Tag: John Wenlock-Smith

Review – Steve Gibbons Band: Rollin’ – The Albums – 1976-1978′ – by John Wenlock-Smith

Growing up as I did in Birmingham in the 1970s, I balanced my musical tastes between the hard rock and progressive music and held at bay the encroachment of the punk and new wave genres. It’s odd really, as there were some genuinely interesting things that were going on in that scene like Eddie and The Hot Rods and Racing Cars, to name just two, where energy and talent met head on.

A vast majority of these trod the boards of the stages of either the Birmingham Odeon or the Town Hall. One of the regular visitors being the Steve Gibbons Band, who were local lads who had landed the attention of record label Polydor. They were a band I was aware of but had no relevant knowledge about, neither of them or their music which, in hindsight, was to my detriment as their sound style and influences were so far removed from punk or new wave and being far more R &B or americana in style.

Well, my chance to remedy this issue came by means of this excellent new Polydor box set serving that era and issued by those good people at Cherry Red. This collection includes their entire output for the label of four albums (3 studio and 1 live album) along with a further BBC ‘Live in Concert’ to offer a comprehensive overview of their career. All alongside an informative booklet from the late Malcolm Dome.

I always like a live album as they often portray the more muscular live sound and allow for songs to be stretched out with some improvisation, where appropriate. On this score ‘Caught in the Act’ is a fine document of their live sound, capturing them in various settings, although the actual recording locations and information is not that clear. What the sound reminds me of is a far more organic version of Wishbone Ash as the two guitarists have a similar interplay and dynamic.

Also worthy of note is their debut album, especially the songs Rollin’ and Spark Of Love, both of which pack a punch and show what they were capable of to favourable effect. In addition, this underpins the Wishbone Ash comments, although I can also hear elements of bands like The Allman Brothers, such is the subtle musical interplay in the band.

The set also contains a further live album recording for the BBC from 1977, at the Shepherds Bush Empire, that captures the band in fine form once more and touring in support of their ‘Down In The Bunker’ album.

Steve Gibbons is a fine singer and also a good writer of songs, mostly that tell a story, especially as evidenced on the two live sets and tracks like Mr Jones and in Tupelo Mississippi Flash, about a hick town guitar player, when played live, these songs get time to gel fully and effectively.

I must say that time has treated these albums well and the remastering is beautifully done, giving the sound clarity and wallop where needed. In fact, I am really wondering quite why I never actually listened to these before and, as such, have really missed supporting these local lads when I had the chance, hindsight is a wonderful thing I guess?

Of the three studio albums, I think the first, ‘Any Road Up’, is possibly the best, as it is a band on the cusp of success and all their years of effort are starting to pay off. The album is relatively short though but it has power in the potential it offers, all of which was to find realisation on their second album ‘Rollin On” from 1977. The band were right in the midst of the onslaught of punk and yet still managed to deliver a fine sophomore album including its top 40 single Tulane and other such strong songs as Mr Jones, Tupelo Mississippi Flash and the acapella Right Side Of Heaven that segues brilliantly into Rollin On’. This album is further enhanced by 5 bonus tracks, including 2 songs from a session for John Peel, a man who knew good music when he heard it. Tulane was a big hit for the Steve Gibbons Band and it appears on this set four times in both studio, live and session takes and it’s always a worthy song to hear.

The final studio album, ‘Down In The Bunker’ was produced by Tony Visconti, of David Bowie and Thin Lizzy fame, and packs a good punch too. The album has eight bonus tracks to round it out, although details are scant about these.

What this set offers is a full overview of the band’s years as part of the Polydor label. The band continue today, albeit in a far simpler manner away from major label pressures and hassles, but this set offers a look into their legacy and history and shows them to be a band that Birmingham should be proud, of even today.

Released 7th January, 2022

Order from Cherry Red Records here:

Steve Gibbons Band: Rollin’ – The Albums 1976-1978, 5CD Remastered & Expanded Box Set – Cherry Red Records

Review – Azure – Of Brine And Angel’s Beaks – by John Wenlock-Smith

‘Of Brine And Angels Beaks’ is the second album from UK proggers Azure, who hail from Brighton and the South East of England. The album was Released in June 2021 after a period of lockdown and is the follow up to their debut ‘Wish For Spring’ that followed a few EP’s and singles like Redtail, a twenty minute progressive love song, and the shorter single Mistress that garnered wide acclaim for the band.

This album continues to mix hard edged progressive metal with fantasy elements (especially in the lyrics) and, over the course of its twelve songs and its sixty-three minute running time, many tales are told and worked upon. The music also includes lots of synthesizers, a modern clean production and lots of staggering guitar work from Galen Stapley, who can shred with the best of them, as eviced on his highly fluid and furious solo on the track Self-Crucifixion. The vocals of Christopher Sampson are very different and tend to verge wonderfully on the side of operatic, think Freddie Mercury on helium and you’d be in the right area. Thankfully they are highly listenable, no death metal growling here!

A Night Of Superlunary Gazing opens the album with one minute of almost psychedelic, fantastical music before Ameotoko 1 – The Curse drives in with some delicate arpeggio guitar lines and soft vocals, after about four minutes the song gains some traction and some pace, there are some strident keyboards runs in this section too. This is followed by the upbeat and excellent sounding The Jester Who Cheated Death and the fantastical Lustre – Siphon of Umbra, the former opening with what sounds like a marimba but isn’t. The song has great lyrics and lots happening musically, including some great guitar from Galen, along with some great dual harmonies. The song is a sorter one by Azure standards but certainly packs a punch. Lustre is a mellow, but hard edged, classic and one of the best songs on the album with great vocal harmonies and crunching, soaring guitars, it grabs your attention and holds on, a powerful piece of music.

