/ We could surely fly/ Through the darkest age/ With the fist of fire.”_ There are some great keyboard solos by the Wizard King here, good backing vocals too (multi-tracked?). This leads into the second multi-part composition, called “Brother of Mine”, on which Asia and ex-Yes keysman Geoff Downes lends a hand with the writing. The whole thing starts off with a gong sound and then a slow, soulful intro: _”So, giving all the love you have/ Never be afraid/ To show your heart.”_ It opens with “The Big Dream”, a jaunty romp which takes us up to “Nothing Can Come Between Us”, where the song speeds up a bit and the theme from “Brother of Mine” is repeated, as happens throughout the multi-parters. Nice guitar work here, before things really take off for the final part, “Long Lost Brother of Mine”, which brings the piece full circle.

The way the parts of the multi-compositional pieces meld and flow together effortlessly makes it somewhat difficult to note where one part ends and another begins, and there's definitely no gaps as the parts slide from one to another like tributaries of a river coming together. It's not a criticism, nor is it a problem when listening to the album, as the music is so uniformly brilliant that you really cease to care what one section is called, and just really listen to it as one continuous piece of wonderful music, four legends at the very pinnacle of their game, consummate professionals working not to outdo each other, but to come together in such a way as to almost become one single entity, dedicated to producing the very best music they can.

After the multi-layered “Brother of Mine” there's a single track next, but no less brilliant in its way. “Birthright” has a dark, brooding tone, with a steady drumbeat, and chronicles the lasting effect on the Australian Aborigines of the nuclear tests carried out by Britain at Maralinga in the late fifties and early sixties: _”This place ain't big enough/ For stars and stripes/ This place ain't big enough/ For red and white.”_ About halfway through it morphs into something of an Irish jig, and gets a little faster as it approaches its conclusion. The song is really a vehicle for Steve Howe's guitar, and does he dazzle! It's followed by one of only two ballads on the album, the gently understated, almost hymnal “The Meeting”, where Anderson and Wakeman bring things down to a whisper with one of the nicest songs I've heard in a very long time. The gentle piano perfectly complements Jon Anderson's choir-boy voice, and yes, there is something spiritual about the song, even in the lyric: _”Surely I could tell/ If you asked me, Lord/ To board the train/ My life, my love/ Would be the same.”_ It closes the first side of the album in gentle triumph, almost a lullaby, fading slowly away but remaining in the ears long after the last chords have been played, and the last notes have receded into the night.

Side 2 kicks off with another multi-composition, under the banner heading of “Quartet”. Featuring, yes you guessed it, four parts, it starts off with “I Wanna Learn”, a boppy, joyful, almost childlike song about discovery and wonder, as Anderson cries _”I wanna know more about life/ And things that can fly in between my mind/ I wanna change all that I dream about/ My waking and my so many lives.”_

[video=youtube;FhpRHBkmgP4]https://www.youtube.com/watch?v=FhpRHBkmgP4[/video]

It's relatively short, about two minutes, but then the whole track is just over nine, so with four sections about two per section is right. Second part is “She Gives Me Love”, keeping the happy theme going and essentially continuing on the same song. Anderson cheekily namechecks one of the old Yes songs as he sings _”Through the gates of delirium so fast...”_ Apparently there are other examples of this throughout the album, though not being a 70s-era fan of Yes I couldn't point them out for you. “She Gives Me Love” seamlessly becomes “Who Was the First”, which is almost exactly the same melody but with different lyrics, until the climax of the track is reached with “I'm Alive”, where the theme from “The Meeting” returns, to slow the track down and bring it to a gentle and very satisfying close.

“Teakbois”, the next self-contained track, I could in all honesty have done without. It's totally anachronistic, basically the song of a band forming behind a really annoying Calypso beat. It has its moments, but if there's a bad track on the album (and there really isn't), then this is it. Unfortunately it also runs for over seven minutes, close to but not equalling the three multi-parters so far, which is a pity, as the space could have been used for a much more appropriate song. I think this was just basically a jam for the guys, a bit of fun. Not for me, though...

Luckily things are soon back on track for the final multi-composition, as “The Order of the Universe” takes the album towards its ending. Another nine-minute piece, it kicks off with a powerful dramatic instrumental which goes under the title of “Order Theme”, before the main part of the song, “Rock Gives Courage” blasts in, a real hard-rocker in the mould of (sorry guys, I know you don't want to relate to_ 90125 _but...) “Owner of a Lonely Heart” or “Our Song”. Things speed up then for the third part, “It's So Hard to Grow”, reintroducing the central theme: _”You can't imagine it/ How hard it is to grow/ You can't imagine it/ Can you imagine/ The order of the universe?”_ The remaining part, called “The Universe” is basically an instrumental ending to the song, a retracing of the introduction.

As side 1 ended with a lovely little ballad, so does side 2, and the album comes to a relaxing close, particularly after the histrionics of “The Order of the Universe”, with a beautiful little acoustic number, on which Anderson's old mate Vangelis lends a land with the composing. It's VERY Jon Anderson: _”Let us be together/ Let's pretend that we are free/ Let's all be where the angels find us/ We all have the key.”_ There's minimal or no percussion in the song, and it's just Steve Howe and Jon Anderson finishing the album off in fine style. _”Something that I feel/ To pour upon my soul/ Countenance of love/ For one and all”._

Amen, brother.

There never was another ABWH album. Two years later the two “sides” of Yes resolved their differences, and the result was _Union_, released under the Yes banner. Although some of its music is similar to _ABWH_, there are no multi-part pieces on it, and it's not a concept album, so although it is regarded in some circles as the 2nd ABWH album, to me it's a Yes album, pure and simple. An excellent one, it has to be said, but for all that, a Yes product and not a continuation of _ABWH_, although some songs on it were supposed to have found life on the projected follow up to _ABWH_. In this manner, I consider _ABWH_ the album to be something of a rarity: unique in that it is at once an album by established members of a band, a new supergroup and a debut all in one, and is the only recorded example of this partnership (setting aside live recordings). For this reason alone, if no other, it deserves to be listened to, and appreciated.

*TRACK LISTING
*
1. _Themes_
i) Sound
ii) Second Attention
iii) Soul Warrior
2. Fist of fire
3. _ Brother of Mine_
i) The Big Dream
ii) Nothing Can Come Between Us
iii) Long Lost Brother of Mine
4. Birthright
5. The Meeting
6. _Quartet_
i) I Wanna Learn
ii) She Gives Me Love
iii) Who Was the First
iv) I'm Alive
7. Teakbois
8. _The Order of the Universe_
i) Order Theme
ii)Rock Gives Courage
iii) It's So Hard to Grow
iv) The Universe
9. Let's Pretend


----------



## Trollheart (Sep 23, 2019)

*Here's to the Heroes --- The Ten Tenors --- 2006 (Rhino)*

Those of you who have read my review of Josh Groban's _Closer_ will know I'm partial to the odd male vocal album, as long as it's sung well. The Ten Tenors (or, as I prefer to call them, the Twenty Fivers!) hail from Australia, and as you might expect, there are ten of them. They specialise in a mixture of classic rock and operatic singing, and this album, released in 2006, has a good mixture of both. It's the sort of album you put on to relax, or when you need a good emotional fix. The voices are without exception strong and powerful, clear and distinct, as you would expect, and like the aforementioned Mr. Groban, you can listen happily to a song written in Spanish or Italian without having more than a few words of the language, and still enjoy it. Hey, people do it all the time in opera!

This album, their fifth studio release, is based almost entirely on the works of one of my favourite film composers, the late John Barry. Kicking off with “Just to See Each Other Again”, a lovely little ballad, you immediately get a sense of the power of these guys' voices. Just to get it out of the way, let's name them off: they are Benjamin Clark, Graham Foote, Keane Fletcher, Stuart “Sancho” Morris, Boyd Owen, Dion Molinas, Dominic “Panda” Smith, Jordan Pollard, Thomas Birch and Ben Stephens. Don't ask me who sings what! They're also backed by a great symphony orchestra, but again, there seems to be little hard information on who they are.

[video=youtube;jVDeR2VqP9g]https://www.youtube.com/watch?v=jVDeR2VqP9g[/video]

It's not really though until you get to the title track that you get a real sense of the kind of emotions these guys can evoke. “Here's to the Heroes” is a slow, powerful ballad, arranged to the theme from John Barry's score to the film _Dances with Wolves,_ and it works extremely effectively. The lyric has a power of its own too: _”Here's to the heroes/ Who change our lives/ Thanks to the heroes/ Freedom survives/ Here's to the heroes/ Who never rest/ They are the chosen/ We are the blessed.”_ Stirring stuff!

Other standout tracks include two reworking of Bond themes, the instantly recognisable “You Only Live Twice”, also penned by Barry, and “We Have All the Time in the World”, which, though it featured in the 1969 _On Her Majesty's Secret Service_, will possibly be better known, at least to those of my generation, as the music to one of those great Guinness ads, sung by the legendary Louis Armstrong. But yes, it was also composed by John Barry. Didn't know that. The non-English songs are really nice too, like “Buongiorno Princepessa “ and “Les Choristes”, but it's their sublime cover of Queen's “Who Wants to Live Forever” that really lifts this album into the realms of the truly special. A great reworking, sung with passion and emotion, and different enough to make it stand out from the original.

“Somewhere in Time (Words without Meaning)” is another reworking of one of the themes from _Dances with Wolves_, and the album closes with a glorious piece called “Gladiatore Suite”, featuring music from, you guessed it, the film _Gladiator_, this time composed by another great artist, Hans Zimmer. 

_Here's to the Heroes_ may not be the sort of record a self-respecting rock fan would expect to have in their collection, but we all need a bit of easy listening from time to time, and you really can't go wrong with this sitting on your CD shelf. Listen to it with the lights out and the music loud, and preferably with your arm around your Significant Other. Bliss.

*TRACK LISTING*

1. Just to See Each Other Again
2. Here's to the Heroes
3. Buongiorno Principessa
4. There'll Come a Day
5. We Have All the Time in the World
6. Places
7. Les Choristes
8. You Only Live Twice
9. Tick All the Days off One by One
10. Somewhere in Time
11. Who Wants to Live Forever?
12. Gladiator Suite: Now We Are Free/Il Gladiatore


----------



## Trollheart (Sep 23, 2019)

*Dawn Patrol --- Night Ranger --- 1982 (Boardwalk)*

Ever heard one track by a new band and rushed out to buy the album on the strength of that one track? It doesn't happen that often to me, but back in 1982 I heard “Don't Tell Me You Love Me”, the opener from Night Ranger's debut album, on the radio, and immediately hied me to my local rock record shop, demanding the innkeeper there relieve me of my cash and place in my sweaty hands the album which contained such a gem. And so he did, and happy he was to do so.

And happy was I when I got the album home and spun it, and found to my everlasting relief that it wasn't a one-track-wonder! No, although “Don't Tell Me...” is far and away the best track on the album, there are other prizes therein too. But I get ahead of myself. 

Night Ranger were formed back in 1982 under the name Ranger. It wasn't until they had their debut recorded, finished and pressed that they found out, rather belatedly, that a band already existed with that name, and were forced to change it at the eleventh hour. As vocalist Jack Blades (cool name, huh?) had written a song for the album called “Night Ranger”, they settled on this as their new name. The handful of copies which had already been pressed which bore the name “Ranger” were destroyed, so find one and it could be worth something!

It's a hard rock/heavy metal album through and through, and doesn't let up for one second. There are NO ballads on it, not even a slow song. The band throw down the gauntlet from the beginning, with the screeching “Don't Tell Me You Love Me” pounding its way out of the speakers. Starting off with a double-guitar attack, courtesy of Brad Gillis and Jeff Watson, it's only seconds before the rhythm section, in the shape of Blades on bass and Kelly Keagy on drums, smash in and the song just takes off. You can probably guess from the title that it isn't exactly a love song, more an anti-love song, as Blades croons _”Don't tell me you love me/ Don't tell me/ I don't wanna know!”_ Eh, yeah: call me in the morning, like, I'll be on the road outta town! It's a powerful, frenetic opener with simply savage guitar solos and the kind of hooks that surely should have made it at least a top ten single, though staggeringly it only just barely crept into the top 40! The keys of Alan Fitzgerald make their presence known too, though the song is driven along on axepower mainly. It's a song that just drags you along as you hold on for the ride, and by the time it ends, like the musical equivalent of smashing your car into a wall at 60 mph, you just feel like you've barely survived to tell the tale! Yeah, it's THAT good!

So, to be fair, it's going to take one hell of a track to top that, and there isn't one on _Dawn Patrol_: this is the pinnacle of the album, but that isn't to disparage the rest of the songs at all. It's sort of like, well, having a race with a load of good drivers and Michael Schumacher. The other guys are probably all great, but they're up against the master, and there's no contest. Or substitute your own favourite sporting analogy here. Anyway, “Sing Me Away” is less breakneck than “Don't Tell Me You Love Me”, but a great song nevertheless, in the same vein, but with a more relaxed lyric, as Blades recalls a girl he once knew. Again it's quite commercial, almost AOR as compared to the previous heavy metal stormer, and would have made a good followup single, but it seems only the one was released from this album. Night Ranger wouldn't achieve their worldwide fame until the next album on which resided a little song called “Sister Christian...”

Blades truly is the architect of this band. He sings, plays bass and either writes or has a hand in writing every track on the album. “At Night She Sleeps” is another power rocker, somewhat in the mould of the Scorpions, with a great thumping drumbeat and a weird, quirky little keyboard riff, recalling the Cars at their best.  God-damn it, THIS would have made a good single, too! Who was in charge of marketing this album?? 

When the first piano notes of “Call My Name” are heard, you would definitely be forgiven for thinking ah, here's the obligatory ballad! But weren't you listening earlier? I said there are NO ballads on this album. None. Nada. Zip. Zero. No, this song begins slowly, but quite unexpectedly it kicks off and becomes yet another rocker. Bad move? No, not really, as it's a great track, and rather cleverly it ends as it began, with the quiet piano and a restrained vocal from Blades, but in between there's some metal mayhem, believe me! Police sirens, even! I kid you not! Certainly some balladic lyrics though: _”Summer kisses never last till September/ I thought you'd understand/ Holdin' hands ain't exclusive to lovers /Guess it was part of your plan/ The tender moments were part of your plan.”_

[video=youtube;0NrVwGsX16E]https://www.youtube.com/watch?v=0NrVwGsX16E&amp;list=PLxuzUkbNh_LeVLKCqGF1uDsY  wOQGxaTF7[/video]

Next we come to one of the standout tracks on the album, the glorious “Eddie's Comin' Out Tonight”. Starting off with a deeply bassy keyboard intro, it's not long before the guitars take over as Blades introduces us to Eddie: _”He wears his trousers real tight/ And his skin's so white/ He lives beyond his means/ He wears Italian shoes/ That are used to good news/ They walk behind the scenes/ He lives a tenderloin life/ The street's his type/ In the alley's where he's king/ He got a grin on his face/ Says he loves the rat race/ He always plays to win!”_ Alan Fitzgerald really comes into his own on this track, where his keyboards have been somewhat subdued beneath the twin guitar tongues of Gillis and Watson. It's a powerhouse of a track, and in many ways, bringing side one of the album to a close (hey, bear with me! I'm fast approaching 50, ok? When I bought albums they were on vinyl and had two sides...).

Have to say that after that things go not downhill, but certainly level out a bit. “Can't Find Me a Thrill” is a good rock song, as is “Young Girl in Love”, whereas the less said about “Play Rough” the better (_”So ya wanna play rough tonight?/ It's all in the way that you roll the dice/ Wanna play rough tonight? Better think once, better think twice.”_ Hmmm. Yeah. OK...); it's not until the penultimate “Penny” that things get back on track. To be fair, “Play Rough” is purely Jack Blades' composition, and he also wrote two of the better tracks on his own, “Eddie's Comin' Out Tonight” and “Call My Name”, so I guess anyone can have an off-day.

The aforementioned “Penny” reminds me of Journey at their heaviest: good hooks, great chorus and backing vocals, but it's still a long way from “Sing Me Away” or “Eddie”. The album finishes on the title track - well, the name of the band: there IS no title track. “Night Ranger” is a growling, snarling mid-paced rocker, which suddenly and unexpectedly kicks into thrash metal territory, with Keagy going absolutely Animal (remember the Muppet Show?) behind the drumkit, and the two axemen responding gleefully before the track slips down a gear and fades out on its original beat.  Also contains a rather obvious section where the fans are expected to cheer, or clap, or cheer and clap. I guess I would. Not a bad closer but I think “Penny” would have been a better choice to end the album. 

All in all, after the heady adrenalin rush of “Don't Tell Me You Love Me”, _Dawn Patrol_ does its best to live up to the promise of that track, and on some songs the boys almost get it right, on some they fail utterly. But for  a debut this is no mean shakes. There's many a band gone on to bigger things that did not produce such an impressive first album. But hey, take my advice: listen to it just for “Don't tell Me You Love Me” --- worth the price of admission on its own!

*TRACK LISTING*

1. Don't Tell Me You Love Me
2. Sing Me Away
3. At Night She Sleeps
4. Call My Name
5. Eddie's Comin' Out Tonight
6. Can't Find Me a Thrill
7. Young Girl in Love
8. Play Rough
9. Penny
10. Night Ranger


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## Trollheart (Sep 23, 2019)

*
Tracy Chapman --- Tracy Chapman --- 1988 (Elektra)*

It's seldom that a debut album will receive _seven_ Grammy nominations, three of which it actually wins, but that's how good Tracy Chapman's self-titled debut was when it was released. A real breath of fresh air, it's almost like Robert Cray got a sex change! The music is powerful and has a lot to say, the guitar work flawless, and the whole thing quite understated, despite the fanfare. Rather surprising in a way then that although she has since released another seven albums, Tracy has somewhat faded from the glare of the music spotlight, perhaps by choice. She has certainly been heavily involved with charities and social causes, and has built up a solid following of loyal fans, but the huge commercial success that the first single garnered for her has not been repeated.

Most of the album is quite sparse and low-key, and opener “Talkin' 'bout a Revolution” is no exception. With acoustic guitar joined by organ, the song looks to the day when _”Poor people gonna rise up/ And take what's theirs”_, and in some ways we've seen that recently - over twenty-five years later, admittedly - in the popular uprisings across the Middle East, as well as the Ninety-nine percent movement in the US. We're still a long way from world revolution though. It's a boppy enough opening, but with a serious message, like the next track, the hit single “Fast Car”, carried on mostly single guitar and bass, the story of one woman trying to get out of the rut her life is in. It's a song about the problems many suffer: poverty, homelessness, unemployment and responsibility for others as she sings _”My old man's got a problem/ Lives with the bottle …/ Someone had to take care of him/ So I quit school and that's what I did.”_

[video=youtube;DwrHwZyFN7M]https://www.youtube.com/watch?v=DwrHwZyFN7M&amp;list=PL4TYgjqR7fAaJ0LbRSGKnPz2  jLUO3MNX2[/video]

Despite the dreams and plans the woman has, she knows things will never change, and in the end she's forced to tell her boyfriend to sling his hook: _”Take your fast car/ And keep on drivin'.”_ “Across the Lines” is another tale of trying to break out and make something of your life, rise above your social status, with a strong anti-apartheid and anti-segregation message in the lyric: _”Across the lines/ Who would dare to go/ Under the bridge/ Over the tracks/ That separates whites from blacks?”_ A triumph of _acapella_ singing, “Behind the Wall” is under two minutes of domestic violence which ends in tragedy, decrying the inaction of the police and the result of such refusal to get involved in a domestic dispute. 

Sadly, just about everyone knows the next track due to its being covered by Boyzone, but that doesn't stop “Baby Can I Hold You” from being a classic love song. With lovely acoustic guitar and lonely keyboards in the background, it's fragile, tense, frustrated and yearning, a sincere wish to heal the wounds, any way possible. Like just about every track on this album it's short, just over three minutes, and indeed there are only two tracks on the whole album that exceed the four-minute mark. Chapman does not need long, meandering, complicated songs to make her point and get her message across: every track is short, concise and hits the right note in exactly the right way.

“Mountains o' Things” is very Caribbean influenced, dulcimer and kettle-drum-like percussion giving the whole thing a relaxed, lazy feel, bongos tapping out the rhythm as if the whole thing was recorded on some island paradise somewhere. I have to say, though, it's my least favourite track on the album, just does really nothing for me. Not mad about “She's Got Her Ticket” either, a reggae styled track I feel is more filler than anything else, but things settle down again with “Why”, which asks the questions we all want answers to, backed by electric guitar and wailing keyboards: _”Why do babies starve/ When there's enough food to feed the world/ Why when there's so many of us/ Are there people still alone/ Why are the missiles called Peacekeepers/ When they're aimed to kill?”_


“For My Lover” is a country/folk-styled ballad, and then comes one of the other standouts on the album, “If Not Now...”, a tender, piano-driven semi-ballad, almost in Al Stewart territory, where Tracy declares sharply _”If not today/ Why give your promises?/ A love declared for days to come/ Is as good as none.”_ The album ends on the brittle “For You”, a very low-key and somewhat muddy ending to an album which, while not perfect and which has its flaws, is still an impressive debut.

*TRACK LISTING*

1. Talkin' 'bout a Revolution
2. Fast Car
3. Across the Lines
4. Behind the Wall
5. Baby Can I Hold You
6. Mountains o' Things
7. She's Got Her Ticket
8. Why
9. For My Lover
10. If Not Now...
11. For You


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## Trollheart (Sep 24, 2019)

I’ve been a Pink Floyd fan since my late teens, since the first time I heard _The Wall,_ and have pretty much stuck with them almost right up to the end, so it pains me to do this, but while this is not by any means a chronicle of the emergence of this band and their eventual decline, as the title suggests, you will see a seismic shift in attitude from me between the review of these two albums, one released at the very beginning of their fame, the other bookending that amazing career and bringing the curtain down on over forty years of being a shaping force in the world of music, and possibly even politics too.

I should state at the outset that I am not a fan of the early albums - guys! Guys! Put down those pitchforks! Everyone’s entitled to their opinion! Except that guy - and while of course I rate albums like _Piper at the Gates of Dawn_ and  _Saucerful of Secrets_ (who could not?) and enjoy tracks like “Astronomy Domine”, “Interstellar Overdrive” and of course “Set the Controls for the Heart of the Sun”, I shrink from songs such as “Arnold Lane” or “Bike” or “Corporal Clegg” - Barret songs, basically. I recognise of course Syd’s place in the genesis of the band, but his pastiche of Kinks/Beatles/Hollies music does nothing for me, not being a fan of that sort of music anyway, and had he been able to realise his vision for Floyd, I believe there’s a good chance they might not have developed into the powerhouse they became, so while I sympathise with his mental problems and it’s sad he had to go, I make no apologies for saying that I am glad he went. Of the two types of Floyd - his and Waters’s - I vastly prefer the latter.

So from _Meddle_ onwards, I love all the output from this band, and I’m not one of those who snarled at Gilmour for trying to continue without Waters, as I believe both _A Momentary Lapse of Reason_ and _The Division Bell _are excellent albums, with the latter having been, in my opinion, a much better way to say goodbye to the fans than the way the boys eventually decided to wrap things up, but more of that later. However, trying to review this album presents many problems.

There are many albums that have changed, or impacted strongly on my life, as occasionally really good music can. There are others that, while they didn't exactly provide an epiphany for me, turn me onto new music or answer any questions I may have had, remain an integral and important part of the music I listened to while growing up. Some, indeed many of these albums are classics, and that in itself brings up a difficult, but valid point: how do you review a classic album? Most people who know anything about music are going to know the album, probably inside out, and will have their own personal view of it, and what it means to them. How are your words going to interest them, when you're talking about something they have probably been listening to, or at least been aware of, for half their life? How can you criticise, or even wax lyrical about an album everybody knows? What can you add to the discussion about it, what new light can you shed on it, and who is really going to want to hear you drone on about a classic?

The only way, therefore, I could even attempt tackling such an almost sacrosanct album was to write for the kids who have never heard this: the ones growing up now and only finding out about bands like these. I'm old enough, so it would seem obvious to me that everyone knows who Led Zeppelin, Black Sabbath, Genesis or Yes are, and yet, it would seem that there are people who do not know these bands. This is mostly, and usually, down to age: kids of sixteen, seventeen may have heard of these bands, but have never actually heard their music. It can also be the case that someone is crossing over from one genre to another and may not be that familiar with these legends of rock music, although in the case of some even that seems unlikely. Still, for those that are only now flowering into the first years of their musical knowledge, for those starting out on the long and exciting journey of discovery into rock, metal, progressive rock and space rock, I present this review of one of the defining albums not only of the band's career, but of rock music in general.

And yes, in that way, like it did to us all, it changed my life. 



*The Dark Side of the Moon --- Pink Floyd --- 1973 (Harvest/Capitol)*

There's been far too much written about the place _DSotM _occupies - deservedly - in the annals of rock music history, and people have said it far better than I ever could. The fact that this was Pink Floyd's first number one album, that it took them from relative commercial obscurity and thrust them into the mainsteam limelight, that it spent over _seven hundred weeks_ in the charts and has sold over fifty million copies worldwide, has all been well documented. The groundbreaking innovations in the music - the use of tape loops, voices, echo and reverb, analogue synthesisers and more - the way it changed music - and Pink Floyd forever, and the fact that it was at least in part dedicated to or written about Syd Barret, original founder and vocalist who was suffering through some mental problems that has caused him to quit the band he had started. All of this has been written before, and there's no point in me rehashing old material, trying to outdo what rock and music writers have been doing for over forty years now. Similarly, there's no point in me copying-and-pasting a Wiki article, although I did consult such for some background information.

The only way I can approach this is by reviewing it as if for someone who has not heard it before, and in that vein, much of what I say in this review will seem trite, maybe even slightly offensive to those of us who know and revere the album. But remember, I'm writing this for those who do not know the album, so bear with me. Think of it this way: if you wanted to read a review of a classic jazz, blues or even electronica album and could find nothing but essays about how great it was, and how everyone knew it, would you be annoyed? I know I would. It should not be taken for granted that one hundred percent of the population of planet Earth have heard Dark Side of the Moon - I'm sure it's closer to only ninety-five percent (!) - and yet I can relate a personal experience, where a younger co-worker turned to me one morning and said, his eyes almost literally shining, he had discovered this amazing album. In that moment, I was young again, remembering the first time I had listened in awe to this magnum opus of a band who were to go on to all but define experimentation in progressive rock, and who would become a by-word for innovation in music. For him, and for those who have not (yet) experienced this amazing album, I offer my description of a timeless masterpiece.

The first thing that always hits me about this album is its sense of space. Everything seems deep, from the lyrics to the music, and everything seems to constantly be in the process of expanding. You hear this from the beginning, as "Speak to Me" kicks off this opus of progressive rock. A low hum is joined and superceded by a thumping sound, a steady, rhythmic beat like that of a heart. As it continues on, snatches of what will be other tracks on the album - "Money", "Time", "Brain Damage" etc - spool through, and a voice speaks of being mad, while in the background but getting louder a maniacal laugh rises beside the _vocalise_ (vocals without words or phrases) of Clare Torry, the music climbing in pitch with her until on her scream we pound into the first track proper, "Breathe", with David Gilmour's incredibly full-sounding guitar taking the lead, he then also taking the vocal as the song begins.

Nick Mason's steady drumming, Roger Waters’s humming bass and Rick Wright's keyboards join him to form over a minute of instrumental intro before Gilmour begins singing and the song is the first part of a life cycle really, laying out the fact that we need to live our lives while we can, as it's over far too soon. Lyrics like _"Run, rabbit run/ Dig that hole/ Forget the sun/ And when at last the work is done/ Don't sit down/ It's time to dig another one"_ show us how petty and futile so much of the concerns we surround ourselves with, worry over and obsess over are. As Gilmour says near the end: _"Balanced on the biggest wave/ You race towards an early grave"_. The song is slow, almost a ballad, played on lazy guitar by Gilmour sometimes in a manner comparable to slide, with a laconic vocal that is double or multi-tracked and seems to echo as he sings, and an almost funereal sound to it. Like the rest of the album - as it was originally recorded, two sides of one record - each song flows seamlessly into the next, and so we slide on into "On the Run", where Wright's bouncing, swirling, almost panicky synthesiser runs form the basis of this instrumental, with running feet, heavy breathing and sounds of airports and so forth creating the sensation of someone in a mad hurry, racing to some appointment or other, and harking back to the rabbit in the previous song, endlessly rushing and toiling but to what end? 

Voices drift about in the ether as the piece continues, announcers' voices, people laughing, shouting, and the whole tempo of the thing is fast, manic, almost a "Flight of the Bumble-bee" for the twentieth century. It ends on a big hard heavy powerful guitar riff and crashes into the sound of many clocks, which suddenly all go off, chiming, ringing, pealing as "Time" opens, Gilmour's hard echoey guitar pounding in and almost meshing with the sound of ticking, pendulums and metronomes, Wright's piano tinkling in and Mason and Waters setting up the backing rhythm, another sense of doom about the music. One of only two songs on the album to feature double vocals, Wright takes the mike beside Gilmour to give us another song about wasting your life. Time is the eternal enemy, and our lives must be spent with purpose and direction or else _"One day you find/ Ten years have got behind you"_ and it's already too late. Great guitar solo from Gilmour and powerful, effective backing vocals which will go on to define and be a major part of what will become the Floyd sound in the years to come.

By the time the protagonist in the song has decided he has to do something, that his life is slipping away, it's a race against death. _"So you run, you run/ To catch up with the sun/ But it's sinking/ Racing around/ To come up behind you again."_ Sobering words, and a sort of funk feel to the song, with a certain gravity and pathos, which then runs into "Breathe (reprise)", a short coda to the song before it flows into the fully instrumental "The Great Gig in the Sky", with _vocalise_ by Clare Torry which are, well, you just have to hear them to appreciate how different they are, and why this piece can still be called an instrumental even with vocals, of a sort. Almost sacramental slide guitar from Gilmour, and lush piano from Rick Wright, but it's the _vocalise_ from Torry that really make the song stand out, backed by heavy church-style organ from Wright and punchy percussion from Mason. 

As such, that's the end of the first part, and was the first side of the original vinyl album, and so the music actually stops rather than segueing into the next track. This then is "Money", which opens on the sound of cash registers, coins, paper tearing and then a bassline from Roger Waters that was to become famous and instantly identifiable, joined by Mason's percussion as the song takes on a sort of marching rhythm, a twelve-bar blues kind of feel and Gilmour's guitar joins the fray, as does his voice again, extolling the virtues and vices of living just to make money. Probably unintentionally ironic, as "Time" was to become one of their most successful and thereby lucrative songs, one of the two massive hit singles to come off this album. Great smoky sax solo from Dick Parry adds to the almost jazzy sense of the song, and it fades out on the recordings of people talking about various things, until it recedes into the background and the sorrowful ballad "Us and Them" comes in on droning organ.

