Tag: John Wenlock-Smith

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

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

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

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

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

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

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

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

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

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

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

Order from Cherry Red Records here:

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

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

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

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

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

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

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

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

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

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

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

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

Released June 24th, 2022.

Order direct from Gravity Dream here:

The Bardic Depths – Gravity Dream Music

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

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

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

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

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

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

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

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

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

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

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

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

https://yesworld.com/live/

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

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

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

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

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

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

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

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

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

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

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

Released 15th July, 2022.

Order here:

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

Review – Kaipa – Urskog – by John Wenlock-Smith

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

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

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

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

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

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

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

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

Released 29th April, 2022.

Order here:

Urskog (burningshed.com)

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

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

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

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

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

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

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

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

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

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

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

Released 26th May, 2022

Order from Cherry Red here:

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

Review – Twelfth Night – Smiling At Grief… Revisited – by John Wenlock-Smith

I think history has not looked favourably on the career of Twelfth Night, who were active in the late 1970’s and early 1980’s and were a contemporary of Marillion, Pallas, IQ and other bands of that era, and I can’t help but wonder why that was, for the band had the skill and the talent but possibly lacked the record company support that didn’t come until 1984 and the ‘Art and Illusion’ and ‘Twelfth Night XII’ albums. That meant many, indeed too many, prog fans were either unaware of the band, too blinkered to investigate for themselves or merely too fixated on the past groups to the exclusion of anything new. This was their loss truly for Twelfth Night kept the Prog flame alive in the era after Punk and the New Romantics by offering their own interpretation and distillation of prog into something new and different.

I confess to being one of those that let them pass me by, at least until the ‘Art and Illusion’ mini album in 1984, which I bought and thoroughly enjoyed. I then went back and bought  ‘Live and Let Live’ on vinyl, but it was a challenging listen and I wasn’t ready for it. Again, that is my loss.

This latest CD Issue is to celebrate 40 years since ‘Smiling at Grief’ was initially released. This revisitation takes the form of various members, friends and fans of the band paying their own homage to what was a landmark album for the band. Those friends include Steven Wilson (Porcupine Tree and Solo), Peter Jones (Tiger Moth Tales/ Cyan), Karl Groom (Threshold) and Simon Godfrey (Tinyfish and Shineback,Valdez and Tribe of Names), amongst others, who have remixed the original album master tapes and often added new instrumentation and vocals.

This has all been done in a highly respectful manner and with the intent  to enhance the originals rather than just replacing them. I have to say, that approach seems to bear fruit and the project is worthwhile and certainly worthy of being heard, there is so much good music on here. Now bear in mind that I’ve never actually heard the original ‘Smiling at Grief’ release, only this revisitation, so this review is based solely on what I hear, not any preconceived views or ideas.

The album has sixteen tracks, where the original cassette had just nine, so the CD offers extra workings of several tracks. The opening track is East of Eden with Steven Wilson at the helm. Apparently Steven has long been a subscriber to the Twelfth Night mailing list and jumped at the opportunity to get onboard with the project. His take on East of Eden kicks things off in storming style, even more so on the extended remix (the last track on the CD). Many of these songs have alternate vocals from Geoff Mann and guitar parts from Andy Revell, certainly that is the case on both versions of the lengthy epic Creepshow, the song is sinister in tone as are its lyrics. 

This City has been remixed by Peter Jones with Geoff’s vocal benefitting in the process as it brings out the soulfulness of the song. The Honeymoon Is Over benefits from both its remixers, although the Andy Tillison one lacks  the vocals being as upfront as Karl Grooms take, but whichever version appeals most to you, it is a great song in either guise. Puppets is also remixed interestingly, the new instrumentation adding emphasis to the precision of the lyrics with its almost military beat and its angular teutonic sounding vocal lines. This song sounds like a progressive version by Propaganda, it also has great guitar from Lee Abraham and a great vocal from Stuart Nicholson (Galahad).

Makes No Sense also appears in two versions, one from Mark Spencer featuring vocals from Mark alongside Geoff’s original. The other is from August 2021 with Tim Bowness and Brian Hulse where there is also some pitch adjustment to the guitar solo. One thing that shines throughout the album is the intelligence in the lyrics, Geoff had a way of looking at life that was different to many. Whether this was a reflection of his personal faith is open to question and, sadly, we cannot ask him as he died in 1993, after he’d left Twelfth Night to pursue a career that was more closely aligned to his faith and beliefs.