Outrun God is next and, again, this starts gently but soon gains momentum. The song also has a highly impressive refrain that will stay with you long after it has finished, highly impressive Stuff. Mercy follows with very some very heavy guitar and epic synth work, along with driving beat that really gets under your skin in a positive way. 

Of Brine and Angels Beaks opens with strong keyboard textures and a low bass from Bella Lee and some kick from Sam Calder on the drums. The song is slower paced but very dramatic, with some excellent vocals from Chris in among the strident riffing from Galen. The middle section really rocks with lots of effects being used to process the sound effectively. Again, a very strong chorus and, indeed, song which strong metallic elements to the fore. The song is quite dark in nature, especially in the lyrics. It talks a lot about death and the passing of time, the bass is prominent here and sounds impressive too.

A Sailor Will Learn is next and starts softly, although the vocals are certainly impassioned, after which we enter a heavy section with Galen’s furious guitar riffs adding great dynamics to this song. There is yet another memorable chorus and some more dual guitars tracked that give the melody a lift, after the chorus there’s a furious section with some frantic guitar parts and great solo before thunderous drums lead to more riffing guitars. The keyboards take over before leading back into vocals, although taken at pace. This is one of the strongest and most imaginative tracks on the album, simply fabulous and with a great solo towards the end. The subject matter is dark again but what a song! Fabulously inventive and invigorating.

Cup Of Poison is another lengthy and epic piece, opening with some graceful guitar lines as the song builds its momentum. The track is epic in nature and tone, with lovely graceful, fluid guitar lines. It’s all highly impressive, musically diverse and bravely bold. Not afraid to be different, not for show but because the songs merit it. This song also contains elements of Celtic music touches which add to its magic and dynamics. In fact, the whole album is full of dynamic touches, you’re listening and then it all changes abruptly but in a positive direction. The Jellyfish is a shorter track with excellent keyboard programming and a definite 80’s touch to it. Lyrically, the song is simply weird, talking about living on a self-made raft and longing for a different life.

The album closes with Ameotoko II – Cloudburst, which is ferocious and hard hitting and, once again, has disturbingly dark lyrics about killing and death but fabulous music. There’s lots going on here and it’s never a dull moment, before you know it you’ve reached the end and are left wondering what the hell you’ve just listened to? Before you know it, you’ll be playing the album again, just to try and grasp it all a new. Such an impressive album that will stay with you long after it’s finished.

I’ve added a link to the lyrics as I feel following them will aid in understanding and appreciating this fine album, I know it certainly helped me get the gist of it all.

Released 11th June, 2021

Order the album here:

Of Brine And Angel’s Beaks | Azure (bandcamp.com)

Find the lyrics here:

Azure (prog rock) – Of Brine And Angel’s Beaks Lyrics and Tracklist | Genius

Review – Phenomena: Phenomena / Dream Runner / Innervision / Anthology – 4CD Box Set – by John Wenlock-Smith

Nostalgia is a thing of the past, or so one witty person once said. Although, reading progressive music websites could we have you thinking that prog fans are Living In The Past, as Jethro Tull once sang on their unorthodox album of the same name, released in 1972. A certain sector of prog fans tends to view with suspicion any album released after 1976 and, heaven forbid, anything from the eighties or beyond!

This is unfair and is not completely true, much as I love those classic albums from prog’s so called ‘golden era’, I am also open to newer music, as I am to reissues of classic, long lost, or under-appreciated albums, of which I have reviewed several on this very site.

Many of these lost gems come from the good people at Esoteric/Cherry Red, although some have come from the Rock Candy label whose remit is usually hard rock or AOR type offerings from US Bands who got lost in the mix of all that has happened in the last four decades.

This review features one of those lost gems, namely the Phenomena album from 1985. Phenomena was a project created and  by Tom Galley, the Cannock, Staffordshire younger brother of Mel Galley (the guitarist in the Midlands based band Trapeze). Mel was also heavily involved in the music behind this “concept” album, being able to call up, and recruit, his old band mate Glenn Hughes, who had been with Trapeze for their first three albums before jumping ship and taking over from Roger Glover in Deep Purple. In addition, both Cozy Powell and Neil Murray (who were both members of Mel’s then band Whitesnake) were recruited to the project, as was original Magnum keyboard player Richard Bailey and John Thomas of Budgie.

On paper, the project had the stamp of pedigree with some very well known and established musicians to carry the project forward. The album had interesting packaging with a deluxe booklet with the lyrics and the artwork of Ian Lowe’s interpretation of the songs (along with the lyrics and album credits). All this occurred on the then Bronze label home of Uriah Heep and another local hero Robin George, who also had Magnum connections. However, Bronze were in trouble financially, their golden days of Uriah Heep selling millions of albums were long past and they were struggling to make ends meet, As such, despite the huge promotional push for Phenomena, it sadly failed to make the sales expected, Robin George’s then album, ‘Dangerous Music’, suffering a similar fate.