[video=youtube;HW-lXjOyUWo]https://www.youtube.com/watch?v=HW-lXjOyUWo&amp;list=PL3PhWT10BW3Urh8ZXXpuU9h526ChwgWKy[/video]

With a clever time-delayed echo on the vocal, so that instead of just _"Us and them"_ you hear _Us, Us, Us, Us, Us ... and them, them, them, them..."_ - mightily effective - it's a lament on how the have-nots are walked on by the haves, how there's no room in the world for mercy or pity or sharing the wealth, or looking after those who are worse off than us. It's Gilmour's last performance on vocals on the album, and again he's joined by Rick Wright, the song one of the most moving on the record. It also features a simply beautiful sax break from Parry which really just makes the song. The imagery in the song is striking: _"Forward! he cried, from the rear/ And the front rank died/ The general sat/ And the lines on the map/ Moved from side to side"_ and _"Listen son/ Said the man with the gun/ There's room for you inside."_ A lot of anti-war, anti-military rhetoric, but quite simple in itself, with a very sad ending as (it would seem to me anyway) where a war veteran dies because no-one will buy him the meal he needs to stay alive: _"Out of the way! / It's a busy day/ I've got things on my mind/ For the want of the price/ Of tea and a slice/ The old man died."_ More powerful backing vocals and some lovely piano work from Rick Wright and a rather abrupt end, which the first time I heard this took me by surprise, because you just don't expect it.

This leaves us with three tracks to go. "Any Colour You Like" (probably referencing the old Henry Ford mantra, "any colour you like as long as it's black") is the final instrumental, and if this album had, in some alternate universe, a weak track, this is what I would select as it. Compared to the giants that have gone before, and the two to come, it doesn't for me stand up as well. But it's still well above anything else that was coming out at that time, although it's really just a marker to take us to "Brain Damage", where we hear for the first time on the album the vocals of a man who would come to dominate not only vocals, but the whole band, and who would cause tensions within Floyd leading ultimately to his eventual departure.

Roger Waters does a great job of sounding like a madman himself, as he sings _"The lunatic is in the hall/ The lunatics are in my hall/ The paper holds their folded faces to the floor/ And everyday the paperboy brings more."_ More than any other song on the album, this is thought to be written about Syd Barret, and his struggle with dementia. It's quite a laidback little piece initially, taken in on Gilmour's soft, chiming guitar and Waters' steady bass, that is until the chorus when a big sweeping synth, thumping drums and a squealing guitar mesh with those soon-to-be-famous backing vocals - almost a choir really - to take the song to almost transcendental levels. The song also contains the album title, so is essentially the title track, and the climax, the point everything has been leading to. In an almost expected move now, there are grinning, laughing voices running through the song too. 

"Eclipse", the closer, is essentially the same melody but changed a little, with a repeating lyric that lists all the things, people, events, dreams and nightmares we may and probably will encounter during our oh-too-short lives. Brought in on Mason's thumping drum and with a swirling, almost carnival organ from Wright, it's again Waters who takes the album out in complete triumph, the choir/voices setting up a spirited, gospel-like finale, and as the music fades out on the final lyric _"Everything under the sun is tune/ But the sun is eclipsed by the moon"_ we hear the sound of someone saying "There is no dark side of the moon really. Matter of fact, it's all dark", and just to bring everything full circle, the heartbeat returns, then stops.

*TRACKLISTING*

1. Speak to Me
2. Breathe
3. On the Run
4. Time
5. The Great Gig in the Sky
6. Money
7. Us and Them
8. Any Colour You Like
9. Brain Damage
10. Eclipse

So, what makes a classic album, then? Is it just that X number of people have to listen to it? Is it that it has to shift Y number of units, or have Z number of singles? Well, no I don't think so, because many albums I would consider far, far from classics can fulfill any or all of these statistics. Is it that it becomes so well known that almost everyone has at least heard of it? Again I think no, because again there are album I could name that just about anyone would know, but they are not considered classics. 

Personally, I think a classic album is not made, it is created, which is to say, it's not after the album has been released and bought, listened to and rated and raved over that it is recognised as a classic. I think it happens in the studio. When the artiste recording it has recorded a classic, they will instantly know it. Musicians know when they've created something special, and I think Pink Floyd knew this about _Dark Side of the Moon_. When Roger Waters played the rough tapes to his wife, she burst into tears at the end, and he knew then they had something special.

In essence, for want of a better phrase, classic albums aren't made, they're born. Right from the off, you know they're going to be a classic from the moment you first hear them; and every time after that, you remember how you first realised this album was going to be remembered, praised, played everywhere and that it would take its place in music history, forever.

That, in my considered opinion, is what a classic album is.
That's what Pink Floyd's_ The Dark Side of the Moo_n is.
You hear it once, and nothing, nothing is ever the same.
Nor should it be.


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## Deleted member 56686 (Sep 24, 2019)

:devilish::devilish::devilish::devilish:   You want pitchforks? Dissing Pipers at the Gates of Dawn? Shame. Syd Barrett was an absolute genius (okay, so maybe he was a little kooky too).


Dark Side is of course a great album, but I tend to lean towards Wish You Were Here as the best album post Barrett, at least my favorite Pink Floyd song (the title track) is on that album. Yeah, I think you do know when you have greatness. I would imagine the Beatles thought the same thing about Pepper or Radiohead with OK Computer.


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## Trollheart (Sep 24, 2019)

And now we come to the sad end of this incredible band. Opinion was divided when this was released, and probably will remain so for some time. A lot of people loved it, a lot of people were just glad to have some new Floyd after such a long time - and the last time they ever would have, too - but a lot of people were disappointed and felt cheated. Into which category did I fall? Read on.


It's tough when a band breaks up. Tough on their fans, and tough on them. Whether it's an enforced end, such as with Ronnie James Dio dying, an (somewhat) unforeseen end as in Genesis, or indeed a planned lowering of the curtain like REM decided to do, it's the end of an era and quite possibly signals the end, to many people, of an association they have had for most of their lives. In some ways, it's probably like a death (sometimes, of course, it is exactly that), or the worst break-up you've ever had, and there's no going back, usually. It's not you, it's them. 

Then there are the albums that get released after the band or artist has finished recording forever. Unreleased material. Newly discovered tracks, unfinished songs. Enough to squeeze out a whole new album after the artiste has died, or retired. Posthumous albums - whether released after an actual death or just the end of the artist's career - are always a little hard to take. They can have a certain creepy quality, as you realise you're listening to the words and/or music of a man, woman or band who in many cases is no longer alive. Witness the undiscovered music from the vaults held by Prince as a prime example. Or these songs, only recently come to light (apparently) from the very earliest part of Bowie’s career, and which now make up at least one album of which I can think. Good or bad, rip-off or offering the fans more from their idol, you decide. You pay, or you don’t pay: it’s your decision.

Although still with us, the corpse of Pink Floyd has been floating down the (endless) river for some time now, just waiting for someone to fish it out and give it the decent burial it deserves. There are those (and they are many and vociferous) who will tell you that Floyd died when founder and creative light Roger Waters left them in the acrimonious split to end all acrimonious splits in 1985, and indeed even before that, _The Wall _was 99% his vision and his project and the last album to feature him, _The Final Cut_, featured so little input from the other two members (and none at all from Richard Wright) that it may as well have been his solo album in all but name. Shortly after that he left the band to pursue that solo career, and Pink Floyd were considered all but dead.

But I'm one of the few (hah) that enjoyed the two non-Waters Floyd albums that followed his departure, and while 1987's _A Momentary Lapse of Reason_ and 1994's _The Division Bell_ can't in fairness hold a candle to albums like _Wish You Were Here, Animals _or_ Dark Side of the Moon_, I thought they were pretty cool. I've always been one of those who refuse to cry “Band X is no use without singer Y!” I went through the trauma of Fish parting ways with Marillion, got used to Genesis without Gabriel and enjoyed an Ozzy-less Sabbath. To me, a band is more than just a singer or a frontman, and those who whine that the band will never be the same without the main vocalist and/or creator/founder are I think doing that band a great disservice. And so it was that I was prepared to accept Floyd after Waters, and though it was odd to hear the songs without his distinctive, tortured voice, I thought Gilmour did a decent job. But when the final notes faded away on “High hopes” as _The Division Bell _came to an end, I, like probably everybody else, believed we were hearing the very last music ever to be released by this band which was now a shadow of its former self. With the death of Richard Wright in 2008, I mourned and thought well that is definitely it: they can't come back now. It's over.

But it isn't over.

Or is it? When news broke of a “new” Pink Floyd album there was of course a flurry of expectations and my own emotions went from disbelief to joy to finally settle on suspicion as the details began to filter through. Not so much a new album then as a collection of studio outtakes and cutting-room floor debris from the sessions for the last “proper” Floyd album. But the obvious question came up: if this material was not deemed good enough to find its way onto _The Division Bell,_ why was it now thought suitable for release? What had changed? All right, the story goes that much of the music that appears on _The Endless River_ was composed by Wright, and Gilmour and Mason wanted to create a sort of tribute to him, and that's all right as far as it goes. But to announce it as a new album? Was that not pushing it ever so slightly?

I'm reminded uncomfortably (numb) of a comment Gilmour made in the book _Comfortably numb: the inside story of Pink Floyd_ when speaking of the making of _The Final Cut_. He asked basically the same question I just have: “If these songs (the ones being considered for _The Final Cut _which had been part of the sessions for _The Wall_ but had not made it) were not good enough for _The Wall,_ why are they good enough now?” Indeed, David. Indeed. A question we must all have been asking ourselves about this new project.

So are they? Good I mean. It's a perfectly valid question: if, when making what should have been their final album, Gilmour, Wright and Mason discarded these pieces of music (can't really call them songs) then why should they be considered acceptable not only to be released now, twenty years later, but to form the basis of a so-called “new” Pink Floyd album? Have the guys suddenly realised they were after all better than they believed they were in 1994, or is it really just that they want to honour their fallen bandmate by presenting to the world music he wrote but which never saw the light of day, until now?

Or, indeed, as many have hinted and I have to also ask, is this new album, the last ever from Pink Floyd - and we have that officially: no Eagles_ Hell Freezes Over_ ambiguity here! - nothing more than an exercise in cynicism and money-grabbing, a last chance to make some cash off the hard-pressed fans in this troubled economy? And if so, shouldn't the remaining members of Pink Floyd hang their heads in shame, having already broken records by releasing arguably the biggest attempt to rip fans off with their “Immersion” boxsets, each of which contained approximately SIX discs PER ALBUM and cost in the region of 100 EURO EACH! Sure, nobody put a gun to anyone's head and forced them to buy the sets, but if, as a diehard Floyd fan, you had to have these, then even for the main albums you're looking at shelling out over a THOUSAND Euro! That's bigtime rip-off in my book, I don't care what anyone says. Yes, certainly it’s a point: that particular money-grab was probably orchestrated and driven by their record company, but I would imagine they would have had to have put their seal of approval on it. At the very least, if they thought as I do, they could have argued against it. But they didn’t, did they? They just let the thing roll out and the money roll in.

So if, as one of these diehard fans, you outlaid the money on these sets in 2011, what would you expect from a new Pink Floyd album? I'd venture to say it would not be rehashed, re-recorded half songs that were not deemed good enough for the recording of _The Division Bell_. But that's what you get, and as this is your final ever chance to hear new (!) Pink Floyd music, do you buy the album and take a chance, or refuse to be the instrument by which Dave Gilmour buys a new house or Nick Mason adds to his classic car collection? This is Pink Floyd's final ever album, their swan song, but is it one worth hearing? After all this waffle - over a thousand words before we even get to the review, but that's me for you - and two decades, it's time to find out.



*The Endless River --- Pink Floyd --- 2014 (Parlophone)*

The first thing I'm struck by, despite the album's filching of the last few words of “High hopes”, is the echoes (hah, again!) of 1987's _A Momentary Lapse of Reason_. That album began with the sound of a man rowing, and here on the cover of this album we see ... a man rowing. Well, punting, but it's very close. So the themes of rivers has been something flowing (sorry, sorry) through the post-Waters Floyd, has it? Well, no not really. Other than those two songs, which reference waters (ah, I know: sorry, I couldn't resist!) there's no real connection, but when you look incidentally at the tracklisting for both albums there are song titles there, many of which could refer to this album and its release: “What Do You Want From Me?” might be an idea of Gilmour's frustration at some of the reviews of the album, though if he's surprised at its reception then he should not be. “Poles Apart”? Sure. “High Hopes”, certainly, though probably in vain. Not to mention “Coming Back to Life” and, er, “Lost for Words”. As for _A Momentary Lapse_? Well “A New Machine” is a possible link, as is “Yet Another Movie”, but in reality I think the closing track from that album sums up a lot of feelings about the direction this has gone. Yeah, “Sorrow” more or less covers it.

But in all this analysis and all these clever, self-congratulatory comments, has the music itself become lost, relegated to the sidelines, a  bit player destined to be overlooked as critics argue back and forth about the merits of releasing an album of basically extra tracks from a twenty-year-old recording session? Well not here anyway. Grab a set of oars, make sure your lifejacket is inflated, and take your seasick pills if you need them, cos we're climbing on board and we're going in.

Well, ambient they said it would be and ambient is definitely the feeling as “Things Left Unsaid” opens with a spacey keyboard and spoken words, sort of putting me in mind of the start of _Dark Side of the Moon_, then one big bouncy echoey drumbeat before the keys go into a melody that this time reminds me of “Signs of Life” from _A Momentary Lapse of Reason_. Gilmour's guitar comes in then, moaning and crying like a violin as the spacey atmospheric soundscape continues to pulse behind him, but it's now clear that, as ever, Gilmour is in charge and standing in the spotlight. In much the same way as, in the beginning, “Shine On You Crazy Diamond” rode on Wright's keyboard, but once Gilmour broke in he took the tune over, so too here he stands astride the piece like an undeniable colossus. Some really nice organ from the ghostly fingers of Wright before we're pulled into “It's What We Do”. Gilmour has said that this album is not for “the itunes, download-a-song generation” and needs to be listened to in one sitting, and you can see the intention there as the music all drifts together, one piece flowing seamlessly into the next, so that it's almost like one long symphony. However, it's hard to forgive the second track being basically the closing section of “Shine On” polished (sorry) up and extended. I do love the classic song - who doesn't? - but this is something of a cop-out. If these are unused tunes from the _Division Bell_ sessions, why is such old material here? There are echoes of “Welcome to the Machine” too, particularly in Gilmour's chords. It drifts right back to the “Shine On” theme though, and as the piece comes to an end you're really waiting for Gilmour to sing _“Remember when you were young”_...

It's great music, there's no doubt about that. It's just that it is, generally, music we've heard before, and many years ago in most cases. “Ebb and Flow” sounds very close to the last few moments of “Shine On, You Crazy Diamond, Part IX” stretched out to an unnecessary and in some cases unsustainable two minutes almost, and while there are lovely organ and synth touches from Wright, as well as of course superb piano, it's a bit of a non-event. More looking back to “Signs of Life” then for “Sums”, throwing in some effects used in “Welcome to the Machine” with some shimmery keyboard before finally we get a proper attack from Gilmour as his guitar screams in fury at having been held back so long, but again it's “Welcome to the Machine” all over again. It's a great guitar piece, sure, and it reminds us what a god Gilmour is, but have the idol's feet turned to clay? There's nothing very new or innovative here. In fact, I'm surprised to say that we're now four tracks in and I don't hear anything resembling any track from _The Division Bell,_ nothing that could have been considered for that album, as this is supposed to be.

Oddly, though this is all on one disc, Floyd (one assumes Gilmour) seem to have published it almost as a double LP, with track sets broken up into "sides", like they used to be. Nostalgia rearing its head perhaps, or another attempt to make people feel they're purchasing an original Pink Floyd record? Hmm. At any rate, quickly then we pass into “Skins”, where Mason gets to unleash his expertise on the sticks, almost a drum solo with Gilmour adding little flourishes here and there. Only just over two and a half minutes but my least favourite on the album so far. As Vim Fuego said in “Bad News”, can't stand drum solos. Then with more “Shine On” descending keys we're into “Unsung”, a mere minute of almost trancey keyboard with guitar screeching over it, reminiscent of _The Wall _I feel, as “Anisina” closes out "side two", sounding to me unaccountably like The Alan Parsons Project's “Time”. Weird. Very piano driven, nice tune, and at least it doesn't sound like any previous Floyd recording. The first one I've actually enjoyed on the album. Sounds like it has sax on it too: yeah, definitely sax, courtesy of Israeli jazz hornman Gilad Atzmon. Very stirring and dramatic. 

Of the seven tracks that follow ("side three"), six are less than two minutes and three, weirdly, are exactly 1:43. Not only that, but they're the first three. “The Lost Art of Conversation” has a deep, luscious synth and Gilmour's high-pitched guitar, but then settles down to allow Wright's sumptuous piano to drive it. It is however only getting going when it's over, and “On Noodle Street” carries the tune into a sort of Knopfleresque slow boogie, with Gilmour coming much more to the fore and Guy Pratt filling in really well for Waters, as he has done for some time now. Electric piano from Wright comes in before “Night Light” returns the spotlight to the man on the frets, and again we're back shining on, you crazy diamond, with a slight, almost Genesisesque twist in the melody. 

“Allons-y (1) gives us “Run like Hell” revisited, with Gilmour cranking up the guitar and the tempo, Mason's drumming much more animated and the organ from Wright pretty much pushed into the background. It's derivative, incredibly and annoyingly so, but at least it kicks the album up the arse and gives you something to tap your fingers to, if not shake your head. In other words, it lifts the album out of the quiet, soporific torpor it has been sliding into and delivers something of a punch from an album that seemed to be falling asleep. An almost Bach-like organ takes “Autumn '68”, slowing things back down with a feeling of Pink Floyd meets Vangelis before we move into “Allons-y (2)”, which builds a lush soundscape on the synth, then kicks up into another memorable Floyd piece, kind of more “Run like Hell” really. Then we have the pretty godawful (and terribly titled) “Talkin' Hawkin'”, which is essentially the spoken parts from “Keep Talking” extended, backed with a slow organ melody, the first appearance of those iconic Pink Floyd female backing vocals so associated with Waters and never, to my recollection, used after he departed. Nice guitar work certainly, but I could do without the Professor droning on. I didn't like it on “Keep Talking” and I certainly don't like the extended version. It's also very badly mixed, (the only one that is, and it's so odd it stands out) as Glimour's guitar and indeed Mason's drumming often overpower the spoken parts, making it hard to make out what is being said, which is pretty ironic for a song so titled.

[video=youtube;0dw8aFj5cwQ]https://www.youtube.com/watch?v=0dw8aFj5cwQ&amp;list=PLRhGh_yxhgtGFra5MEubnEp9  9hXFIJg9S[/video]

And so we move into the final part of the album, or “side four”, with a strange little ambient beginning to “Calling”, then some moaning guitar and thick bass before the keys rise into the mix and an almost Arabic passage takes the tune. More nice understated piano, then guitar surfaces like some beast out of the depths. As the piece nears its end it drops back to soft piano, choral vocals and slow, echoey drumming and takes us into “Eyes to Pearls”, a definite vehicle for the strumming guitar work of Gilmour, but very – and I mean _very_ - close in melody to Marillion's “Berlin”. Spooky. Rushing, crashing percussion washes over the tune and carries us away, and we find ourselves “Surfacing”, with acoustic guitar and more “Shine On” closing parts, with echoes of “Your Possible Pasts” there if you listen for them closely enough, or are as annoyingly anal as I am. 

There is some lovely interplay between Gilmour and Wright here though, and I'd probably class this as my second favourite, one of the longer tracks at just shy of three minutes. Personally, I think both in title, mood and music this would have been the perfect track to end the album on, but this is seen as a new Pink Floyd album after all, the last one ever, and the record companies will have their pound of flesh (_“We're just knocked out/ We heard about the sellout”_) meaning that the instrumental nature of the album has to be destroyed by a vocal song. Now while I really like “Louder than Words”, it comes as something of a jarring experience after nearly forty minutes of pure music. Gilmour still has it as a vocalist though, and it's a good song, it's just it's a pity it's so transparently written as an attempt to hit the singles charts. One final sellout before you go, lads?

*TRACK LISTING*

1. Things Left Unsaid
2. It's What We Do
3. Ebb and Flow
4. Sums
5. Skins
6. Unsung
7. Anisina
8. The Lost Art of Conversation
9. On Noodle Street
10. Night Light
11. Allons-y (1)
12. Autumn '68
13. Allons-y (2)
14. Talkin' Hawkin'
15. Calling
16. Eyes to Pearls
17. Surfacing
18. Louder than Words

So what's the verdict? Well I'll get to that in just a moment. But first I'd like to reiterate what I said above in the actual review, and that is that I don't hear anything here that could have ended up on _The Division Bell,_ other than maybe the closer. For me, this sounds more like unused material from everything from _Dark Side of the Moon_ to _The Wall_. I find it hard to believe that in 1994, working on what was to be their final proper album, Gilmour, Wright and Mason were thinking about and writing in the style of music they had produced two decades earlier. Far from making me want to revisit _The Division Bell,_ it's more _Wish You Were Here_ that's playing in my mind, and that album I want to listen to now. Famed as the band who put the experiment in musical experimentation, it seems unlikely they would still be stuck in that old seventies groove. But the music here mostly reflects that, to me anyway. If someone had given me this on disc, told me it was unused material from a session for an album and asked me to guess which album, I'd be going for _Wish You Were Here _with maybe _Dark Side_ as a possibility. I would never in a million years have guessed it was from the recording sessions for _The Division Bell._

The music is really great, but with Pink Floyd really great is not good enough, and given that this is to be their final album, I think they really shortchanged the fans here. If they wanted to put out one more record before disappearing “far away, across the field”, then they should, in my opinion, have written something totally new, something that would stand to them and that would have made a fitting tribute and end to their over forty years in the music business. Pink Floyd almost single-handedly invented the idea of crossing from psychedelic to progressive rock, and for them to bring the curtain down in such a, well, uninspiring way is a real disappointment.

Of course, I had to some degree made up my mind about this album before listening to it: the idea of “a load of stuff that wasn't used now being put out” did not sit well with me, and it felt like the remaining members of Floyd were scraping the bottom of the barrel and slapping it on a disc, hoping to sell it rather than throw it out. To be fair, had they done this and then offered the album for download totally free, that might not have been so bad - we have these tracks, we didn't think they were that good but you might like them so here you go - but they expect people to_ pay _for these, and in fact there are _two_ versions of the album, a deluxe one with two extra tracks plus bonus videos, which no doubt costs more. So to again return to _Dark Side_, they're giving none away.

But I must say I do like the music. It does wander and meander, somewhat like the river in the title, and ideas seem to be half-formed, in some cases just getting going when they're over, in others more or less staggering along, kind of lost and unable to find their way back. Some of it certainly deserves the title of the ninth track, “On Noodle Street”, as it is pointless jamming and experimenting. It's almost, in some ways, like the tuneup  before the show, except that this _is_ the show! But some of the music is really good, just a pity it doesn't go anywhere. I see why Gilmour says it needs to be listened to in one sitting though. 

He says this is the last Floyd album, that there'll be no more. Well that's no surprise. With the passing of Richard Wright and the Satan-skating-to-work possibility of Waters ever rejoining, another Pink Floyd album is about as likely as a new Beatles one. Which is why the news that there was a new one was initially greeted with much skepticism, then excitement, then disappointment when we learned what the “new” album consisted of. It is I feel a little harsh of Gilmour (and let's be honest: Floyd has _been_ Gilmour for quite a while now) to end his career on this somewhat sour and commercial note. For a band who struggled to make it, then became bigger than most other bands and passed into music history, it's a sad end I feel and something of a middle finger to the fans. I thought Roger Waters was the one who had contempt for his followers?

In the end though, what I write here will not change your opinion. If you like _The Endless River_ then you'll like it and if you hate it you'll hate it. Me? I think it's okay; certainly has its moments but they're a little too far spaced out among the wide variety of tracks here to make any real impact on me. As an album, and purely taking it on track numbers, it's good value at eighteen tracks, though the whole thing only clocks in at a total of just over fifty-five minutes. For a double album that's pretty short, and for an album that rings down the curtain on forty-five years of music it's hardly inspiring.

It's even hard to see this as a Pink Floyd album, as much of the time it really does not sound like them. Floyd had instrumental tracks sure, but they were never what anyone would call ambient: their instrumentals had a hard, bitter edge. Think “Any Colour You Like”, “Marooned” or even the instrumental majority of “Shine On.” There's an anger there, a sense of frustration, of loss and of exasperation. I don't hear that here. It sounds more like Floyd have settled nicely into their retirement and are content to sit back and watch the grass grow, happy that there are no lunatics on it anymore.

This could have been so much more. But for what it is, I have to give them credit. It is very good. Mostly. But they're kind of standing on the shoulders of giants, even if those giants are their own previous albums, and you wonder what would have happened had they not had that elevation? Perhaps they might have faded away, slowly losing relevance in a world that contains too many kids now who ask “Pink who?” Still, they would have retained some of their integrity, I feel. Many people slated _The Division Bell_, but I enjoyed it, and as I already remarked, I think it could have been the proper swan song for Floyd.

But I suppose the important thing for Gilmour and Mason is that _The Endless River_ will supply them with an endless amount of retirement money, and serve to finance their solo careers, or whatever they choose to do in a post-Floyd world. I don't begrudge them their retirement, I just wish they could have bowed out more gracefully, instead of kow-towing to the corporate shills and leaving us with a rather unsettling line from _Dark Side_ to perhaps encompass their feelings towards their fans as they wave goodbye from the tinted windows of their private jet:

_“I'm all right Jack, keep your hands off my stack!”_

Bon voyage, boys. May the endless river help you to forget when you used to swim against the tide, and not go with the flow.

What would Syd think of it all, I wonder? Or, to paraphrase another progressive rock icon, Van der Graaf Generator, whatever would Roger have said?


----------



## Trollheart (Sep 24, 2019)

Although you could really say he was never anything less than successful, commercial fame began to slightly elude the Thin White Duke after the behemoth that was 1972’s_ The Rise and Fall of Ziggy Stardust and the Spiders from Mars._ Certainly, he had successful albums, and a few hit singles during the period 1973-77, but these were, by and large sporadic: a hit from _Aladdin Sane_ (“The Jean Genie”), a smash with the title from _Heroes_, “Rebel Rebel” from _Diamond Dog_s. Oh yeah, Bowie kept letting us know he was still around, sure. But then he kind of ducked down and headed to Berlin to record a trilogy, of which two were generally not terribly well received, great albums though they are. _Lodger_ and _Low_ still tend to polarise opinion. Almost like someone actively shunning the spotlight, it seemed Bowie was avoiding having hits, though his albums almost always sold well.

But he had a sort of resurgence of commercial success as the decade changed, with hits like “Ashes to Ashes”, “Fashion”, “Let's Dance” and “China Girl” over the course of four albums, before slipping somewhat back into obscurity as he began projects like Tin Machine and kind of disappeared from the scene for a long time. Arguably the most successful of that eighties quartet was _Let's Dance_, which would not be released until three years later, with its three hit singles and powerful videos for those, but this was the first of his albums to return him to the top spot in the chart and remind people he was still a force to be reckoned with. 



*Scary Monsters (And Super Creeps) --- David Bowie --- 1980 (RCA)*

Strangely enough, “It's Not a Game (Part 1)” has some Japanese bird singing in her native language as the album kicks off, but Bowie soon comes in with his inimitable vocal and the song is a mid-paced hard rocker whose melody owes rather a lot to Robert Palmer's “Addicted to Love”, with Robert Fripp racking out the riffs on the guitar. Seems Mick Ronson is long gone at this point, which is something of a shock to me, who is not overly familiar with Bowie's history or his band. Still, you couldn't get a better replacement than the King Crimson legend, and though he's only one some tracks he really makes his presence felt. I have of course no idea what the Japanese lady - whose name is, according to Wiki, Michi Horata, but it means about as much to me as it probably does to you - is singing, but it kind of doesn't matter. I think Bowie is singing the translation anyway.  The song ends with Bowie shouting angrily “Shut up!” and we're into a song I do know.

I'm not that well-versed in this album at all, but “Up the Hill Backwards” is one track I have heard, and again oddly, it reminds me of Bucks Fizz (yeah) in the sort of slow marching melody of the verses. Bowie's vocal is either multitracked or there are backing vox supporting him all through the song, giving the singing a weird kind of full, echo effect. Strange. It's quite anthemic in a restrained kind of way, then breaks into guitar histrionics from Fripp, which are kind of worth the price of purchase on their own, even if for some mad reason you didn't like Bowie. Good, tight percussion from Dennis Davis, and the song is over too soon, taking us into the title track, which rocks along with a krautrock flavour, a touch of Eastern European in the main guitar riff in the chorus, and Bowie putting on a cockney accent which really adds to the song. Great fun; sort of puts me in mind stylistically of “Suffragette City”, not sure why...

Again, this song features some great rolling percussion from Davis that really drives it, another mad solo from Fripp and some solid acoustic guitar from producer Tony Visconti, who also adds his voice to the backing vocals. The big hit single sees us return to the days of Bowie's beginnings, with Major Tom returning to take him to number one for the first time in years as “Ashes to Ashes” lays down the marker and states in no uncertain terms that the Thin White Duke is back. A great idea with some wonderful touches in the song, including a sort of murmured choir that repeat the lines Bowie sings like a bunch of acolytes praying. A very freaky video, if I remember correctly. Great strong vocal from the man, and some nice guitar synthesiser popping all over the track, creating a very otherworldly feel and really making you believe you're standing on the surface of an alien planet. Well, it makes me feel that way.

[video=youtube;vWTQ3vshLNY]https://www.youtube.com/watch?v=vWTQ3vshLNY&amp;list=PL4s-CP-Ac-cN77gM1mKbGvx_e4Wc77nZ_[/video]

Another hit then is up with “Fashion”, another stab at krautrock and perhaps a sly dig at himself , trendsetters and sheep maybe, the way people follow whatever's “in” at the time. A drum loop at the beginning perhaps a comment on how things go out of fashion and then come back in again, and the whole stupid cycle repeats itself, like a stuck record (oh, look it up!), as Fripp batters all in sight with his guitar riffs and soundscapes. Speaking of taking digs, the next track up sneers at the new wave kids, the likes of Gary Numan maybe, Fiction Factory and A Flock of Seagulls, as Bowie watches them ape the moves he pioneered in “Teenage Wildlife”. For me, the standout on the album, it's based quite heavily on the main melody to “Heroes”, but never sounds like a copy of that classic. Bowie is at his expressive best here singing, with the criminally-ignored-by-me Carlos Alomar making his presence felt in the absence of Fripp, and firing off an emotional and powerful solo, Roy Bittan doing a fine job on the piano, and the whole thing just flows so well that it really should have been a single. Mind you, it would have had to have been cut down considerably from its almost seven-minute running time. Could have been a huge hit though. Sorry,_ another_ huge hit. Love this track. Something like tubular bells or the like there near the end, with a kind of funky run on the piano and guitar too. Another superb solo from Alomar, and a fine punching drumbeat from Davis.

