Tag: James R. Turner

Reviews – Esoteric Reissues Round Up Part 3 – Blonde on Blonde, Anthony Phillips and Tim Blake

This time round, those busy people at Esoteric have been rooting out some of the best albums you’ve never heard to continue building an amazing archive of lost acts, those who were fantastic and never quite made it.

For every Yes, there’s about half a dozen no’s littering the path, who, for whatever reason (bad management, no record label support, right album wrong time), never hit the history books.

Blonde On Blonde – Rebirth

Released in 1970, ‘Rebirth’ was the second album from Welsh prog band Blonde On Blonde. Having returned to Newport after they weren’t making enough cash in London, the band signed with Ember records (home of BB King & Glen Campbell at the time) and with new vocalist, 18-year-old David Thomas, the band set about crafting this masterpiece.

With effusive sleeve notes on the original album from the effusive Tommy Vance (who was a big supporter of the band) this experienced live act, who had played the Isle of Wight Festival twice, brought all their skills honed on the road into the studio.

As the band freely admit in the sleeve notes the opening Castles in the Sky (written by Eve King & Paul Smith) was included on the album at the behest of a BBC producer John King who had got the band a showcase performance on a BBC Bristol TV show, and his wife wanted to be on the album. Blonde On Blonde (yes, they were named after that Dylan album) didn’t feel it representative of them, though overall as songs go, it is of it’s time. However, if you feel it jars then we have the beauty of the CD skip button.

The band had been compared to the Moody Blues but that did get used quite a lot when you have a band who are rock in their outlook and symphonic in their vision.

The band, Gareth Johnson on guitars, Richard Hopkins (bass, organ) and Les Hopkins on drums, had a wide musical palette to draw from, having been influenced by the R’n B scene and with taut instrumentation, great vocals and an ear for a melody, I find they fit into areas Wishbone Ash would sit in. With some sublime extended work outs on tracks like Colour Questions and Time is Passing, they showed a maturity of song writing, whilst the closing piano driven You’ll never Know Me/Release, with it’s wonderful vocal refrain and driving beat, is a real delight for anyone who appreciates good quality classic rock and the powerful musical coda is up there with anything else recorded in this period.

These guys were the real deal, and as the band grew in musical power they really pushed the boat out on their next album.

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

Blonde On Blonde – Reflections on a Life

Released in 1971, the epic ‘Reflections on a Life’ saw another change in personnel as Richard Hopkins moved on to be replaced by Newport based guitarist Graham Davies who also added bass, acoustic guitar, banjo and vocals.

Now with the music written by both Thomas and Johnson, this epic collection of tracks that widens their musical horizons more with blues, country music and more, is a conceptual song cycle telling the story of someone’s life from birth to death. Recorded at the legendary Rockfield studios and on a tight budget, the band utilised all their creativity and, indeed, turned in a fantastic collection of songs dealing with some seriously dark lyrical matter tied to some wonderful rock. The powerful driving rock of I Don’t Care, all about incest, contrasted with the wonderfully mellow blues folk of Love Song.

The band really took the ball and ran with it, despite, or because of, the disdain of the record label. They threw everything into this album and, with tracks about family murder (the nicely ironic Happy Families), the incredibly experimental Gene Machine and some suitably iconic artwork, it makes for a fantastic listening. The addition of Graham Davies helps widen their sound, bringing a fantastic vibe to tracks like Bar Room Blues and The Bargain.

This has some fantastic musical moments throughout and a great set of lyrics as well, superbly observed and well written. From it’s striking cover to it’s brilliant contents, this is a fantastically well-made record and was, musically, the last recorded statement the band made. Having lacked record label support, slogged their hearts out on the road and never achieved the success they deserved, the band had dissolved by 1972.

Now this can be reappraised and enjoyed, especially by anyone who likes a well written, tightly produced exciting journey, that mixes musical genres and showcases the bands versatility.

https://www.cherryred.co.uk/product/reflections-on-a-life-remastered-and-expanded-edition/

Anthony Phillips – Invisible Men

Esoteric are continuing their extensive and comprehensive reissue of the Anthony Phillips back catalogue and this release, originally from 1984, marries up the two versions of ‘Invisible Men’ including the respective tracks missing from the American and UK edition, as well as a second disc containing alternative songs and demos from this period in Ant’s career.

Persuaded by his management that he needed to do something a touch more commercial, Ant and collaborator Richard Scott had developed an excellent working relationship and the use of a drum machine to underpin the songs.

As a result, the lush orchestration of some of Ant’s earlier albums is replaced here by a harder edged sound that is entirely of it’s time. However, don’t let that distract you from the music as Ant has always been a fantastic songwriter. Writing with Richard Scott, the two developed an excellent working relationship, and this album is well worth investigating.

From the incredibly 1980’s cover which mixes their promo photos with all the visible skin removed and the bright colours, to the programmed drums, this also sees Ant taking vocals on for the first time and he has a fantastic voice which really comes to the fore on the lovely Traces.

Meanwhile, influenced by outside events, both The Women were Waiting and Exocet (the latter featuring the sample of Iain MacLeod) are highly charged comments on the Falklands War, whilst the wonderful Going for Broke is proper old school prog, with some fantastic guitar work for Ant, and is a successful mix of the old and the new.

The blend of guitar and flugelhorn on Falling for Love provides a sublime musical moment whilst Sally is a slice of pure 80’s power pop that has a great blend of synth sounds, vocal power and a pure 80’s sax solo, it could have been used in any number of 80’s movies.

The second disc (complete with the copious sleeve notes) has some interesting different versions of album tracks like Falling For Love, Golden Bodies and My Time Has Come. Other tracks recorded over the same period are just as fascinating including tracks like Darling and Shadow in the Desert, being almost finished and never heard before.

Whilst this might not be the first place to start looking into the work of Anthony Phillips, it certainly shows his experimental side and that, as a musician and performer, he isn’t prepared to stand still. Whilst sometimes the drum machine does slightly jar (and you wish for some real live drums), overall this is a fantastic collection of complex pop/rock songs that are very much of the era they were made and yet still shine over 30 years later.

https://www.cherryred.co.uk/product/invisible-men-remastered-expanded-2cd-edition/

Tim Blake – Noggi ‘Tar

Influential electronic musical pioneer Tim Blake has performed with both Gong and Hawkwind and is, to my mind, more influential in electronic composition than his French contemporary Jean-Michel Jarre.

Blake released some fantastic albums in the 1970’s and in the current century worked again with both Gong and Hawkwind. He decided that, on this album, he should be the lead guitarist on an electronic record with no guitar, hence the title, a wonderful little pun, and, whilst this was originally recorded and released back in 2012, it never had a physical release, being a digital only album.

Marrying the old and the new is something Tim has always been good at, right from his Crystal Machine and Blake’s New Jerusalem days, where he was at the cutting edge of electronic music (if you don’t own those albums, hunt down the Esoteric remasters, they are essential to any fan of electronic music).

The four tracks on here are, again, the pinnacle of how electronic music should be done, the conceit of using the keyboard as lead guitar is one that works so well and, of course, we know what a Master of Music Blake is.