Listening to the album again now ,nearly 40 years on, is fascinating and, yes, the music certainly stands up well and is rightly due for re-evaluation, This set comprises all three Phenomena albums, along with the ‘Anthology’ album that includes three tracks from the original album, three from the second album, ‘Dream Runner’, and four from the third, and final, Phenomena album, ‘Innervision’. In addition, there are three non-album tracks and two 12″ single mixes of Did It All For Love and Still The Night. Also, there is a booklet for each album that gives the lowdown, who plays what and the full lyrics to each album, all well presented in a sturdy clamshell box.

The music itself is prominently British heavy rock of the mid 1980’s so think Whitesnake, Thin Lizzy or Gary Moore and you’re in the right territory. What really lifts the album into something special though are the tremendous vocals of Glenn Hughes who is absolutely fabulous throughout and sings his lungs out on tracks like Still the Night and Phoenix Rising. Also very noteworthy is the demonic violin playing of Ric Sanders (latterly of Fairport Convention) on the track Dance With The Devil. It is utterly mesmerising and backed up with some muscular musical accompaniment. The last track on the album is a little different in that it is performed by a boys’ choir who wordlessly intone Latin, which gives a certain gothic nature to the track.

On listening to the album, I think I can spot where they went wrong in that the concept was not clear enough for listeners to fully grasp and so this was a factor in not really reaching the heights they had wanted to achieve. Also, there were a myriad of confusing releases from the album which, over time, diluted the album’s appeal and could be viewed as hype that was not fully realised. This was a pity as the original album had good material and performances throughout and really deserved far better than it received.

The next Phenomena album was released, again to much fanfare, in 1987, some two years after the original album. This time around they took a more Sci-Fi based storyline and plot, although, again, the concept got lost in the mix a little. This time they had, in addition to Glenn Hughes, John Wetton of Asia, Ray Gillen of Black Sabbath and members of Japanese band Bow Wow, whose guitarist and drummer came on board, as did Max Bacon of Bronz, another group whose success was limited by the collapse of the Bronze label.

The music was, again, very mid eighty’s hard rock, although John Wetton’s vocal on Did It All for Love gave the album a big boost in certain markets like Europe and South America, where it was a big hit, making the album even more successful than the first. It still stands as a fine piece of hard rock from that era, stand out tracks being Did It All For Love, Hearts On Fire, Jukebox  and No Retreat, No Surrender, on which Ray Gillen turns in a memorable performance. Again, the artwork is very suited to the album and the booklet details the saga of getting the album out. It was quite a struggle and the fact they managed it speaks volumes to the faith they had in the project, which was thankfully repaid upon release.

The third album in this set is the ‘Innervision’ album from 1993, this time the concept was far less ethereal or supernatural and was more like a gangster story. The music is more up to date, in that it sounded like a British Bon Jovi with big riffs and choruses and with a great, little known, vocalist, Keith Murrell (who had sung with Cliff Richard and Airrace, amongst others). The big star on this album was Brian May, who Scott Gorham knew and asked to play on two songs, What About Love? and A Whole Lot Of Love. The lineup may have been slimmed down but, even so, the music has fire and guts and still sounds good today, some 28 years on. I never bought this instalment as it was always expensive, so it’s good to have it in this set now. Again, the booklet tells the story behind the album and the difficulties they had in getting it released, 7 years after the second and 10 years after the first album.

Banzai sounds like a Foreigner song with some crunchy guitar riffs amidst the keyboards, the big song is What About Love, featuring the aforementioned Brian May on guitar, and this sounds truly epic with masses of backing vocals. They were trying to get Freddie Mercury to sing but, sadly, it never happened, imagine how that would have sounded! Yet again, the concept gets lost in the mix somehow but, the songs and music are exceptionally fine indeed and Keith Murrell is a fine singer who brings fire and passion to these songs, making this third instalment a real treat and an undiscovered classic album.

Having said all this, I do feel that these albums are worthy of far more appreciation than they received at the time and the additional tracks and excellent booklets provide information that makes this set very worthy of investigation. Of its time and era for certain but both marvellous and bold, in the face of many difficulties and with definite progressive moments and wonderful performances by all. In addition, the set features three previously unreleased tracks, Assassins Of The Night and Running With The Pack with Glenn Hughes and Stealing Heaven with Keith Murrell, and 12″ mixes of Did It All For Love and Still the Night.

Order the box set from Cherry Red here:

Phenomena: Phenomena / Dream Runner / Innervision / Anthology, 4CD – Cherry Red Records

Review – ASIA – The Official Live Bootlegs – Volume 1 – by John Wenlock-Smith

Asia are celebrating the 40th Anniversary of their debut album next year, can you believe it has been 40 years since ‘Heat of the Moment’ first graced our airwaves! That album, of course, was a spectacular success and gave a new lease of life to a disgruntled Steve Howe who had been left in the cold by Yes as they had regrouped around Trever Rabin and Chris Squire. Steve was invited to join John Wetton, Carl Palmer and Geoff Downes in his then latest venture that brought the worlds of progressive music and AOR together in spectacular musical and financial success.

This set consists of five double CD’s featuring hitherto unreleased recordings of Asia in 1982, 1983, 2007, 2008 and, finally, 2010, recorded in the USA, Brazil, Japan and London. These sets are quite different in that the sound is always good and most noticeable is the bass of John Wetton, being often prominent and the band are playing very tightly and obviously enjoying themselves Naturally, many of the tracks are repeated over the five shows, although Carl Palmer’s drum solo moves from track to track as these albums progress.