Hard to follow that maybe, and “Scream Like a Baby”, though a good track, doesn't quite cut it for me. There's nothing wrong with it necessarily, it's just that a song would have to be immense to be able to trump “Teenage Wildlife”, and this one ain't got the bus fare mate. It's a hard, grinding rocker with a snarly guitar line from Alomar and some pretty frenetic synth from Andy Clark, a dark, dystopian tale of a political prisoner, set in the future. Some very new-wave keys from Clark add a surreal feel to what is already a pretty out-there song, and some sort of baritone singing from Bowie pushes it even further. The only cover on the album then is “Kingdom Come”, which sounds to me like it has the melody of Blondie's “Picture This” at the start, a very sixties/psychedelic vocal chorus , also including the line _” won't go breakin' no rocks”_ which makes me wonder if it was filched by Elton and Bernie for their song? Meh, it's ok but I'm not bowled over.

Pete Townsend puts in a star turn as he guests on “Because You're Young”, which has a very rock feel that brings to mind the work of The Edge - yeah well it does to me - a punchy, mid-paced track with some really nice synth work from Clark and a nice rocklaong beat from Davis. Sort of a new wave keyboard behind the rocky guitar and Bowie, needless to say, delivers as ever a flawless performance. There's also a faint echo of Bruce Springsteen here in the vocal, I feel. The album then closes as it began, with “It's No Game (Part 2)”, a less frenetic rhythm this time, a restrained but firm guitar, and no Japanese singing. More great backing vocals, almost like a choir, and a last bow for Fripp before he departs for his home planet. Calm and reserved but still angry and powerful, and a good end to a really good album.

*TRACK LISTING*

1. It's No Game (Part 1)
2. Up the Hill Backwards
3. Scary Monsters (And Super Creeps)
4. Ashes to Ashes
5. Fashion
6. Teenage Wildlife
7. Scream Like a Baby
8. Kingdom Come
9. Because You're Young
10. It's No Game (Part 2)

From the few albums of his that I have heard to date - and sadly, they are fewer than I prefer to admit - it seems Bowie seldom if ever misses the mark, though I do remember being very disappointed with _Never Let Me Down_, which is rather ironic I guess. This album kicked off a series of successes for Bowie which I suppose in one way you could see as his comeback, though in truth he had never been away. But with hit singles from this and the next three albums, he would be in the public consciousness and on the radio for the next seven years, after which he would get into some more experimental stuff and kind of vanish off the radar commercially for about, well, another twenty-seven years, when he would burst back onto the scene, proving rumours of his death had been vastly exaggerated, (until, sadly, and to all our sorrow and shock, they weren’t) and showing us all once again how it was done, at the ripe old age of sixty-six.

As a first shot across the bows from the resurgent Bowie at the time, this album shows a man as ever brimming with creative ideas, energy and purpose, and certainly not content to rest on his laurels and fade into the background, counting his money and polishing his gold discs. After this period of activity, he would have a few more to add to his collection. And quite right too.


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## Trollheart (Sep 25, 2019)

*

Branigan --- Laura Branigan --- 1982 (Atlantic)*

Seldom has any artist, least of all female, straddled the pop/rock divide so successfully and comprehensively as Laura Branigan. True, her output stalled a little in the final years, but her first four albums were all pretty close to being classics. This one is even more impressive, being her debut and yet yiedling her her biggest ever hit single and the song always associated with her now, although it wasn't her own song. Laura combined just the right amounts of sexy diva with chanteuse and serious recording artiste to allow her to easily jump from one genre to another, comfortable whether she was singing pop, disco, rock or even salsa, somewhat like her contemporary, Gloria Estefan, though the latter mostly made her career on ballads and love songs. Laura's music, in the main, was usually more concentrated on uptempo songs.

That being said, it's perhaps ironic that the album opens on a ballad, with soft digital piano and deep bass, though in fairness it picks up strength and tempo fairly quickly and becomes a more intense love song, with some great backing vocals. It is however rather typical of the glut of ballads that bombarded us through the early years of the eighties, though a lot better than most. It's strange in that ballads are and were usually reserved for further down the running order, often near the end as the album wound down, but the tempo is quickly kicked up to ten with her smash hit "Gloria". A rearrangement and re-recording of an Italian love song, Laura changed it totally, pumping it up and giving it teeth, and with a huge descending synth opening and then stabbing synth chords that run through the melody, with pounding drumbeat, it's been described as disco or eurodisco, but I see it far more as a rock song. It has the disco feel, sure, but the power and passion and the punch it delivers to me is far more deserving of being called a rock song. Probably everyone knows the song by now, and it's a great workout for Laura's voice, as she hits the most powerful registers with ease.

Again, for a debut album from a then-unknown singer, there are some famous faces on this album, including guitar gods Steve Lukather and Michael Landau, not to mention Carlos Vega on the drumseat. A big deep synth and piano opening takes us into "Lovin' You Baby", with Laura's impassioned, husky vocal delivering a lyric which sounds almost Steinmanesque; powerful, dramatic, passionate, big and bold, the sort of thing that really to be fair screams for a full orchestra and massive backing vocals. And yet, though there are backing vocalists, Laura handles the song mostly herself, her voice dripping with emotion and desperation. Definitely the standout after the rather obvious "Gloria". It's followed by "Livin' a Lie", which actually sounds almost exactly like Bon Jovi's "Burning for Love" - and I mean _exactly_ - from their debut, released - oh dear! Two years later! Oh, boys! I never realised this before. I mean, it IS the same song, almost note for note and chord for chord. A great rocking track, with stabbing synths and a fine solo from Lukather, and keeps the tempo well up.

[video=youtube;MFcy6SWzEs4]https://www.youtube.com/watch?v=MFcy6SWzEs4&amp;list=PLqLObM6ZIYKd6BajCJ5K8l5i  j11DEQ-DQ[/video]

Another possible indicator of the high hopes held for Laura is when you see that the mighty Diane Warren contributes a song to her debut album, and as ever with Diane, it's a winner. A soft, piano-driven ballad, sung with all the heartbreaking regret that Laura can squeeze into her voice, and that's a lot. In the bridge there's a beautiful, flowing synth run that just pulls in the chorus with drama and emotion, and takes it to another level entirely. There's nothing to say really - Warren doesn't _do_ bad songs. The woman seems to write hits as easily as she draws breath, and there's many an artist owes her for much of their success. Things kick right back up then for "Please Stay, Go Away", with a running, almost progressive rock piano line, thundering drums from Vega and crunching guitar from Landau and Lukather: the basic melody does borrow a lot from "Gloria" however. 

There's another ballad up next, and in fact "I Wish We Could be Alone" is Laura's first attempt at songwriting, which she handles completely on her own. It's an impressive first try, with a semi-country feel to the music driven on piano with great backing vocals, some of which almost duet with her, male ones which really complement her own voice. Reminds me a lot of Nanci Griffith's early work, particularly "If Wishes Were Changes" from the _Storms_ album. Winding up then for a big finish, "Down Like a Rock" pulls out all the stops in a big fast rocker, with jangly guitar and funky bass, the rhythm almost Wham!-ish (bear with me) and a kind of fifties feel to the music, Laura's voice kind of echoing alongside what I assume must be synthesised brass and some swirly organ, not to mention another fine soaraway guitar solo. Nice! Everything wraps up nicely then with another ballad, which kind of bookends the album with the opener. "Maybe I Love You" is a tender love song again driven on soft piano but soon taken by Landau's sharp hard guitar lines, developing into a stronger song, again like the opener, with Laura's clear, pristine vocal above everything, a fine solo to bring things to a close and scrap forever any idea that Laura Branigan was a disco or even pop artist - this album has rock gem written large all over it.

*TRACK LISTING*

1. All Night with Me
2. Gloria
3. Loving you baby
4. Livin' a Lie
5. If You Loved Me
6. Please Stay, Go Away
7. I Wish We Could be Alone
8. Down Like a Rock
9. Maybe I Love You

Over a period of ten years Laura Branigan released seven albums, but she will always be known for the second track on this, her debut. Some people will also know "Self control", the title of her third album, and perhaps "The lucky one" from the same record. I haven't heard her last two albums but I didn't care for _Touch,_ her fifth, released in 1987, which is a pity as up to then she had put out pretty consistently good albums. Sadly 1993's _Over My Heart_ was her last ever recording, and eleven years later she passed away from a previously undiagnosed brain aneurysm. She died peacefully in her sleep, and the world of music lost a wonderful voice and a true star who should have been much more famous and regarded than she was.


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## Trollheart (Sep 25, 2019)

_

*The Good Son*_* ---  Nick Cave and the Bad Seeds --- 1990 (Mute)*

Personally speaking, this was the first Nick Cave album I heard. Having seen the video for "The Ship song" on MTV and been impressed by it, I was still in no way contemplating buying the album until one Saturday afternoon, as I browsed through my local record store, they had the album going over the PA. I listened in wonder as they played the whole thing through, then went up to the counter and asked what album they had just been playing. The latest from Nick Cave, I was told: _The Good Son_. I bought it on the spot.

The great thing about having heard it already was that I didn't have to play it to know if I liked it when I got home: I had heard it already, and I _knew_ that I loved it. As an introduction to the work of Nick Cave I'm sure there are better albums, but for me this was the perfect one. I later learned this was generally not seen as typical of the man's work; his albums prior to this had been mostly, dark, angry fiery affairs, and that in fact Cave fans were mostly upset by this "softer" work. However it turns out that he had just fallen in love and come out of rehab so hey, cut the guy some slack, huh? He deserves to be happy too!

From the opening, almost hymn-like "Foi na Cruz" (which I have to admit at the time I had no clue as to what it is about, though later found out it is a Brazilian prayer which loosely translates as "it happened on the cross"), to the dreamy, melancholy piano that ends the final track, "Lucy", this album is a joy to listen to.

After the sacramental "Foi na Cruz", the tempo kicks into high gear with the title track, which is menacing, thundering and disturbing. The whole thing seems to be building towards some hideous climax, but just as the music builds up, backed by Cave's snarling vocal, it soothes back into the chorus, then surges back up, taking the listener (if they are not a Cave aficionado, as I was not at the time) by surprise. An intense and sometimes frightening song, with a great singalong chorus of _"One more man gone/ One more man gone/ One more man"_ and based as again I found out later on an old African-American traditional piece called "One More Man Done Gone". Slowing down the tempo then for "Sorrow's Child", in which Cave personifies sadness as a small girl sitting by the water, inviting others to join her (Misery loves company?). The whole rhythm of "Sorrow's Child" is dark, slow and melancholy, as you would expect from a song with such a title, but with a quite beautiful piano line leading it to its conclusion. 

Slow-burning and brooding, "The Weeping Song" follows on, slowing the tempo down a touch, with a sort of  military marching beat against what sound like xylophones (sorry, I'm not great at identifying instruments other than the obvious). The song is a discourse between father and son, as the child asks _"Father, why are all the women weeping?"_ and the parent sadly replies _"True weeping is yet to come"._ The instrumentation on the song is very simple, with the same chords repeated over and over, no elaborate solos of any type, and no middle eighth. A simple song, and quite disturbing in its simplicity, this song strips away from youth the innocence and naivete possessed by children, showing them the real world they must face.

Things slow down again then, for the song that for me started it all off: "The Ship song", which is a quite simple and beautiful lovesong, with some gorgeous piano (again, most effective near the end of the song). Cave's vocal on this song is understated but powerful, and the tenderness that he squeezes into his gruff voice has to be heard to be believed. Lyrics like _"Come loose your dogs upon me/ And let your hair hang down"_, and _"When I crawl into your arms/ Everything comes tumbling down"_ colour the song and give it a stark and beautiful life of its own. It's very much a solo song, with just Cave's almost hypnotic vocal, piano and drums backing.

[video=youtube;taYufMit8SI]https://www.youtube.com/watch?v=taYufMit8SI&amp;list=PLPaztBWnatciAecscyH0WOPu  avMIK3SPu[/video]

Back to shades of "The Good Son" then for "The Hammer Song", which catalogues the travels of a man who leaves his home to find himself, find adventure and perhaps find peace, but finds instead nothing but suspicion, mistrust and outright hostility. This theme would be later echoed on Cave's next album, _Henry's Dream_, in the track entitled "When I First Came to Town". In "The Hammer Song" images which have now become known to me to be recurrent themes in Nick Cave's song are evoked: angels, angry crowds, snakes and deserts. The tempo of the song is urgent, and has an almost Western twang to it, by which I mean that it sounds a little like one of those old _Magnificent Seven_-type movies. 

"Lament" follows, the tortured song of departure, perhaps death, of a loved one. Cave sings _"I'll miss your fairground hair /Your seaside eyes"_. This is a man about to lose the woman he loves, and fixing in his mind every detail, every nuance of her appearance, every facet of her personality. The string section that runs through the chorus is very evocative, contrasting sharply with the spartan drum-and-piano backing for the verses. Which takes us to the penultimate track, the funny yet vicious (in that way Nick Cave has of being funny and vicious, and neither of the two concepts seeming incongruous) "Witness Song", in which Cave pours scorn and contempt on those who follow blindly religious icons, looking for meaning to their lives without being prepared to earn that meaning: those who attend (I would assume) the likes of gatherings where TV evangelists perform "miracles" in the name of faith.

The whole thing is treated like a gospel type ceremony, and indeed is again based on an old song, a gospel song called "Who Will be a Witness?" with Cave relating things like _"Behold there stood a fountain!/ The fountain with the healing water"_, while lacing the whole thing with heavy sarcasm. As the boppy, almost "born-again-Christian" beat counterpoints the cynical vocal, Cave tells the story of his following a friend into a garden and the two of them dipping their hands in the "holy fountain". Cave asks his friend _"Are you healed?"_ which she counters by asking him _"Well are _you _ healed?"_ He replies _"Oh yes I'm healed"_ and she then declares that she is also healed: _"Oh yes well I'm healed then too"._ Then he turns on her, snarling _"Babe you are a liar too!"_

One of the standout tracks on the album, "The Witness Song" constantly looks for a dispassionate, detached view of the proceedings, but there is none, as Cave growls _"Who will be the witness/ When you're all too healed to see?"_ Not an anti-religion song, but certainly one that pokes savage fun at false healers, fake religions and perhaps cults, which prey on people's fears and gullibility.

The final track then slows things down, after the hectic, frenetic, vitriolic invective of the previous song, and "Lucy" closes the album with a gentle, sad, tender ballad to love gone forever (again I assume because of death) : _"Lucy can you hear me/ Wherever you rest?"_ The piano outro to this song, as previously mentioned, played with supreme gravitas and melancholia by Roland Wolf, is a joy to hear, and in many ways the album comes full circle, with what was all but a prayer to open the proceedings ending in a prayer of longing and hope for rest.

Appearances deceive, and I would never have believed, looking at Nick Cave (and this is not meant as a slight on the man, just the typical human condition of "judging a book by its cover") that he could be capable of such moving and accomplished music. I have, obviously, since listening to _The Good Son_ become a convert to the Church of Cave , and although I haven't found much to excite me about his last two albums, there are enough of his in my collection now that I can certainly rate him among my favourite artistes. As an introduction to a man whose music I would I think never have considered experiencing had I not heard this album, _The Good Son_ is as good a way as any to get into the music of this poet and prophet from "down under".

All I can say is I'm glad I was in the right place at the right time to hear this, and start my appreciation of Nick Cave's music. Serendipity, perhaps...

*TRACK LISTING**
*
1. Foi na Cruz
2. The Good Son
3. Sorrow's Child
4. The Weeping Song
5. The Ship Song
6. The Hammer Song
7. Lament
8. The Witness Song
9. Lucy


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## Trollheart (Sep 25, 2019)

*Sky 2 **--- Sky --- 1980 (Arista)*

I believe this was the first fully instrumental album I ever owned, and it's still one of my favourites. I bought it after hearing what was their single in the charts at the time, "Tocatta", of which much more later, and though a lot of the album is not really anything near the updated, rocky treatment they gave poor old Bach, it's pretty much a winner all round, and there's kind of something for everyone on the album. If you like classical music, progressive rock with a twist, jazz or even instrumental pop music (think _Hooked On Classics_ and you're somewhere close) then you're probably going to find at least one track on this album that you'll enjoy. If nothing else, you can luxuriate in the meshing talents of five musicians from pretty much wildly varying genres, all at the top of their game, all coming together to produce something pretty special, and something, to be fair, they would not repeat or reproduce ever again. A unique album, in many ways, and worth taking the over sixty minutes it runs for to listen to.

So, who are, or rather were, Sky? Nowsdays of course it's BSkyB, the satellite megamonster broadcaster, who almost have a copyright on that thing that hangs over each of us, you know, the one with the sun, the moon and the stars in it? But back in 1980 Sky the channel were only really getting going, and were in fact under threat from Superchannel (a battle the latter lost) and Sky the band were hitting the charts with a number one album and a number five hit single. Seems unlikely these days, but back then a lot of off-the-wall stuff could get into the charts; in fact, in some ways, the quirkier and more different it was the more chance there was that people would buy it, if only out of curiosity or for the novelty factor. Also of course explains why songs like Clive Dunne's (may he rest in peace) "Grandad" got to number one! But occasionally among the novelty and speciality records there was one that stood out, and Sky's "Tocatta" was one such. Still, I once again get ahead of myself.

Sky were formed around 1978 when classical guitarist John Williams (no, not _that_ one!) collaborated with bass player Herbie Flowers, who had played with T-Rex, and Tristan Fry, a drummer whose impressive resume included work with the Royal Philharmonic Orchestra, both of whom had worked on Williams's solo debut album and were then joined by Francis Monkman, founder of Curved Air, to help him record his second, and thereafter bringing in guitarist Kevin Peek they formed the band which they named Sky. Their debut under this name was released in 1979 to great acclaim. It was their second however that would bring them their biggest success, and conversely, a highpoint  which their career would not scale again. _Sky 2 _was the point where the band realised, hey, this is not just a project between like-minded guys: people actually_ like_ this music we're making! The debut was I suppose akin to throwing out feelers, or if you prefer casting a net into a wide and possibly uncaring sea, whereas _Sky 2_ was a huge haul of delicious and valuable proportions that made the boat heave as they pulled it aboard.

Ah, fishing metaphors, eh? Ya shoulda seen the one wot got away!  But the trouble was that Sky didn't keep this rather balanced mix of classical updates, straight classical recordings, prog rock and jazz with a smidgeon of pop and easy listening. On their next album they tried pushing the jazz element more, this mostly brought about by the departure of Francis Monkman, who had been their main composer, and though the album was popular - and Sky the band remained so - their attraction was beginning to wane a little. But more of that in the closing section. Right here we're concerned with this album, their second, _Sky 2_, and how it just ticks all the right boxes and became a minor classic, one of the few fully instrumental albums to top the UK charts.

The album is a double, and opens on "Hotta", with some bouncy percussion and almost Alan Parsons-style guitar joined by synthy keyboard building up in intensity and creating a nice boppy little tune, with a strong guitar line and some slick bass. Some very proggy keyboard runs from Monkman take over then, leaning into Jean-Michel Jarre territory for a time, before Peek's squealing guitar comes back in and Williams joins him on classical guitar. Near the end of the piece Tristan Fry cuts loose with a drum solo that would probably have raised some disapproving eyebrows back at the Royal Philharmonic, but here adds teeth to the composition before Peek takes over again with Flowers keeping the tight bass line and bringing the opener, er, to a close. "Dance of the Little Fairies", despite its giggle-inducing title, is a soft little piano piece that showcases the talent of Francis Monkman with some harpsichordal sounding keyboards too, and Kevin Peek adding in guitar flourishes while Flowers' steady bass line pulses through it all like a heartbeat.

A carnival-like organ then fleshes the song out as it gets a little more intense and some fine guitar from John Williams adds to it, and for a piece that only runs just slightly over three and a half minutes it's got a lot going on. "Sahara" then is Kevin Peek's composition, the only one he writes solo on the album, and it starts off as a nice little laid back guitar piece with twinkling piano before Fry's percussion bursts in and the piano gets harder, the whole thing then taking off on the back of Peek's chingling guitar (chingling? It’s a word I made up. Wanna fight about it?), with a very Spanish/Mediterranean sound to it. You really get a sense of how good a guitarist Kevin Peek is here as he puts his instrument through its paces, slowing down as we head for the third minute of the almost seven the tune runs for, with a beautifully relaxing display of virtuosity, an island of calm in the storm, the oasis in the desert. Fry's drumming is big and bold here, and Monkman's piano tinkles along the edges, adding to but never detracting from or overpowering the guitar, the whole thing taking on quite a progressive rock feel again in the fifth minute, shades of mid-seventies Genesis, before on the back of Fry's punching, rolling drums it all ramps up again to the frenetic conclusion.

The longest track on the album, composed completely by Francis Monkman, "Fifo" runs for over seventeen minutes and is broken into four separate parts. Part I, known as "First Movement: Fifo" is driven by Kevin Peek's electric guitar allied to Herbie Flowers' funky bass and Tristan Fry's at times almost Linn-sounding drumming, and moves along at a fine pace until the second part, or movement, "Adagio", not surprisingly, slows everything down on the back of classical guitar and piano, almost mirroring the sound of a feather falling, that sort of light, airy feel to the music, very little if any percussion at all, then "Scherzo", the third movement kicks it all back up again as a real rocky beat driven by Fry and Flowers takes the piano and organ, and accompanying guitars, into overdrive. More elements of Genesis and the Alan Parsons Project detectable in this melody, which gets quite insistent compared to the first two movements and slips into my favourite movement, the final one, "Watching the Aeroplanes". Opening on a breathy, swirling keyboard passage almost like tubular bells at times, Peek's guitar cuts in and Fry's percussion hammers the way as the composition reaches its conclusion. Some great work from Peek and some fine, steady basswork from Flowers, lovely bit of guitar from Williams and the whole thing just fades down nicely then.

[video=youtube;7-i53oa5qZQ]https://www.youtube.com/watch?v=7-i53oa5qZQ&amp;list=PL-N0-Mx8ST786Ct1EdVfiJK9uX1QJb7jm[/video]

After that phenomenal piece, "Tuba Smarties" comes as a bit of a letdown, though it's fun I suppose, with Herbie Flowers adding tuba playing to his talents, and Tristan Fry taking the trumpet. The whole thing is, of course, arranged around a melody on the tuba (never the easiest of instruments to write for, I would imagine) and is performed live and with a certain comic twist, and for what it is I suppose it's well played, but to me it stands apart from the rest of the music on the album, and not in a good way. I'm not a huge fan of tuba music anyway. The next three pieces are straight-ahead classical compositions, the first and third with some rearranging by John Williams, though "Gavotte and Variations" is left as it was when originally written. If you don't like classical music (shame on you!) you may as well skip these three tracks, as they're not really changed or modernised in any way. 

"Ballet volta" is of course a chance for John Williams to shine at what he does best: classical guitar playing classical music, and though laid back and chamber music it's a joy to hear. Towards the end it gets a little more lively, the guitar getting somewhat harder and more forceful, but it still sounds like something lords and ladies would dance to in the olden days. Sticking with that basic theme, "Gavotte and Variations" seems to be played mostly on harpsichord and acoustic guitar, with a very medieval feeling to it, getting a little faster as it goes along, with some fine piano and/or harpsichord playing by Monkman. It's the longest of the three classical pieces, clocking in at just over six minutes, while "Andante" is a beautiful slow classical guitar piece which perfectly complements the somewhat overlong and at times boring preceding track.

 "Tristan's Magic Garden" seems to be mostly played on something like glass harp, vibes or marimba, but I couldn't say which: may even just be voices on the synthesiser. But it gives a lovely effect of wind blowing across the desert, or a garden indeed, and it's very relaxing and laid back. Fry then shows his talent as a timpanist - a position he occupies with the RPO - in a dazzling display of percussion that takes the whole piece up several notches, with what could very well be a xylophone in there too. "El Cielo" then is another chance for Williams to display his talent on his instrument of choice, with fluting keyboards added by Monkman in another soft, lazy piece that just makes you think of blue skies and summer days. Sort of an accordion sound about the keys, very nice.

Kevin Peek gets to add his guitar to the mix too, and Fry's sussurating, sighing cymbals really do sound like breakers on the shore. "Vivaldi" then is obviously a tribute to the man, with snippets of _The Four Seasons_ mixed up in a sort of classic rock interpretation of the master's work, heavy rolling percussion from Fry and sharp guitar from Peek and Williams backed up by solid keyboards from Monkman, thundering along as it goes, the whole piece very evocative of the punchy, urgent style of Antonio Vivaldi and ending on a fine guitar riff, taking us into the other large composition. Although  broken into two parts, "Scipio" shows no distinction between the two, and runs for a total of just over eleven minutes, opening on an uptempo classical guitar melody, joined by bouncy percussion and some inventive bass from Herbie Flowers then some very soft and classical piano from Monkman, before he changes to full keyboards and punches it right up, the tempo rocking along nicely now, the classical guitar more or less subsumed by Kevin Peek's burgeoning electric, then some squelchy snyth and hopping piano as the classical guitar of Williams makes a return.

Some very videogames-sounding keyboards from Monkman and there's more of the prog rock feel to this as it goes along, with some funky bass lines from Flowers. I really can't say, as I already mentioned, where part one becomes part two, but it's not really that necessary to know, as it's just a really nice piece of music, only let down, in my opinion, by the damp squib ending, where after building up to a big guitar and keyboards crescendo it all just sort of falls away to an annoying little fiddle-type sound on the keys and just, well, fades off into the distance rather quickly. Ah, but then there's "Tocatta"...

Bringing the album to a powerful and triumphant close is the piece that hit the charts for Sky in single form, and which brought them to my attention via that single. A rearrangement of Bach's "Toccata and fugue in D Minor", it's probably well known to most people by now, but in case you don't know it, it's a fast, rocky update of the classical piece, with great guitar runs and some fine synthwork, rolling, thundering percussion and it's a perfect ending to the album, bringing together the two main elements of Sky, classical music and uptempo rock arrangements.

*TRACK LISTING*

1. Hotta
2. Dance of the Little Fairies
3. Sahara
4. Fifo
    (i) First Movement: Fifo
    (ii) Second Movement: Adagio
    (iii) Third Movement: Scherzo
    (iv) Fourth Movement: Watching the Aeroplanes
5. Tuba Smarties
6. Ballet -- Volta
7. Gavotte and Variations
8. Andante
9. Tristan's Magic Garden
10. El Cielo
11. Vivaldi
12. Scipio, Parts 1 & 2
13. Tocatta

As I mentioned earlier, this was the album that "broke" Sky, if you can use such a word for a stellar collection of musicians who probably really didn't care if they made it big as Sky: each had his own separate and very successful career already. But this was the album that probably surprised many pundits by getting to number one and, more amazingly, giving the band a top five single. After this, however, the very nature of Sky seems to have been their undoing. Bucking the old maxim of "if it ain't broke don't fix it", they had found a formula that worked - quite I'm sure to their surprise - and immediately set about changing it. _Sky 3_, their third album released the year following this, not only saw the departure of Francis Monkman but also pushed the band in a more traditionally jazz direction, while their fourth went one step further, consisting only of arrangements of classical compositions, no original material at all.

By now, Sky's popularity was on the wane. The fickle public, attracted to the different sound of the band, had begun to get bored as the novelty wore off, and those who were not fans of jazz failed to buy or at least enjoy the third album, while those not overly pushed about classical were loathe to invest in the fourth album. By the time their fifth album, the first not to  be numbered, rolled around at the end of 1983, people weren't really interested any more and _Cadmium _sold poorly. Added to this the fact that John Williams, founder and leading light of the band, departed after the album and Sky were on the road to winding down really. Their sixth album was released to little relative fanfare in 1985, with several "guest stars", one of whom was Rick Wakeman, but interest was definitely leaking away and they recorded their last album, a tribute to Mozart, in 1987.

Although Sky never officially broke up, there has been no new recorded output from them for over twenty years now, so effectively they may as well have split. Perhaps someday they may reform, who knows, but for now _Sky 2_ stands as a testament to their brief and unexpected worldwide popularity, showing the jaded record label executives and columnists that there was still room in the world for an instrumental band who revered classical and jazz music. Never equalled, never bettered, this album is a prime example of a zenith achieved but never repeated. The glory days of Sky. It all seems such a long time ago now.


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## Trollheart (Sep 25, 2019)

*Hail --- Eden Shadow --- 2012 (White Knight)*

I generally don't review - even listen to - EPs as a rule. I prefer full albums, though on occasion I do come across one I really like. That's the case with _Hail_, the debut offering from instrumental (at least on this recording) progressive metal quartet Eden Shadow. The band have only been together a short time, though the musical ideas have apparently been flitting around creator and guitarist/vocalist (?)  Ryan Elliot's head since he was in school. There are only four tracks on the album, though in fairness two of them are over seven minutes long, with one clocking in at eight and a half. Even at that, you're still only looking at less than a half hour of music here. So, is it worth shelling out for?

Well...

"Submerged" starts us off, with some little touches on the keys and then some effects before Elliot's guitar blasts in and the keys take on a synthy, wailing flavour, while heavy percussion from Tom Burgess is joined by solid piano from Rob Reed, and a steady bass courtesy of Alex Broben. It's a heavy opener, with a definite grounding in progressive metal and some fine guitar work from Elliot, a sort of dramatic, urgent tone running through the melody, the sound kind of putting me in mind of the likes of Shadow Gallery. In the fourth minute the tune takes a subtle directional shift off the back of double banks of keyboards, then slows down again before kicking up for the finale, ending with some fine guitar histrionics from Ryan Elliot and taking us into the title track, which is one of those longer songs I spoke of, this one coming in at just under the seven and a half minute mark. It opens with atmospheric, sweeping keys and a busy bass line with a sort of eastern tinge to the guitar as it comes in; sort of touches of "Kashmir" there. 

Some grinding guitar meshes with punchy organ as Reed and Elliot joust, then it seems Reed has won as the keys wail off into the distance solo, some choral vocal effects washing over the melody before Elliot returns, guitar in hand, for a rematch. A great solo by him beats out the keyboard man this time, and the rhythm section look on, keeping the beat and steadying the ship as the combat continues. Reed's frothy organ is not to be denied, and it piles back in as Elliot rips off some lavish riffs, the two again going head to head, then a truce is called as everything drops back and the opening  melody returns. Guitar fades back while on the back of either choral synth vocals or possibly human ones Reed runs off a bubbling keyboard solo as the tempo slows down and the song heads into its final minute. Keys pretty much take over now, rippling vibes or marimba or something leading out the ending in a kind of psychedelic outro.