It could have ended so differently had Blake not survived the car accident, the resuscitation and the subsequent three-day coma that Blake references here in The Blue Light Zone, where he pulls all aspects of his subconscious together in a sublime electronic journey.

The songs, over less than 40 minutes, are ambient, transcendental and are a real musical journey. Working hard here he makes it seem effortless as The Arrival of Migratory Cranes segues into Absent Friends, rounding out with Contemplating the Southern Cross.

There might be no guitar on here but, putting the keyboard in place of the guitar is a masterpiece, he uses it to create riffs, runs and moments, and front the whole album, whilst the mighty wall of synth sounds that washes over you is sublime.

This is electronic music at its finest, a fantastic example of how composer and instrument can become one and take you on a sonic journey that leaves you exhilarated and wondering where the time went.

I love this and highly recommend it.

https://www.cherryred.co.uk/product/tim-blake-noggi-tar-re-mastered-edition/

Reviews – Esoteric Reissues Round Up Part 2 – Atlantic Bridge, Little Free Rock and Sky – by James R. Turner

Those great people over at Esoteric Recordings have a great job, they are the equivalent of musical historians, rooting around in the record company archives like audio archaeologists and finding some neglected, hidden and indeed well-known treasures that they tease and bring back to life.

Here’s a round-up of some of their more alternative and eclectic discoveries.

Atlantic Bridge – Atlantic Bridge: Remastered and Expanded Edition

Let’s start with the self-titled album from jazz rock crossover quartet Atlantic Bridge, originally released on the progressive imprint Dawn Records back in 1970. It takes the four-piece’s improvisational jazz tendencies and mixes them up with some stirring and interestingly re-arranged versions of contemporary rock classics.

Heavily influenced by re-interpreting the Beatles, both Something and Dear Prudence get radically rearranged and mixed up by the four-piece. Pianist and arranger Mike McNaught was instrumental in getting bassist Daryl Runswick, Flute/saxophonist Jim Philip and drummer Mike Travis to turn their jazz hands to rock reworking.

Not only was he a Beatles fan but the album also contains three re-workings of classic Jimmy Webb songs, including the inimitable Macarthur Park, jazzed up to the max.

With the self-composed Childhood Room (Exit Waltz) closing the original album, this is one of those innovative and ‘between two stools’ records, where it was too jazz for the rock crowd, too rock for the jazz crowd and now sounds like they were having a blast recording it.

Well worth an investigation if jazz rock is your thing.

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

Little Free Rock – Little Free Rock: Remastered Edition

This self-titled debut and, ultimately, only album from Preston power trio Little Free Rock was originally released back in 1969 on, of all places, the Transatlantic label, home to folkies like Ralph McTell and the pre-fame Billy Connolly band The Humblebums, which was, as the honest sleeve notes reveal, a bit of a mismatch.

However, what you do have here are 9 tracks recorded by a hugely talented and inventive power trio, led by guitarist, vocalist and song writer Pete Illingworth, co-writer, bassist and vocalist Frank Newbold and drummer Paul Varley.

Unusually from this period, and with bands who had honed their craft on the road, this album is all originals, no random reworking of Beatles songs or that ilk. Instead, you get one of those albums that could only have been made in 1969, where the optimism of ‘anything is possible’ musically filtered through.

You get big choruses on tracks like Making Time (complete with obligatory drum solo) whilst you get some fantastic riffs on songs like Evil Woman and the opening Roma Summer Holiday.

In fact, the skills of the song writing duo of Illingworth and Newbold are on display throughout the album and it belies their youth and inexperience in the studio. Sure, bits of this album sound naïve and, as it was recorded on a budget, that also tells but it never distracts from what is a fantastically exciting album. As snapshots of an era go, this is a perfect encapsulation of all the bands in that era that dreamed big and had the ambition to put their sound on record, and also of the record labels willing to give them a go.

https://www.cherryred.co.uk/product/little-free-rock-remastered-edition/

Sky – The Studio Albums 1979-1987 – 8 Disc Clamshell Box Set

Doing exactly as it says on the tin, this impressive clamshell package contains all the studio albums (Sky, Sky 2, Sky 3, Sky 4, Cadmium, The Great Balloon Race & Mozart) recorded by the legendary cross over rock and classical band Sky. This provides a condensed collection of the remastered albums reissued a few years ago on Esoteric containing none of the bonus tracks but, as an extra to the package finally released on DVD after many years of being unavailable, the superb last gasp ‘Live in Nottingham 1990’. Formed in the late 70’s by legendary acoustic guitarist John Williams, session musicians de jour Herbie Flowers and Kevin Peek, Curved Air keyboard player and composer Francis Monkman and orchestral percussionist Tristan Fry, the band successfully fused classical pretensions with progressive and mainstream rock styles and were an absolute phenomenon in the early 1980’s, yet their legacy seems to have been forgotten and it probably didn’t help that these albums were unavailable for many years on CD.

‘Sky’, the debut album originally released in 1979, showcases the bands style, and is a definite statement of intention with the driving power of tracks like Monkman’s Westway, the brilliant Carillion and the powerful closing Where Opposites Meet, again by Monkman.

With the wide range of styles that all 5 members brought to the band, you get Williams’ acoustic classical style mixed with Monkman’s progressive keyboards. Flowers and Fry on bass and drums are one of the most powerful rhythm section you’ll see anywhere, with Fry as powerful a drummer as John Bonham, and with a fantastic touch that adds so much more to the sound, whilst Kevin Peek’s electric guitar complements Williams’ acoustic touch perfectly.

‘Sky 2’ was an ambitious follow-up, a sign of strength and confidence in the band that built on the back of their success and what better way than releasing a massive double album. This shows the full power of the first Sky line up, as Herbie Flowers (bassist on the Lou Reed song Walk on the Wild Side) brings his tuba to the fore on the brilliant Tuba Smarties (which never fails to bring a smile to the face) whilst Tristan’s Magic Garden showcases Fry’s superb percussion skills and sound.

Traditional progressive rock bands from the first wave (Yes, The Nice, Genesis) were always trying to compose and perform in a rock and classical crossover and whilst some were more successful than others, Sky, with its blend of rock musicians, classical musicians and composers, I would argue, managed to blend classical styles and rock techniques in the most successful way possible. This made them one of the more successful second wave progressive rock groups, particularly as they managed to make their albums hit the top ten (‘Sky 2’, for instance, hit the top spot) whilst performing complicated, intricate and intelligent instrumental music. It also included a side long composition (again from Francis Monkman) called FIFO, which is the pinnacle of Monkman’s compositional style in Sky.

There is no bad track on this album, and the way it ebbs, and flows is magnificent. I also must admit to having a massive personal connection to these albums, my Dad used to play the Sky albums regularly when I was a child and, as I drifted off to sleep, I could hear the bass of Herbie Flowers or the percussion of Fry sneak through the wall. This is music that I have grown up with all my life, so I think it’s wonderful to hear it remastered in such clarity.

‘Sky 3’ saw a change in the band as Francis Monkman moved on to be replaced by another session musician, Steve Gray, who brought a different compositional style and focus to the group. Losing a member could end some bands, particularly one with the composing skills of Monkman, but Gray steps in perfectly and adds his own song writing style to the group.