The way this new remix takes on the classic 1982 album gives us chance to discover afresh just what a talent Geoff and the band were and that can be appreciated again in this new revisited version.

Released 1st April, 2022.

Order direct from the band here:

Shop » Twelfth Night

Review – Stuckfish – Days of Innocence – by John Wenlock-Smith

This might be one of the best new albums that I have had to pleasure to hear this year. Yes, it really is that impressive! The album has eight tracks, all above the five-and-a-half-minute mark and two over eight minutes.

No wonder this is attracting the interest of many prog fans for, in Stuckfish, we find a worthy blend of old school prog and classic rock, married together with a great vocalist in Phil Stuckey, who brings to mind a classic style, an excellent bass player (Phil Morey) and a fiery but tasteful guitarist in Ade Fisher. Together with drummer Adam Sayers and keyboard player Gary Holland, they make for a very tight and energetic team.

This is their third album written during the global layoff of 2021, which, as Ade says, was a better use of time than watching Netflix and chomping chocolate hobnobs and the results here can bear witness to that observation.

The album opens in a very Rush like vein with Age Of Renewal and its use of shifting time signatures which allows for some moody synth backing. Vocalist Phil Stuckey really performs well here with a strong clear tone that works well. There is a good synth/guitar interplay here too making the mid-section strong, just before Ade lets rip with a solo that takes the piece forward. Along with the great bass work on show, this is a great opener that will be a sure-fire winner live, seldom has seven minutes passed so quickly! The epic Days of Innocence follows, which features the nimble basswood of Phil Morey anchoring the song down. The track is a heartfelt one, a look back at childhood and the hope of a better future. The song is reflective and a touch maudlin, however it is certainly extraordinarily strong in tone. There’s great vocals too as Phil sings with passion and optimism for a star he has yet to reach. A very impressive track with good orchestration in the closing moments with great brass, unusual but effective and definitely memorable.

Painted Smile picks up the Rush baton once again with a chugging guitar riff that said band would have loved to employ. The song is about clowns and how their painted face often hides or masks their inner pains. This has great keyboards on it that create an aura of the circus with a suitable organ sound strong in the mix. Sounding sinister at times but creating and painting the setting wonderfully, this album makes a strong impression for all the right reasons and will surely appear in many bests of /end of the year’s lists, It will certainly be among my choices for that accolade, the track ends with a piano sound that evokes a silent film and concludes another fabulous track. The urgent guitar riff of Ade Fisher sees a segue into Game Changer, a track that flies out of the gate with style and punchy panache. This song properly rocks but does not forget to have melodies or dynamics that make this optimistic song stand out both musically and lyrically. I am really enjoying this album with its use of light and shade that works very well, as does the graceful guitar playing that leads the song on towards a marvellous rhythmic mid section which really makes an impact. Stuckfish have worked hard on this album, not only in the elegant material but also in the performances that are all highly impressive by any standard.

Thief In The Night is a great song about loss and the memories of a loved one that has gone. The track is very moving and is presented beautifully, with dignity and feeling. Phil’s voice is fantastic and really suited to the feeling of the song and making it my favourite on the album, sympathetically managed and beautifully written, it conveys perfectly what happens when a loved one passes on, glorious and magnificent in equal measures. Yearn is next and opens with a reverb laden piano that sets the tone for the song. With a trumpet evoking a smokey jazz club, it’s certainly very sultry and brooding sounding and has an epic chorus that really impacts. This is a slow burn of a track that creeps up on you and takes over, it’s truly that memorable. It reminds me of a Wishbone Ash song for some reason, must be the vocal inflections that it has. Wonderfully delicate and gracefully imagined and conceived, this is another great song that’s very well performed by all. A really impressive piece of music!

Nevermore is different as Phil sings in a Rob Halford sounding voice to significant effect. It is really distinctive to hear him singing in this manner and the song packs a punch to be sure, one of the shorter pieces but still a good listen. Different Ways closes the album in grand style, being one of the more blatantly progressive songs and one that gives room for the bands musical dexterity to shine through. With a great guitar solo from Ade and good support from all the group, this is a great album ending track.