Soft synth and piano lead in "Run Away with Me", which has the most commercial sound of the four tracks on the album, and features what are definitely human vocals, even if they just run some _vocalise_ in the background. This song is so catchy it's really crying out for a proper vocal line, but what vocals there are are buried deep in the mix, so they come across as distant and lost in the music. Pity, because if they were pushed up just a bit and cleaned up, made more discernible, Eden Shadow could have some airplay with this. As it is it's a great song, the keyboard and organ parts are great, but I feel it's an opportunity missed. Of course, they may want to stay as a purely instrumental band, and that's fine, but if so why introduce vocals of any sort at all? Odd. Bands like And So I Watch You From Afar have made a career of being just instrumental, and they never - as far as I have heard - use any vocals. 

[video=youtube;5O1gsX-Jpl4]https://www.youtube.com/watch?v=5O1gsX-Jpl4[/video]

The EP closes on "Forest Dance", the longest of the four tracks at just under the eight and a half minute mark. Little nature sounds are swiftly joined by a jangly guitar and dancing bass, with a sense of celtic music somewhat, then the synth sighs in and takes the melody to another level. Some more backing vocals, sort of reminds me of mid-seventies Floyd in tone, and a nice little guitar line moves the song along, Elliot's fretwork getting a little harder as it reaches the three minute mark then stepping back and allowing some introspective work to come through. Nice rolling, chiming effects on the synth (could be samples; they're mentioned) and then some sprightly piano as the guitar gets a bit higher and more forceful, though yet restrained in an odd kind of way. Some very proggy keyboards lead the song out as Elliot fires off a last volley on the guitar before we leave the forest and the album comes to a close.
*
TRACK LISTING*

1. Submerged
2. Hail
3. Run Away with Me
4. Forest Dance

Whether Eden Shadow retain their mostly instrumental style once their first full album is released, or whether they decide to expand on the limited vocals that characterise "Run Away with Me", it's clear they have a massive amount of talent and should easily establish themselves at the forefront of the progressive metal movement. I'll be watching carefully to see how they develop, but one thing is certain: we have not heard the last of this promising new band.


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## Trollheart (Sep 25, 2019)

*Shades of a Blue Orphanage --- Thin Lizzy --- 1972 (Decca)*


Too often Lizzy get categorised and judged by their later albums, your_ Jailbreak_s, your _Johnny the Fox_es, your _Renegade_s, and while those albums are all excellent and deserve all the praise they get, and have rightly taken their place in music history, we sometimes forget that Lizzy did not start out like a pumping, strutting metal band that took over the world and burst the charts open for heavy metal, introducing even Irish trad music to headbangers with a gleeful abandon and disregard for the rules of genres. Their first three albums are much more dour, staid affairs, more closely rooted in the blues traditions of the deep south than the screaming metal of bands like AC/DC or Van Halen. Time to take a trip back then, forty years into the past, and check out their second release.

You can see by the album cover that it's not quite going to be a riproaring fretfest and chock-full of hit singles and memorable hooks. The sleeve is blue, the title is blue, the music ...? Well, let's see. This was before later guitar gods like Scott Gorham, Brian Robertson and Gary Moore made their mark on Lizzy's music, and before the band's first hit single, the seminal "Whiskey in the Jar". In fact, the album was pretty much slated on its release, and nobody really would have given these three lads from Ireland any chance whatever of making the big time. 

If they wanted to make an instant impression, that's not achieved by either the drum-heavy opening nor the title to "The Rise and Dear Demise of the Funky Nomadic Tribes", the only track on the album not exclusively written by mainman Phil Lynott. With jazz and blues influences aplenty, and more than a little psychedelia in there, it's over seven minutes long, perhaps a brave move, perhaps a foolish one on your second album, considering the debut had not exactly set the world on fire. Mainstay of the band, drummer Brian Downey takes command while Eric Bell shows his prowess on the guitar, very much a blues performance as compared to later finger-burning efforts by Moore, Gorham _et al_. To their previous lineup Lizzy added Irish musician Clodagh Simonds on keyboards, although she doesn't feature, or seem to, on the opener, and it ends as it began, with a big drum solo from Downey.

[video=youtube;x6WKjISWaxM]https://www.youtube.com/watch?v=x6WKjISWaxM&amp;list=PL94gOvpr5yt0fTCqefz71rj-thoUAs7mk[/video]

A bit repetitive, I believe if I was listening to this album for the first time I would not be too encouraged to go that much further, but things change with "Buffalo Gal", a more upbeat, together song with a certain pop sensibility about it, more of a melody and indeed I can even hear similarities to "Whiskey" in there, whether intentional or not I don't know. Now for the first time you can hear Simonds' keyboards and they do add an extra dimension to the music, filling it out when it seems a little sparse. This track is the first time I think you can hear the quality of Phil Lynott's voice, which definitely stands out above the somewhat pedestrian music, despite some pretty nice licks from Eric Bell. Lynott's bass playing, too, comes into its own here. I have to say though the impression of Elvis on "I Don't Want to Forget How to Jive" is painful, and the song itself something of a rockabilly embarrassment, notwithstanding the sprightly piano from Simonds. Thankfully it's very short, and we move on into "Sarah".

Now this is not the song that appeared later on _Black Rose_, but rather a touching piano-led tribute to his grandmother, who brought him up and is often forgotten in the Phil Lynott story. His mother, Philomena gets all the plaudits, referring to "My Phil", but it's a sometimes forgotten fact that she didn't want to look after him as a child, and sent him away to his granny. This song is a moving and emotional thank you from the young Irish lad to his gran, and while the production on the vocal (or the vocal itself) is muddy and echoey, it's still a great song. I'd like to have heard it re-recorded with today's techniques. Carried on folky acoustic guitar that later changes to electric, "Brought Down" is a good rocker with a melancholy tone, and some fine expressive guitar from Bell. "Babyface" is something of a non-entity, going past without making any impression on me.

"Chatting Today" has a nice Spanish guitar vibe to it, and one of the best vocals from Lynott since "Buffalo Gal", and it hops along at a nice brisk pace, while "Call the Police" is very seventies funk with a hard grinding edge, but doesn't really do it for me. The title track then closes the album on a lovely slow blues number, tying with the opener for the place of longest track. Beautiful mellotron and keys from Clodagh Simonds lay down a lovely, bittersweet atmosphere that surrounds and suffuses the song. This is so good that it stands head and shoulders above anything else on the album, and if anything is an indication of the talent in Thin Lizzy that was just waiting to take the world by storm, this is it. A beautiful and emotional closer, and a song that hints at greater success to come for a band who were to soon leave the orphanage behind and be adopted by millions of rock and heavy metal fans.

*TRACK LISTING*

1. The Rise and Dear Demise of the Funky Nomadic Tribes
2. Buffalo Gal
3. I Don't Want to Forget How to Jive
4. Sarah
5. Brought Down
6. Baby Face
7. Chatting Today
8. Call the Police
9. Shades of a Blue Orphanage

As a marker for future generations, _Shades of a Blue Orphanage_ doesn't really stand out. There are few I believe who, even back then, would have thought it possible this band could rise to stardom, let alone superstardom. The seed is there, sporadically, but as an album this almost detracts from Lizzy's better qualities rather than showcase them. With the exception of the closer and title track and perhaps "Buffalo Gal" and "Chatting Today", most of what you hear on this album is fairly low-grade, and would not set anyone's heart racing, even diehard blues fans.

Even so, this was the album that would lead to _Vagabonds of the Western World_ the following year, which, though the song would not appear on it, would be synchronous with the release of what would be their first big hit and a song that, though a traditional Irish one, would become their signature tune. After that, while their rise to fame would not exactly be meteoric, 1976's _Jailbreak_ would be their commercial breakthrough, turning them into household names, albeit with two new guitarists to replace the departed Bell, who would leave after _Vagabonds_, ironically missing out on hitting the big time with Lizzy. From a trio of guys who looked less than likely to make a splash in the record biz, Lizzy would in four short years have the world at their feet.

Not bad for three orphans from Ireland, eh?


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## PiP (Sep 25, 2019)

*Sky 2 --- Sky ---- *WoW, this album is blast from the past! I've just spent the last hour going through the tracks and reminiscing.

When I was  learning to play the classical guitar, I often went to London to see John Williams perform in concert. When he formed Sky, I naturally went to some of their concerts and was blown away by their music. My favourite track from Sky2 (at that time)was Toccata. Listening to the album again tonight, my favourites are Sahara and El Cielo. 

I remember Herbie flowers playing Tuba Smarties in concert and yes, it did add a humorous twist to the evening. Loved it!


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## Trollheart (Sep 25, 2019)

*Some Things Never Change --- Supertramp --- 1997 (EMI)*

Despite the title, for fifteen years it had and has been quite obvious that things _have_ changed, and drastically within the Supertramp fold, leading to a watering-down of their music and a serious waning of their popularity. When guitarist, vocalist, songwriter and co-founder of the band Roger Hodgson left in 1982 after the superlative _Famous Last Words_, the band struggled to cope without his input, his presence, his inspiration. Of course, maybe internally they didn't, but looking at their output from that to this, it's clear that many of the sounds, melodies, ideas and themes that characterised their previous albums - including such commercially successful ones as _Breakfast in America _and _Even in the Quietest Moments_ - departed with Hodgson. Although Rick Davies had always co-written and sung with Roger, it was the latter who was known as the voice of Supertramp, since most if not all of the singles have his voice and he always tended to sing on the more "up" songs, while Davies tended to take the more mature, downbeat, serious ones. This of course led to Hodgson being identified with such hits as "Breakfast in America", "The Logical Song", "It's Raining Again" and "Dreamer"; he presented the "happy", some might say more poppy side of Supertramp, and people knew the band by his voice.

But on the evidence of their last few albums Supertramp have never managed to recapture that special something that Hodgson brought to the table. _Famous Last Words_ was a _tour-de-force_, a fitting swansong for the man who had guided Supertramp through twelve years and seven albums, but when the last echoes of "Don't Leave Me Now" had faded away into the distance, there was a numbing sense of finality, and to be honest, had Supertramp disbanded then I would not have been that surprised. Perhaps, in the light of what came next, they should have done so. But no doubt Rick Davies and John Helliwell, who had been there from the early years, believed the band could survive his departure, and unlike Queen without Freddie or Lizzy without Phil, they forged ahead and tried to continue without him.

Without him though their music leaned away from the happy pop sensibilities of their hit albums and returned in the main to the progressive rock, blues/jazz themes of their first two albums, with a lot of the material coming across both as dour and dated. Though they scored a minor hit with "Cannonball" from the first album post-Hodgson, _Brother Where You Bound_, the album did not do well and though it was praised by critics I found it meandering and boring. With only six tracks on it I believe it represented poor value for money too, even if the title track was over sixteen minutes long. The followup, _Free As a Bird_, was marginally better, but I could still only pick out one or two - literally - good tracks off it. 

I believe they returned to a measure of their previous glory though with this, their, to date, penultimate album. There's a mixture of the long prog rock wandering songs that tend to crop up on the self-titled debut and some reasonably good rock, a bit of pop and it's almost something for everyone. Of the later (post-Hodgson) albums I'd say it's far and away the best, even if sadly it was followed by one of their worst ever. The album cover is very clever, a typical Supertramp motif that echoes the sleeves of _Breakfast in America_ and _Famous Last Words_, as well as _Crime of the Century_ but is more closely linked to the cover for 1974's_ Crisis? What Crisis?_, with the advent of afternoon tea doggedly persisting despite the fact that the characters appear to be living on the moon. How very English. Some things, indeed, never change.

The music had changed though, and even with some quite impressive tracks this is still a long way removed from the heyday of Supertramp; there would be no hit singles from this album - "Cannonball" has to date been their last incursion on the pop charts - but it does at least improve on the track numbers, with this album containing twelve in all, compared to the previous nine on_ Free As a Bird_ and the laughable six on_ Brother Where You Bound_. It also features the very first solo lead vocals from Mark Hart, who had joined the band in 1986 and had first tried out his singing on one track on the prior album, though in that case he had shared vocals with Davies. It probably isn't the best of signs that the album opens with a nine-minute epic, rather slow and plodding and with a downbeat message, but throughout the album it does brighten up and the style takes a turn back towards the more "happy" Supertramp sound of the seventies and eighties.

The album opens with "It's a Hard World", perhaps unconsciously echoing the almost-opener of their debut way back in 1970, “It’s a Long Road”. Soft digital piano and organ, bass guitar hums away and it's almost like a sort of a tuneup, the bass mostly leading the line as the piano chimes away in the background, soft synth laying down a backdrop until the drums cut in and the familiar sax work of John Anthony Helliwell sweeps up Rick Davies' voice in a funky, jazzy song that details the dreams of someone waiting to make it - _"Right now I'm just trying to survive/ Livin' rough, hangin' tough, shapin' up"_ - his faith unshakable that he will break into the big time. Over the last few years Davies has introduced more and more brass into the Supertramp sound, pulling them towards a more jazz feel than in the Hodgson era, and it does work but reduces the commercial appeal of the band, making their current music less accessible to those who don't know them.

Davies has of course always shared vocal duties with his departed partner, and we know him from many Supertramp songs that didn't make it as hits, such as "Bloody Well Right", "Rudy" and even "Goodbye Stranger", so it's no wrench to hear him sing here - he has after all been bossing the vocals for fifteen years now - and his voice certainly suits the dour, almost blind optimism of this song. To be fair, for a song over nine minutes this does not seem stretched or overlong. There's a return of sorts to a pop sound with "You Win I Lose", those familiar uptempo Supertramp piano lines leading the way, and it's more boppy and even poppy: you could hear Roger singing this. Some great organ too from Mark Hart, and a wonderful little sax solo from Helliwell that evokes the golden years of the band. There's actually a lot of their massive hit "Breakfast in America" in this, then "Get Your Act Together" is a more typical Davies composition, with a sort of half-bitter world-weariness about it, juxtaposed against a swinging uptempo melody with some fine harmonica. Sort of reminds me of "Put On Your Old Brown Shoes" from _Famous Last Words_. More trumpets and trombones add to the upbeat tone of the song despite the somewhat sardonic lyric, which could almost be in response to the unswerving, almost naive faith expressed in the opener.

[video=youtube;ssjUQfJkPlE]https://www.youtube.com/watch?v=ssjUQfJkPlE&amp;list=PL7kjb4JnQiHdm_6yH2MAmpFP  qL64ZYyqt[/video]

Nice organ and piano on "Live to Love You", essentially the first ballad on the album, with what sounds like the ghost of Roger Hodgson in the backing vocals - guess that must be Hart - and another fine sax solo from John Helliwell, while the title track goes almost dance/funk with hard cracking drums and jazzy guitar, warbling organ and a tight bass line. Hints that our "new friends" may not be as reliable as they seem in lines like _"In some countries far from here/ You know, the ones we used to fear/ Are they just waiting to return to/ Their old evil ways?"_ and some very acrobatic guitar from Mark Hart mark this out as different to the usual thing we've come to expect from Supertramp. An uptempo song with a bleak message and a warning, and a piano solo from Davies the like of which we really haven't heard since the seminal closer for _Breakfast in America_, "Child of vision". Joined by Helliwell's horn then it makes a fine instrumental end to the song, with the sounds of sirens threaded through the tune, as if the point hadn't already been made.

The standout of the album by a long way comes with "Listen to Me Please", with a boppy, uptempo song that just fizzes with energy and a great fast piano opening, with vocals for the first time on the album shared by Davies and Mark Hart, though the former not surprisingly dominates. It seems to be a cautionary tale about perhaps not putting all your trust in record label executives? _"We'll make it easy for you/ Plan everything you do/ Won't have to work very hard/ You'll make it big from the start/ Don't have to take it from me/ Here's a list you can see/ For every one of those names/ I brought them fortune and fame."_ Or maybe it's just a warning that there ain't no such thing as a free lunch. It's when the chorus gets going though that the song really takes off, and in the fadeout it speeds up and gets quite frenetic. "Sooner or Later" then goes back into the slow funk groove of the title track, again driven mostly on piano and organ. It's the first song to feature Mark Hart on solo vocals, and he does really well. He's no Roger Hodgson, but his more falsetto voice contrasts nicely against Davies' baritone, and either way it's nice to hear a different singer. The song itself is no great shakes, though it does feature some nice interplay between Helliwell and Davies.

Blues and honky-tonk merge in "Help Me Down That Road", great piano work from Rick Davies and a soulful vocal performance, then there's almost a sense of gospel to "And the Light", one of the other standouts with lush organ and some great guitar, the first really slow song on the album, and in effect the first proper ballad. Brilliant smoky sax solo in it, then "C'est What?" is a return to uptempo poppy music and with a fine piano intro is almost a fast "Bloody Well Right", though some punching brass adds real teeth to it, as well as Hart's screaming guitar. It's the second-longest track, at over eight minutes, with some jazzy backing vocals, very danceable I would think, and it gives the brass section a real chance to shine. Very happy, very bouncy and again for such a long track doesn't drag or seem overextended. The album then closes on another ballad, the rather beautiful and quite uplifting "Where There's a Will".

Opening on solo piano from Davies, the song mixes blues and gospel, with some solid drumming from longtime skinsman Bob Siebenberg, and Davies almost preacher-like on the vocals with some of the most basic truisms of humanity: _"I don't know nothin' about this world/ And all its pains/ I can't tell you why we can't/ All just get along/ But after all is said and done/ Gotta keep on keepin' on!"_ Couldn't have said it better myself Rick! Great chorus on the backing vocals and a fine powerful ending that brings to a close a Supertramp album that stands head and shoulders above the work post-Hodgson, and which they completely failed to repeat on their next, and so far last, outing.

*TRACK LISTING*

1. It's a Hard World
2. You Win, I Lose
3. Get Your Act Together
4. Live to Love You
5. Some Things Never Change
6. Listen to Me Please
7. Sooner or Later
8. Help Me Down That Road
9. And the Light
10. C'est What?
11. Where There's a Will

There is, weirdly, a "hidden track" which is in fact the other one on which Mark Hart takes lead vocals, but as it's uncertain where it comes in the album - my version shows it at the beginning, as "track 0" while Wiki lists it as track 10 - I'm not going to go into it. I can't remember if it's on my original CD or not, but I don't remember it to be honest. 

For a brief moment then in the late nineties Supertramp managed to recapture, at least partially, the magic and the excitement that characterised such albums as_ Crime of the Century, Breakfast in America _and _Crisis? What Crisis?_ but the true spirit of the band left along with Roger Hodgson. In many ways,_ Some Things Never Change_ can be seen as quite an optimistic album, from the blind faith of the opener to the determined insistence of the closer, and there are some really upbeat messages on it. There are of course darker elements, with the title track and yes even the opener can be viewed from a position of negativity and scorn, but this is a well put together album and recalls, probably for the last time in their career, the Supertramp I used to know and love.


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## Trollheart (Sep 25, 2019)

PiP said:


> *Sky 2 --- Sky ---- *WoW, this album is blast from the past! I've just spent the last hour going through the tracks and reminiscing.
> 
> When I was  learning to play the classical guitar, I often went to London to see John Williams perform in concert. When he formed Sky, I naturally went to some of their concerts and was blown away by their music. My favourite track from Sky2 (at that time)was Toccata. Listening to the album again tonight, my favourites are Sahara and El Cielo.
> 
> I remember Herbie flowers playing Tuba Smarties in concert and yes, it did add a humorous twist to the evening. Loved it!


Glad it brought back some memories for you. It's nice when that happens. My own favourites were of course "Toccata" and "Watching the Aeroplanes", but it's a hell of an album just to put on and get lost in, isn't it? Pity it was an oddity in their catalogue: like I say in the review, they changed musical direction after this and nobody seemed to be interested.

Thanks for reading! Nice to know someone is!


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## PiP (Sep 25, 2019)

Trollheart said:


> but it's a hell of an album just to put on and get lost in, isn't it?


 Yep, sure is.But listening to it now, it feels quite dated.




> Pity it was an oddity in their catalogue: like I say in the review, they changed musical direction after this and nobody seemed to be interested.



I feel that's the problem with many musicians. They taste success and then try to reinvent the wheel which brought them success. It was John Williams who drew me to the group and maybe there were other classical guitarists like myself who felt Sky eventually lost the plot and just outgrew them and moved on. I enjoyed their concerts at the time but I wonder how they would fair in today's market?



> Thanks for reading! Nice to know someone is!



*laughing* You added your other reviews so quickly that my comment was marooned.


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## Trollheart (Sep 25, 2019)

*Rare --- Asia --- 1999 (Resurgence)*

Rare indeed. Not only is it the only, to date, totally instrumental Asia album, but it's also the only one to feature only two of the band, these being John Payne on guitar and bass and the ubiquitous Geoff Downes, on, of course, keyboards. The album is made up half of music written for a documentary about salmon (no, seriously!), and half the soundtrack for a Sega videogame which was never produced. It's an interesting insight into the more playful side of this mega-band, and also notable as Payne was for twelve years the recognised voice of Asia, having taken over from original vocalist John Wetton in 1992 and remained with the band until the "classic lineup" reformed in 2008, and yet he does not sing a word on this album (cos there are no words). As a result, we get to appreciate the more his skills on the frets, which though he played guitar on all those albums during that period tends to get a little overlooked, as he was usually supplemented by other guitarists.

Most of the tracks are quite short, though there are a lot of them. The album opens on "The Waterfall", with rippling (sorry) piano and the famous trumpet fanfare from Downes on the keys, but the track lasts less than a minute and we're into "The Journey Begins", (that’ll be the salmon thing then) with another soft piano line and some nice steady bass, then some pulsing synth and higher-register keys with a piano line straight out of really any of Asia's ballads, more fanfare and then some of the only real vocals on the album, though they're probably made on synth, those choral vocals, and the song reaches an end and pulls us into "The Seasons", which has a vibrating sort of synth line that then becomes somewhat industrial with a vocoder-ish sample and some sharp guitar. Lots of drama in this one.

Cool sliding guitar lines from Payne as the banks of synths swirl and eddy in the foreground, then deeper, bassy keys and some nice piano with a strings-style ominous passage which finishes the track. "The Gods" then opens on swirling synth with softer strings-style keys again, and it's clear even from this early stage that this is going to be mostly a keyboard-oriented album. Some more choral vocals then a big rippling sound like a gong is taken by soft piano, and "The Whales" comes in on pounding percussion (doesn't mention who does the drumming... probably synth-created or a drum machine I would think) with a breathy synth and a cinematic, expansive sound. A descending guitar and keys line then takes the track towards its end, with a hard cello-like ending. More choral vocals open "The Journey Continues", though it doesn't continue for long, the track lasting just short of a minute and a half. Basically built on a droning synth and then flowing piano line, it leads into "The Reservation", one of the longer tracks at almost three minutes, which carries the same basic melody from the previous track on, adding some echoey drums but pretty much the same music, with a hard synth part leading into some sort of chanting (again, I assume, sampled on Downes's synth) and a running piano with some nice guitar from Payne.

The only real problem with these tracks is that in general they're all too short. You're just getting used to their development and seeing where they go when suddenly they're over. This is, as I say, one of the longer ones, but given that its running time is 2:58, that's not saying much. "The Bears" is a big heavy orchestral sound, with thunderous drums and violin, cello and oboe sounds on the synth, another building fanfare that then goes back to the sort of tuba-like sound, very deep and heavy but trotting along at a fair pace. It's over two minutes though, which ironically is too long, as the basic idea is just used over and over again with a few embellishments here and there, like some nice flute near the end. It gets a little boring, to be honest. Much nicer is "Under the Seas", with a bright, dreamy piano melody and some sound effects on the synth - surf, thunder, that sort of thing - and the piano gets faster and more urgent as the piece comes to a close, with something like vibes or marimba added in too. 

Surprisingly for a song titled "At the Graveyard", we open with sprinkling, uptempo synth but then the mood does indeed change and we have a very Mahler-esque, funereal sound with booming drums that seem in the distance, and while some crying guitar or violin I think would have fitted well in here, Payne stays relatively quiet on it. It's a short one again and takes us into the somewhat longer "Downstream" on a slow fanfare after which high-pitched choral, angelic voices rise from Downes's synth and are joined by ones even an octave higher. Solo flute then for a moment before the heavy synth returns and we get the fast piano from the ending part of "Under the Seas", joined by the returning fanfare on the synth, before "The Ghosts", one of the songs which almost reaches the three-minute mark, is essentially cymbal clashes and sound effects, rather like Rush's "Didacts and Narpets" from _Caress of Steel _before deep low synth and bass come in, then proper percussion cuts loose and carries the tune, the synth very low in the mix and finally we hear a lovely piece of guitar from Payne. It's about time! This is the twelfth track, and the first time I've been able to hear his contribution on anything other than the bass. He doesn't waste his opportunity, making sure to fire off one of those introspective, sweet solos he's known for, but too soon it's over and we're on to the next track.

[video=youtube;Idkzp6gsqEM]https://www.youtube.com/watch?v=Idkzp6gsqEM[/video]

Well, I say next track, but "The Sun" is only half a minute long, and basically a few notes on the synth before "The Moon", slightly longer at just over a minute, has some ominous clashes and sounds backing the synth, a heavy, solid synth ending and then "The Sharks" almost brings this first part of the album, the documentary soundtrack, to an end with more ominous keyswork from Geoff Downes, very dramatic and with this time no percussion, until that big gong sound again comes in and Payne introduces a walking bass line against which Downes threads a warbly little synth line with some effects, pitch-bends and so forth, some breathing noises (would this not have been more appropriate on the track "The Whales"?), heavy drumming now leading us to the end of the piece, and indeed there "The Journey Ends" on the final track of this part, a little sprightly piano run with the recognised Asia keyboard fanfare and some last choral voices.

And so into the game music we go with the opener called "The Indians", and rather expectedly starting with a Native American chant which I have to say gets really wearing after the first twenty seconds or so, boring and repetitive, and it lasts for almost a minute of the nearly three the track runs for. Luckily it then fades out and the remainder of the track is carried on _pizzicato_ strings and guitar - nice to hear it - then "The Angels" comes in on an almost Jon and Vangelis bass line with sweeping synth and twinkly little piano runs from Downes, slow and measured, almost heartbeat really. Quite nice, and even nicer when Payne's guitar claws its way into proceedings, though again the tune is mostly dominated by the keyboards and synthesisers. Some heavy percussion near the end, and Payne gets in some decent riffs before it fades, taking us into "The Horizons", a very proggy synth piece, very pastoral and relaxed, almost Genesisesque, then bringing in some soft introspective guitar which the synth backs for once, instead of the other way around.

"To the Deep" is more bubbling synth with attendant sound effects as Downes reasserts his dominance, the tune very reminiscent of Vangelis on his _Oceanic_ album, some decent guitar from John Payne finding its way into the latter half of the piece, then "The Game" sounds almost trancey, with drum machine sounds and a cantering beat, some nice rock guitar building the tension alongside some siren sounds. In fact, despite what I said just a moment ago, though it started off like a club track it's suddenly become the closest to rock on the album so far, and a real chance for Payne to shine and show us what he can do on the frets. The album closes on "The Exodus", which _does_ sound like a dance tune this time around, with bipping keyboards, sweeping synths and a thumping drumbeat, some nice piano in fact that does remind me of Asia's sound but also puts me in mind of those old Western movies. Pretty poor ending, in my opinion. Well, pretty poor album overall really.

*TRACKLISTING*

1. The Waterfall
2. The Journey Begins
3. The Seasons
4. The Whales
5. The Gods
6. The Journey Continues
7. The Reservation
8. The Bears
9. Under the Seas
10. At the Graveyard
11. Downstream
12. The Ghosts
13. The Sun
14. The Moon
15. The Sharks
16. The Journey Ends
17. The Indians
18. The Angels
19. The Horizons
20. To the Deep
21. The Game
22. The Exodus



I don't see an awful lot to get excited about here. Okay, it's a different album and a chance to see a rare (sorry) side of two of the members of Asia we normally don't get to see, but the music to be fair is adequate though not much more than that. There's no single track I can point to and say it was worth the price of this album. It's all ambient and kind of electronic, and though there are flashes of the Asia sound in there from time to time, most of the time you wouldn't know it was them if you didn't already.

Like I said at the beginning, rare indeed, but perhaps thankfully so. For completists only.


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## Trollheart (Sep 25, 2019)

*Lore --- Clannad --- 1996 *

When I were a lad at school, the very very odd time something interesting would happen down in the gym - a place I feared and loathed, being a skinny, unfit, specky, not at all sporty and easily embarrassed kid - would be at weekends when they'd screen movies we could see for free and of course there'd be the expected school play every year. But one year Clannad came to play at the school. Being what, about fourteen at the time I turned my nose up to them. Who the hell are they? I regretted it ever afterwards, especially after _Robin of Sherwood _hit the telly screens and then "Harry's Game" made them household names, even though they were already that in trad circles. I've always wanted to get more into their music, so now's as good a time as any.

Leaving aside the obvious albums, the ones with the hits and discounting _Legend_ (the soundtrack to _RoS_) as I've already heard it, many times, I've gone for this one. Why? I dunno. Like the title, it's in the nineties which gives me a better chance to evaluate how they developed after the "big hits", and well that's about it really. First of all, for those who don't know, the band name is pronounced "klawn-odd", coming from the Irish "clann", for family. Yes, the word clan comes from it. Look at that: you're learning things already!

But to the album. Clannad have always been characterised by the angelic voice of Maire ni Bhraonain, also known as Moya Brennan, sister to Enya, and here is no exception as a ghostly atmospheric "Croi Croga" (kree crow-ga) opens the album, and no I don't know what it translates to: _croi _is Irish for heart, so something heart, but Irish was always taught in schools with the least amount of interest or enthusiasm by the teachers, almost as a punishment, so that you just rebelled against it by default and refused to take it in. Some of it has stuck though, and I'll attempt a few of the other titles, though not all (thank god) are in Irish.

"Seanchas" (story I think; pronounced shann-a-kiss) is far more upbeat and almost contemporary, with some nice oileann pipes and sax, twinkling piano and lovely vocal harmonies, while "Bridge (That Carries Us Over)" rides on the singular vocal talent of Maire, soft and silky, almost a hymn. Slow and stately, it has a sense of powerful grandeur, some great but restrained electric guitar and low whistles, and those same whistles open, accompanied by low booming slow drums, "From Your Heart", which if possible slows down the tempo from the previous track. Maire never seems like she's ever in any danger of forcing her vocal; it seems to flow as naturally as water from a rock, slipping down and irrigating the dry land with its honey-soft tones. She really often more breathes the song than sings it, and it's a very relaxing and calming sound. Lovely tinkling piano just adds to the tranquil vibe on this song, and I must admit so far this album is exceeding my expectations by quite a way: not a (as we say) skiddly-idle in sight, ie no reels, jigs or the like.