‘Sky 3’ isn’t quite the sound of a band in transition as it could have been, in fact, of the three albums so far, I think it is probably my favourite with some amazing group work on tracks like Westwind, Connecting Rooms, and the band classic Meheeco. Gray fits perfectly into the band, and the work on here is again a logical progression from the previous two albums, with every member giving their all.

It is so difficult for instrumental bands to ensure that they don’t keep making the same album repeatedly or for the music to get lost in the background. The members of Sky have enough musical skill, song writing expertise and the comfort of working together, to ensure that each album is different, fresh and musically exciting.

‘Sky 4; Forthcoming’ was a slight change of direction for the band, as they were classically influenced, they decided to record an album of interpretations of classical pieces (a bit like the almost traditional cover album that contemporary artists still do) and each piece was rearranged and reimagined by the members of the band.

Highlights include the wonderful reinterpretation of Ride of the Valkyries (by Steve Gray), John Williams showcases his trademark dextrous sound on Bach’s Fantasy and there is a fantastic version of Hoagy Carmichael’s Skylark, whilst Kevin Peek’s My Giselle is the only original track on the album.

The diversions into classical pieces are excellent and deconstructing the original and rebuilding it into a Sky sound pretty much shows the blueprint as to what the band were trying to achieve originally. With musicians as good as these 5, it is exciting to hear where they are going to take well known pieces.

‘Cadmium’, the first album of new material from the band since 1981’s ‘Sky 3’, and the last to feature founder member John Williams, was released in 1983 and, with the opening Troika (better known to millions as the basis of Greg Lake’s I believe In Father Christmas) adding festive cheer to the album, it does seem business as usual. Overshadowed as it was by Williams’ departure after recording, it has a lot of charm and plenty of Sky classics to endear it to the audience. It includes wonderful track from Herbie Flowers, the excellent Telex From Peru, whilst Steve Gray’s Son of Hotta does exactly what it says on the tin. Bonus tracks include an extended work out of Troika plus a blinding version of The Fool on the Hill.

Without a replacement for Williams, Sky continued as the core four piece with additional help from extra musicians to fill out the sound, this is obvious on 1985’s wonderful release ‘The Great Balloon Race’, probably one of the most misunderstood albums in the bands catalogue and, now 20 years on, the time is right to reappraise its status.

Having lost the big name from the band, as Williams was a massive draw (not to mention a key member of the song writing team), Sky could have collapsed and folded, instead they carried on with one of the most striking and original songs that have ever opened up an album, The Land sounds like nothing they had ever written before. With vocals from composer Tony Hymas (English composer best known for his work with Jeff Beck) and Clare Torry (best known for her work with Pink Floyd) this atmospheric and powerful song sets out Sky’s stall, influenced strongly by their time spent touring Australia.

The Land is inspired by the Aboriginal struggle whilst the title track is one of Herbie Flowers’ most memorable compositions, touring musicians Ron Asperey (on sax and flutes) & Lee Fothergill (guitar) help flesh out the sound and with the addition of pan pipes on some of the tracks, the additional instrumentation enhanced the key Sky sound. ‘The Great Balloon Race’ takes their sound and pushes it into a widescreen format, and is the sound of a band moving forward.

The final Sky studio album saw them head right back to their roots, a re-interpretation of classical music with rock orchestration and sees them joined by the Academy of St Martin’s in the Field to record the album, ‘Mozart’, released in 1987. Fry’s work with the academy was long standing (he played on the soundtrack to the film Amadeus) and, in conjunction with conductor Sir Neville Marriner, they planned and adapted a broad collection of Mozart material and interpreted it in the unique Sky way, with the key four-piece band embellished and enhanced by the orchestra.

Works like The Marriage of Figaro, Symphony No 34: last movement and Alla Turka: Rondo are all reworked and performed to perfection. Remastered here, the clarity of the interplay between the band and the orchestra is sublime.

The last gasp of a band who had been so peerless and innovative throughout the late 70’s and 1980’s, ‘Live at Nottingham’ captures the line up of Flowers, Fry, Gray, Hart and Peek on fine form, as they run through an almost ‘best of’ set, with the usual musical dexterity and power that they are well known for. With old favourites like Son of Hotta, Meheeco, Tuba Smarties and Toccata (previously unreleased on DVD – available here for the first time), this album rounds off a well packaged and excellent value set.

The only omission here is the live double ‘Sky 5’ which is still available on CD if you want to complete your set.

https://www.cherryred.co.uk/product/sky-the-studio-albums-1979-1987-8-disc-clamshell-box-set/

Review – Sanctuary III – Robert Reed – by James R Turner

Since Robert took some time out of the ‘day job’ to release his first homage to Mike Oldfield back in 2014, his own little sub-genre has grown, with two full length sequels (‘Sanctuary II’ in 2016) as well as numerous EPs including variations on David Bedford and his own alternative take on the Doctor Who theme tune. Now Sanctuary III (funnily enough the third in the ‘Sanctuary’ series) is here, available as ever in 5.1 and on vinyl, in a very nice cover indeed.

Rob has taken the ‘if it ain’t broke, don’t fix it’ philosophy to this album, with, as per the first two (and indeed Mike Oldfield’s first three) albums, being a full-length song-suite parts 1 & 2, both emulating the Oldfield approach, which worked so well on ‘Sanctuary’.

Rob has worked with Oldfield collaborators Simon Phillips, Les Penning, ‘Tubular Bells’ producers Tom Newman and Simon Heyworth and on vocals with Angharad Brinn and Synergy Vocals.

Now I am a massive Mike Oldfield fan, and I would argue that its harder to find a greater run of albums than that encompassing ‘Tubular Bells’, ‘Hergest Ridge’, ‘Ommadawn’, ‘Incantations’ and ‘Platinum‘, and, as with previous ‘Sanctuary’ releases Rob wears his Oldfield inspiration on his sleeve. This is as well as showing off his amazing instrumental prowess as a multi-instrumentalist, playing all the instruments bar recorders and pipes, which are contributed by Les Penning and Troy Donockley respectively.

The themes throughout are standard Oldfield fare with plenty of soaring guitar and repetitive, charming themes that slowly build and grow and, to Rob’s credit, he has widened the palette somewhat on this album. There is an excellent vocal piece at the start and an interesting diversion into folk themed parts via the twangy guitar of The Shadows at one point.

However, there is a touch of an over reliance on the nonsense female vocals that are almost ‘Ommadawn’ but miss out the emotional resonance of that piece and also of the vocoder vocals that sound like they escaped from Five Miles Out. These are familiar Oldfield tropes and ultimately trap the music into being a facsimile. Which is a shame, as if Rob threw out the Oldfieldisms, he could create some truly wonderful original music, instead of pretending it’s 1974 all over again.

That’s fine for a nostalgia trip but I would always return to the original rather than an imitation.

More interesting is the Moonsinger Suite, ChimpanA Remix which, whilst referring to the main Oldfield touchpoints, at least brings it up to date, being more reminiscent of ‘Songs of Distant Earth’ or ‘Tubular Bells III’ (so only 20 years out this time, getting closer!).