The first set was recorded on Asia’s first US tour and, obviously, their debut album is prominently featured, although a new track that would appear on ‘Alpha’ was unveiled, albeit in a quite different version to the one that ended up on the album, as this features all four members playing keyboards to a drum machine backing before morphing into a full band performance where Steve Howe gets to wail and Carl Palmer hits things loudly. A lively rendition of Only Time Will Tell stands out with Geoff’s keyboard being prominent and John in fined voice indeed. In fact, Asia have seldom sounded rawer than this and everyone sounds in good form, this performance is particularly feisty and energetic. The rest of this set is fuelled by the balance of songs from their debut, Carl Palmer’s Drum solo and the double whammy of Sole Survivor and Heat of The Moment.

The second set is from August 1983 in Worcester, Massachusetts and this is a mixture of the debut and ‘Alpha’ albums along with Steve Howe’s solo segment of Beginnings/Valley of Rocks/Clap and Carl Palmer’s drum solo in Here Comes the Feeling, culminating in Sole Survivor and Heat of the Moment again.

The third set  was recorded in Brazil shortly after the band reformed in 2007 and this set features tracks from their recently released album ‘Phoenix’, which stand up well to their earlier classics. Also Roundabout gets a dusting off here with John Wetton taking on the Jon Anderson parts. Well, he even gets a Chris Squire type sound and tone and his bass drives the song along nicely. It is great to hear these musicians really stretching themselves, though the sound is a bit crackly on this number, for some reason, but it doesn’t detract from what is an excellent version of a great song.

There is a version of Fanfare for the Common Man from Carl’s old band, ELP, and, again, we are in for a real treat here with Geoff Downes’ keyboards sounding not unlike a certain Mr. Emerson, and Steve’s guitar interjects and adds little flourishes throughout before he lets fly with a brief solo. It’s all highly effective stuff, as is the short bass solo from John Wetton. This set also includes a King Crimson track, In the Court of the Crimson King, and The Buggles’ song Video Killed the Radio Star.

Set four is from Tokyo in 2008, just before ‘Omega’ was released. The ‘Phoenix’ album is featured with An Extraordinary Life standing out. Again, solo tracks from each member are included and this is also the longest of these sets at nearly 2 hours in length. The sound is uniformly good throughout and it is great to hear .

The last set in this collection comes from London in 2010 and is a great return to form for the band. Featuring, as it does, lesser played tracks like Finger on The Trigger and Through My Veins from the ‘Omega’ album, along with a Steve Howe solo and the usual Carl Palmer drum solo during The Heat Goes On. The set concludes with Sole Survivor, Go (from ‘Astra’) and Heat of The Moment.

The collection features new art from Roger Dean and a brief, but informative, booklet detailing each of the shows, just a shame that John Wetton is no longer with  us to celebrate this significant anniversary. This box set is a wonderful way in which to both remember, and celebrate, a rather rawer and more ferocious Asia than their albums showed. It is a great collection, pricey but worthwhile as Christmas is soon with us!

Released 26th November, 2021.

Order the box set here:

Asia – The Official Live Bootlegs, Volume One – Horizons Music

Review – Fractal Mirror – Beyond Borders – by John Wenlock-Smith

This album is the fifth, and latest one, from the internet based & curated band, Fractal Mirror, which is comprised of  a couple of Dutch and US members, amongst others including British local Boy Gareth Cole on guitars. Brett Kull of Echolyn acts as both a backing vocalist and as a creative muse or foil to the members to the band, perhaps to stimulate and enhance their creativity?

The album also marks a return to the longer tracks in which their progressive leanings can be unleashed fully, an element perhaps missing from their last two albums. Well, this release rectifies that issue conclusively as this allows for two of the album’s six songs to come in at well over the ten-minute mark and it really works on this record. Ashes is over seventeen minutes long and Borders runs out at just under thirteen, both songs benefitting from this extended running time as they have chance to expand well, allowing various themes and sections to emerge that are embellished and reworked during the running of the track.

There are also some exceptionally fine musical segments to these songs, especially in the guitar lines of Gareth Cole and in the mellotron of Leo Koperdraat, which really adds to the mood of the piece. I find the track to be very evocative and with its fabulous guitar lines from Gareth Cole, to be something a bit special sounding really. Even the shorter songs do not lose the progressive elements entirely. This is especially the case on Shadow Man which twists wonderfully with a very serpentine guitar line that threads through the final sections of the track.

The album opens with the brief Instrumental, Beyond, as is often the way in prog albums. It starts with swathes of keyboard sounds and textures, also there are some graceful acoustic guitar lines at play and then, latterly, some smooth electric guitar. It is all very pleasant and sets the album up perfectly for what is to come.

Ashes, the first of the two epics, is one to really get yourself immersed in as, over its duration, you will be taken on a voyage of sorts. Lots of ominous sounds and effects and a strident tone emerge and, again, it is very pleasing to the ear. All the while the sound is underpinned by the sounds of the rhythm section and also the electric guitar of Gareth Cole The vocals commence and work well, they are certainly strong enough on this song which also has some nifty bass runs from Ed, Leo’s Mellotron showing itself to be in fine fettle here too. This song talks of ‘ashes all around me’, and I suppose the song is about a relationship and about making it right. Relationships can be hard going at times and, as I’m sure we all know and agree, the key is commitment and communication, both of which will give a stable footing to build upon.