I'll reserve judgement for a few more tracks, but so far I'd have a hard time categorising this as Irish traditional music. It certainly doesn't fit in with the likes of Planxty_ et al_. At best I'd say newage or just celtic, though "Alasdair Maccolla" (no I don't know who he is! Stop asking me questions!) comes closest with a sort of ceili chant, a kind of nearly bossa-nova beat and probably ranks as the first track I don't like. Bodhrans. Not mad about bodhrans. It's short though, and leads into another soft ballad in "Broken Pieces", which again almost sounds like a contemporary song with some truly beautiful harp work from Maire. Now, if I remember my half-learned Irish, "Trathnona Beag Areir" (tra-no-na be-yug ah-rare) means something like a little afternoon yesterday, or something like that. Anyway, it's a lovely little acoustic guitar ballad - sung in Irish of course, but when you have a voice as beautiful and soulful as Maire's, it really doesn't matter. Conjures up images of the Kerry mountains and the Shannon river with the evening drawing in as the sun sets.

[video=youtube;r06mXc83Bfg]https://www.youtube.com/watch?v=r06mXc83Bfg&amp;list=PLJFGwsDJw0YzCGTeoBhB_ara  sD6qurGi9[/video]

"Trail of Tears" has a kind of ominous feel to it, with some choral vocals and nice whistles then it ramps up a little on the back of some sprightly piano and harp, though I could probably do without the predictable "Native American chorus" near the end. Sounding the most like "Harry's Game", "Dealramh Go Deo" (not even going to attempt _that_ one) is another slow atmospheric and hypnotic track, with yet another gorgeous yearning vocal from Maire and a sweeping, lush soundscape laid down by keyboards. Some almost spinechilling vocal harmonies just make the song. A strong vocal then for "Farewell Love" and a surprisingly upbeat tone given the title, then the album closes on a lovely oileann pipe and harp instrumental called "Fonn Mharta".

*TRACKLISTING*

1. Croi Croga
2. Seanchas
3. Bridge (That Carries Us Over)
4. From Your Heart
5. Alasdair Maccolla
6. Broken Pieces
7. Trathnona Beag Areir
8. Trail of Tears
9. Dealramh Go Deo
10. Farewell Love
11. Fonn Mharta

It's easy to see why Clannad have lasted as long as they have - thirty years plus now: although they follow the basic traditions of Irish and Celtic music, there's a fairly varied mix in their music - new age, ambient, folk, even the odd bit of rock or dare I say pop? - and it all comes together really well. They're accomplished musicians, that much has never been in doubt, and Maire's voice has the capability of transporting you to a calmer time and place, somewhere safe and green and warm, where her voice just washes over you like the sigh of the waterfall in the distance, or the sussurating breath of the wind.

In a word: magical.


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## Trollheart (Sep 25, 2019)

*Stop! --- Sam Brown --- 1988 (A&M)*

What do you do when your father is a successful rock star and your mother also sings? Born into a musical family of note, Sam Brown contracted the music bug early in her life and began singing mostly backing vocals on some famous albums by people such as The Small Faces, Spandau Ballet and Sade, later taking the step to record and release her own music. This was her debut album, and sadly in terms of commerciality, though it is a good album the title was prophetic: this hit the charts but none of her later albums did. A protracted legal battle with her label over artist's rights on her third album led to her forming her own label and releasing _43 Minutes_ herself. Her big, and only, hit single from this album was the title track, which is a great little song and really showcases her stunning vocal talent.

There's a big swaggering swaying cold rocker to start off, elements of Simple Minds' "Waterfront" in the guitar as "Walking Back to Me" gets going, and to be honest her voice is good on this but it won't really become apparent how good it is till a little later. It's a goodtime, upbeat song and has some nice backing vocals, with guitar provided by her brother Pete, and Sam herself on piano, then "Your Love is All" is a darker little piece with a lovely bass line and some atmospheric keys. Kind of stutters along a little for the verses and has, to me, something of mid-eighties Judie Tzuke in the chorus. Some pretty hard guitar too, though this time it's not Pete Brown who provides it.

That takes us into the title track, her big hit single which you've probably already heard at some point. With a breathy vocal almost Monroe-like, it's a slow, sensuous  ballad that finally gives full vent to the weapon that is Sam Brown's voice. Some fantastic orchestral backing gives the whole thing a very forties-style feeling, but even then the strings almost fade away under the power of this unique voice. When she hits the high notes it's truly something to hear. The amount of passion and longing Sam puts into this song makes it worth the price of the album on its own. A word for the orchestra though: it really does add extra punch to the song, as do the soulful backing vocals, but the other real high point of the song is the stupendous organ solo in the middle, courtesy of Bob Andrews. Powerful song, but in a way it overshadows the rest of the album by being so much better than most of what else is on it.

Another point to consider is that we don't just have here a girl singing songs written by someone else. On every track on this album Sam co-writes, except for the one short track she writes herself, so this is all her own music. "It Makes Me Wonder", while also being a perhaps unwitting nod back to Led Zep, is a slowburner with an almost gospel tint that again for me treads heavily in Judie Tzuke territory (whaddya mean, who? Just for that, watch for a feature soon!) and then halfway through like the train in the lyric begins to pick up speed and ramps up the tempo as Sam's voice again scales the heights. The god that is David Gilmour pops up to rack off a suitably stunning solo in "This Feeling", which also has a nice accordion opening. One of the other standouts, it has a really nice squarking keyboard - squarking? It's a perfectly cromulent word, down our way - passage running through it, almost China Crisis in feel. Another great vocal from Sam on a smouldering little ballad which, while not anywhere as hot as "Stop!" (nothing on this album is) still comes across as one of the better tracks. Well, the mere presence of Gilmour would assure that, but it's more than just that.

[video=youtube;f0aWM5TsG0I]https://www.youtube.com/watch?v=f0aWM5TsG0I&amp;list=PLSx9GZQP6MOcwZqNUvuWt9vT  fA-QSIVl3[/video]

Personally, silly as it may seem, I love the forty-five second "Tea", the only song Sam writes on her own. It's quirky, it's different, it's funny and it's clever. And... it's over. "Piece of My Luck" then is really jazzy with a slick bassline and some sexy horns (ooer!) and takes everything back to that forties feel, slow, sultry, sexy, moody in the best way possible. "Ball and Chain" on the other hand has a slick funky feel to it, almost Art of Noise in places, quite stripped-down (who'd like to see Sam stripped down, eh?) with a great guitar riff running through it. Crazy little vocal in it that reminds me of M's "Pop Muzik" too. "Wrap Me Up" has a very new-wave synth line in it and indeed Sam sings in a sort of new-wave fashion on it too. Very busy rhythm going on. Great guitar solo too, sort of reminds me (_does everything have to remind you of something, Trollheart?_ Yeah. Wanna fight about it?) of Dave Stewart's solo in "Sisters Are Doin' It for Themselves", then the other amazing ballad, standout number two by a mile is the superb slowburner "I'll Be in Love", with a scorching guitar line from the returning Gilmour and ghostly piano, the latter played by herself. A truly stunning and smoking vocal performance from Mrs. Brown's little girl: a musical wet dream and no mistake.

An interesting segue from this to the next track, as the former ends on a sort of heartbeat sound and this then morphs into a shimmering drum roll which brings in a pretty stark opening for "Merry Go Round", which is characterised by heavy, thumping drums and a sort of swirling strings sound that runs through it. Very different to her other work on the album, and it ends on the upbeat, quite commercial "Sometimes You Just Don't Know", which would have made a good single but wasn't selected. Nice almost progressive rock guitar line with a low-key vocal on the verse then it cuts up on the back of some soul-style drumming and backing vocals. There are three extra tracks on the CD, but as a) two of them are covers and b) the original listening experience I had was on vinyl, and this is then where that album ended, I won't be featuring them, as per my usual rules.

*TRACK LISTING*

1. Walking Back to You
2. Your Love is All
3. Stop!
4. It Makes Me Wonder
5. This Feeling
6. Tea
7. Piece of My Luck
8. Ball and Chain
9. Wrap Me Up
10. I'll Be in Love
11. Merry Go Round
12. Sometimes You Just Don't Know

Although her second album had a few minor hits on it there was no further solo success for Sam Brown, but she was and is highly prized, both as a backing vocalist/duettist and as a songwriter. She continues to collaborate with the cream of rock, providing backing vocals for Pink Floyd on the album _The Division Bell _and writing most of the late Jon Lord's second solo album . She has also teamed up with the Beautiful South's Dave Rotheray and under the name Homespun has recorded three albums. So she will never starve. It is a pity though that the promise shown on this album was never completely allowed to flower into what it could have been. The death of her mother would have been a turning point, both in her life and in her career, and indeed it was then that she decided to set up her own label, looking to exercise more control over her work.

As a debut this album speaks volumes. It's just a pity that after the initial roar, as it were, the rest sort of faded away in the background, like the slowly-disappearing echoes of a shout now almost inaudible.


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## PiP (Sep 26, 2019)

Trollheart said:


> View attachment 24552
> 
> *Lore --- Clannad --- 1996 *
> 
> ...



I love Clannad's Music - it is indeed magical. I am now listening to Croi Croga on YouTube, as I eat my breakfast. 

Which reminds me, I have one of their CD's somewhere which I need to dig out.

What do you think of: [COLOR=var(--ytd-video-primary-info-renderer-title-color, var(--yt-spec-text-primary))]Daiqing Tana - Ongmanibamai[/COLOR]


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## Trollheart (Sep 26, 2019)

*Take the Crown --- Robbie Williams --- 2012 (Island)*

Once upon a time there was a boy called Robbie. And he was a bad boy. In and out of rehab, battling addictions to everything from alcohol and coke to disprin and Lucozade (!) Robbie was certainly the man least likely to emerge from the breakup of Take That as the last man standing. While within the group he wrote little, sang less and was famously (or infamously) described by that bard of the verse Noel Gallagher as "that fat dancer from Take That". Yet in 1996, after the breakup of the band and some time after he had already quit them, Robbie embarked on a solo career that resulted in a rise to fame that could really only be described as meteoric.

"Let Me Entertain You", he grinned cheekily, and all the girls (and some boys) giggled and blushed and said "Yes please!" Robbie has released eight solo albums between 1997 and now, with this being his ninth.  There's a lot of energy and youth on this new album, and while that's good (and sells well) it comes across to me as somewhat playing to the gallery. Williams is after all now approaching forty years of age, but here he's singing and writing (or at least co-writing) as if he's still seventeen. I just think it shows a lack of maturity and  a resistance to getting older.

See, the trouble is that yes, Robbie was a maverick, a loose cannon, a bad boy, but that was then and this is now, and fifteen years later he seems to be in a sort of Peter Pan mode, refusing or finding himself unable to grow up. The album is predictably full of sly digs at his "enemies", with lashings of his famous ego on top, and while there are some good, even great songs on the album, it's all a little hard to take seriously.

Opening on "Be a Boy", it's a high-energy, uptempo pop song with that annoying "Whoa-oh-oh!" chant that seems to be everywhere these days. Robbie has been carrying one massive chip around for fifteen years now and it doesn't look likely to fall off his shoulder anytime soon, with little digs like _"They said the magic was over/ They said I was losing it/ I don't think so!"_ just really serving to reinforce the insecurity that has seen him party, blag and womanise his way through his career.

Now don't get me wrong: I'm a fan, although it may not seem like it from this review. In fact, I'm preparing a whole piece on his career for transmission later this year. But I like artists to grow up and show some maturity. When you're pushing your fourth decade it's time to stop playing the teeanger. To slightly paraphrase Fish, "Pulling seventeen with experience and dreams/ Sweatin' out a happy hour/ When you're hiding thirty-nine..."[/i] and you would think that after having sold what, seventy million records and having countless number one singles and albums, a pop icon on both sides of the water and easily eclipsing the success of his parent band that Robbie would be happy to put the mistakes of the past behind him, but no, he's still at it, as we find in the second track, "Gospel", where he sings _"I drink to you/ You always wished me well/ And to those who don't/ Go fuck yourselves!"_ He did something similar on _I've Been Expecting You_, where he added a little message to one of his teachers who told him he would amount to nothing, and back then you could forgive that: the guy was on top of the world, rather unexpectedly, and ready to give the finger to anyone who said he wouldn't make it. But that was a long time ago. It seems however that rather like Father Ted in the Christmas Special, he's still settling old scores, and to be frank, it's getting boring and stale.

The energy and effervescence in the new album is partially due to his pairing up with young Australian  songwriters Tim Metcalfe and Flynn Francis, and indeed the production of Garret "Jacknife" Lee, who has worked on an album that impressed me, Two Door Cinema Club's latest, _Beacon_. But youth and energy are all very well, if you're young and energetic. Now I guess you'd have to give Robbie the second part - his concerts rarely disappoint, and he puts his all into them, and you can tell he loves his music - but he's no spring chicken anymore. And though much of the songwriting concerns lessons learned, there's a sense of naive partygoing and bedhopping that just doesn't ring true when the guy singing the song is coming closer to what we generally term middle-age.

It's a shame really, because these criticisms do the album something of a disservice. It's a pretty good record when all is said and done, though I feel not a patch on his earlier efforts, and the opening two tracks as detailed above are catchy, well written and played. Either, or both, could and probably will be hits. However it's the third one in that is in fact the hit, the lead single from the album and already a number one for him, and this is where I have yet another problem. I think it's possible "Candy" has only done so well because Robbie Williams fans, starved of any new solo output by him for three years, would probably buy anything he released. So is that a proper measure of the single's worth? To quote himself, I don't think so.

Only one of three tracks on the album not to be written with his newfound mates Metcalfe and Francis - who are surely going to be a double Guy Chambers for him in the future - it's in fact co-written with his old mucker from Take That, Gary Barlow, and Jacknife himself. It's quite an annoying song, I must say, though infectiously catchy. It rides on a sort of children's chant/nursery rhyme, which I can only really describe as "Nyah-nyah-nyah-nyah nyah-nyah!" You know the sort of thing; you hear children singsonging its like in a hundred games they play in the street. It also bounces along on a kind of summer/pop beat with a little of calypso in it, and it is, to be frank, fairly throwaway, not what I would have expected the first single to be, but there you are. It's one of those songs that although you may hate it, won't bloody get out of your head. Which is, I suppose I have to grant, the mark of a good pop song, or at least one destined to be successful..

And so it goes. "Different" is a good bit more mature, a fuller song with some nice orchestration and a desperate plea to be given another chance. It has that familiar Robbie Williams sound identified with tracks like "Strong" and "No Regrets", and is a very decent track. It's followed by "Shit on the radio", which is where it all breaks down again. The inclusion of such a song may seem a bold move, but if you're expecting a searing indictment of the state of popular radio airplay and current trends in music, well, get ready to be disappointed. Back to the writing pair of Francis and Metcalfe, and the song exists solely on its "cheeky" title, which Williams gleefully jams as many times into the chorus as he can, repeating that chorus also whenever it's possible, while emphasising the four-letter word.

It's almost like a kid who has discovered a bad word, and makes a point of using it as much as possible. Okay, the sentiment is there, but the lyric doesn't support the title, and I can bet, "brave" as the title may be, this won't be released as a single, or if it does, that word will be changed to something more palatable, because radio listeners and the general public don't want to hear the word shit, er, on the radio, do they? But the biggest irony about the song is that it is dancy, throwaway, forgettable pop pap, exactly the type of thing Williams appears to be attacking in the lyric. Perhaps this is intentional and it's a clever dig at himself, saying _look at me, I'm no better than the people I'm slagging off:__we all have to make a buck_. But again, I don't think so, and I believe the message, if indeed there is or was intended to be one, is lost in the totally substandard song.

And yeah, it won't get out of my head! Like many of these songs, even the ones I consider really bad, I just keep humming them in my head. Dammit! They are catchy though. 

[video=youtube;7szxOOB_bhc]https://www.youtube.com/watch?v=7szxOOB_bhc&amp;list=PL19DiJ_m3gl52IaZlHwUgg0j  89lhlVUOT[/video]

This is the point where it all begins to slide a little downhill really. "All I Want" and "Hunting for You" (is it my imagination or does he sound like he's singing _"Tonight I'm __horny for you!"_?) are not bad songs, _per se_, but they're unremarkable and I don't really find them sticking in my head. I must say though the former gives me pause in a way, as I notice that everything about Robbie Williams is, well, about what _he_ wants. In fact, if I go back through his catalogue, I find it hard to find one song that's not written about him, or from his standpoint. I can't find a song he wrote about someone else - even "She's the one" refers back to him - and it would have to be said that quite contrary to the title of his 1999 compilation album, the ego has a long way to go before it lands anywhere. 

Ironically, tracks like the previous one and "Candy", which I would consider far inferior to either of these two, make more of an impression. There is however some hope when "Into the Silence" comes around. With a lovely soft low keyboard intro and a rattling, jangly guitar it's a strong, powerful song with a certain sense of U2 about it, and probably if I'm honest one of the standouts, if not the standout on the album. The same can't be said unfortunately for "Hey Wow Yeah Yeah", which is as terrible as the title makes it seem, total written-in-nine-seconds-what's-next territory; probably go down a storm on the dancefloor. It's interesting though if only for Robbie's terrible Beastie Boys-style rap!

Then there's an attempt to finish strongly with "Not Like the Others", which again catalogues Robbie's many conquests - _"Got lots of lovers/ You and me/ Are not like the others"_ - as he attempts to persuade the current woman in his life, or in his bed, that she's special. Oh- kayyyy.... For me this kind of jumps back to "Monsoon", from_ Escapology_, with a twist: there he was berating all the girls he had slept with who then went on and sold their story to the rags, whereas here he's more or less admitting that he just uses women. Hmm, big revelation there Robbie. Maybe it's meant to refer to his recent marriage to Ayda Field, and with a baby daughter now to think of, perhaps he's re-evaluating his lothario lifestyle?

This could be why he ends the album on "Losers", which features a duet with someone only credited as "Lissie", who I'm sure people cooler than me will recognise and know who she is, but it's the acoustic track on the album, as there often are on his recordings. I don't know why: maybe it's an attempt to legitimise what is essentially a pop star as a bona fide rock star, but_ I've Been Expecting_ You had "She's the one", _Sing When You're Winning_ had "Love calling Earth" and the last album I heard from him, _Escapology_, had "Sexed up". Okay, they weren't exclusively acoustic but they began and mostly continued on the acoustic guitar, certainly not your average pop instrument.

There are, however, certain problems I see with this song. First, the lines don't scan at all. The lyric seems uncomfortable, ill-fitting, almost as if it was written and then music shaped around it but not very well. It's stilted, halting,unsure of itself. I can't actually blame Robbie for this, as it's the last of three tracks on the album not written by him, and the only one in which he has no hand at all, the song being penned by Barbara and Ethan Gruska, a cover of the Belle Brigade's song off their debut album. Maybe that's why it doesn't fit, as it's the first time I recall Robbie including a cover version on any of his album ("Somethin' Stupid" notwithstanding: that was on a covers album in the first place) and it just seems out of place.

But even apart from that, and allowing for the fact he didn't write it, it's hard to take a guy seriously when he sings about not being bothered about making money and being popular any more, when his current net worth is around ninety million and he's the idol of half the world. Rings a little hollow, to me, and almost comes across as arrogant and something of a put-down. It's beautifully sung by this Lissie person, no doubt about that, but overall I find it a very awkward song, both to like and even to listen to, and I feel it closes the album very badly.

*TRACK LISTING*

1. Be a Boy
2. Gospel
3. Candy
4. Different
5. Shit on the Radio
6. All That I Want
7. Hunting for You
8. Into the silence
9. Hey Wow Yeah Yeah
10. Not Like the Others
11. Losers

But in the final analysis, what I say or think is not going to matter one bit to Robbie Williams fans. The album has already hit the number one spot, has already gone gold (platinum in some territories) after only two months, and looks set to be one  his biggest-selling and most successful albums to date. I find it weak in places, good in others, occasionally great but for me it's not a patch on _Escapology _or even _Sing When You're Winning_, and I think he's taken the easy path here, penning (or co-penning) catchy pop ditties that will play well on the dancefloor and dominate the radio for the next few months no doubt.

I'd preferred to have seen something more mature, but then, I guess that's why he is where he is, or where he will soon return to, and why in the end, it seems only natural and inevitable that he will indeed take that crown he has his heart set on.


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## Trollheart (Sep 26, 2019)

*Time Passages --- Al Stewart --- 1978 (RCA)*

A long time ago, in a galaxy far, far away ... okay, not far away at all. This one, in fact. But a long time ago certainly, I used to do radio DJ work on a small - very small - local radio station. One night, while the records spun and I was bored I decided to go look through what was laughingly called a library. This was essentially a motley collection of records that other DJs had brought up to the station and either left behind by mistake, or just couldn't face bringing home with them. It was a few wooden shelves of records from artists you had never heard of (or would want to), mostly Irish traditional or country with perhaps some "debut" singles from people who would never be let near a recording studio again, some handouts by artists who mistakenly hoped we'd play them on air (we never did) and the odd decent album. This was of course the aforementioned, and I came across it, knowing of Al Stewart pretty much from his big hit "The Year of the Cat" and also one or two other songs I'd heard on the radio (though not, ironically, "Song on the Radio"!) so I decided to, er, borrow it. It's still in my collection, and now seemed as good a time to actually listen to it as any.

Al Stewart is one of those people you know but don't know. Most of you will know the abovementioned song, although you may not be aware who sings it (it's Al Stewart!) and may have heard the odd other song by him, but you, and I, will be unaware that he was such a pivotal figure in the early pop/rock/folk scene in the fifties and sixties. He's the man who can lay claim, literally, to knowing Yoko before she ever met Lennon, to sharing an apartment with a young man called Paul Simon, and playing the very first Glastonbury Festival in 1970. He has also released sixteen studio and three live albums, and had six of his singles chart over the seventies, two of which hit the top ten, but only one of which made any impact at all this side of the pond, that being the famous "Year of the Cat", which barely scraped in at number 31. But chart position is not everything, and that song particularly has proved far more popular and enduring than its paltry chart performance would have you believe.

The title track gets us underway with a nice soft digital piano and some acoustic guitar, gentle percussion and it's the sort of laid back, middle-of-the-road rock that typified much of the seventies. Good driving music I would think. It's one of the hit singles off the album, in fact the one that rose highest in the charts, at least Stateside. A sort of reflective song with an air of quiet resolution about it, it's shot through with some nice sax breaks from Phil Kenzie that unlike many sax players doesn't take over the song but enhances it gently with his playing, through when he wants to break out in a "Year of the Cat" moment he certainly can do that with aplomb. Some lovely guitar from Stewart and fine piano from one of three keyboard players used on the album, you can see how this became a hit: it was a real song for the times. Probably wouldn't even get a single airplay these days if it were written today.

Stewart's voice is strong but not overbearing at any time, and I always felt he had a somewhat slightly feminine lilt to his voice, which isn't meant as any sort of criticism, just how he always appeared to me. Big sax break as we near the end of the song and you can see how Stewart was building on the phenomenal success of his big hit single from the previous year, as this song does retain many of the hallmarks of "The Year of the Cat" without being a copy in any way. Simple gentle piano then starts "Valentina Way", but it quickly metamorphoses into an uptempo rocker on the back of electric guitar, sort of Dave Edmunds in structure and feel, the piano getting much more rock-and-roll now. It's interesting to note that, though he had no input into the songwriting that I know of, this is one of the early jobs for Alan Parsons as producer, and this song has a lot of the melody of many of the songs he would go on to oversee with the Alan Parsons Project. Whether he influenced this one or took influences away to his own solo career is not a question I can answer, but there's definitely an echo of "Valentina Way" in later songs to appear on APP albums.

[video=youtube;pm6TsYypBpY]https://www.youtube.com/watch?v=pm6TsYypBpY[/video]

"Life in Dark Water" is far more ominous, with a big heavy drumbeat and atmospheric guitar, great work behind the skins by Jeff Porcaro, just a year before he would found Toto and go on to fame and fortune. This song is the slowest on the album so far, not a ballad by any means but a real slowburner, dramatic and powerful with a certain feeling of claustrophobia about it. Then halfway through it goes into a bouncy, boppy Beatlesesque rhythm before bringing in some very effective guitar and piano for the middle eighth. I hear echoes of early Dan Fogelberg in here too, and the sonar effect at the end is both clever and chilling, when you realise the subject matter. A more mid-tempo song which to be fair takes a little from the melody of the opener, "A Man for All Seasons" is a nice little track, with a piano run which ELO would later rob for their hit "Confusion" (Okay, they probably didn't even know about it, but it is very similar) and another interesting lyrical theme, this time Thomas Moore, historical arch-enemy of King Henry VIII, with some rather telling comments on religion along the way. Nice backing vocals and some warbly organ with yet another really inspiring guitar solo from Stewart.

Little country/folk then for "Almost Lucy", a much more uptempo song that just makes you tap your foot, and brings back those memories of Dan Fogelberg to me at any rate if to no-one else. Excellent piece of Spanish guitar, then everything slows down in a _very_ Alan Parsons way - or I suppose I should be fair and say, a sound that would become Parsons' trademark - for the stately and grandiose "Palace of Versailles". Nice, measured drumming and some fine work on the keys with Stewart's clear voice rising above it all, it's a retelling of the French Revolution, and the orchestration near the end is again very similar to the sound we would grow used to hearing from the APP. "Timeless Skies" has a certain sense of Chris de Burgh about it - certainly his earlier work, such as_ Far Beyond These Castle Walls _and _At the End of a Perfect Day_ - and some soft accordion from Peter White, then the other big hit from this album is "Song on the Radio", which is about as commercial as you can get really for the time.

With a big breakout sax solo starting the song it bops along really nicely, and you can again hear elements of later ELO here; perhaps Jeff Lynne listened to Al Stewart and took some influences from him? It has one of the best hooks which manages to almost qualify the lyric: _"You're on my mind/ Like a song on the radio"_ and which guaranteed it success in the charts, though it only hit outside the top thirty. It has gone on to become one of his best and most-played songs though, and much of this is certainly down to the energetic and flamboyant sax work of Kenzie, in marked contrast to his work on the opener. The song pretty much rides on his sax lines and the piano melody too. Of course, it all comes together under Al Stewart's friendly, gentle and everyman voice, which sells the song like no-one else could. The album ends on one of my favourites of his, which was used by one of the radio stations I used to listen to as their "closedown" song, rather appropriately, as it's called "End of the Day".

If the title track was reflective, the song that closes the album is doubly so. Carried on a sparkling guitar line with a real laid back feel, some rippling piano and some flowing Spanish guitar, it's a short song but it doesn't need to be long. It's almost an instrumental, and a real showcase for the guitar work of the man whose name adorns the cover of the album. Just when you think there are going to be no vocals his voice floats in, with just a few lines, all the more effective for their brevity and the song is in fact the perfect ending to the album, the musical representation of the sun sinking slowly in the west, its rays splashing out over the darkening sea, with the promise of its return tomorrow.

*TRACK LISTING*

1. Time Passages
2. Valentina Way
3. Life in Dark Water
4. A Man for All Seasons
5. The Palace of Versailles
6. Almost Lucy
7. Timeless Skies
8. Song on the Radio
9. End of the Day

Songwriters like Al Stewart don't come along too often. He's had a pretty big influence on music down the decades, working with people like Jimmy Page, Tori Amos, Rick Wakeman and of course Alan Parsons, and yet few people are even aware of his existence. If it wasn't for "The Year of the cat" being a minor hit over here we'd have nothing to mark his presence in the charts at all. And yet that record is played and requested more than most other songs from this era, even today. Timeless classics, you see, don't date and they don't go out of fashion, and even if time does continue in its passage, and we can do nothing to stop it, music like this lives on down the years.

A man for all seasons, indeed.


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## Trollheart (Sep 26, 2019)

*Alternating Scenes --- Illusive Mind --- 2011 (?)*

This band are something of an engima. Very very hard to track down, and even on their own website there is no English version; my Spanish or Portuguese being somewhat rusty (ie virtually non-existent) I've had to make some educated guesses but what I've come up with is this: the band, as such, appears to be the solo project of one guy, Darwin Lubo, who so far as I can make out writes, sings, produces and plays everything here. The music is described as "rock progresivo" (anyone?) so I think I'm in about the right area. It looks like this is their/his second album and as far as I can see no label is mentioned, with the entire thing available via his Soundcloud page, which leads me to believe that either the album cover is just some pretty art and there is no hard CD copy, or that he released it independently. I can't obviously verify any of that, as he (let's call the project he, as there is only him involved as far as I can make out) doesn't come up in searches on any of my main metal or prog rock sites. Oh yeah, he's from Venezuela, hence the Iberian tongue. Does he sing in English? Well, the titles are in English, so let's find out, shall we?

"Trapped" gets us underway with a big synthy, dramatic opening and some low choral voices, effects and almost the feel of some sort of ceremony taking place, then big hard guitar pounds in and the tempo kicks right up alongside galloping drums, keyboards sliding into the mix for a few moments before they fade back out and the guitar takes the melody. Oh, then they're back in with a sort of organ sound and then augmented by very proggy arpeggios. Halfway through the song it's fairly clear this is going to be an instrumental. Will it be so all through the album? Time will tell. Good running keys with attendant guitar backing up the main one, then more ramped-up arpeggios and as we head into the last minute the guitar takes over, not so much a solo but definitely an instrument leading the charge. A big powerful end and we're into "Mechanical Plague", which starts with a sound like someone plugging a lead into a guitar, then the guitar itself fires off in a marching sort of riff, percussion added to the sound and the guitar soars off into the heavens.

More guitars (presumably multitracked if our man Darwin is the only one in the band) set up a high squealing melody, with some talkbox work and it's obviously another instrumental. Very powerful guitar, almost shades of Iron Maiden in this at times, then that "plugging-in" sound again, leading me to believe this is definitely self-produced, though nothing about "Dream Master" sounds in any way amateur. A great slow ballad with some lovely resonant guitar, almost bluesy in ways, some nice keyboard lines layered over the main guitar melody. I think by now as we work through the third instrumental in a row it's pretty clear this album is not going to have any vocals. Well, if it does I'll be surprised. Lovely orchestral-like keyswork halfway through that really adds a sense of drama to the music, the guitars then joining in on the same lines and creating an overall solid soundscape.

We're rocking again with the title track, powerful speedy guitars and some peppy keyboards, a really fine drum solo in the middle that's then added to by a rising organ salvo, bringing the guitars charging back in for the closing minute, while "Intruder Part 2" (what happened to part 1? Search me. Maybe it's on the first album) has touches of the ghost of Metallica and some righteous keyboard work, chugging along at a fine pace, taking us into "Tight Squeeze", with a sound familiar to old fogeys like me, the rasping click of stylus on vinyl that almost always preceded the music at the beginning of any album. Some odd sounds then the guitar takes it and it's slightly slower and a bit heavier than what has gone before, with some stabbing keyboard chords and later some really nice chiming keys too. But Darwin loves his axe, and it's this that snarls the ending and takes us into another "Part 2" that doesn't seem to have a "Part 1" that I can see, at least not on this album.