The Tom Newman remix on the second disc is also superfluous, being not quite different enough to the original to warrant being included here. Things like that are best suited for anniversary editions or special editions rather than the standard release, as it all gets a bit too samey after a while and you lose where you are at.

If you reading this are Mike Oldfield fans and wonder whether ‘Sanctuary III’ is worth a punt then, well, sadly not. Like I said, I really like Rob’s work, his musicianship and craft and skills are never in doubt and I really want to love this album, I absolutely enjoyed the first one as a piece of nostalgic entertainment. However it seems to me that Rob, whilst putting together an excellent facsimile of an early Mike Oldfield album, has drifted into tribute band territory. The music is good, the performances outstanding but it seemed to me that the Doctor Who theme tune a la Oldfield was an idea too far and ‘Sanctuary III’, whilst being well made, just doesn’t hit the spot.

It doesn’t give you the goose bumps that the opening riff to ‘Tubular Bells’ does, it doesn’t send the shiver down the spine that the closing finale to ‘Hergest Ridge Part 1’ does, and it doesn’t conjure up a sense of wonder like ‘Ommadawn’. Somewhere online I have seen people claiming that this is even better than Mike Oldfield or at least, that it’s better than the albums Mike makes these days. I doubt Rob was thinking of usurping his hero in that way, and ‘Sanctuary III’ doesn’t. It is the musical equivalent of a Big Mac meal, it satisfies at the time because it’s easy and familiar but, in the end, after ten minutes you’re hungry again and want a steak.

After listening to this all I want to do is grab ‘Hergest Ridge’ or ‘Return to Ommadawn’ in 5.1, bang up the volume and lose myself in the pastoral waves as they wash over me.

I would much rather wait and spend my hard earneds on the forthcoming ChimpanA album, as that debut is probably the best thing Rob has done outside of Magenta, being fresh, clever, original and contemporary.

The dictionary defines Sanctuary as ‘a refuge or safety from pursuit, persecution or other danger’ and this is definitely a refuge in the past, ultimately this music sits in a very safe place indeed.

‘Sanctuary III’ is fine as a nostalgia led piece but when there are so many interesting contemporary instrumental bands out there like Agusa or Zombie Picnic, revisiting music from 40 years ago isn’t pushing the boundaries, it’s more like a cup of tea and a pair of slippers, and a musical cul de sac.

Released 20th April 2018

Buy ‘Sanctuary III’ from Rob Reed Official Here

 

Review – Plenty – It Could Be Home – By James R. Turner

I think Mabel Greer’s Toyshop probably have the record for the longest space between being formed and releasing their debut album, however Plenty are running them a close second, originally being formed back in 1986, and with this, their old material rediscovered, reworked and released here for the first time, it’s an album that’s only been 32 years in the making. Hell, I work with people younger than that (which makes me feel old). Anyhow why should a band who didn’t record anything in the 80’s and reappear here matter?

It matters because Plenty were Tim Bowness pre No-Man band. Made of Tim, Brian Hulse (keys/synths/guitars, drum programming) and David K Jones (bass/bass pedals) who got back together to record and finally put down their music for posterity. All this complete with the Carl Glover cover (he truly is the Hipgnosis of modern music).

So, what we get here is the songs of their youth revisited and reworked with the wisdom of years and experience weighing on them.

Now Tim has one of the finest voices in contemporary music, that is a given, and he can add poignancy and emotion to so many things, hell he could even turn my shopping list into an emotional rollercoaster. As he (as we all have) gets older his voice, like a fine wine, is maturing and it’s fascinating to hear the words of his youth on tracks like As Tears Go By or Foolish Waking, and the title track, filtered through the years of experience.

Sitting firmly on the more atmospheric song writing side of the 80’s that threw up bands like The Blue Nile, How We Live and Miracle Mile, Plenty are almost the proving ground for ideas and sounds that would come to fruition in No-Man (and, indeed, Tim’s later solo career).

That doesn’t mean that this album is a historical curio, to be filed away under listen once out of completists interest, oh no, ‘It Could Be Home’ is a gem of a record with a plethora of special guests that help enhance the already strong tracks on here. When you get Michael Bearpark adding his guitar work to Foolish Waking and Every Stranger’s Voice and Pete Chilvers on those and Never Needing, you know you’re listening to an album that oozes class and quality from every musical moment.

In fact, as these 10 tracks breathe and grow, you are drawn into their world as Bowness’ vocals take you on their journey. However this isn’t all about Tim, this is a true group album and it’s wonderful to hear him part of the group where he cut his teeth.

It’s an interesting hybrid of 1980’s musical ideas with 2018’s production techniques and that makes it harder to categorize. Is it a reissue? Is it a new album? Or is it a curious amalgam of the two? Either way, there’s lots here for any fan of ambient song writing and, of course, fans of Tim’s voice to love.

It’s quite ironic to think that had this been released in the late 1980’s it probably would have got lost in the whole Madchester phase that was sweeping the nation and become a cult classic to maybe a dozen students in a bedsit somewhere, with the vinyl commanding huge prices on eBay.

Here, on release it’s now likely to hit a far wider audience, who will appreciate the delicacy and beauty in these songs, as well as the song writing skills here.

This is one of those albums that slowly insinuates itself into your soul until you find yourself humming sections of it to yourself as you’re filling up the kettle and is one of those albums that Tim perfected with No-Man, where the space in between the music is just as important.

As an exercise in minimalist pop/rock it works to perfection and reveals itself to be far more than just a nostalgia ride, this is living breathing music for the heart, mind and soul, and as such is a fantastic piece of music.

The best things in life come to those who wait, and this was well worth waiting for, maybe best not leave it so long next time chaps.

Released 27th April 2018

Order ‘It Could Be Home’ from Burning Shed here

Review – Colin Edwin & Robert Jürjendal – Another World – By James R. Turner

I’ve been doing this for over 20 years now in one form or another, this getting new albums to listen to, review and share my thoughts with whoever’s reading. To think when I first started back in 1994, I’d been handed a package in a brown envelope in a local hostelry, disappeared home to listen to them in the comfort of my own home, write out (by that I mean hand write out) my opinions, drop them back in a different brown envelope in the same pub (where, being 17, naturally I was drinking orange juice) and await for the postman to deliver the magazine with my words in. Hopefully then (& now) people have thought I’ll give that one a punt.

I was thinking of the old way of doing things when I was sat on my bus into work the other day, I had this album on a download, straight from emailed link to laptop to mobile, headphones plugged in and immersed in the music whilst I was commuting. I could even make notes on my mobile, ready to transcribe into something meaningful to send, again hoping that if one person reads what I’ve read and is influenced to try this record out then, my work here is done.

I was thinking about timelessness and being of the now, whilst listening to this record, it’s not the longest by any stretch of the imagination clocking in at just over 30 minutes long, not even enough to fill half a C90 tape. It might be short (certainly by today’s terms – where we’ve been conditioned to expect the entire CD to be full) but it isn’t any longer than it needs to be, a definite case of less being more, and that ethos runs through the whole record.