So, there you have it, eight great tracks in one fine album from a band that are really on the rise. Get it while you can as it is utterly fantastic and definitely a highlight of the year so far!

Released 16th April, 2022.

Order from bandcamp here:

Days of Innocence | Stuckfish (bandcamp.com)

Review – Envy Of None – s/t – by John Wenlock-Smith

After the last date of the Rush ‘R40’ tour on 15th August 2015 in Los Angeles, Rush were at a crossroads, this was their final tour as they had agreed to bow out on a high note, seeking not to slump into trying to recapture the former glories, as has befallen many other groups over the years. Even the band themselves were unsure of what to do next or even if there would be a ‘next’ moment.

This all came sharply into focus again in January 2020 when Neil Peart lost his battle with brain cancer and, while the world quite rightly mourned his passing, Rush were effectively over. This left Geddy Lee and Alex Lifeson in a quandary realising that anything they did would suffer comparison to the might of Rush.

So they did what they could cope with, Alex went fishing and valued his home life, Geddy wrote his memoirs (to be published this year) and both men struggled with the loss of their long term friend. They had both known about his illness yet the end still hit them hard, in addition they needed time to grieve him, plus we had various lockdowns and limitations on life due to covid.

Well, thankfully, that time has come to an end as Alex has now ventured back into the public eye once more by contributing his graceful, elegant guitar tones to a brand-new project called Envy Of None. It could not be any more removed from the progressive elements of Rush. Two of the songs were released by Lifeson on his own social media pages, namely Shadow and Spy House, which were intended to introduce the band to the public.

Now the album in full is out and, yes, it is something tasty indeed and different to what he has done before, for sure. Yet, even so, within its simpler shorter songs lie strands of Lifeson’s musical DNA. In just eleven short tracks you hear Alex revelling in playing music again and exorcizing his demons and his grief in the only way he knows, through music.

The album has elements of Pop, Rock, Emo and even electronica within its sounds, it certainly is hugely different and that is no bad thing. Take the opener for instance, I Never Said I Loved You, with a strong sequenced opening motif and the dreamy vocals of Mariah Wynne and steady bass of former Coney Hatch bassist Andy Curran driving the song along (the band used various session players to provide drum support). The sound is full and leaves room for each instrument to be clearly heard, in addition, it is a great little song. Sequencing plays a big part in the groups sound, this is all is sympathetically done and does not detract from everything that is going on.

Look Inside is a good example of how this all works together to create something exceptionally fine indeed. There is even a sampled muted trumpet playing in the last moments, a tremendous piece of music that is both imaginative and accomplished. Liar follows but this fails to hit the mark for me. Whilst being well crafted, it is a bit too busy for my liking and has too much layering to really click. Spy House has Lifeson unleashed and all over the track with an insistent riff threaded throughout it. It’s great to hear him in this vein and his solo is fabulous and free spirited. It is the Alex we all know and love to hear and a great moment in a very good track.

Dogs Life is another brooding, moody and slow burning number that builds in its intensity before breaking out into a busy section, this time the slow burn really works well for the track. This album is really a bit of a grower and more volume really helps in this case, making it one of the best tracks so far to these ears. Kabul Blues follows with it Far Eastern sounding synths and delicate guitar lines woven through its grooves. This sounds very exotic and Middle Eastern and quite different to what has gone before, great bass lines from Andy Curran making this another winning track. Old Strings is the album’s longest track at just over five minutes as Mariah sings of lost memories, lost opportunities, and stolen moments. Again, this is a slow burner of a song with subtle but effective dynamics which all combines to make an impressive song with sensitive playing from all parties, marvellous stuff.

Dumb works really well, a strong back beat drives the song along with its great sequenced sounds and a very eighties sounding drum pattern really kicking it out and providing much drive to the song. Penultimate song Enemy is built on hypnotic synthesiser lines and settings that work to a  pronounced effect with strong performances. Growling synth sounds and fabulous dynamics make this is a great song and, again, volume reveals its intricacies beautifully. This leads us to the final piece, Western Sunset, which is an acoustic guitar tribute to Neil Peart. Alex spent a lot of time at Neil’s pacific home and, whilst enjoying a beer, looked out at the shoreline at sunset. This memory was the one that inspired this delicate, brief piece of musical imagery. Ironic really that this should feature but it closes things for Alex. So, as such, it earns it is place here as a tribute to his dearly departed friend.