[video=youtube;lz58PdpZg1s]https://www.youtube.com/watch?v=lz58PdpZg1s[/video]

"1983 Part 2" is built on a really nice chingling guitar sound with some synthy backdrop and a really nice bass line, another slow one it would seem although I'm kind of wrong there as there are some speedy licks on the keys more towards the end as it speeds up, and the tempo then stays high for "Divide and Conquer", a guitarfest on which Darwin shows what he can do with that axe, racking out some great bass lines too. Not that the keyboards don't get a look in... "Dr. Dometone" on the other hand pretty much rides on a mad synth line with the guitar banging away looking for attention, but your ears get drawn to the amazing keyboard riffs. The closer is the longest track on the album, almost nine minutes, and to write and play a nine-minute instrumental that doesn't get boring is not easy, but on "Out of Sight" Darwin has managed it admirably.

It explodes to life with a crashing drum intro and high keyboard arpeggios before the guitar slices in, and the piece just oozes with energy, as if he's saved the best to last. Strangely enough, just before the four-minute mark he racks off a chord on the guitar and brings the whole thing to a close, then a second later pumps it back up on the back of some wibbly keyboards and charging guitar again. Almost as if this were two tracks stitched together, though the sound is pretty much the same, so I suppose it should be seen as a false ending really. Some nice stop/start guitar then the bass takes over with some weird little synth effects before the main guitar comes smashing back in. To be honest, it's over before you realise it's run its course: how many (almost) nine-minute instrumentals can you say that about?

*TRACK LISTING*

1. Trapped
2. Mechanical Plague
3. Dream Master
4. Alternating Scenes
5. Intruder Part 2
6. Tight Squeeze
7. 1983 Part 2
8. Divide and Conquer
9. Dr. Dometone
10. Out of Sight

Listening to this music it's incredible to think (provided I understand the bio correctly) that this is the work of just one man. He makes Illusive Mind sound like a full band, and if this is a self-produced effort it's a pretty damn fine one. I must see if I can unearth his first album. If you like instrumental hard rock on the style of Pg. Lost and ASIWYFA, then you could do a lot worse than give a listen to this guy from South America. It's not too big a stretch of the imagination to say that he could find himself up there with the ... er, with those big rockers from ... um ... You know what? He could very well be on the way to being the one to put Venezuela on the rock map.


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## Trollheart (Sep 26, 2019)

*Darkling, I Listen --- The Black Atlantic --- 2012 (Beep! Beep! Back Up the Truck)*

Yeah I know: I'm listening to quite a few EPs recently. They've all been really good though, and hell, if there isn't an album to buy then an EP is the next best thing. The only trouble is that it leaves you often with little to review, as they usually only have four or five tracks. This one has five. You wouldn't expect this at all from an ex-metalcore founder, but I guess that just goes to show that you can't always judge a book by its cover, or an artist by their previous work. This EP is a masterpiece of dark ambient melancholia, while yet retaining enough of an upbeat edge that my wrists are completely free of razor-marks. 

Now admittedly I know nothing of the band called Shai Halud, but apparently they're an American metalcore band which mixes punk, thrash and progressive metal into their music, and Geert van der Velde was their frontman for some years, before he decided to take a course in philosophy, it would appear. During that time he wrote a song for his girlfriend (later wife) which he posted on Myspace and which then got so much interest that a label signed him to produce a whole album. This is the second album as such, although it's an EP. Mind you, I don't know if there's an album to come after this, but I do know that The Black Atlantic's first album is available for download from their website on one of those "pay what you want" deals that are becoming so popular now.

There's a soft gentle acoustic guitar to open "The Aftermath (Of This Unfortunate Event)", and it's very moody and melancholic indeed, with some strange sort of sliding percussion and then a nice electric guitar with the vocal quite folky in tone and not too far removed from progressive rock in places too. Gets a bit more animated as it nears the end of the song, sort of reminds me in places of Travis. Some nice lush keyboard then in the bluesy "The Flooded Road (Built on Sand), van der Gelde gets to exercise his vocals a bit more, stronger and more forceful delivery than in the first. This one reminds me a little of Deacon Blue at their laid back best. Again, strange percussion, this time sounds like it's echoing. Lovely arpeggios on the keys from Matthijs Herder and a fine soft yet insistent little guitar line, then we're into the definitely more upbeat and uptempo title track, with the drums sounding "normal" for the first time in the EP, as they trundle out the beat, and some really effective vocal harmonies on the chorus.

A sweet little piano line from Kim Janssen joined by Geert's guitar, then it all stops for _acapella _vocals for a moment against just the pounding of the drums (sort of like listening to the sea crash against the rocks, very atmospheric) before a solid synth line that reminds me unaccountably of Genesis's "Watcher of the Skies", the opening part anyway. There's a gentle little progressive, pastoral feel to "An Archer, a Dancer", and it's a slower song but some hard percussion cutting in ups the tempo slightly before it drops back to its original folky feel. The members of The Black Atlantic all appear to be multi-instrumentalists (bastards!) : as they all seem to play about three instruments at a minimum, from guitar and piano to percussion and ukulele! Well, all except the drummer. Very talented bunch. The song gets a little psychedelic near the end, falling into something of a Beatles vibe, and certainly seems the most upbeat of the tracks.

[video=youtube;G-Zv5oSSVIE]https://www.youtube.com/watch?v=G-Zv5oSSVIE[/video]

And all too soon we're into the closing track, as "Quiet, Humble Man" brings the curtain down with a beautiful little ballad right out of the early Genesis playbook, rippling soft guitar and flute, muted percussion and a really, again, pastoral feel. A lovely little laid back track with a ton of passion in the vocal and a really nice way to end the EP. Just wish there was more.

*TRACKLISTING*

1. The Aftermath (Of This Unfortunate Event)
2. The Flooded Road (Built on Sand)
3. Darkling, I Listen
4. An Archer, a Dancer
5. Quiet, Humble Man

Actually, there is, because as I say there's another album. It's available from their website, The Black Atlantic (you should go there, if only to see the video running live on the page) and you can purchase it; they now have a set price structure but it's still very reasonable. I'll be watching for more from these guys, and once I get their first album downloaded and have a few listens to it, expect a review here in the not too distant future.


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## BadHouses (Sep 26, 2019)

I would just like to interject to thank you for these posts. I love the write ups, but on top of that thank you, thank you, thank you for introducing me to Jeff Wayne's War of the World's.  It is spectacular! I can't remember the last time I was introduced to something I've enjoyed so much. One of my favourite stories turned into a rock epic? Thank you. Again.


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## Trollheart (Sep 26, 2019)

BadHouses said:


> I would just like to interject to thank you for these posts. I love the write ups, but on top of that thank you, thank you, thank you for introducing me to Jeff Wayne's War of the World's.  It is spectacular! I can't remember the last time I was introduced to something I've enjoyed so much. One of my favourite stories turned into a rock epic? Thank you. Again.


You're very welcome. It's a pleasure to point someone in the direction of such a classic and epic album. I wish I could enjoy it first time all over again. May it bring you many years of happiness. And thanks for reading.


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## Trollheart (Sep 26, 2019)

*Dancing Down the Stony Road --- Chris Rea -- 2002 (Edel)*

What would you do if you were diagnosed with a major life-threatening disease, and then beat it, getting a second chance at life? For Chris Rea, this question was put to him in 2001, when he was told he was suffering from pancreatic cancer, and was in very real danger of dying.  Spending six months at home recovering after successful treatments, Rea says that he began to re-evaluate his life, and his work. He had become known for pop/rock anthems such as "Stainsby Girls", "Auberge", "Wired to the Moon" and of course "Fool (If You Think It's Over)", made more successful by Elkie Brooks. But his first love had always been the blues, and when he came face-to-face with his own fragile mortality, and realised once and for all how short life is, he decided to forget about the charts and rock music and concentrate on making albums of blues music.

One of these efforts was Herculean to say the least: an eleven-disc box set of blues-inspired songs, containing artwork all created by him. But prior to that he released his first album since recovering from his illness. In  2002 he returned for the first time to his blues roots, with an  album of original material inspired by his blues heroes. I haven't heard all his albums, though I do have a lot of them, and I've yet to take the plunge and purchase _Blue Guitars_, but this definitely ranks for me right up there with his very best, like _Dancing with Strangers, Wired to the Moon_ and _King of the Beach_. It's different, certainly, but at its heart it's the Chris Rea I know and love.

His familiar but normally only sporadically-used slide guitar is the first thing you hear, very Delta blues in sound on the opener "Easy Rider", and it's almost a minute before muted percussion and bass hit in, then Chris's voice - which listening to this you immediately realise was born to sing the blues - comes in with some fine harmonica deepening the blues feel and some serious work on the slide, piano thumping in and the whole thing comes to a powerful climax in the fourth minute of the five the song runs for, then sort of tailing away at the end. More wild slide in the title track, with the addition of banjo and what sounds like a jew's harp but probably isn't. It's another slowburner with a certain sense of bluegrass about it, and some of the most heartfelt lyrics: _"Me and Katy/ We go dancin' down that stony road/ To see her laughin' through the pain/ Such a heavy load."_

The tempo kicks up then for "Dancing My Blues Away" with some top-notch accordion courtesy of Ed Hession, a real flavour of bands like The Waterboys or the Hooters in it, very celtic feel about it, then "Catfish Girl" keeps things upbeat while still pulling back on the throttle a little. More bluegrass style to this, with chunky banjo and some honky-tonk piano, some more cool harmonica but possibly could have a better end considering how it builds up; slight disappointment I feel. Banjo and harmonica take the lead for "Burning Feet", and it's a pretty low-key song that yet smoulders, Rea's voice matching the mood of the song perfectly. Trilling piano leads in "Slowdance", with a great thumping bass line, as Rea recalls when he first heard the blues. A wah-wah pedal on the guitar adds a smoky feel to the song and when it explodes in the last minute the guitar goes into overdrive, almost screaming for mercy. 

[video=youtube;RcNDy3j1l5M]https://www.youtube.com/watch?v=RcNDy3j1l5M&amp;list=PL7P1WmoitGdg0lIvGeKaRYvH  DIMxwqsVQ[/video]

There's a super little slide guitar instrumental in the appropriately-named "Segway", which is essentially a continuation of "Slowdance" to take us into "Mississippi", - the second of his songs to bear the title - with an appropriate shimmy on the harmonica then marching drums followed by strident banjo joined by Chicago blues guitar and for a minute I think I've put on a Rory Gallagher album by accident. Till Chris starts singing of course. The song pounds along like a parade, a joyful celebration and return to the hometown (though of course Rea is an Englishman; still, he's not the only one to profess a love for and an affinity with the USA). The banjo keeps up a constant melody throughout the song and is supplemented by the guitar with dashes of harmonica all over the place. Big, loud and proud is how you'd have to describe this song. 

By contrast, "So Lonely" is a droning dirge almost entirely on the slide guitar, with very little in the way of a lyric to be honest, and a little below par. It is however quite short and the first disc ends on a stunner, the six-minute "Heading for the City", a real anthem that starts off on simple guitar with separate notes on the piano before the melody begins to establish itself as Rea comes in on the vocal, the lyrical content somewhat similar to "Looking for a Rainbow" off _The Road to Hell_. The piano actually develops into quite a Supertramp style before the tune ramps up on the back of organ and rising guitar, boogeying along nicely as the tempo picks up, a big guitar and organ finish to take us to the midway point through this two-disc set.

A humming little bass and gospel-style piano take us into disc two as "Ride On" sweeps in on the wings of sultry slide guitar, and Gerry Moore's banjo comes in to add its own country/bluegrass flavour to the song, one of the standouts on either disc. Sadly, things take a serious turn for the worse with the truly awful "When the Good Lord Talked to Jesus", which is just dour and depressing, almost acoustic with  dark vocal from Rea, and not a bad idea but it gets overplayed and stretched out to breaking point. Mind you it seems to be about parental abuse so I guess the tone suits the lyrical subject matter, but damn it's depressing and I'm glad when it's over. Still, this is supposed to be the blues so what ya gonna do? 

Luckily that's the last low point on an album that, to be fair, it has to be said has very few. "Qualified" trips along on a bluesy harmonica and piano line, while there's joyful gospel in "Sun is Rising", which opens on sultry slide and again almost acoustic in its barebones style before the piano and percussion cut in as the song takes a serious upswing, like a sort of "darkest before the dawn" idea. Thick, swirling organ comes in to ride along beside the happy piano and joyful guitar with harmonica jumping on for the trip too, and the song is a real example of going almost from one extreme to another, ending far different to the way it began. Also another standout. Great little ballad then in "Some Day My Peace Will Come", soft piano and trilling banjo in almost a mandolin-style and an impassioned vocal from Chris as organ builds in the background, with a real sense of loss and regret in the slowburn "Got to be Moving On" before Chris reaffirms his decision to change his life perhaps in "Ain't Going Down This Way", a real swinger with great guitar and a rhythm that just makes you want to move.

If you take the two discs as one work, then the closer for the whole thing perhaps bookends the two sides of his musical career, his music if you like pre-cancer and that which he explored after surviving the tumour. If you look at it as two albums, the first one closed powerfully while the second is more understated, more like gently closing a door on a sleeping child than slamming it shut. But before that we've got two more tracks to go, and "Changing Times" is just a nice, uptempo fun rocker with a great Gallagheresque guitar riff running through it, while "The Hustler" has a great country vibe about it with a generous dollop of "Roadhouse Blues" and really does punch above its weight. To be fair the closer isn't bad. It's a nice relaxing ballad in the mould of “Seabird" from his_ Deltics_ album, but it just seems to sort of break the blues theme of the album, and nods back, as I say, to his earlier material. Nothing wrong with that, but given that he's already decided not to record any more of that sort of music, it's odd to say the least that he includes such a song on the album, and indeed, the last track on it.

*TRACK LISTING*

*Disc 1*
1. Easy Rider
2. Stony Road
3. Dancing My Blues Away
4. Catfish Girl
5. Burning Feet
6. Slowdance
7. Segway
8. Mississippi
9. So Lonely
10. Heading for the City

*Disc 2*
1. Ride On
2. When the Good Lord Talked to Jesus
3. Qualified
4. Sun is Rising
5. Someday My Peace Will Come
6. Got to be Moving On
7. Ain't Going Down This Way
8. Changing Times
9. The Hustler
10. Give That Girl a Diamond

In 2005 Chris Rea decided, and announced, that he would no longer record under his own name. He was not going to retire from music, _per se_, but would continue to write, record and tour under the name of the band he had put together, Memphis Fireflies. He also created a fictional band called The Delmonts under whose name he toured his 2007 release, _The Return of the Fabulous Hofner Bluenotes_. But Chris Rea, as a solo artiste, would appear to have called it a day. You can't blame him, with shocking, lifechanging news like that: it's a wonder indeed that he didn't hang up his guitar completely. 

On the basis of this album, some of his finest and most personal work to date, I'm damn glad he didn't.


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## Trollheart (Sep 26, 2019)

*

Arc of a Diver --- Steve Winwood --- 1980 (Island)*

Although a successful member of many bands including Traffic, the Spencer Davis Group and Blind Faith, Steve Winwood will always be known for two hit singles, "Valerie" (which is forever enshrined now in the disco sampled hit "Call On Me") and "While You See a Chance", my  favourite of the two. It was for this song that I remember buying this album, knowing nothing about Winwood at the time except for his other single (and at the time there was no sign of Eric whatisface on the horizon) and to be honest I think I just listened to that track and more or less glossed over the rest. Of course, I was younger then and quite impatient, and the album had been cheap, having been bought second hand, but it did allow me to listen to the full-length  version of the single, so I was happy. But what of the rest of the album? Is it as good as the single, or does it survive merely on the strength of that one track? Time to find out.

It only has seven tracks - back then, most or many vinyl albums would have a maximum of eight, because that was as much as the technology of the time could fit onto the grooves of the platter that formed the disc of the record: four per side. Of course, sometimes there were more but it always seemed like maybe the sound then wasn't quite right. The result of this was that if a band released an album with more than eight tracks it usually became a double album, though of course as I say that was by no means set in stone, just something I definitely encountered with my first albums from the likes of Supertramp, ELO and Genesis. This album would probably also be seen as not great value, coming in at about thirty-six minutes in total. Compared to albums these days that can run to seventy or more, that's pretty poor, but this was the eighties.

_Arc of a Diver _is pretty unique in that Winwood does _everything_ on it himself. And I mean everything. He plays all instruments, sings lead and backing vocals, produces and mixes the album, and probably went out on the streets flogging it to the public. Well, not the last, but it's the archetypal one-man-show, at a time when most bands were employing big name producers, session men and even orchestras to play on their albums. That single opens the album and it's just fantastic to hear again, opening with a smooth soft sax and keyboard melody before it kicks into an uptempo pop anthem, Winwood's voice completely distinctive and some fine organ in there from him too. The only time he shared any duties seems to have been on writing the lyrics, most of which were co-written by Will Jennings, though Steve writes all the music solo. It was his big breakthrough album, giving him a top ten hit single and sending him on his way to stardom as a solo artiste in his own right.

Great sax solo and some fine guitar too, and it's pretty amazing to think everything we're hearing here is the one guy, but once "While You See a Chance" fades out, what are we left with? Well, a sharp funky guitar and bass introduce the title track, with some solid keyboard and horns, a song with a beat that just cries out for handclaps from the audience when played live. Very sharp synth and stabbing organ and it has a nice funk vibe but I can see why I lost interest in my youth. It's nothing like "While You See a Chance", and to my younger more naive self this would have been a big letdown. Nice guitar riffs there, Steve, while we're at it. Yeah, when I listened to an album for the first time and had bought it based on a single, I used to expect to hear pretty much the same sort of thing all the way through. Even now, I don't hate but I really don't like "Arc of a Diver": it's a complete change of tone and direction into something that I know at the time I would have considered far too disco or dancy for my tastes. And I sort of still can see that point to be honest.

Interesting piece of trivia: this track was co-written with Vivian Stanshall, who is that voice you hear counting off the instruments on the final stages of Mike Oldfield's masterwork, _Tubular Bells_. Thanks, Wiki! More kind of dancy disco music with a sort of semi-progressive rock feel in "Second Hand Woman", and I have to admit I'm still not feeling very impressed, though there's a nice reprise of the keyboard riff from "While You See a Chance", which is nice, though it doesn't last; it's just thrown in really. Can't say I like this either really. "Slowdown Sundown" at least has some nice acoustic guitar and a sort of mediterranean feel about it, great piano and organ combination, and true to its title it's a ballad, perhaps the only one on the album. Certainly the first time anything has caught my attention since the opener.

[video=youtube;DIYrq94kEeM]https://www.youtube.com/watch?v=DIYrq94kEeM&amp;list=PL94gOvpr5yt3SVpj1UhczCyy  9ROGgmS2j[/video]

So that's two out of seven, so far. Not a great ratio, but considering I think I paid two ninety-nine for the album at the time, to get two decent tracks is not the worst of returns. And there are still three tracks to go, so we could be doing better yet, who knows? The song picks up near the end with again a sort of return to the basic organ melody of the opener, then slows back down, and in fairness Winwood's voice is really up there with the greats. Excellent solo on the keys as we head into the last two minutes, and a nice warbly organ outro that puts me in mind of Chris Rea, with soulful sax and guitar taking us into "Spanish Dancer".

A great piano line joining the melody and a busy bass pattern with some almost Vangelis touches on the piano, it's a mid-paced groove with a really nice vibe, the tempo picking up a little and again I hear echoes of Rea in there. Sort of violin-like sounds on the keys, nice funky little rhythm building. I'd have to say I like this as well. So that's slightly less than half the album. Not doing too badly after all. "Night Train" is the longest track on the album, just shy of eight minutes, but I have to say I don't like the dancy, almost techno feeling of the first minute or so. I think the idea though it to create the impression of a train moving along the tracks, and I can hear this coming through if I look past the disco sound. Nice touches on the guitar, backed with some lush synth, the vocal coming in almost on the second minute, a kind of ABBA feel to it. Then a sort of new wave synth line washes over everything with some dancy piano added in, and a funky riff kept up by the guitar and bass. It's not half bad, to be fair. Will I stick eight minutes of it, that's the question?

Pretty slick guitar solo, have to say, and I'm surprised to note we're already in the sixth minute and heading into the seventh. So, it hasn't been such an ordeal after all. A bit repetitive, if I'm honest, but not so much that you'd notice or get annoyed by it. Good groove all the way through really, and we're already fading out. Yeah, I think I could grow to like this. I certainly don't hate it. That leaves us with just the one track to go, and "Dust" comes across as quite prog rock again, slowing things down with what may be a ballad with some soft piano and swirling synth. Right, well it's not so much a ballad, and if I had to compare this to anything I think it might be mid-seventies Eagles. That's the kind of feeling I get from it. And again I don't hate it. It's not the worst closer I've ever heard, and it has a nice relaxed thing going on, but it just kind of drifts by, not really marking the end of the album but just letting it fade out.

*TRACK LISTING*

1. While You See a Chance
2. Arc of a Diver
3. Second Hand Woman
4. Slowdown Sundown
5. Spanish Dancer
6. Night Train
7. Dust

I can see why twenty-something me was bored with and disappointed by this album. There's little really to rival the opener, his big hit single, and though there are good tracks after it they never quite measure up to the promise of that classic first track. Digging deeper though, and knowing now what I know, it's a pretty amazing album. Created, played and produced by one guy, and yet it catapulted him into the charts and made him a household name for those who did not know of him from the bands he had been involved with. These days of course anyone can do this with a little talent, a synth and YouTube, but back then there was none of this technology, and more to the point no avenues to quick success like that. It's a tribute to the man's talent and probably perseverance that he made this such a successful and chartworthy album.

But it still would not then, nor does it now, tempt me to try other albums by him. Sometimes you just latch on to one or two songs from an artist and are not interested in the rest of their work, and while I do now have a deeper appreciation for this album, it's still one that will rarely, if ever, get another spin from me. But it's been an interesting trip down a somewhat pitted and badly-lit memory lane, and a reminder of how far personally I believe I have come in my willingness to give music a fair chance. Back then, I wanted it all to basically sound the same, and was dismayed and annoyed when it didn't. As Roger Daltrey once crooned: "Ooh, I know better now..."

Kind of.


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## Trollheart (Sep 26, 2019)

*Flaunt the Imperfection --- China Crisis --- 1985 (Virgin)
*
Another band whose singles I know but whose albums I have heard not one of. I have to say though, pretty much everything that I have heard from them to date I have enjoyed; whether that will turn out to be that the singles were all just their best output and the albums largely uninteresting I don't know, but you can't really judge any artist by their singles. Sometimes the songs released are not that typical of the band's usual output, and are chosen as being the most commercial and therefore the ones most likely to make an impact in the charts, thereby raising the profile of the artist, while other, often more experimental or interesting or just atypical tracks are left on the albums, to be heard only by those who are sufficiently interested to buy them.

It never really struck me to go buy one of China Crisis's albums, and even now I'm maybe not expecting all that much. Seems like their last recorded output was almost twenty years ago now, so are they still around? Well, yes they are, but since the late nineties they seem to have concentrated on live work only, with pretty much the two founder members forming the mainstay of the band, while others -  both previous and new members - have come and gone in a fairly fluid state of affairs. Looks like their last concert was a sell-out last year though, and not in a bad way, so I wouldn't count them out just yet. Who knows? Maybe they'll come back with a new album soon.

But for now, this is what we have to judge them by. One of their more successful efforts, it cracked the top twenty in the album charts and also yielded them three singles, though only two were successful. Of those, though, one hit the top twenty and one just inside that; their biggest hit single was "Wishful Thinking" from the prior album _Working with Fire and Steel_. This starts off with, perhaps appropriately, an almost oriental melody as "The Highest High" gets us underway, an uptempo pop song with some nice keyboards and the by-now familiar voice of Gary Daly sounding to my mind very like Francis Dunnery from It Bites. There's a nice pleasant whistling sound set up by the synth, with soft, laid back drumming and rippling piano, a slick little bass line and it's a good opener. It's typical of a lot of the, shall we say, inoffensive pop of the eighties, not meaning to be scathing here or anything. It just doesn't punch you as some of the music from that era did; there are no heavy political messages, just some guys having a good time making music. And there's nothing wrong with that at all.

[video=youtube;ZnhMoL8Kaz0]https://www.youtube.com/watch?v=ZnhMoL8Kaz0&amp;list=PL8zLdpCF2IRi0-ZiYeOIQcZMe6_n8Wjg9[/video]

"Strength of Character" starts on some high guitar and flowing piano and synth, much slower and more relaxed than the opener, though there's a sort of faster percussion set up within the song. It again reminds me of Paul Muggleton's best work with Judie Tzuke in the late seventies and early eighties. Super little bit of sax work from Steve Gregory, then one of the less successful singles from this album is up next, with a nice funky guitar and bass line: I always liked "You Did Cut Me" (despite the incorrect grammar) and it bops along nicely, again with some great sax from Gregory, smooth keys from Daly, and a nice arrangement of brass giving the song something of a soul vibe. Great restrained little guitar solo from Eddie Lundon too. The song has a lovely little hook which really should have seen it go further in the charts than it did. That statement can't be levelled though at "Black Man Ray" which was the biggest hit from this album, and China Crisis's second-highest chart placement. 

Built on a new-wave, almost Yazoo-style bass line and some perky piano, it's a cool little ballad that trips along on the gentle vocal of Gary Daly, again with a great hook in it, and a wonderful little, again oriental almost, keyboard riff that really forms the chorus without any words. Lundon also gets in a really slick little guitar solo, but it kind of fades out a little too weakly for my tastes, taking us into "Wall of God", which opens with an almost orchestral synth introduction then pumps the tempo back up to the level of the opener, a very upbeat little song again driven on a great bass line with some flowing keys and percussion that ticks along without getting overbearing. Very new-wave style keyboard solo, somewhat reminiscent of Depeche Mode or Fiction Factory, then Lundon rips off another fine guitar solo, and the oriental type piano returns. Gary Daly's vocal throughout rides above everything, the focus of your attention, his voice a little high and lilting in that almost-feminine sound many new wave vocalists of the time seemed to have.

This one ends much better, although it too fades, on a great combined guitar and keyboard solo, and we're into "Gift of Freedom" which opens with staccato, jerking synth then jumps into a mid-paced rhythm with solid keys and sharp guitar. It picks up pace soon after opening though and becomes a pretty upbeat song with a really nice vocal line. There is something more approaching a message in this song as Daly croons _"Will this whole damn world/ Fall down?/ Before we learn to share/ What we've found?"_ Again, nice use of the brass section here, then the final hit single keeps the tempo high, in fact upping it considerably as "King in a Catholic Style" runs on what sound like pan pipes on speed, but is obviously synthesiser, hollow almost African drumming which is then joined by a superb little bass and an almost hurried vocal from Daly. Nice rippling piano on the chorus, and the drumming is now more natural and skipping along nicely. Lundon shows here what he can do on the guitar, delivering one of the best solos on the album so far. The song is through driven on the uptempo keyboard line, everything coming right back down then for the slower but yet poppy (and again grammatically wanting) "Bigger the Punch I'm Feeling", which has I feel something of a Level 42 taste to it. 

Nice jazzy guitar in this, and though I hate that handclap drumming it works well here and doesn't annoy me. Some lovely keyboard work from Daly in addition to his fine vocal, and more smooth contributions from the brass section, particularly Steve Gregory. Great backing vocals on this too. It ends on another slick little guitar piece from Eddie Lundon, taking us into "The World Spins, I'm Part of It", with an almost Genesisesque keyboard line which then metamorphoses into an uptempo, boppy song with the odd trace of calypso in there somewhere. Another star turn for the guys on the trumpets, sax and 'bones, it also has some squeaky keyboard from Daly which kind of resembles a harmonica sound with a pitch bend or something on it. Not my favourite track I must admit, but not bad. The album then closes on "Blue Sea", a soft atmospheric synth with attendant sax and sparkling piano, very laid back and relaxed, though to be fair I wouldn't call this a ballad. Strange in a way, that none of the ten tracks on this album other than "Black Man Ray" could be classed as a ballad. I would have expected more. Nevertheless, this is a gentle and tranquil way to end the album, and overall I must say I'm rather impressed.

*TRACK LISTING*

1. The Highest High
2. Strength of Character
3. You Did Cut Me
4. Black Man Ray
5. Wall of God
6. Gift of Freedom
7. King in a Catholic Style (Wake Up)
8. Bigger the Punch I'm Feeling
9. The World Spins, I'm Part of It
10. Blue Sea

So would I become a fan of China Crisis? I wouldn't go that far, but I'd certainly listen to some more of their output. There's nothing here that disappoints me or turns me off, and in general I'm pretty satisfied with what I've heard. No massive revelations, no sudden impulse to log on and purchase all of their material, and no huge desire that they should release anything new. But I can see why they were so popular back in the eighties; in fact, given their somewhat limited success in the charts I wonder they weren't better known and liked. Maybe they just didn't stand out from the crowd enough to mark them as really special. In fairness I'd probably agree with that. Good music, good band, but in the end perhaps lacking that certain x-factor that would make them a great band, and a must-listen.


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## Trollheart (Sep 26, 2019)

Another of those albums that changed my life. Well, perhaps not quite. After all, it wouldn't be right or accurate to say that every album I feature here had a profound effect on me, but each one is nevertheless carefully picked to reflect an influence that was exerted on, or opened up to me by listening to the album in question, and each is recalled with fondness and in some cases gratitude. Each evokes particular memories, and when played can transport me back to an earlier, simpler time in my life when I didn't have to deal with the sort of issues I do now.

This next one certainly fits that bill, and like Jeff Wayne’s _War of the Worlds_, already reviewed,  it also brings to mind the memory of my late best friend, who loved this album too. I always think of him when I listen to it, which admittedly isn't that often. It's the sort of album you can really get into, but not that you would listen to once a month or even once a year. You really have to be in the mood for it. It's also the kind of recording you can't really break up and listen to piecemeal: it's an all-encompassing experience, and you're best treating it as a sort of electronic symphony (which is really what it is), one piece of music that flows almost without pause or break from the one track into the other, only broken - in my case, originally - by having to flip over the record, which these days of course you don't have to do. So you can let it soak into you, wash over you and like the title of the album itself, you can breathe it in and let it fill your lungs, your heart, your mind and your soul.

*Oxygene --- Jean Michel Jarre --- 1976 (Disques Dreyfus)*







Hailed by many as the first real electronic synthesiser composition, _Oxygene_ has gone down in history as Jean Michel Jarre's most popular and recognised album, the only one to give him a hit single and the one that also afforded him his big break. Released purely on a gamble by his record label, it went on to sell over fifteen million copies worldwide, and its cover, a painting by Michael Granger, has become one of the most iconic images of the seventies. It's pretty incredible too to think that this masterpiece was achieved without the aid of digital technology, multi-tracking or any of the high-tech doodads albums are typically created with these days. Jarre played all instruments, wrote all the music and produced the album, and used only analogue synthesisers, yet makes them sound as state of the art as today's best.