This collaboration between former Porcupine Tree (& current Henry Fool amongst many others) bassist Colin Edwin and Estonian guitarist Robert Jürjendal is one of those records that just grabs you slowly, the way the two musicians work together is a wonderful sound to behold, and with trumpet from Ian Dixon and electronics from Isak Nygaard, this contemporary ambient electronic musical journey is an exploration of musical space, straddling the shifting borders that prog/jazz/ambient music rub along against.

From the muted trumpet and electronic background that introduces the opener Blue Mint, this is a true musical journey, where the space created by Nygaard gives both Edwin and Jurjendal the room to weave intricate and exciting musical sounds, space and distance evoked, all topped off by Dixon’s sublime trumpet sound.

Reminiscent of musical explorations by artists like Keith Tippet or Billy Cobham but with plenty of that fluid sound that Edwin is known for (and which was always the secret musical weapon in Porcupine Tree’s armoury), with Jürjendal he has found a sublime guitarist who is just as keen to push the musical boundaries and see where it takes them.

With the longest song here, Hybrid Horizons, clocking in at just over 6 minutes there is no note wasted, no over blown unnecessary moments, everything is here for a reason. With tracks like Sancho Panza, that showcase Jürjendal’s guitar and the title track, the beautifully pulsing Another World, this is a well-made album.

Everything has been thought about and structured, and the collaborative work is so good that its hard to tell where Edwin ends and Jürjendal begins, the meeting of two like-minded musicians who have, wisely, kept external collaborators to a minimum helps create the coherent whole. This means that you get absorbed in the musical journey this album takes you on, so much so that it’s very easy to nearly miss your bus stop.

This has that electronic undertone and contemporary compositional technique of working from different studios in different countries and then pulling it all together through the power of the internet, yet it is a timeless collection of fantastic ambient and modern jazz infused sounds that will still sound both current and timeless in ten, twenty or thirty years ago.

When I first started I would never even have thought of listening to anything remotely jazzy, and yet now I can think of nothing more natural than letting the warmth of this album wash over me, and I have no doubt it’s one I will continue to return to. Timeless and contemporary, it is simply a fantastic record.

Released 9th March 2018

Order ‘Another World’from Burning Shed here

Review – Richard Wileman – Veil – by James R. Turner

Many years ago, I had a column in a well-known North of England organization for the promotion of classic and progressive rock. I was a contrary individual, and part of my ‘work’ was to listen to classic prog and rock albums with a fresh pair of ears, without the baggage of the genre.

I quickly concluded that what passed for Prog in the mid to late 1990’s and early part of the 21st century wasn’t progressive in it’s truest sense, and instead of actually progressing, was in fact standing still.

Then I was introduced to the work of Karda Estra, the name for a loose collective of musicians working around the compositional and musical skills of multi-instrumentalist Richard Wileman, and as anyone who is familiar with the band will know, that Richard has been a restless composer, always happy to try new things, weave together new sounds and arrangements in search of his muse.

Over the last decade or so albums like ‘New Worlds’, ‘Weird Tales’ and ‘Eve’ have subtly insinuated themselves into my musical consciousness and become go to albums for different moods, and ones I have never tired of listening to.

Now ‘Veil’ see’s Richard stepping out from behind the Karda Estra name, and crafting an album that has echoes of the sensibilities and styles from Karda Estra, with some dark folk songs, and ethereal music, coming across as like a soundtrack to some long-lost Tigon or Amicus horror mo vie from the 1970’s.

Of course, there’s a lot more going on that that, as the mix on the album veers from the dark gothic atmospheric chamber music that he’s perfected beautifully on The Sea Witch for instance with it’s haunting chords and strings or the opener Ghost, which see’s Richard musically anyway, stripped back with some wonderful acoustic guitar and vocals.

Mephisto Portrait is another one of these songs, with some wonderful pastoral echoes, but something more going on underneath, with some fantastic guitar and Floydian bass, this in fact sits in the similar sort of territory that Matt Berry has carved out a career in. The nod to the 1970’s horror films continues with a version of Paul Giovanni’s The Tinker of Rye, from the Wicker Man soundtrack, and which fits neatly with it’s subtle (ish) innuendo, and tongue in cheek nod to trad folk smut.

Reworked versions of Karda Estra material sit alongside Richards newer songs, and blend perfectly, Cassiopeia weaving it’s magic, whilst the wonderfully evocative Three Occultations (which has been played by Stuart Maconie on his Freakzone show) reminds me of elements of bands like Comus, Spyrogyra or even Trees, whilst Richard’s elegant compositional skills and the way he’s honed his craft working as Karda Estra really make this album work.

Subtle musical accompaniment from Amy Fry, whose duo vocals with Richard are an absolute joy, whilst her clarinet joins with the trumpet of Lauraine Phelan and the bass clarinet and alto sax of Jo Court, which gives depth and a sense of different styles to the album, Richard, as mentioned elsewhere, plays everything else, and with his vocals forefront, and his name on the sleeve makes this a much more song focused album than Karda Estra works.

This is not a re-branding exercise as such, more a case of Richard extending his musical chops above and beyond the Karda Estra name, and with this is mind this is a perfect progression of his musical journey, part singer-songwriter album, part soundtrack for a lost British classic, and overall a thoroughly enjoyable and eminently listenable album.

Released 16th February 2016

Order ‘Veil’ from bandcamp

Live Review – Paul Draper – Bristol SWX – 21st February 2018 – by James R Turner

It’s been a long time coming, but former Mansun frontman Paul Draper reappeared recently onto the music scene with a new album called ‘Spooky Action’ (wonder where he found that title…..) and a fresh young touring band.

This year, on it’s the 21st anniversary of Mansun’s debut long player, ‘Attack of the Grey Lantern’ and, ahead of K Scope preparing to release it in a remastered and expanded (and 5.1, oh be still my beating heart) deluxe set, Mr Draper set off on a UK tour performing two sets.

The first made up entirely of solo ‘Spooky Action’ material, and the second being ‘Attack…’, performed in its entirety for the first time ever.

Now, I know the gig was back in February, and we are now into April, but in my defence I have moved to a new house and so when I looked on the calendar and arranged a date to complete (and be out of the flat complete with all our wordlies boxed up and ready for the removal van) I had agreed Feb 22nd.

So, a gig I’ve been waiting to see since ‘Attack…’ first hit my stereo back at the fag end of Britpop over 20 years ago (and it’s astonishing how many influential albums that I consider contemporary are getting the 20th and beyond anniversary, ‘OK Computer’, ‘Urban Hymns’, ‘His and Hers’, ‘Be Here Now’, ‘Boys for Pele’, this was, amongst many others, the sound of my adolescence and dear reader it makes me feel old) and yet I needed to have every boxed up and ready to go without any stress.

So I did what any sensible human would do, and go the gig, but drive – best of both worlds and in hindsight the right move, as it took me back 20 years and the stress of the moment was relieved.

If anyone here doesn’t believe in the healing power of music, then my friends you’re missing out.

Now the gig had been moved from the Bierkeller which shut down in conflicting circumstances at the start of February, luckily SWX round the corner is a nicer and more modern version, with an excellent sound system, and from where we were we had an excellent view of the stage, so as an aside, if you see anyone promoted here and wonder if it’s worth going, it’s a Yes from me (& it’s very close to town and about 20 minutes’ walk from Temple Meads – see, who needs trip advisor?)