The lyrics go on to speak of another day wishing you weren’t here, another day of living in fear so I guess there might be an element of abuse within this relationship. Very sad words really and, overall the song has a melancholy feel and its subject matter is dark but, the music is very strong, the final solo from Gareth being suitably epic in both tone and nature, in all, a really good track.

Kingdom Of the Lost is another shorter piece but one with great vocal harmonies. This piece sounds very much like a song of loss and, as such, it has traces of  slight melancholia at certain points. In contrast, it also has subtle slide guitar lines woven through its grooves, which work to create fine effect and impact.

Borders concludes the album in a lengthy workout, during which there are several great instrumental passages that unfold gracefully, as does the song itself. This track calls for holding the border one last time but what this really means is not clear. Even so, this sentiment is clearly expressed at various points in the track and with some power presence and influence.

When you add all this together what emerges is another fine album from this band for whom bigger things, audiences and shows must surely beckon and, with the power of Bad Elephant Music behind them, their future certainly looks very promising indeed. So hop on over to their bandcamp page to find this fabulous modern prog album and see what you think.

Released October 15th, 2021.

Order from bandcamp here:

Beyond Borders | Fractal Mirror (bandcamp.com)

Review – Nova Cascade – Back From The Brink – by John Wenlock-Smith

This batch of lockdowns has an unexpected, pleasant side effect in that it has enabled and stimulated creativity amongst musicians. This has resulted in some marvellous, and often unexpected, pleasurable listening opportunities. Where projects that were once pipe dreams have been given a dust down and often have then come to fruition and some fabulous music has emerged as a result.

Yes finally managed to deliver their long overdue and much promised album ‘The Quest’ to complimentary reviews, Big Big Train have been busy too, releasing ‘Common Ground’, Steve Hackett has released two albums in these times and now Nova Cascade have issued their third album, ‘Back From the Brink’. The album is another mixture of ambient and progressive ideas, although it is short with a running time of just over 45 minutes, but those 45 minutes are certainly imaginative and well realised by the band.

Nova Cascade’s last album, ‘A Dictionary of Obscure Sorrows’, has paved the way for this epic new album, one that was partially inspired by events surrounding the band with Dave Hilbourne suffering from long covid, a battle which he won thankfully but at some cost to his well-being and mental health. Undeterred, Dave decided to channel these feelings into music, this may in part explain why this music is both dark at times and hopeful at other points.

This album has all been recorded remotely with Dave compiling it all into some order and there are some fabulous performances from each of the members, noteworthy of which being the guitar and violin work of Eric Bouilette of The Room and Nine Skies and the flute playing of  Charlie Bramald, which really lifts to album at key points.

This album is best appreciated on headphones, I find as it’s textures can unfold gradually revealing their crafted treasures at ease.

Several tracks really stand out, firstly The Minutes After which is a graceful instrumental with some delicate acoustic guitar runs and that fabulous flute adding to the mood and lightening it up, this track is fantastically evocative and has melody a-plenty. Another song that really lifts this album is the longest piece, Back From The Brink, which encapsulates all that is good about Nova Cascade.

It has enough space for instruments to rely shine, very strong keyboards interspersed with guitar fills and a strong, but not dominating, bass part and a hauntingly evocative flute floating over gentle piano and guitar lines. Yet, somehow, this all gels together, creating music of both beauty and warmth. It is all highly impressive sounding and it’s a joy to hear this excellent piece with its great dynamics.

Between these two epics lies a while slew of shorter, but never less than interesting pieces, most notably There Is Always A Way, which manages to blend the music with the words of Neil Armstrong’s, creating a great atmosphere. Eric’s violin also adds significant class to the piece before Dave’s synthesizers are ushered to centre stage. Even then, it is the ensemble playing that is presented so vividly, it’s all about the whole sound that is being offered here.

The final vocal track, Long Winter, follows and, here again, Dave sounds very Steve Hogarth like in his wispy delivery and reminds me of some long-forgotten eighties vocalist (Fergal Sharkey perhaps?), either way, it certainly works well. This song is highly personalised as it speaks about what Dave went through with long covid, yet, despite that, it is a quietly triumphant track, to these ears at least.

The whole album is predominantly instrumental, with just three vocal performances from Dave Hilbourne on Phantom, The Hill and Long Winter.

‘Back From The Brink’ is a really fine album indeed and it is a pleasure to listen to. I would recommend this to anyone, especially if you like ambient, instrumentally driven, progressive music, as this album offers that and far far more. I’m sure you will find it an agreeable listen, I certainly did enjoy this album but I do recommend headphones for best results. It’s an aural treat for tired ears, float away into a world of tranquility and class.

Released September 9th, 2021.

Order from bandcamp here:

Back From The Brink | NOVA CASCADE (bandcamp.com)

 

Review – Spirit: Sunrise & Salvation – The Mercury Era Anthology, 8CD Box Set – by John Wenlock-Smith

This extensive 8 CD sets collates the recordings made in the period 1974 to 1977 along with the 1984 album ‘The 13th Dream’ and tracks drawn from previously unreleased live concerts from 1974 and 1975. In fact, this set boasts 102 bonus track along with the albums ‘Spirit of 76’, ‘Son of Spirit’, ‘Future Games’, ‘Farther Along’ and ‘The Thirteenth Dream (Spirit of 84)’ and this reveals the Mercury era to be a wonderful creative period for the band. Whilst hampered on many fronts, they still managed to overcome the obstacles and make some decent music once again.