Of course, like all his work it's completely instrumental, and so presents something of a challenge to me as a reviewer, but I know the album intimately, so I don't think I'll have too much trouble getting across the various moods and tempos and communicating to you (if you don't know the album) how extraordinary a suite it is. Of course synthesisers are pretty much all you'll hear, and there are echoing, swirly ones to start the first part off, with a kind of deep, cavernous quality to them, then a deeper, more sustained tone comes through, with little bubbly flashes of faster synthwork climbing up them like squirrels scampering up a tree. Then a sort of wailing, keening sound takes over, almost like a phantom haunting the melody, a little like a violin with a lot of vibrato on it, and there's a great sense of space and openness about this opening part. Every so often little flurries fly off the main melody, similar perhaps to prominences being thrown off the surface of the sun, or perhaps ripples expanding across a pool, eventually widening to the point where they disappear. Suddenly, about halfway through out of nowhere a big bassy booming synth sounds, and the music takes a slightly more dramatic turn, with some phrases that remind me of Vangelis's work on _Heaven and Hell _sliding in and out too.

Fanfares ring out but then fade back and the original, softer melody returns, this time with birdsong and the sounds of water running as the first part heads towards its conclusion. The big sweeping synth that opened the piece maintains its control to the end, with spacey sounds flitting here and there, a sound like wild dogs howling in the distance, then part two comes to life on a rippling, pulsing synth that for pretty much the first time brings in a sense of percussion to the music as a thrumming, upbeat bass line joins the melody, the spacey sounds continuing on as a higher-register synth holds the line, till suddenly a boppy, bubbly keyboard throws in a new melody, quite catchy and almost dancy as percussion flies in with drum pads and more sounds flying back and forth almost like an interstellar war with lasers buzzing all over the place. A high keyboard arpeggio then takes the tune, carrying it towards another change as low synth remains in the background then the tempo gets very upbeat and rocks along nicely with another synth almost whistling the line as it joins in.

[video=youtube;JEOxKMEfsQc]https://www.youtube.com/watch?v=JEOxKMEfsQc[/video]

It's rather amazing to think that this was all recorded on an eight-track recorder by Jarre. Eight tracks! When nowadays even twenty-four seems inadequate to most musicians. It certainly sounds like more though as he layers the sounds one on top of another without masking or drowning out any of them. Choral voices now join the melody as the boppy keyboard drops back and though the percussion still  nips smartly along, the main synth melody is slowing down now, giving way to wind effects and the sound of waves crashing. As even the voices fade the effects carry us into part three, where an ominous organ-like sound rises, some discordant piano behind it, then a big bassy synth that takes the melody in a slower, more majestic direction. High piano notes are joined by slow, measured percussion and the choral voices return in a much higher octave, rather like the ghostly noises that marked the opening piece. This is the shortest of all the tracks on the album, just shy of three and a half minutes, and it leads into the famous "Part IV", which gave Jarre his hit single and lifted electronic music out of the realm of the obscure and into the charts.

It's likely you know this one anyway: a high-powered, uptempo almost dancy piece that opens on soft but insistent vibe like notes and wind sounds before the percussion takes it and it rocks along on an upbeat keyboard motif in a tune which has become synonymous with Jarre. Little hissing sounds, like meteors falling to Earth, slide by and away as the main melody continues, then another synth builds up the layers of the tune, adding its voice before a strangely distorted piano sound comes in too, and the main melody reasserts itself. Ironically, of all the six tracks on the album, "Part IV" is probably the least adventurous, as it maintains more or less the same melody throughout, quite simple in comparison to the other parts on the album. But it caught the imagination, and was certainly the impetus for me to shell out on this album, which I've never regretted.

"Part V" then is the longest by a country mile, over ten minutes and comes in on the sound of what sounds like bubbling pools, water dripping down from caves on an alien planet, then a nice sedate synth line takes over the melody, more like an organ really, with everything else dropping away as this keyboard runs solo. There's an almost hymnal, sepulchral feel to the music, the thought that it would not be out of place being played in a church. That's for the first nearly four minutes, before thick bass comes in to join the melody, giving it something of a harder edge, slowly taking over from the organ and its attendant piano which has sneaked in almost unnoticed to join the piece. Then as the music reaches its halfway point fast, clicking, uptempo percussion rather like corn popping slips in joined by a running bass line that changes the whole shape of the piece, making it a much more upbeat and faster track. Some rippling keyboard is overlaid on this, again a violin-like sound though this time without the vibrato, and now the piece resembles "Part IV" a little; it's certainly come to life.
_
Glissandos_ and arpeggios abound as the banks of synthesisers flow over the piece, the "popcorn" percussion and pulsing, tripping bass keeping the tempo high. The sounds of surf crashing returns as the piece comes to its end and the thrumming bass takes us into part VI, the closing movement, with the wave sounds and loud, echoey almost breathing sounds slowly joined by conga-style percussion, then a low, droning synth washes over everything, another setting up the main melody in counterpoint, while the waves and crashing sounds continue in the background. A bassier synth runs the main melody as the droning one slips back a little, and swirling sounds float about in the atmosphere of the piece. With a last run on the higher-register synth the track begins to wind down, fading at the last in a wash of wind sounds, waves and crashing breakers.

*TRACK LISTING*

1. Oxygene Part I
2. Oxygene Part II
3. Oxygene Part III
4. Oxygene Part IV
5. Oxygene Part V
6. Oxygene Part VI

Although this was Jarre's third album, his previous two were a movie soundtrack and some library music, which was never officially released, so in effect _Oxygene_ stands as his first "proper" album. Since then he has of course  gone on to score major hits with a total of fifteen albums, not including soundtracks. But although his popularity soared in the seventies and eighties - mostly on the back of his amazing laser lightshows - he never reached the heights of commercial chart success he did on this album. He did release a followup to it, in 1997, called _Oxygene 7-13_, but this album still stands alone in his catalogue as a unique and major achievement. The world of electronic music was at the time more or less in its infancy, with artistes like Vangelis and, to some extent, Mike Oldfield, leading the way, but the success of _Oxygene_ raised awareness of and interest in purely electronic, instrumental music, and the fact that a hit single could come from such an album was not only a surprise, but a marker for things to come.


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## Trollheart (Sep 26, 2019)

*Quatro --- Suzi Quatro --- 1974 (RAK)*

My very first rock and roll female crush, and that of thousands or more of hormones-raging teenage boys, was this lady. The first major female rock star, certainly the first female bass player to achieve fame on her own merits, Suzi Quatro was ahead of her time. Taking the British charts by storm during the early seventies and eighties she had a string of successful hit singles like "Can the Can", "48 Crash", "Devil Gate Drive" and "If You Can't Give Me Love". For us young rockers of the male persuasion, she epitomised both the allure of hard rock and the pure sex of the female performer. She characteristically wore tight leather outfits that often left little to the imagination (down, Trollheart! Control yourself!) and flouted the image of the archetypal tomboy, a woman - a very sexy woman - breaking into what was mostly considered exclusively male territory. Of course there had been female singers, but even the likes of Stevie Nicks and Kate Bush were more seen as "softer performers", whereas Suzi played as loud and as proud and as raunchy as any of the boys. It's probably fair to say there are more than a few young men who may have been turned on to rock initially through her (ahem) gyrating hips and husky voice.

With at present fourteen studio and numerous live albums to her credit, this is her second and contained one of her big smash hit singles, and it opens with a big statement of intent as she yells _"All my life I wanted to be someone/ And now here I am!"_ kicking off "The Wild One", a big fast rocky uptempo number, not Iggy Pop's song in case you were wondering, or indeed Thin Lizzy's later effort. Like most of her music this is written by the famous songwriting duo of Nicky Chinn and Mike Chapman, who were responsible for all her hit singles. Great bouncy piano and raucous guitar, as well as Suzi's trademark basswork, but it's her distinctive voice that you instantly recognise, though on this song it's a little higher and less raw then it would later become. Her version of "Keep a-knockin'" is prefaced by some advice to young girls about not just "giving it away" to be cool: girl power? Spice Girls? This lady_ started_ it! A real role-model for young girls, she would sadly not have as much influence then as she would have done now, as back then not too many women were into the whole rock thing, certainly not as many as now.

Great guitar solo and it's a real fun song with a slick bass line from Suzi; you really get the idea she's totally enjoying herself and just having a good time, while still trying to deliver a serious message to the youth of the time. The song sounds as if it's live, though I don't think it is. Big heavy crunchy blues drums and a boogie-woogie piano on "Too Big" with Suzi at her sultry, unrepentant best; she'd never apologise for being a woman in what was mostly a man's world, and she could hold her own with the best of them. Perhaps a sly dig at herself, a little self-deprecating humour as she grins _"I'm too big for my boots"_ - oh, those boots! Is it getting hot in here? She has a great blues voice and can sing with the fervour and soul of any of the great masters, this song swaying along carried on the rising wave of her infectious enthusiasm. "Klondyke Kate", the first of three songs she writes herself (well, co-writes) is another boogie number, with a real swinging tempo and some sort of fifties style male backing vocals. You can hear the growl, the little pussycat becoming a lioness now, as Suzi gets into her stride.

A big powerful swirling organ intro to "Savage Silk", on which she cuts back on her vocal for about ten seconds before unleashing the weapon we loved in the seventies, yelling at the top of her voice with real power and passion. More great piano, as well as some stirring organ from Alastair MacKenzie, soft but powerful backing vocals from her drummer and guitarist. This song is slower and more restrained than the others, but still nowhere near a ballad. The organ runs on the song really make it, then Suzi's vocal drops down to a seductive mutter before the song fades out and we're into a bg guitar intro courtesy of Len Tuckey for a storming version of Cliff Richard's "Move it" - sorry, did you just say...? Yeah, Cliff Richard - and somehow she manages to give the song new teeth, kicking it up the arse and rocking out like there's no tomorrow. 

[video=youtube;Irb4zaroJcA]https://www.youtube.com/watch?v=Irb4zaroJcA[/video]

Another cover next in Percy Mayfield's "Hit the Road Jack", where she really turns on the tomboy image; this ain't no shrinking violet you're listening to! While Suzi would never be identified with the harder singers of the punk era, she in some ways advanced the cause for women in rock by simply refusing to just fade into the background as a bass player. Up till she arrived no female bassist had ever achieved solo fame - in fact, I don't even know if there _were _any female bass players - but she changed all that, paving the way for the likes of Sheryl Crow, Joan Jett and a whole host of others. Her version of this song is slower than the more recognised ones, more based around a stuttering guitar from Tuckey and her own clean bass lines. One more cover version then in "Trouble", a watchword for Suzi Q if ever there was one! Surely the woman your mother warned you about, and that your father secretly lusted after! A real blues shuffle this one, with Suzi channelling the ghost of Muddy Waters (yes I know he was alive at the time, but you know what I mean!) with one of her most compelling and powerful performances on the album yet. Janis who? 

It sort of descends into a fast frenetic jam there at the end, as Suzi goes completely crazy on the vocals, MacKenzie matching her on the piano, then another of her own songs, and the first ballad on the album, in "Cat Size", with a lovely lilting piano line from Alastair with what sounds like violin joining in and setting a completely different mood. Very passionate, and shows Suzi could sing gently as well as belt out the rockers. Super little guitar solo from Tuckey, kind of his first real chance to take the spotlight, and he doesn't waste it. Back to the rockin' then with a storming "Shot of Rhythm and Blues", big growly guitar and pulsing bass, electric piano giving the song a certain progressive rock feel, though I could live without the bad Elvis impersonation by one of the band, don't know who. The last song on the album on which she has a writing input is "Friday", and though it's okay I have to admit it's not up to too much. Still, the album ends powerfully on that big hit single, again a Chinn/Chapman composition which you may know if you're as old as me. "Devil Gate Drive" was one of her huge hits _(I said HITS!)_  and it just punches your face in and takes your breath away with its raw energy and power, Suzi jumping all over the place and screaming at the top of her voice, she and the band obviously having a great time. The song actually reached number one, being one of her two singles to do so, and it's a storming way to close the album.

*TRACK LISTING*

1. The Wild One
2. Keep a-knockin'
3. Too Big
4. Klondyke Kate
5. Savage Silk
6. Move It
7. Hit the Road Jack
8. Trouble
9. Cat Size
10. Shot of Rhythm and Blues
11. Friday
12. Devil Gate Drive

Think of all the female rockers you love; those who front bands, those who have come out from bands to make a solo career, even all-girl bands like The Bangles and No Doubt. I'm not saying these people would not have achieved fame without Suzi blazing the trail for them, but there's no question that she was a trendsetter and a woman who took on the male-dominated music world to push the bass guitar front and centre for women, and prove that girls could be more than just pretty backing singers, and could rock just as hard, loud and long as the boys! God bless 'er!


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## Trollheart (Sep 26, 2019)

*One Eye On the Sunrise --- Nine Stones Close --- 2012 (Prog Rock)*


Conceived originally as a solo project for guitarist Adrian Jones, Nine Stones Close (no, I don't know what it means either, and I don't know if it's "close" as in "close the door" or "close" as in "close to you"...) have had essentially three albums now, though the first one didn't really feature a band as such. This is their second as a full unit, and although I have yet to hear the previous efforts, this album only just barely missed out getting into my top twenty albums of 2012, purely because I decided to listen to it too late and had the list all ready at that stage. But it's definitely one of my "unofficial" favourite albums, another one I found hard to stop playing and move on from once I began listening to it. 

It opens on some weird little electronic noises then a pure, beautiful piano not a million miles removed from Mark Kelly's* best slides in. The soft ambience is suddenly blown apart though by some powerful guitar and punching drumming, as choral voices on the synth join the melody, and "Faceless Angel" becomes one of three instrumentals on the album, with some quite Gilmouresque guitar from Jones to take the song to its tinkling close and into the _very_ Marillion "Secret", so much so that the opening guitar riff is almost identical to "Torch Song" from their 1984 _Clutching At Straws_, the last album with Fish*. Beautiful crying guitar and swirling synth though and a yearning vocal from Marc Atkinson soon pulls the song away from being any sort of a clone or copy, though the somewhat annoyingly familiar riff does run through the track, making me unconsciously sing _"Read some Kerouac/ And it put me on the track/ To burn a little brighter now."_* Try it: it works disturbingly well.

It is though a lovely ballad and a real showcase for the band's tight-knit musicianship, with some powerful backing vocals and another storming solo from Adrian Jones. One of the standouts comes in the form of the dramatic "Janus", with a big instrumental opening, heavy percussion, almost siren-like guitar and thumping bass which runs for nearly half the track's length before some beautiful classical-style piano and soft sizzling synth takes the melody. You might think a six-minute instrumental would drag but it doesn't at all, and the guitar work in this track is truly stunning, displaying Jones's expertise on his instrument of choice. It might seem a bit much to follow this with another instrumental, but "... And Dream of Sleep" is a purely guitar-driven piece, with some violin on synth adding to it, a little percussion but mostly a showcase again for Jones on the guitar. It's soft and folky with a nice little pastoral sound, less than two minutes long, and leads into the title track.

[video=youtube;rBNkMybfhC4]https://www.youtube.com/watch?v=rBNkMybfhC4[/video]

This is in fact almost the longest track on the album, though there is one that beats it out, this one clocking in at over twelve minutes, and starting on something similar to what we have just heard, acoustic folky guitar in a kind of early seventies Genesis vein, with a soft vocal from Atkinson which suddenly gets more powerful and rocky as the whole track takes an upsurge, Brendan Eyre's keyboards laying down some warbly organ and Pieter van Hoorn's drums pounding like breakers on the shore as the song moves into a fast, seventies progressive instrumental phase. Some almost Zeppelin guitar from Jones then as it goes along, until halfway in when it all slows down and returns to the soft guitar of the opening, with some little flute and violin sounds on the keys, something close to _vocalise_ from Marc Atkinson just riding along the edges of the melody. Guitar and bass then begin building as the keys march behind them and the vocals come back in, getting stronger as the song approaches its _denouement._ A big heavy rock ending brings this epic to a close, and we've still another to come!

After that you'd no doubt be expecting a shorter, gentler song, and indeed this is what we get with "Eos", a nice little guitar line complementing Adrian Jones's understated vocal in again, it has to be said, a very Marillion sounding tune with a healthy dose of Floyd in there too. Lovely soft guitar solo and some fine keyboard work, echoing the theme of the opener, "Faceless Angel", and taking us into another long track, the almost ten-minute "The Weight". With a big guitar feedback opening this pulls no punches from the start, a solo kicking it off that you would normally expect to hear around the middle, or even end of most songs. This then drops back to a very introspective (come on! I haven't used that word for a while now!) guitar line and gentle vocal, deep percussion and thick bass then supplementing the tune and fleshing it out more. "The Weight" is followed by "The Distance", with very Steve Rotheryesque* guitar that ventures into sitar territory at times, the vocal this time right out of the Steve Hogarth* playbook. This song, great as it is, could very easily be on a current Marillion album.

In complete contrast however, "Frozen Moment" is like something out of a Van der Graaf Generator or Zep setlist, with heavy squealing guitar and powerful keys, tripping drums and a strong vocal. Starting off rather frenetically it soon settles down into something of a mid-paced groove, and it has indeed time to settle, as it runs for over thirteen minutes. It's got a real dramatic feel to it, very epic with a lot of changes and one of the best vocal performances from Marc Atkinson on the album. Also some great guitar histrionics from Jones, and some expert interplay between he and Eyre on the keys. The album then closes on one more instrumental, a lovely piano and violin piece which goes under the appropriate title of "Sunset", and rather bizarrely puts me in mind of Billy Preston's big hit "With You I'm Born Again". Hidden message?
*
TRACK LISTING*

1. Faceless Angel
2. A Secret
3. Janus
4. ... And Dream of Sleep
5. One Eye On the Sunrise
6. Eos
7. The Weight
8. The Distance
9. Frozen Moment
10. Sunset

I really do love this album and it's been quite a revelation, however I think the band's name may be a little user-unfriendly, perhaps. I would like them and rate them a lot more if there weren't so many strong similarities to Marillion in their music, but then I suppose you have to expect that any band who plays progressive rock is going to have listened to, soaked in and eventually be influenced one way or the other by the greats. Nine Stones Close do at least retain enough individuality to hold their own identity, and like Big Big Train were accused of sounding very Genesis-like, there's probably nobody who doesn't know Marillion's work who would not agree they do sound a lot like them at many times. Mind you, I said this about Knight Area too (and it's true) but that didn't stop me from enjoying the music this band has to offer, nor having no hesitation in naming it one of my favourite albums of 2012.

Don't let it stop you, either.

_*If all these Marillion references mean nothing to you, and you’d like to be enlightened, look for my dedicated Marillion thread, starting soon._


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## Trollheart (Sep 26, 2019)

*Union --- Yes --- 1991 (Arista)*







I'm one of that perhaps rare breed who really has only heard and enjoyed "new" Yes, that is to say, albums from _90125_ on. I'm not one of those who salivates over _Tales from Topographic Oceans, Close to the Edge _or _Going for the One_ - in fact, I've heard very little seventies Yes and what I did hear sounded at the time overblown, overlong, self-indulgent and boring. I could of course be completely wrong in that view; perhaps I should take the time to listen to more classic Yes. However as it stands the albums I like are the eighties and nineties ones, and this is one of the latter. The last, in fact, Yes album I listened to before getting _Fly from Here_, which I have yet to spin.

Some pages back you may remember that I featured the debut - and indeed, only - album from Anderson, Bruford, Wakeman, Howe, which was seen more or less as a sub-supergroup grown organically out of the parent band. Their only album was a triumph, to me, and I was disappointed there was no more. But _Union_ kind of fills the gap, as it features all the ABWH crew as well as the previous members of Yes who were off doing their own thing. In effect, this album was originally meant to be the second release from ABWH, but a thawing of relations between them and Yes resulted in a reconciliation, and they all joined up to play on the album and tour, hence the title. In reality, it was mostly a Yes album, just the one track contributed from the demo sessions for what was to have been the second ABWH album, with the result that this album sounds very little like that one, but it still ranks as one of my favourite Yes records (of those I've heard), yet miles behind both _90125_ and _Big Generator_.

I had always believed_ The Ladder_ followed this, as it was the next Yes album I saw on sale, but apparently there were two more, plus a double live effort in between. I found I was quite disappointed with _The Ladder,_ so really my experience of Yes, album-wise, centres on these four albums, plus the ABWH one. You would think though that with so many people involved - eight in all - and surely massive egos on either side not to mention simmering resentments still smouldering like dull coals in a fire that had not quite been extinguished, chaos would have reigned and a very mismatched, hit-and-miss album would have resulted, but no. I have to say this has a really professional sound and is quite cohesive, so much so that you would barely believe that, say, Rick Wakeman was glowering across his multiple banks of keyboards at Trevor Rabin, or that Chris Squire was making unseen obscene gestures at Bill Bruford. It sounds like an album created by one big happy family, even if that was far from the case.

In contrast to what you could generally regard as the last Yes album, the ABWH one, certainly Jon Anderson's last outing prior to this, _Union _opens much more strongly. Whereas _ABWH _started with Wakeman's piano and keys and it was a few minutes before any vocals came in, Anderson leaves us in no doubt that he is back, and back with a bang. The first thing you hear is his powerful crooning of the song title,  joined by pounding guitar, skittering keys and crunching drums as _I Would Have Waited Forever_ opens the album and gets us going. There's something of a harder edge to this than the ABWH effort, perhaps due to Chris Squire's staccato bass, or indeed the different, more modern guitar work of Trevor Rabin. The famous Yes vocal harmonies are there in abundance, and in many ways this album reminds me more of _Big Generator_ than _ABWH_. Some great guitar work from Rabin indeed, and this leads us into another fast-paced but more crunchy track.

"Shock to the System" comes in on punchy almost Led Zep guitar and a bouncy, echoey drumbeat, a song very much driven on guitar with a great riff running through it and a catchy little hook in the chorus. It slows down near the end for an almost acoustic accompaniment to Anderson's soulful vocal, then takes off again to its powerful conclusion on the back of some fine Wakeman keyboard work. Things slow down then for a Steve Howe showcase on "Masquerade", a little acoustic instrumental that he added to the album at the request of the label, quite a harpsichord sound on it, pretty medieval sounding. Then we're off and running again with "Lift Me Up", one of the highlights on an album that has many. Living up to its title it's a very uplifting, boppy and uptempo song, starting off on sort of popping percussion and wibbly guitar which then powers forward, taking the song into a big progressive rock arpeggio by Rick Wakeman, and it's not until well into the second minute that we hear Anderson's vocal, more impassioned and harder than previously.

[video=youtube;dowTizALxeI]https://www.youtube.com/watch?v=dowTizALxeI[/video]

A sort of sitar sound is created by one of the guitarists, though I couldn't tell you which one, and this runs through the song as it goes along with a big rolling drumbeat carrying it into the extremely hooky chorus with some superb vocal harmonies. Not as fast as "Shock to the System" or the opener, it also has some lovely violin-like synth near the end, and finishes on a big flourishing arpeggio from Wakeman before fading out on clanging guitar from Rabin.A gentle opening then to "Without Hope You Cannot Start the Day", Wakeman's soft piano backing Anderson as he sings gently but with purpose. A sort of gong-like percussion slides along the tune as it slips almost away before coming back with hard guitar and punching drums, almost marching along as the song takes on a whole new shape. More great vocal harmonies as are something of the trademark of Yes, and if this song recalls anything to me it's "Hearts" from _90125_. After it fades out we're treated to yet another standout in the amazing "Saving My Heart", which almost moves along at the pace of a modern waltz at times, with snatches of a reggae or calypso beat thrown in as well. Not quite "Teakbois" from the _ABWH_ album, but there are similarities. 

There's another stupendous hook in the chorus of this song, and with music of this quality I have to wonder, as an outsider, why they wrote such long, rambling compositions in the seventies. Still, before any classic Yes fans lynch me, I'll just leave that comment and move on. This is so commercial that it really could have made a great single, and would maybe have been quite successful: I could definitely hear it playing on the radio. Great guitar solo which has to be Trevor Rabin, and we're into the longest track on the album, though diehard Yes fans will sniff and say that seven minutes is not even an introduction to one of their better-known earlier songs I'm sure! "Miracle of Life" opens with a big, powerful progressive rock run on the keys and blasting guitars, and truth be told, those classic Yes fans who are even now making effigies of me to burn will likely recognise this as the sort of song they've been used to hearing from this band. Everything suddenly stops for a close-harmony vocal that would make Queen envious then it takes off again, and we're about two minutes in before it settles into a new groove and Jon Anderson's vocal comes in.

A real mid-paced rocker, it has everything: big guitar solos, great bridge, harmonies and keyboards, and another truly wonderful hook in the chorus. Some great growling bass work from Chris Squire here too, and a powerful ending that sets the seal on yet another standout. A mixture of solid organ and blistering guitar open "Silent Talking", with Squire's thick bass getting in on the act too. About halfway through it slows down on the back on Anderson's angelic vocal, with backing vocals a little out of phase behind him and ends on a really nice fade, taking us into a heavier keyboard opening as "The More We Live - Let Go" gets, um,  going, a dramatic, almost ominous sound to it, carried mostly on Wakeman's keys. It's a slow, crunchy pace as the song moves along at a stately walk, and reminds me in places of "The Order of the Universe" from the _ABWH_ album; just a bit, here and there. 

In case you don't know, Angkor Wat is a temple in Cambodia, in fact the largest religious building in the world, and also the title of the next track, very much a vehicle for Anderson's vocal delivery, with almost Doors-ish rippling keyboard from Wakeman, sound effects and a murmured spoken passage in some foreign language I don't know (Cambodian?) that recalls Vangelis's "Intergalactic Radio Station" from the album _Direct_. No, you probably won't know it. Very little if any guitar evident, this track is atmospheric and ambient and driven almost entirely by Wakeman and Anderson, an exercise in minimalism and abstraction. Nothing really in the way of percussion either, very ambient. In total contrast everything rocks out then for "(Dangerous) Look in the Light of What You're Searching For", with big dirty guitars and punching drums and almost Art of Noise-style synth from Rick, while for "Holding On" he's right back in control, backing the multi-vocal intro and then Howe's jangling guitars meshing with Rabin's terser one, all coming together to form a fine piece of music. A slower, almost mid-paced track, it's more restrained than most of what has gone before, though the guitarists go a little crazy at the end, which is no bad thing.

And that's almost it. "Evensong" is less than a minute of soft bouncing percussion and keyboard work that sounds like someone dropping a metal ball into a well or something, echoes all over the place, with some grindy, wailing guitar, very short and hardly really deserves the status of a track at all, taking us to the closer, which is "Take the Water to the Mountain", and finishes the album on a high - not that it's ever achieved a low point. You may have noticed that I haven't referred to any bad tracks on this album, and the reason is simple: there are none. Even discounting the tiny little instrumental just past, everything here is top drawer. The closer opens on humming, atmospheric keys and a low Anderson vocal that recalls Peter Gabriel at his most, shall we say, rainforest? It's a slowburner, starting gently but with a definite sense of something building, and in the last minute of the only three it runs for the drums burst in, taking with them an African-style chant and chorus as the song soars to the heavens, squealing guitar holding court and booming electronic synth effects finishing the song off with an echoed vocal that recalls the end of "Birthright" from, yes, you guessed it, the_ Anderson, Bruford, Wakeman, Howe _album.

*TRACK LISTING*

1. I Would Have Waited Forever
2. Shock to the System
3. Masquerade
4. Lift Me Up
5. Without Hope You Cannot Start the Day
6. Saving My Heart
7. Miracle of Life
8. Silent Talking
9. The More We Live - let Go
10. Angkor Wat
11. Dangerous (Look in the Light of What You're Searching For)
12. Holding On
13. Evensong
14. Take the Water to the Mountain

As I said I'm no huge Yes fan, but their later albums really grab me mostly. This I see as the natural progression from the breakup and then reformation of Yes, and there are songs on this album - most of it really - which should and maybe have gone down as classics. It's rare to come across an album that has not one bad track, the more so when it's from a band you're not totally familiar with, and who has a large back catalogue you haven't explored.

So then, in musical terms a perfect union. But was it a permanent one? Sadly no: after the tour to support this album three-quarters of what had been ABWH left the lineup, leaving only the man who has led Yes since the beginning to carry on their legacy, until his medical problems forced him out of the band in 2008, to be replaced by Mystery's Benoit David.

But, no matter what happened after it, there’s one thing that shines through undeniably when you listen to this album, especially when you know the backstory. Whether it’s the case or not, whether, as I said, the boys were just gritting their teeth, heads down and getting on with it, or whether they really enjoyed being back together, the split forgotten and forgiven, the overall feeling I get from this music is one of joy. Pure, unadulterated, uncomplicated happiness, perhaps at being back together, perhaps simply because they enjoyed the songs, but every song seems to breathe its own message of optimism and good humour, the lesson it teaches one of peace and reconciliation.Perhaps, like the title itself, if this album, last to feature the classic Yes lineup, makes a statement it could be that the overall and most important thing to take from this is that life is too short. Bands become like families, and families always forgive.

In the end, no matter what you’ve done, you can always go home.


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## Trollheart (Sep 27, 2019)

*Scoundrel Days --- a-ha --- 1986 (Warner Bros)*

Never quite heard of a band breaking up, presumably forever, then reforming for a specific period. Yes, of course bands “reunite” all the time - usually as an exercise in cold financial exigencies - but to my knowledge, none has ever reformed with the stated intention of breaking up again in a given time frame. So when a-ha broke up in 2010 we all sighed and thought that was the end of them. In the event though, they reformed in 2015 for two years, releasing a new album in the process. The plan had been to break up for good then in 2017, though I guess either the bug of playing together again was too hard to resist or (probably more likely) as usual, money talked, and to date they’re still going.

But whatever the eventual fate of these ambassadors of Norwegian music, they leave behind them some incredible albums, and though they will forever be dogged as "that band that did “Take On Me" there was so much more to them than that one pop song, popular as it was. What a lot of people who don't know them won't realise is that a-ha had some very deep and serious material, and were not really in any way the typical pop or chart band, despite having two number one singles and a slew of other hits. Despite releasing nine studio albums though, their heyday centred around the first three, with their big hits coming from the first two albums, and by 1990, when their fourth was released, they were consigned to the bargain bin of music history, a sad state of affairs and something they did not as a band deserve.

This however comes from their "golden period", when a-ha could really do no wrong. Riding high on the success of _Hunting High and Low_, their debut album, and that phenomenally successful hit single, the boys from Oslo came back with an album that far from being a pop followup desperate to cash-in on and capitalise upon the triple platinum status of the debut, comes across as a mature, well-constructed record that just happens to rain hit singles like a typical day in Ireland. It's one of my favourite a-ha albums, only beaten out for top spot by 2005's _Analogue,_ which I already reviewed. While it's not perfect, it's about as close to it as any a-ha album comes, with only two weak tracks (which could almost be cut to one) and the rest of the songs are so good that they more than compensate for the odd filler.