Unfortunately, I didn’t catch the name of the support act, who was a local lad with a guitar and a penchant for checked shirts and listening to Nick Drake and Bob Dylan, it was pleasant enough and I’m sure his Mum enjoyed it, but it didn’t set the world alight, and his acoustic guitar sound was lost at points in the venue.

Then came the part we were waiting for, Mansun always exuded an aura of mystery and a certain disconnect that set about as far away from the Britpop scene that they were lumped in with, like a square peg in a round hole, and it was great to see Paul Draper, slightly older, bearded and full of chat between songs and with plenty of stage presence.

Even better, he still has the power in his voice, and an incredibly tight and talented young band around him, with Ben Sink on guitar doing a lot of the heavy lifting, allowing Draper to focus on the singing and being the frontman, he has always been.

I know the audience were there for ‘Attack…‘ but the ‘Spooky Action’ material really holds its own with the gig opening as the album does with the superb Don’t Poke the Bear, and songs like Grey House, Jealousy is a Powerful Emotion, Friends Make the Worst Enemies and Who’s Wearing the Trousers all went down a storm.

Then, after a brief interval, the band came back on stage with a nod from Paul thanking his ‘support act’ and then, the rousing strings of the best James Bond theme there never was The Chad Who Loved Me came ringing out, and the auditorium was lost in a magical musical time warp, as the classics like Wide Open Space, Stripper Vicar, the legendary Taxloss, Dark Mavis and the rest all came out in a blaze of glory.

Don’t get me wrong, this is no nostalgia act, as the first half proved, and as a band who were always slightly out of time, Mansun’s tunes have proved timeless, as this album still sounds fresh, exciting and contemporary even 21 years later.

I went into this show not knowing whether it would be worth my money (&yes dear reader – this is one of those rare occurrences where I review something I paid for!) and it was worth every penny.

During the gig Paul Draper said he would back soon, performing ‘Six’ in it’s entirety – take all of my money, now!!!

 

 

Review – VLMV – Stranded Not Lost – by James R. Turner

Genres, funny things aren’t they? It seems that as human beings we are happiest when we can look at, listen to or read something and think yes, that definitely belongs in that category. Label it nicely and then go have a beer.

There seems to be something within us that isn’t satisfied until we’ve exhausted all the permutations and decided that x, y or indeed z fits into that little category, and woe betide it if it tries to escape the little box.

That is the only reason why I can think of a certain type of listener or internet commentator exists, you all know the one’s I mean, The ones who aren’t satisfied until they’ve proven beyond reasonable doubt that so and so is ‘prog’ and won’t listen to anything that doesn’t fit into their little boxes.

Well, gentlemen (and it is always gentlemen), let me tell you, life is so much more fulfilling when you step out of your little comfort bubble and not just listen to the music that falls between the boxes, but start living your life outside the boxes.

This is where haunting duo VLMV (pronounced ALMA) from London come in, their second album ‘Stranded Not Lost’ is released on Friday 16th February, formed by Peter Lambrou and joined by Ciaran Morahan, VLMV specialise in the sort of post rock ambient soundscapes and haunting ethereal melodies that fit outside the traditional musical box, occupying the same universe as artists like Explosions in the Sky or Bristol improv group Jilk.

This is music Jim, but not as we know it, whilst the psychedelic warriors of the late 60’s & 70’s pushed the barriers by going in search of space and beyond, this is the opposite, this is emotive, expansive and introspective music.

The sort of thing that No-Man used to do quite well, and which VLMV do with great skill, is the art of the slow build, the sonic build and soundscapes where the space between the noise is as important as the noise, with songs like the hauntingly beautiful All These Ghosts (which is the lead single from the album) it’s atmospheric stark soundscapes, mixed with the steel guitar picking and some emotive lyrics bring this ballad to life, and it’s this juxtaposition of music as big as the universe, and lyrics as close as your deepest thoughts that are part of what makes this album so effective.

With a sonic palette that brings real warmth to what initially seems to be icy and stark (the aural equivalent of a long country walk on a frozen landscape) the warmth, the depth and the humanity that is teased out through these songs grows and delights.

The opening instrumental mood setting He Has Already Divided Us, with it’s enigmatic title leads us brilliantly into the album, where songs like the title track, with it’s alt country guitar, big orchestration, and vocals reminiscent of an OK Computer Era Radiohead crossed with Josh Rouse, is one of the most affecting tracks on the album. It’s beautiful lyrics, haunting melodies and beautiful string work complement the guitar and synths perfectly. The barely restrained vocal performance and musical accompaniment suggest repressed emotion fighting to get out, and I think it’s one of the most beautiful and evocative pieces of music I have heard so far this year.

Evocative is the word that keeps coming up again when listening to this album, it has the widescreen feel of a soundtrack for a British Indie movie that hasn’t been made yet, I can see the main characters falling apart in the pouring rain on an anonymous street in a big city to the heartstring pulling and piano and string laden And There Was Peace in Our Time, breaking down as the music builds up, the blend of strings and synths is pure class, the melody filling the speakers as it soars beautifully. This is strong stuff, and really gets into you, especially if you listen on your headphones on the commute to work.

It’s not often that music conjures up such vivid imagery for me, not even powerful instrumental stuff, but this hits the spot every time, its power is in its simplicity, and that runs through the album. These are all well crafted, well thought out and beautifully executed songs, with space to grow and room to breath.

Guest vocalist Tom Hodge joins in on the brilliant Little House, which again reflects on the personal with some more of that fantastic guitar and synth work. The beauty on this is giving space to the vocals, focusing on the everyday, the real concerns of individuals. Where the space within the music is as important as the music. There are no overblown histrionics here nothing so crass is required. This is music in its purest form, no notes wasted, no unnecessary pieces. Every song has what it needs and nothing more, and this economy of sound, and distillation down to the purest emotion is what makes this album so affecting, especially on tracks like the ambient Lunokhod.

Having gone from never hearing of VLMV before, I will now be visiting their bandcamp site to order my copies of their earlier work and I strongly recommend that on Friday when this album hits the streets, you hit their bandcamp site, have yourself a listen and get into some seriously great music.

Released 16th February 2018

Order ‘Stranded Not Lost’ from bandcamp in all formats

 

 

 

 

 

Interview with Acqua Fragile by James R. Turner

Following the release of their new album, the first in over 40 years I spent some time chatting with the charming Bernardo Lanzetti, vocalist and song writer with Acqua Fragile, about his musical career, reforming the band and the brand new album ‘A New Chant’.

I started by asking Bernardo how did you go about reforming and what spurred the reunion?

In May 2013, I did celebrate my 40 years in music with a unique event called “VOX 40”. Welcomed by an exhibition of my artwork, the audience attended a concert where up to twenty seven musicians gathered to play tracks off the different bands I had done vocals for, over the years.

On that occasion, all five original members of Acqua Fragile happened to meet after a long while and Piero Canavera on drums plus Franz Dondi on bass, even got a chance to play a couple of tracks off “Acqua Fragile” and “Mass Media Stars” along with Tango Spleen, a smart modern classical ensemble.