The music is of its time certainly, but still shows that Randy California’s passion had not been eradicated. The story behind this period is excellently documented in the booklet that accompanies this set and, as always with these Spirit sets, the attention to detail to both preserve and celebrate the music is very laudable. With the death of California in 1996 in Hawaii, there is much that cannot be told now but these sets certainly help tell the story eloquently and with respect, admiration and dignity.

Spirit really deserve wider acclaim and affection than they received from music lovers, theirs was a niche sector and they continued to create worthy music throughout the years, as this set attests beautifully. Once again, Mick Skidmore has crafted a labour of love from myriad sources and compiled another fantastic selection of Spirit’s musical legacy.

This set has much to offer lovers of quality music and, when you factor in all the tracks, this represents the most comprehensive overview of the era in which Spirit worked for the Mercury label and pushed the boundaries in the way they knew best to create intelligent music for the discerning listener to enjoy and appreciate.

Disc 1 has the first three sides of the ‘Spirit of 76’ album, disc 2 has the fourth side of said album along with live bonus tracks from that time period. Disc 3 has the ‘Son of Spirit’ and the ‘Further Along’ albums plus a further four session outtakes and a live version of the track Farther Along from 1976, disc 4 has the ‘Future Games’ album from 1977 and eleven Further session tracks from 1976 and 1977. Disc 5 has the ‘Thirteenth Dream (Spirit of 84)’ album along with six live cuts from Detroit in 1986 and disc 6, ‘Spirit of Salvation’, features unreleased studio material from 1974 and 1975. Disc 7 is a live set from Austin Texas in 1975, including a lengthy version of All The Same and, finally, disc 8 features an early version of the ‘Future Games’ album and a live set from the Array Ballroom in Cleveland, Ohio in 1975 which wraps the set up wonderfully.

There are many hours of inspiration and passion covered in this set and it is highly recommended as this brand really do deserve wider appreciation for their craft and diligence over the years.

For me the highlights are plentiful and include the fabulous Like A Rolling Stone on disc 1. Randy and the band show imaginative twists on well known songs and it’s always a delight to hear how they have they take a song and use it as a framework on which to deliver their own interpretation. This is seen elsewhere in the set with stunning re-imaginations of America The Beautiful, All Along The Watchtower, Hey Joe and Mr Tambourine Man all receiving such a treatment, delicately and sensitively covered with care and skill and a real joy to hear. these great. The highlights continue disc after disc, each capturing a band truly progressing musically. Some of which works well, others less so, but it’s always interesting and intriguingly done. Some of this set rocks hard and powerfully, it’s always good to hear Randy in full flight as he had a lightness of touch and was a very skilled player who could shred easily and with style. This is shown on the track Veruska where he really gets to cut loose a little, it’s simply wonderful to hear. Then we are treated to and echoplexed version of Hey Joe which shows that not only Hendrix could cover this song in a classy manner, Randy’s vocal adding emotion to a great version of the song.

These tracks are taken from side four of the ‘Spirit 76’ album and show what an underrated album that truly was, one that passed a lot of folk by. This sets offers an opportunity to revisit and reevaluate it again. With the benefit of the passing years, this album now shows a depth that it may have lacked previously. The album ends with The Star Spangled Banner, a version you’d least expect but, even so, it is an interesting take on a well known song. There’s a lot going on in the background and, musically, it’s mainly understated really. The bonus tracks include an alternative version of America The Beautiful that is a fabulous find and there are also some great live versions of several classic Spirit tracks live in Cleveland that show what a dynamic live outfit they could be.

It’s all a richly rewarding listen as the band ooze class and talent. Randy is in fine voice throughout these songs with some delicate masterful playing giving an excellent performance and revealing that he was widely overlooked in the public eye. More’s the pity as he deserved far more acclaim and recognition of his talents than he received during his lifetime.

The third disc comprises of two Spirit albums ‘Son of Spirit’ (1976) and ‘Farther Along’ (1977), both of which are fairly gentle sounding but with virtually a reunion of the original Spirit band, although John Locke had left again after the infamous Neil Young incident in Santa Monica in 1976 in which California had pushed a drunken Young out of his way as he was “singing badly out of key”.

The album has some good tracks, especially Family, but is all fairly mellow and lacks much guitar and some fire to lift the material to the fore. Circle is great, as is The Other Song, which benefits from having a strong groove to it and that allows for some improvisation to happen almost naturally. It all sounds impressive, as does the cover of Yesterday in which Randy’s guitar accompaniment is really tasteful and sounds glorious as a result. In fact, the beauty of this album really shows the more you hear it, it really is a fine collection of material.

The ‘Farther Along’ album follows afterwards and this is another good set of songs with the title track in particular being a bit of an unsung classic in reality. Another fantastic track is the rocker Mega Star that manages to embrace keyboard elements that are highly reminiscent of Emerson Lake and Palmer, yes, really! It is a very impressive sounding track. The album also includes an orchestrated version of Nature’s Way that impresses. So, whilst not the strongest of albums, they certainly have moments of greatness and are worth reinvestigation.