The album opens with the title track, with a running piano line and synth, then Morten Harkett's voice comes in low but with a sense of urgency as he asks _"Was that somebody screaming? / It wasn't me for sure"_ and there's an ominous sound about the music as it builds, guitar coming in and then hard percussion, then for the chorus it kicks up in tempo and Morton's voice gets stronger and more powerful. I hear a sense of Alex Lifeson in Pal Waaktar's rocky guitar, great heavy drumwork and a lovely piece of orchestral strings with cellos and violins softening but not lessening the tone as the song goes on. It's a powerful opener and ends with a real punch on Harkett's pained vocal and strong synth from Mags Furuholmen, and takes us into "The Swing of Things" on bright piano and bouncy bass with a sort of dancy vibe to it. Percussion from Michael Sturgis frames the middle eighth as the keys of Mags take the melody, with Pal's guitar chiming out in an uptempo, poppy manner while Morten's voice rises above it all; one of the most powerful voices in pop music at the time.

Halfway through the whole thing slows down on the back of soft, lush synth from Mags and Morten's voice drops back in tandem, then the rhythm and tempo slowly come back up, the percussion resurging, Pal's guitar stabbing through the melody and injecting a feel of rock back into it, and the big finish then is a joy to hear as Morten's voice gets rawer, more angry as he snaps _"What have I done?/ What lies I have told! / I've played games with the ones/ That rescued my soul!"_ and on a big synth and drum roll the song ends. Drums then kick in one of the hit singles taken from this album, the rocker "I've Been Losing You" which bops along really well, with a great vocal performance from Morten and some great backing vocals. Quite guitar driven compared to previous tracks, it is one of the rockiest on the album. There's a great build up and then a false ending before the drums hammer back in and the song fades out, perhaps a little unsatisfyingly, it has to be said.

After all that power, we slow right down for the first ballad, and "October" is about as slow and laidback as you can get. Opening on soft wind sounds and distant chiming bells, with a gentle percussion that sounds almost like a distant steam train, it's built on an orchestral-sounding keyboard line from Mags and an almost muttered vocal from Morten, with trumpet and organ sounds meshing in the synth, thumping but almost castanet-style drums. This song demonstrates ably that Harkett can rise to the highest registers, belting out a powerful line, but is equally adept at making his mark with the barest of whispers; truly a unique voice. Some whistling complements the singing and the synthy trumpets as well as Pal's little almost unnoticed guitar touches, and the track ends on an expelled breath and the sound of rushing traffic as we move into another hit single, "Manhattan Skyline".

With an almost harpsichordal piano intro and synth backup, it features another understated vocal performance by Harkett until Waaktaar's guitar snarls in, changing the whole thing, powerful percussion thumping in and Mags' synth squeaking almost in alarm as the tension in the song increases. Harkett's voice rises to meet this change, becoming powerful, soulful and lovelorn at once, crying to the wind almost, a man lost but not without hope. The song features a great guitar solo from Pal Waaktaar, and a slow and powerful ending, leading into yet another hit, the bouncy, poppy "Cry Wolf", which would become a favourite in discos and clubs across Europe. An almost proggy synth opening soon metamorphoses into a dancy pop song with a great hook, though the chorus could possibly have been thought about a lot more: _"Cry wolf/ Oooh!/ Time to worry!"_ Not for a-ha though,(worry, that is!)  as it became a big hit single for them and raised their profile, although perhaps reinforcing the stereotypical view of this versatile band, in the process maybe doing more harm that good in the long run. Not, of course, to their bank balances, though. There's a deal of progressive rock in Furuholmen's synthwork, if you take the time to look for it, and some stellar drumming. 

[video=youtube;qaEcXLFNtUw]https://www.youtube.com/watch?v=qaEcXLFNtUw&amp;list=PLPgBEo-2nhkx8dLl3VKwjbJvwqEQPjrOT[/video]

This is however where the songs begin to disappoint a little, and "We're Looking for the Whales" is a bit silly, though the melody is nice. A big heavy bass gets us underway and some nice effects, but then the chorus gets just totally poppy and quite throwaway, with a lyric that makes it difficult to know what the song is supposed to be about: _"We're looking for / A little bewildered girl/ We're looking for the whales"_ - er, yeah. There's not too much to recommend this song really, other than the fact that it's nowhere near as bad as "Maybe Maybe". But before that we have a much better song, in the frankly excellent "The Weight of the Wind", which just screams class. With a fast, almost funky keyboard and bass line, quite new-wave in its sound, reminding me of Depeche Mode or some band like that, it features another low-key vocal from Harkett, with rolling percussion and sprightly keys, a dramatic atmosphere and some great guitar work from Waaktaar. 

But we can't unfortunately avoid it forever, and "Maybe Maybe" is up next. Sigh. Building on the pop sound of "Cry Wolf", and something of the melody from "We're Looking for the Whales", it's probably the worst track - hell with that, it _is_ the worst track! - on the album, and almost embarrassingly bad. It's a real pity, because without it, and if you could see the occasional flashes of brilliance in "We're Looking for the Whales" and accept it as a "not bad" track, then this could be an album of nothing but high spots, but the reggae-flavoured pop tune just takes the quality down to almost zero. Thankfully it's not long, just over two and a half minutes, with a sub-Genesis eighties keyboard riff and annoying clashing drumming, bit of nice jangly guitar, but it's so different - and not in a good way - to the other songs on the album that you'd be forgiven for thinking it was a cover, or written by someone outside the band, but not so.

Luckily the album recovers from this minor bump and finishes in glorious fashion with the dramatic yet gentle ballad "Soft Rains of April", with a rolling drumbeat that starts in the distance and then comes up in the mix, dragging with it Mags' sonorous synthesiser melody and joined by Morten's gentle, almost breathy voice, the song moving at a stately pace with a real sense of grandeur. When Morten sings _"Is it raining back home? / I'm so alone!"_ you really feel for him. Great piano solo from Mags, backed with lush synth and then the drums pound back in and Morten's voice takes off much more strongly, wounded and alone, crying out his frustration, and the song ends on his _acapella_ whisper: _"Over."_ Stupendous.

*TRACK LISTING*

1. Scoundrel Days
2. The Swing of Things
3. I've Been Losing You
4. October
5. Manhattan Skyline
6. Cry Wolf
7. We're Looking for the Whales
9. The Weight of the Wind
10. Maybe Maybe
11. Soft Rains of April

The heart and devotion put into this album is nothing short of stunning. It is of course often the case that a band's second album can be a real balancing act, as the artist struggles to avoid copying the formula of the debut while yet not departing from it enough to suddenly alienate their new fans. The “second album syndrome” is well known to most artists. Occasionally, however, the sophomore release will eclipse their debut, and this certainly happened here. Though _Hunting High and Low_ had the big hit single on it (and yielded others) I found it a little hit-and-miss; while I wasn't disappointed with it exactly I find I play it a lot less all the way through, whereas _Scoundrel Days_ I can run regularly, even despite the one or two weaker tracks. It's part as I said of a trilogy of albums that bracketed the purple patch a-ha went through, and though some of the other albums were as good, few if any equalled or better this, their second outing. Although they continued to have hits across Europe throughout the nineties and beyond, after 1988's_ Stay On These Roads_ their massive popularity was more or less over. People who wanted more songs like "Take On Me", "The Sun Always Shines On TV", "Cry Wolf" and the later "Touchy" as well as the title track to the third album shied away from later releases like _East of the Sun, West of the Moon _and _Memorial Beach_, and a-ha were left to play music for their fans (of which there were plenty) but never again troubled the top echelons of the charts.

In the US they were even less known, having only the two hits over there, both from the debut. Singles like "Cry Wolf" and "Manhattan Skyline", despite the title of the latter and its reference to New York, went totally unnoticed in the US of A, and over there a-ha would have been considered as a one-hit (or maybe two) wonder. Here, too, their greatest claim to fame and the monkey that remained on their back for ten years was and is "Take On Me". 

Reflecting the often fickle attitude, not of fans, but of your basic record-buying public, those whom in football terms are called the “neutrals”, that song is, for so many people, all a-ha ever achieved, and what they will always be known for, something that continued to haunt them throughout their quarter-century-long career. But this album shows that good as that song was, they were capable of so much more.


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## Trollheart (Sep 27, 2019)

*

Face the Music --- Electric Light Orchestra --- 1975 (Jet)*

I was always a huge ELO fan, even long before I got my first record player (turntable to you, sonny!) and naturally once I did purchase that coveted item - even if it was powered by valves and got so hot it had to be switched off after every record, allowed cool down before being used again! - the albums of ELO were the first I bought. _Discovery, A New World Record_ and of course _Out of the Blue_ were the first ones I got, then for my birthday I was presented with a three-album box set which was comprised of _El Dorado, On the Third Day_ and this one, three albums in chronological order. While I loved _El Dorado _(and still do) and was pretty meh about _On the Third Day_, this album initially scared me, believe it or not, from the opening track. What an idiot! But to hear more and understand why it had that effect on me, read on.

This was the first album to gain substantial sales for the band, giving them their first platinum album, though it failed to chart. It did however yield a future classic in the single "Evil Woman", and was the first of their albums to feature new boys Kelly Groucutt on bass and Melvyn Gale on cello; they would remain with ELO up to 1983 in Groucutt's case and 1979 in Gale's. This album was also one of the only ones to feature a different lead vocal to that of Jeff Lynne, on "Poker", where Groucutt took the mike. _Face the Music _would pave the way for future chart successes _A New World Record, Discovery _and _Out of the Blue_, which throughout the later part of the seventies would give them their biggest hit singles and their first number one album.

So why was I so scared of it? Well, not scared really but uneasy. I've always been averse to horror movies, the more psychological the horror the worse it affects me, and the opener on this album, "Fire On High", is created with that idea in mind; essentially I believe it's meant to conjure up images of Hell. It starts with wailing voices, spooky piano and then ghostly violin, with a backward-masked track saying what I thought at the time was _"Damn you! Damn you!" _What it actually says is _"Music is reversible. Time is not. Turn back. Turn back."_ But with the moaning and the weird sound of a backwards voice it comes across as pretty frightening. Well, it did to me. The whole thing then sounds like the soundtrack to a horror movie, with wails, screams, the sound of echoing footsteps, whips, an angelic choir ... sensory overload for me. Add to this the devilish violins and cellos and it just all sounds like something out of Dante. Until that is the guitar comes in alongside soft strings and Ben Bevan's pounding drums, and a melody of sorts finally gets going, the "scary sounds" fading out in the background.

A Spanish guitar then gets going as the thing takes off in a sort of flamenco style, the melody clearly established now, and the second half of the piece, all instrumental, is much more recognisable as music. I often wonder, now that I’m older and less of a wimp (a little, anyway) if the idea behind the track isn’t after all an image of Hell, but of Lucifer’s attempted coup and Fall, with the music at the end rising in joy at God’s triumph over his rebellious son? Anyway, celestial strings merge with soaring electric guitar and thumping percussion and it slows down on the back of gentle falling guitar with choral voices raised, then it all ends in a big finish on that Spanish guitar and violins. After such an ambitious piece - and quite brave to start the album off with that - "Waterfall" is much more accessible. A slow, soft ballad with lovely guitar and strong strings section whereafter we first hear the voice of Jeff Lynne backed by Richard Tandy's solo piano, until the heavy percussion cuts in and the song takes off, one of ELO's many lovely ballads. It showcases the undeniable vocal talents of Lynne, who would of course go on to be identified as the voice of ELO on such hits as "Mister Blue Sky", "Don't Bring Me Down" and "Last Train to London". It also highlights his spectacular songwriting ability - every song here is written and composed by him, and to write two tracks as poles apart as "Fire on High" and "Waterfall" is no mean feat.

Eight tracks may seem like very poor value for money, but as I explained before, this was the age of vinyl, and most artists would only be able to fit four tracks per side onto their albums; if more were required you'd be looking at a double, as in the case of the later "Out of the Blue". The big hit is up next, and "Evil Woman" is a real mid-paced rocker with some great piano, and in fact was ELO's first hit on both sides of the Atlantic, hitting the top ten in both the US and the UK. As a song, it tends to rely more on guitar and piano than later songs which would utilise the whole string section of the orchestra, as it were, though the violins and cellos are in there. It's also the first song on the album to feature female backing vocals, perhaps odd given the title? "Nightrider" starts off with a solo violin piece and Lynne singing the vocal, a little bass then Bev Bevan's drums thunder in and the rest of the band comes in on the back of that for the chorus. It's a powerful, driving song, with some lovely orchestral passages and great drumming from Bevan.

As I mentioned, the only song on the album to feature vocals other than those of Jeff Lynne is "Poker", a song about, well, poker, with a great snarling guitar intro and it's the closest to hard rock on the album, almost recalling the later Meat Loaf's "Dead Ringer for Love" in places. With a fast-flowing keyboard from Tandy and indeed a rapid-fire vocal delivery from Kelly Groucutt it's a little different to the ELO I had come to know and love, and took a little getting used to but now it's a favourite of mine. A slow piece in the middle only accentuates and throws into sharp relief the returning almost-metal guitar that takes the song to its conclusion. Hey! ELO could rock, ya know? A big orchestral intro then, in contrast, to "Strange Magic", but it fades out and is replaced by a high-pitched guitar, the song another ballad, with Lynne back on vocals, and this time Richard Tandy on guitar.

[video=youtube;NTDaUaUS6do]https://www.youtube.com/watch?v=NTDaUaUS6do[/video]

For me, the low point of the album, if it has one, comes with "Down Home Town", which is basically a country jamboree with a weird vocal opening and then violins and heavy drumming with folky guitar taking the melody almost like a banjo. They even throw in a Dixieland line! It's interesting I guess but it was always a track I skipped when playing the album, and moved on to the closer, the beautiful, lazy "One Summer Dream", with its soft cello opening and wistful vocal from Lynne, then joined by chingling guitar and measured drumming with a kind of echoing effect running through it. It's another fine example of just how excellent a ballad Lynne could write, and it just sort of slides along like a river winding its way down a mountain, or a gentle breeze sailing over the land (both of which descriptions are I think in the lyric, so don't bother telling me). A soft backing vocal merges with some gentle violin and the last three minutes or so of the song are pretty much instrumental, with the exception of the singing of the title mostly, in a kind of fading echo as it winds towards its conclusion. Superb ending to an album which, while not at the top of my ELO list, is certainly one of their better ones.

*TRACKLISTING*

1. Fire on High
2. Waterfall
3. Evil Woman
4. Nightrider
5. Poker
6. Strange Magic
7. Down Home Town
8. One Summer Dream

If you put a gun to my head you could have my PIN and take the seventeen euro ninety that’s in my account, but if you  threatened me to come up with my top three ELO albums, that would be a very strange thing indeed to do, because if you just asked nicely I would tell you that  they would almost certainly be _Out of the Blue, El Dorado_ and one other, though I don't know which. _Discovery?__Time? Secret Messages? A New World Record? _Okay, okay! I'm thinking! It's not easy to concentrate with that thing in my face! Point is, I easily know my two favourite album from this band but the rest are generally all pretty much as good as one another, with the exception perhaps of _On the Third Day_ and _Balance of Power_. But _Face the Music_, though it wouldn't come as I say high in that list, would be in the top ten certainly. An album with maybe one weak track is not to be sniffed at , and we are talking mid seventies here. At any rate, it was the one that more or less broke ELO, or led to them breaking commercially. The next one,_ A New World Record_, would start a sequence of albums that would all hit the top ten on both sides of the water, and establish the Electric Light Orchestra as a household name and a constant presence in the charts.

I'm just glad I can finally listen to "Fire on High" without getting the heebie-jeebies any more!


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## Trollheart (Sep 27, 2019)

*

*






*Has Been --- William Shatner --- 2004 (Shout! Factory)*

Yeah, that one! See, once upon a time someone here at Music Banter put forward this album as a recommendation, with the (perhaps vain) hope that someone would see beyond Shatner's laughable musical career and 1968's _The Transformed Man_, and give it a chance. I don't know who that was, but I would like to thank them. While this album is certainly not the best I've ever heard - not even the best this year or indeed of today - it's far from the worst. It's not that it's so great, or so bad (the latter of which you would probably expect to be associated with "the Shat") but that it's so .... interesting. Interesting good or interesting bad, you ask? I really don't know. The tracks vary from very very good to meh, but they're always - oh, what is that word again? Oh yeah - interesting.

Anyone who knows Shatner will more or less know what to expect in terms of singing, ie none. Captain Kirk does not do the "s" word. He talks, narrates, eulogises poetically across some really fine music, and in this endeavour he is helped by Ben Folds, who co-wrote and arranged the album with him, and also by several other "guest stars" such as Joe Jackson, Aimee Mann and Henry Rollins. The genre of the songs vary, from lounge pop to out-and-out pop to (almost) punk and even country, so there is really something in there for everyone.

But it's in the opener that Shatner drops his major bombshell, with the only cover version on the album - yeah, I know: you'd expect him to have played safe and covered Sinatra, Cole, Martin, that sort of thing, wouldn't you? But no, all of these songs bar the opener are his own creations, and the cover: well! It's Pulp's classic "Common People" and by god he does a fine job on it. People have slagged him off and no doubt will continue to do so, but I feel he puts his heart and soul into this song, sneering the lyric with all the worldly wisdom and hard cynicism of a man who has been (sorry!) there and done it all, and knows himself what life is all about. When Joe Jackson comes in to take the chorus it's great, but almost an anti-climax as he has been carrying the song so well himself up to that point. The music behind him is hard rock and punchy and the choir is an inspired idea. It's a great performance on a great song, and I think Jarvis Cocker would be proud.

It all calms down then on gentle piano as we move into "It Hasn't Happened Yet", and Shatner shows how he can carry a tune completely on his own, narrating the way the singer's life is going. It's quite a talent really, the way his voice phases with the music, but without singing. They call this spoken word I think, but even then it's more than that. Takes a little getting used to, but it really works very well. This song though bitter in one way and perhaps naive in another, is nevertheless relaxing, but the next one is like a stand-up routine as Shatner tells everyone that they're going to die. "You'll Have Time" is I think an idea that went wrong, or was carried out the wrong way. For one thing it's incredibly repetitive. It opens on church organ and introduces the Shat as a sort of drunken preacher, and that's good as far as it goes but it gets real old real fast. It's five minutes long and that's about three minutes too long. It's like an idea that sounded good on paper or in his head but once transferred to the studio it falls very flat indeed, and comes across like an unwelcome visitor who doesn't know when it's time to go. Ironic really, as the song is about people dying, but this song doesn't want to see that it's time for it to shuffle off this mortal coil.

[video=youtube;ainyK6fXku0]https://www.youtube.com/watch?v=ainyK6fXku0&amp;list=PLE8BE1A17606076A7[/video]

But then things turn around with a heartbreakingly beautiful and touching rendition of a father wanting to reconnect with his estranged child, with lyrics partially written by Nick Hornby, so perhaps it's from one of his books? I don't know. But "That's Me Trying" becomes one of the highlights of the album and it just brings a tear. Again it's piano that backs Shatner, softly, almost reminds me of something by the Eagles or Dan Fogelberg. Just beautiful, and will strike a chord with many fathers who no longer see their children. The chorus, sung by Aimee Mann and Ben Folds, is gorgeous and recalls the best of David Gates to me, with elements of Alan Parsons and a definite feel of country too. The next one is weird, and terribly personal. It's almost completely unaccompanied, the tale of the discovery by Shatner of his third wife after she had succumbed to her alcoholism and drowned in their pool, he arriving home too late to save her. It’s heartrending, really, and  "What Have You Done" is a scary, stark, bleak tale of powerlessness and impotence, written by Shatner solo. You really have to give him credit for choosing to share such an intensely personal slice of grief with the world. Bravo. Take a breath, compose yourself and we’re into "Together", backed by organ, guitar and maybe mandolin? Some interesting loop samples used on this too. A sort of uptempo country-ish, folky tune, the longest on the album at just over five and a half minutes, and another of my favourites.

"Familiar love" has a forties high-pitched piano and a lounge pop feel, very easy-listening. It's okay, with a very Carpentersesque backing vocal chorus, and has its own quirky humour regarding the everpresent spectre of growing older, but "Ideal Woman" takes this idea and kind of turns it on its head. It's tongue-in-cheek, irreverent, a little too clever and smart, with a kind of tango rhythm. Meh, it's okay but it kind of annoys me. The title track is a western-styled country effort with Mexican overtones, reminds me of Stan Ridgeway's "Camouflage" and indeed that trucker's favourite, "Convoy" as Shatner takes on his critics, those who call him, well, a has-been but have done nothing in their own lives. There is a jokey, half-wish half-warning when he says _"Has been could be again!"_ One of the best moments though of the album is when Shatner goes punk! Well, not really, but it is Henry Rollins from Black Flag helping him out, with the fastest percussion and an almost "Hawaii Five-o" intro. Shatner rails on about everything in the world that he doesn't understand or like. "I Can't Get Behind That" is a great track that is totally atypical of Shatner, and a real triumph for a man seen as washed up. It's quite hilarious when he growls _"Everybody's lifetime is longer than mine!"_ What's even funnier is that he argues _"I can't get behind singers / Who can't carry a tune/ But get paid for talking!/ How easy is that?"_ in a wonderful piece of self-deprecating humour. This song, as it were, could come across as nothing more than the Victor Meldrew-like rantings and cursings of an old man, snarling at everything in the world he doesn’t understand, but the humour in it, pointed mostly back at himself, makes that impossible and you just smile and nod.

Speaking of humour, he finally lays to rest his alter-ego in "Real", the only song other than the cover on which he has no input. It's written by Brad Paisley, who also sings the chorus. It's a sobering message to those who think that Shatner=Kirk as he croons _"Sorry to disappoint you/ But I'm real"_ and Shatner admits _"I'd love to help the world/ End all its problems/ But I'm an entertainer/ And that's all!"_ A great and simple song that seeks to separate fiction from reality, the star from the character, the man from the  legend. It's a great closer, sung in a very country style and with real feeling both by Paisley and Shatner.

*TRACK LISTING*

1. Common People
2. It Hasn't Happened Yet
3. You'll Have Time
4. That's Me Trying
5. What Have You Done
6. Together
7. Familiar Love
8. Ideal Woman
9. Has Been
10. I Can't Get Behind That
11. Real

When I started this album I had no idea what to expect. Silly me: when Joe Jackson picked up the chorus in "Common People" I thought "Wow! Shatner can really sing!" He can't of course, and the point to remember is that he realises this, but still manages to put across his feelings, his ideas and his sincerity through his odd style of spoken words against music. It really is something to hear, and if you've been put off by _The Transformed Man_, I can't tell you this is better as I have never heard that album. But if it's anything like this I'd certainly be willing to give it a go.

It's nice to see Shatner poking fun at himself; the very title of the album speaks of a man who no longer believes he has to prove anything, or has to take himself so seriously. There was a time when he enraged _Star Trek_ fans with the famous "Get a life!" speech. Seems that he's taken his own advice, put _Star Trek _behind him, and concentrated on the things he enjoys. He's never going to be a rock star, or a musician, and he knows it, but hell, you know, he's not a bad songwriter and this album is not at all bad for a guy who can't sing.

As I said, interesting.


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## Trollheart (Sep 27, 2019)

*

*






*In the Last Waking Moments --- Edison's Children --- 2012 (Random Disturbance)*

When is a Marillion album not a Marillion album? When it's one from Edison's Children! Now, that is an extremely inaccurate and unkind, and untrue comment, but it serves to make my point if in a rather ham-fisted way, which is that this album is the creation of one of Marillion's founders, bass player Pete Trewavas, and roadie/musician/film composer/producer Eric Blackwood, though most if not all of Marillion do play on the album. It's primarily though a collaboration between Trewavas and Blackwood, and is much darker and bleaker than anything Marillion have ever put out, except perhaps _Brave _and the track "Gaza" off the current album.

The story behind how Edison's Children formed is a long and interesting one. And here it is. On the 2006 Marillion tour, at which Eric was a roadie, Pete proposed that they should at some point work together. Eric agreed, but nothing came of it, both being extremely busy. The next year, after Marillion released what I consider to be their only ever below-par album,_ Somewhere Else,_ the subject was brought up again, and both seemed enthusiastic about the prospect, but again nothing came of the intentions. Finally, when Pete missed his flight out of New York in 2009 after a tour there with Marillion, Eric and his wife put him up and this time they decided to do something about the collaboration they had been talking about, on and off, for over three years at that point.

And so, Edison's Children was born.

As I said, Marillion help out, contributing to a track here, a track there, but this is in no way a Marillion album by any other name. It's the solo project (okay, okay: _collaborative_ project!) of Eric Blackwood and Pete Trewavas, and they each do a phenomenal amount of work here, both writing the music and also playing it. In addition to his usual bass duties Pete sings some of the leads, plays keyboards and also guitar, while Eric sings most of the songs, plays guitar, bass, keyboards and programmes some of the drum patterns.

"Dusk" gets us going, with bongo-style hollow drums and little effects, this being the single drum pattern Blackwood programmes in, then his smooth guitar slips in as the song begins to take some sort of form, both the men taking the lead vocal in  harmony for a moment before Eric takes the lead, and he's certainly used to singing, from his time with Crimson Steel among others. The drums hit in and we hear, sort of in the background, what I'm going to refer through this review to as "the _Waking Moments_ theme": three keyboard notes that repeat through most of the rest of the album, popping up all over the place and certainly fastening the concept style of the album together. As I mentioned, Blackwood is the main vocalist, and it will be five more tracks into the album before we hear Trewavas take the lead again.

It's a nice slow opener, moody and somewhat desolate, as is most of this album, with some very Marillion-style guitar from Blackwood, and some great keyswork from the Marillion bassist. There appears to be some sort of undefined basic concept running through the album; I think it has to do with alien abduction, though I couldn't swear and it's really only an educated guess. If that's correct, then, the protagonist is abducted by aliens but doesn't know why, or why he's been chosen. He's just an ordinary guy, no-one special, and he can help no-one, least of all himself. The story would seem to revolve around his attempts to understand this event and come to terms with what it means.

The opening track, then, slips almost unnoticed into the next one, "Fracture: Fallout of the First Kind", with that "theme" repeating on the keys in the background as Blackwood's guitar winds up and ramps the tension up. It's a harder, more powerful song, grinding a bit, Trewavas's bass rumbling like thunder, the percussion much heavier and insistent. The first of what will also become a recurring event through this album, recorded snippets of conversations, announcements etc, can also be heard in this song.

A very short interlude on the classical guitar with a very strained vocal from Blackwood leads into one of the standouts, "A Million Miles Away (I Wish I Had a Time Machine)" which is one of the most commercial of the songs on the album, and if there were to be a single - indeed, a hit single - from it, this would be my expectation for one such. With a lovely jangly happy guitar line counterpointed by Pete's thick, pulsing bass line, and rippling keyboards it has a lot of I think Supertramp in its construction, and it's very catchy indeed. 

More taped conversation as we head into "Fallout of the Second Kind", with a marching drumbeat and bass pattern, then some bubbly keyboards before Blackwood's vocal comes in and it's a heavy, almost claustrophobic song, a real sense of being trapped, the drum pattern turning almost militaristic near the end, then Pete takes the vocal for "Outerspaced", and I have to say his voice is pretty shattering, a little too high-pitched for my tastes (or maybe it's just for this song?) as Eric goes crazy on the guitar, almost Led Zeppelin-like, before a seriously buzzy bass leads in the much slower "Spiralling".

[video=youtube;0Y6bJPSWJak]https://www.youtube.com/watch?v=0Y6bJPSWJak[/video]

The theme returns as Blackwood takes back the mike, and Steve Rothery guests on the guitar parts, bringing his own special touch to the song while Pete sets up a lush backscape with the keyboards, then Trewavas's bass takes the lead for "The "Other" Other Dimension", with spacy keyboards courtesy of Mark Kelly, and Pete back on lead vocals for the last time. Again, I have to say I'm glad it is the last time, as despite his many other undeniable and documented talents, Trewavas is no singer. The song is pretty weird, splitting off at times back into "Spiralling" and bringing in the theme at odd points, throwing in some spoken vocal parts too. Strange. I can't say I like it to be honest. Too confused, not at all well-defined.

Things re-establish themselves with "Across the Plains", a short keyboard-led instrumental quite reminiscent of early Genesis and then we're into the title track, which ticks along nicely somewhat like a softly beating heart,  with an appropriately soft vocal from Eric Blackwood and some towering keys from Pete, then everything kicks back off for "Lifeline" with a heavy, thumping beat and some wild guitar before "Fallout (of the Third Kind)" comes in on quiet acoustic guitar and gentle vocal. But it's a brief respite, as the hard guitar and thunderous drums from the previous track punch back in and Eric's voice gets more urgent and powerful, and takes us into what is essentially the closing track, although there is one more after it.

"The Awakening" is also the longest track on the album by a country  mile. A true progressive rock epic, it comes in at a massive fifteen minutes and liberally sprinkles the "_Waking Moments_ theme" throughout its length, with great acoustic guitar from Pete in the opening section, a passionate vocal from Eric, and backing vocals by the great Steve Hogarth himself. Completing the Marillion connection, drums on this track are handled by none other than Ian Mosley. There's an instrumental section, mostly on acoustic guitar and the thing slows down in about the fifth minute, with some soft keyboards taking the melody, quite Marillionesque, with vocals not really coming back in until nearly the eleventh minute. Powerful vocal harmonies lead the piece out before they fade away and another instrumental takes the song to its conclusion, with the theme ringing out right as the last three notes.

Then there's a weird little acoustic guitar piece called "Fallout (of the Fourth Kind)" to end, but it's very unsatisfying really, as it almost cuts off right at the end. It's very jarring and I would not think a great way to end an album, but I guess it's a small quibble that slightly mars an otherwise worthy first effort from a band we hopefully will be hearing more from, depending on the busy schedules of Marillion (and Transatlantic, of course), to say nothing of the demand in which Eric Blackwood appears to be. Well, I guess we can wait, if it's going to be anything as good as this.

*TRACK LISTING*

1. Dusk
2. Fracture (Fallout of the First Kind)
3. In the first waking moments
4. A Million Miles Away (I Wish I Had a Time Machine)
5. Fallout (of the Second Kind)
6. Outerspaced
7. Spiralling
8. The "Other" Other Dimension
9.  Across the Plains
10. In the Last Waking Moments...
11. Lifeline
12. Fallout (of the Third Kind)
13. Awakening
14. Fallout (of the Fourth Kind)


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## Trollheart (Sep 27, 2019)

Time for a little rest...

Okay, that's your lot for now. Over the last two weeks I've posted reviews for 100 albums, which shows you exactly what a sad bastard I am, and how little of a life I have. I think that's enough to be going on with. If you haven't read them all, there's plenty here now to keep you occupied. If you have, well god bless your stamina, and don't worry: more are coming. This is barely the tip of the proverbial iceberg.

But for now I want to concentrate on some other threads I've made, and more I intend to make in the next few days. Any album reviews posted in those threads will of course show up here in the master index, but for the time being, I won't be posting any more directly here. 

Thanks for reading, and don't worry: it won't be long before I'm back feverishly updating here again.


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