The idea of working on a new album took form quite naturally even though Gino Campanini (guitar and vocals) and Maurizio Mori (keyboards) confessed they could not join in. Quite nice though, Alessandro Mori, Maurizio’s son – a talented young drummer previously with Glenn Hughes and Bobby Kimball – right after that show, suggested he could be guest on one of the brand new tracks.

The start off was not that easy. The band wanted to keep A F vocal harmonies but we were missing one voice and we had no key man! A few characters, hanging around the band, enthusiastically, were giving suggestions and advice resulting in slowing down the whole project.

A few keyboardists and guitarists showed up and quit but we had a bit more of luck with Alessandro Giallombardo on guitar, backing vocals and keys too. Even though he wouldn’t join the band, Piero, Franz and Bernardo could find energy enough to carry on the project. Ok! We had no dedicated hands on keyboards but we could have strings, piano and intriguing bandoneon from Tango Spleen! Some minor health issue would, temporarily, keep Piero away from his kit? Well, Alessandro Mori could drum along!

Alessandro Sgobbio, formerly with “Acqua Fragile Project” (an experiment carried on by Franz Dondi where young musicians would live perform A F music, around 2004 ) and now jazz pianist and composer for “Charm”, “Pericopes +1” e “Debra’s Dream”, popped up at Elfo Studio to do a flashy synth solo. Michelangelo Ferilli, also from “A F P ”, left some acoustic guitar arpeggios!

I had been quite busy in the last two years so I thought I could get some help with lyrics. As special guest, we were lucky to have US drummer Jonathan Mover (Joe Satriani, GTR) on the trickiest piece of the album succeeding in making a quite complicated composition sound simple. Though some additional actions were taken in centre Italy and Costa del Sol in Spain, main recordings took place at Elfo Studio in Tavernago (PC) Italy where sound man Alberto Callegari was sharp and patient enough to produce it.

I wondered what difference in recording and working together did you find after reforming?

From 72 up to 74, the band would gather at least four times a week. We had no recording facilities so we would memorize all we were playing, I mean dozens of changes in every session. We wouldn’t even take notes or write score on paper as most of us were just self-taught in music.

Actually, every now and then, somebody, may be an older chap, would show up with a reel to reel or, let’s say, some freak with a cassette recorder would promise to do magic but distortion was all we could get down on tape. We knew very little about recording studios but we were blessed getting Claudio Fabi to produce our albums with Gaetano Ria as sound engineer – I mean – top guys in recording studios in Milan.

After that, please, do know that Piero and Franz kept away for many years from the recording world so, when we got back together, everybody around us – I mean fans, fellow artists, guys who wanted to be producers etc. – they were all saying we should go back and start on the old way, rehearsing every day to “capture back the old flair”.

I would just keep scrolling my head – you know, after all in a band there’s got to be some form of democracy – ‘till I got the other guys on my side and started to work in a most proper way. Somehow, I would provide the music and the lyrics, recording a home demo good enough to start with. Drums and bass would then get together to work out modifying the existing patterns and lines of the chosen piece.

Electric guitars and most keybords came out from the work of Alex Giallombardo who we were lucky to have over three quarters of the album even though he wouldn’t join the band. Tango Spleen is a terrific small unit which I define smart & classic. I remember them recording “My Forte” at first take.

Lately, I’ve been moving around a lot so my lead vocals were recorded in different places around Italy and Andalusia. Vocal harmonies were recorded mostly at Elfo Studios or in Milan. In the final rush I played a few synth lines and played acoustic guitar that was missing.

So how do you see A New Chant fitting into your canon?

OK: We got the vocals with the three part harmony, we got friendly odd tempo signatures, we got acoustic guitars, we got synthesizers, we got original riffs, we got nice arpeggios and, yeah, we got good lead vocals too. On the lyrics side we are missing some social issues and science fiction stories.

On the other end, also thanks to Pete Sinfield and Nick Clabburn, we did get more poetry. The music still holds drama in it as well as humour, epics, rock, folk and classical flare.

How did the collaborations on the album come about?

The Orchestra 6 piece specialize in tango, I met them as guests when I did my vox 40 concert, they did a great job, I thought it would be good to have them guest, they did a terrific job, they got the 1st song as a 1st take, and it was the fist time they had drums in their cans. Jon Mover, track in 11/8 he doubled that into 22, then subdivided to 7/6/5/4 meaning each bar has a different beats per minute and from the previous and the following, this is prog definatley, Mariano the pioano player needed more information, he looked at the score and then they both did it. One to be guests, Mover, he’s American, he loves progressive music, he played for Marillion, after that he got involved in GTR, he booked a studio and invited them down to hear me play, he then got hired. I found out I’m his favourite singer, so I got in touch and we’re working on my new album. We had guests for lyrics, I found this website where Pete Sinfield has his lyrics/poems/haikus, there was a poem I liked so much that I put some music to it, but how do I contact him? I had the song but no permission to release it. I had been doing gigs with David Jackson, he was in my house, and when he was staying he talked about moving. I asked David when we next spoke if he had moved and he’d moved to a small town, turns out it’s the same village that Pete Sinfield lives, so David’s son is a famous engineer, and his daughter Dorie is a singer, and she sometimes helps Mr Sinfield, so we had a connection, Dorie got a CD from me and once they went to supermarket she put the CD on for Pete, he said I love it and that’s how it worked out. I got a mail confirming I could use the poem as lyrics. Also Nick Clabburn wrote the lyrics for me, I knew Nick from when Steve Hackett came to Italy, he came to visit me in Umbria, he took inspiration from the lake I lived at, and he got the lyrics I’m drowning.

Alesso Lombardo, we did a few gigs and asked he could join in, he was contributing and we were lucky. Where your Car Proudly, the only one we wrote in the 70’s, we had no recordings, the drummer remembered the lines to play, but I didn’t remember the words, only the title, and asked a friend to write the lyrics, the song is quite interesting, if you play it when driving you get carried away. Allessandro Scorpio on keys, was in a band Aqcua Fragile project, didn’t quite work out, and he became a jazz player. When I played Vox 40 all original members but the guitarist and keyboard player didn’t play, but the keyboard players son is a drummer who joined.

I wondered what inspired Bernando as a writer?

Conscious and subconscious pull up bubbles from education and personality. Lyrics are one topic. Music is another one. I keep written notes around with phrases and words with a sound and may be more than just one meaning. I store them for future use..

As for music, I used to write singing on top of my guitar playing but, in the last ten years or so, I developed other techniques the most interesting being the one that I think about a melody, memorize it and study in my head but may be I’m floating on a swimming pool or riding shotgun (better not driving when doing this) so I’m totally free of instrumentation and kind of draw diagrams in my head. Of course, later on, I try to get sounds off instruments, mainly starting with the ol’ guitar.

Talk me through the album A New Chant.