‘Future Games’ is an interesting, but flawed, concept album that alludes to escaping the reality of everyday life and uses lots of sound snippets of shows like Star Trek and Batman etc. but it isn’t always an easy listening experience and generally falls short as a brave but flawed idea that is possibly best left in the midst of time. Far better is the ‘Thirteenth Dream (Spirit of ’84)’ album which had a reunion of the full original Spirit line up, recorded on a soundstage in Hollywood and including both Spirit and Jo Jo Gunne tracks, which really sound great.

The other discs comprise of more outtakes, a live set from Austin Texas in 1975 and a demo version of the ‘Future Games’ album, along with some further live tracks from the Agora in Cleveland Ohio from 1975, which are certainly of interest to fans. Well I like them and I’m glad they are here, for me, any live Spirit is welcome as it’s live where the band used to shine most brightly.

In summary, this set is definitely extensive and is a well presented look into an era that is usually either dismissed or ignored but, in reality, it has gems throughout that are a worth investigating fully. The legacy of Spirit is comprehensively overhauled with great enthusiasm and love for a seminal band, long may this continue.

Released 8th October, 2021

Order from Cherry Red Records here:

Spirit: Sunrise & Salvation – The Mercury Era Anthology, 8CD Box Set – Cherry Red Records

Review – Vinegar Joe: The Island Recordings 1972-1973, 3CD – by John Wenlock-Smith

Vinegar Joe were a band who were considered to be distinctly second division. Wannabe headliners, always gave a good show but somehow were unable to quite get up the ladder enough to get top billing status. This may in part have been due to their record company, Island, having their own ideas and agenda for the band. They could see a bright future for one of the two singers in the group, a certain smooth voiced Batley born Robert Palmer, yes, he of the dancing girls in the Addicted to Love video of the late 1980’s!

For, in him, they could see big dollar signs if were they able to manouvre him into a solo contract. Better still, they could make the band that he was part of, his backing band. Well, that may have been the plan however, Robert did not want to ditch his fellow singer Elaine Bookbinder, or as you may know her, Elkie Brooks. He wanted to stay with the band and see it through, very noble but management and record company did their own thing and caused the band to break up after an American tour and insisted that they came back to the UK to record their final album, ‘Six Star General’.

This new box set from those clever folks at Esoteric tells the whole sorry story from inception to implosion and gathers all three Vinegar Joe albums together, along with various single edits, to give a complete overview of a band who offered much and did their utmost to make it, but, as is often the way, interference and manipulation from management and other parties screwed them over. Although, as this set testifies, Vinegar Joe had talent and the potential to make it big but, somehow never really got the breaks they were due.

Vinegar Joe evolved out of an earlier outfit, called Dada, that was more of a jazz/blues type band that boasted ten members. This band recorded an album in 1969 that is certainly due a reissue. When Dada ended, they decided to strip the sound down to a more conventional rock band format and sound, becoming Vinegar Joe. Their eponymous debut album was released in 1972 and introduces the world to the powerful vocals of Elk (Elkie Brooks) and the soulful voice of Robert Palmer .

Occasionally they sing together but they, generally, separately, Elk certainly has a big voice and she can wail with the best of them, very often in a high-pitched warble (as shown on Early Morning Monday, which sounds remarkable). In addition to the main band, the album also featured various guests like Keef Hartley and Conrad Isadore, amongst others. This does mean there is a degree of inconsistency in the music, but it doesn’t really matter when it sounds as good as this.

Their second album, ‘Rock N’ Roll Gypsies’, is equally as hard hitting and has a Hipgnosis designed sleeve, reproduced here in a gatefold cover. The music also had changed, more a blues stomper type sound, like that of Canned Heat or Creedence Clearwater Revival. The album also features more slide guitar and Hammond Organ sounds, you can tell it would make a good live sound but was never actually recorded for any live releases sadly. Certainly, the change of style worked well for the band and the album was a powerful rock and roll release.

The third Album, ‘Six Star General’ (1973), was more of the same but with a slightly different line up, still with Elk and Palmer on vocals. Sadly, this was to be their last outing as Palmer was offered a solo contract by Island and the chance to record in Nassau in the Bahamas. This album contains the fabulous Black Smoke Rising from The Calumet.

This set really captures the essence of the band and offers a chance to rediscover this lost band of the 1970’s again. Personally, I like the debut album most out of the three as it best shows what the band were all about. It also has some strong tracks and that amazing voice of Elk, which is simply stunning. Highly recommended indeed, this set has much to offer anyone who loves good music.

Released 17th August, 2021.

Vinegar Joe: The Island Recordings 1972-1973, 3CD – Cherry Red Records

Review – Barclay James Harvest – Time Honoured Ghosts – by John Wenlock-Smith

As it is nearly autumn again and the nights start to draw in, we will shortly be seeing a whole slew of new releases lined up for the Christmas rollout in order to woo and tempt the faithful and the unwary into parting with their hard earned readies. In to this scenario Esoteric have dusted off the ever popular 1975 album ‘Time Honoured Ghosts’ from Barclay James Harvest, which has been remastered from a newly located mix of the album that had been lost for many years.

The album ushered in a golden era for the Barclays and was very successful, as were it follow ups ‘Gone to Earth’ and ‘Octoberon’ that were reissued a few years ago in expanded versions, again by Esoteric and they have done a lovely job of this fine album here on this reissue.