This album gains in stature the more you play it and it certainly is a very worthy collection of songs. The slow burn of these tracks creep up on you as they reveal their intricacies. I guess that only time will tell if the band continues, like they plan to. What sounds they explore next time remains to be seen, however, for now, this will do very nicely thank you.

Released 8th April, 2022

Order here:

Envy Of None (lnk.to)

Review – Stewart Clark – Journeys – by John Wenlock-Smith

‘Journeys’ is the new album from UK based musician Stewart Clark and it’s certainly an interesting concept and listening experience. Stewart was recently commenting about his inability to get people interested in writing a review of his work.

When I read this I contacted Stewart and offered to write a review for him. It must be incredibly frustrating to drum up any interest from prog fans who will happily shell out for the 16th remix or extended version of an album they already have that is 40 years old but has been slightly tweaked or updated by someone whose aunt knew the bassist’s mother over 30 years ago.

Now, I like a good remaster or upgrade as much as the next prog fan but, really, why do we tend to gloss over the smaller acts who are really trying to break into an already full pond? People like Stewart who makes music because he wants to and does it all on a miniscule budget, on a very much ‘do it yourself manner’, but who is really making something that appeals but often fails to capture the wider public interest.

It’s certainly not the music’s fault, I suggest it is the fact that the bigger acts grab the lions share of the activities and the column inches leaving mere scraps for the rest, highly unfair but that’s how it sadly is. I myself see that some bands get lots of exposure whilst other get little or none and it’s the same with gigs, a big name might get bigger crowds but smaller artists are lucky if they can get a handful of paying punters attending. I know covid hasn’t helped but it was bad even before that, this malaise and apathy goes back years and years.

Anyway, enough of that, ‘Journeys’ is a fine listen, opening with the gentle but gripping Snaefellisbaer (The Abandoned Icelandic Road Trip) to kick off proceedings. The song is about a road trip that Stewart and his wife attempted to take in 2012.  Unfortunately, they were beaten by the sheer volume of ice and snow that made the destination unreachable at that time. The track has some very jazzy saxaphone from Mark Norton and lovely swirling organ from Tom Potten (which I think is used to show the northern lights), it’s followed by some heavy guitar riffery from Kerry Mountain, all intertwined with ethereal vocals from Catherine Potten, before returning to Eric Bouillette’s excellent piano motif repeated in the songs outro.

I Wished They’d Stayed follows and is a song dedicated to a former band mate who died. In the track Stewart recalls the good times they spent together, however the song is not maudlin but merely reflects that this is all a part of life’s journey. There’s No Place Like You is about trying to get back to someone again but being frustrated in doing so. This has bass from Billy Sherwood of Yes fame on it and he does his best Chris Squire impression to give this song some great dynamics in the process. This is a very fine piece and is great musically with its superb synth and bass interplay.

I Remember The Age Of Steam opens with train sounds and a rolling rhythm that emulates train movements while a lone harmonica wails admirably in the background, evoking a hobo’s journey. It’s rather evocative really and certainly appealing, I can see the Big Big Train passengers really taking this song to heart as it strikes or touches many reference points in its grooves, especially the steam effects. Let Me Belong has a strong riff and swagger to it, rather muscular in fact, and it’s theme is about being part of something. There’s a good, fluid but fiery guitar solo and some fine keyboards enhancing the track gracefully which make this another winning song.

On A Leaf, On A Stream is very delicate with gently picked guitar and a good supporting bass line adding depth to the instrumental track. Add in some graceful yet urgent guitar from Sempano Semzedah and this short atmospheric piece scores highly. Final track Travelling Through Hyperspace is another mainly instrumental piece with crazy synths and urgent drums and great dynamics that give it some edge.

In short this almost concept album is about journeys and destinations and is a really underrated and yet highly rewarding trip. Even if the mainstream won’t give it room, I will and I hope that you will too.

Released February 18th, 2022

Order from bandcamp here:

Journeys | Stewart Clark (bandcamp.com)