Well, we wanted an Italian song, we’re the only Italian prog band with no Italian song, the Tu per Lei song is about music, saying if you work hard for music, then it’s done. Taking the line from Jamie Muir, he once told Bill Bruford, ‘when you approach you don’t have to think about what music can do for you, you have to ask what can I do for music’ then the acoustic one, How come, I wanted Lombardo to be more involved, I pushed, so he said I’ll write something acoustic and you sing, then we had an argument, so he said I’ll take the music but you keep the lyrics, which were my words, so I ended up having to write a new melody to the lyrics. A new way of composing. All rise – when you write songs for an album you don’t think about the concert, then you have to rejig the order for the power, so I thought why don’t I write a song for the first encore, using the courtroom line, the drummer did a great job,

A New Chant, I can do many things with my vocals, but I can do something that resembles opera, but I never learnt to push without a microphone, they can push up to 50 metres, I never learnt to do that, so that’s what I wanted to, which is crossing prog with opera. Artwork from 1973, it’s guy carrying round chairs as an invitation to a concert, the bassist had it and kept it, and it seemed ideal to use.

Will you be playing live?

We are working on two options. We could call other musicians to fill the gaps or be surrounded by an orchestra.

How did you get the deal with Esoteric?

Ernesto De Pascale, journalist and producer got them in touch with me when they needed the original art work for the re-release of Acqua Fragile’s very first album.

Where next for Acqua Fragile?

Perhaps a live album or…..

What influenced you as a musician when you started out?

When I was a kid I wanted to become a mad scientist. Somehow I kept that attitude working with music. I am not such a good player, not fast fingers or feet, no strength in my hands or arms but I can do total vocals. I can do harmonies and my range spans over three octaves.

I always admired rock and blues, suspended chords, things hidden or not totally outspoken. Progressive rock gave me all the other topics I was missing.

How different is the music scene now compared to when you started out?

The people behind the music scene have taken over. They don’t need musicians or artist ‘cause they actually control all platforms that distributes music or what they push to become “music”.

Tell me about your time in PFM?

When I joined PFM I thought I was called in to complete the delivery potential of the band. Only one of the original member is still in the band, actually becoming its leader, but, along with the ones that left ,when being interviewed they all say they were forced to get a lead singer. I recall them knowing nothing about singing except, perhaps, the key man Flavio Premoli. They didn’t even know the words to their songs!

On stage, nobody wanted my vocals in their monitors and, when having only three lines, I would end up singing along with drums and fretless bass! We were recording in LA, the studio time expired so we moved to Scorpio sound and we flew economy on a students ticket, we arrived at midnight in Luton, got the bus to the centre of London, at 2am we were still on the bus. Franco said ‘this is the new day’ so instead of heading to the hotel so we took two cabs to the studio, we wanted to start recording. We knocked on the studio door at 3 in the morning and said ‘We’ve got the studio booked’ and the people running the studio said we’ve got no engineers in yet. Franco said, ’You got a microphone?’ OK Bernado, sing! And we started.  After a long flight and journey how can a guy sing after that?

After a career spanning many years what’s your favourite musical memories?

I have a lot, we started opening for bands like Soft Machine & Gentle Giant they were our heroes and we hoped we did our best and we even played before Alexis Korner, Tempest as well, We were exposed to terrific players. With PFM my first concert was in Tokyo, and we played the Royal Albert Hall and the Queen Mother wanted to meet us, so there’s a photo of us with the Queen Mother, so when I left they erased me, I then did my own and I erased them, so there’s three copies of this photo, one with all of us, one with them and not me, and then one with me on my own!

‘A New Chant’ was released 13th October 2017.

Read James’ review of the album here:

Review – Acqua Fragile – A New Chant – by James R. Turner

 

 

 

Review – Acqua Fragile – A New Chant – by James R. Turner

They may be a new name to you, they certainly were to me, but Italy’s Acqua Fragile were originally active between 1971 & 1975, and vocalist Bernardo Lanzetti joined PFM for their ‘Chocolate Kings’ and ‘Jet Lag’ albums, leaving in 1977.

The catalyst for this reunion record came when Bernardo celebrated his career with his Vox 40 concert, and the revived band consists of Bernardo Lanzetti (vocals, animoog, guitars) Pierro Canavera (drums/percussion/backing vocals) and Franz Dodi (electric bass), as well as guest musicians like Jonathon Mover (on opener My Forte) drummer Alexander Mori (son of original keyboard player Maurizio Mori) as well as members of the Acqua Fragile Project, a collaboration put together by Franz Dodi of younger musicians playing the original music of Acqua Fragile.

You wait a while for some bands to get on with the ‘difficult’ third album, but it’s taken these guys over 40 years!

Joking aside, the musicians have worked hard in Italy, and Bernardo is a well known name on the progressive scene, having worked with Mangala Vallis amongst others, and with new blood in the group like collaborator Alex Giallombardo, who provides guitars, vocals and keyboards this blends the best of traditional Acqua Fragile with new sounds and contemporary production values.

This blending of old and new is probably exemplified by the track Wear Your Car Proudly, which was a track the band used to perform in the 70’s, which had never been recorded. The music was intact, with some driving guitar and bass, and wonderfully squelchy mid 70’s synth sounds, (it’s also reminiscent of the neo-prog sound of the early 80’s) yet the lyrics had gone, no trace, so Bernardo’s friend came up with some new lyrics, and hey presto, a wonderfully eclectic song all about motor racing. It’s in the Italian blood, and the passion comes across in this song.

They have even recorded a track in Italian, Tu Per Lei (You for Her) with some wonderfully emotive vocals from Bernardo, and a great electric guitar solo, and it’s true that Italian is a beautiful and emotive language, I don’t know exactly what’s being sung about, but it sounds fantastic.

In fact that’s a good word to use to describe this album, fantastic, I always admire musicians who can write in their second language, and their English is probably better than mine (I am also probably a little jealous as I am no linguist, cunning or otherwise) and to flit between their native tongue and English, is wonderful.

The Drowning meanwhile utilises the lyric skills of Nick Clabburn, who paints a wonderful picture, for Bernardo to fill with his rich vocals.

Meanwhile Rain Drops is a poem, by the legendary Pete Sinfield, that Bernardo loved so much he wanted to adapt, he even explained how he got permission from the elusive Mr Sinfield to include this on the album (in the interview elsewhere on Progradar that I did with him) and the orchestral, almost Oldfieldesque accompaniment works perfectly in drawing the nuances out of the lyrics, and Sinfield’s imagery is both wonderful and very emotive, again showing Bernardo’s voice off to the full.

The core band here sound relaxed and enjoying each others company, whilst the self-explanatory All Rise is a fab rockier number, showing the band kicking up a storm, in a nod to the live arena, a self confessed first encore track, utilising the traditional courtroom phrase to great effect, and providing the energy and power that every good encore needs.

The mood slows a little, with the lovely acoustic How Come, where Bernardo’s vocals continue to shine, and his personal and moving lyrics work in this stripped back environment, providing a brief period of reflection prior to the closing power of the albums title track.

A New Chant see’s Bernardo projecting his voice in an operatic finale, the music and lyrics working together, a beautiful merging of sound, topping off what is, to these ears an excellent record.

It’s great to see that bands can reform after a long period of time, pull together in the studio and rediscover the old magic, this is Acqua Fragile reborn for the 21st century, and is worth a listen. I really enjoyed it.

Released 13th October 2017

Order ‘A New Chant’ from Cherry Red Records here:

https://www.cherryred.co.uk/product/a-new-chant/