This version of ‘Time Honoured Ghosts’ differs very little from the version issued by Universal in 2003, well to these ears at least. What is different here is that there is a second disc which offers a 5.1 surround sound mix along with promotional videos shot in 1975 covering the tracks Jonathon, Titles , Moongirl, One Night and Beyond The Grave, although, to be fair, these videos are all shot in the studio with minimal effects other than seeing the band playing them. They are very much of their time we’re talking pre Bohemian Rhapsody here, music videos were very much in their infancy!

The album also has a new essay from Keith and Monica Damone of the Barclay James Harvest website that tells the story behind this new version. Finally, there is a lush fold out poster of the album cover that one could frame if you so wanted and it’s simply gorgeous. The Album espoused the gentle and pastoral brand of progressive rock that BJH operated in and, whilst the album is known to most folks, it is in essence a good distillation of the classic BJH sound.

The album has, as a bonus track, a US version of Child of the Universe that was slated for a release but never was. I’ve always liked this album since the time that Titles was Radio One’s single of the week as its lyrics were made up of Beatles song titles but, in reality, they told the story of the breakdown in the relationship between Paul McCartney and John Lennon. Even though it got heavy promotion at the time of release, it still failed to catch the public’s imagination and so failed to chart, a great pity as it was clever and had a really classy sound. The public are like that though, pearls before swines et al.

In some respects it is a little hard to see who this set is aimed at as any BJH fans should already have this in one guise or another. I guess the 5.1 up-sound mix may appeal to some, although I don’t have a 5.1 system so I haven’t heard it and, as such, can’t comment on how it sounds and what it does for the music. I do like the poster though and it’s good to have the videos, dated as they may be. Esoteric always do these remasters very well, diligently and with care and sympathy, showing great respect for the album which, in this case, it heartily deserved and is worthy of such care and affection.

The album has some classic material on it. Songs like Titles, Jonathon, Beyond the Grave and Song For You are well known staples in the BJH canon and still form parts of their shows, even now, over 40 years on from when this album was released. It is often hard to appreciate the impact this album had when originally released, the album was recorded in San Francisco and produced by Elliot Maser (apart from Child Of The Universe which was recorded at Advision in London and produced by Rodger Bain). Therecord was followed by a UK and European Tour which led to greater success in Germany for the band.

The album stands up as a real classic of the 1970’s and was a chart hit in the UK and still sounds marvellous today, being one of the finer moments of Barclay James Harvest’s career. The version of Child of the Universe on this release is significantly different to the one that graced Everyone is Everyone Else album in 1974.

So, if you like this album and fancy a newly remastered version and DVD with surround sound mix, you could do a lot worse that getting this. A great album, now even better than before? You decide…

Released 24th September, 2021.

Barclay James Harvest: Time Honoured Ghosts, Expanded & Remastered 1CD/1DVD – Cherry Red Records

Review – Yes – The Quest – by John Wenlock-Smith

‘The Quest’ is the first new Yes music in seven years. During that time much has happened with the death of founder member and bassist extraordinaire Chris Squire. Chris wanted the band to continue without him and had readied a replacement in Billy Sherwood. Sherwood was already known to Yes fans as he had been involved with the ‘Open Your Eyes’ and ‘Live at the House of Blues’ albums from the early 2000’s.

After the somewhat disappointing ‘Heaven and Earth’ album from 2014, this album needed to be a significant improvement over that somewhat lacking release and I can say that, whilst it may not be the absolute triumph that was needed, it is at least a far better and more convincing album all round. When you consider that the album was created across various continents and times, all whilst in the midst of the Covid pandemic, I think you will agree that this is a very worthy effort by the band to move onwards once again.

The release comprises of the main album and a second disc with 3 bonus tracks, although with the main CD running at 47 minutes, quite why they needed a second disc is a bit of a mystery as the 3 bonus track could have all fit on the main disc, quite odd really.  Another big difference here is that Steve Howe has produced the whole album. I have to say that he has done a good job too, giving plenty of space for each instrument and the vocals to be clearly separated and heard, giving a good clear sound throughout.

The album opens with a very strong start in The Ice Bridge, which bears a passing resemblance to Fanfare For The Common Man, especially in the keyboards of Geoff Downes. Yet, even so, this is a good strong opening track that sets out the stall for what is to follow. The song has a definite Yes groove to it, offering a first glimpse of Billy’s take on Chris Squires‘ legendary bass playing and he gets it bang to rights. Jon Davison is on top form, still sounding like Anderson-lite but adding his own touch in the vocals. The song also has a great ascending riff from Steve Howe that really works well, adding much pace and drive to proceedings. This song also allows for some good interaction between Steve’s guitar and the Geoff’s keyboards, all very ably backed by the rhythm section of Billy Sherwood and Alan White, it’s all very fine indeed but, can it continue? is the question here.  

Dare to Know follows and opens with a sprightly guitar line from Steve Howe and some good bass that underpins the music most satisfyingly. The song is quite mellow and laid back really but, even so, still manages to impress and, once again, Jon Davison’s voice sounds fabulous and really suits the sound, which is very full and impressive. 

I will say that I think this album is a grower and familiarity will reveal its treasures as you listen to it, so be prepared to invest some time with it to really get the most out of it. It’s not a bona fide classic but it certainly has enough moments of brilliance to make it worthy of hearing. Yes have been around for fifty two years now, so they have little to prove these days and really we should just be glad that they still are around and still making music in the twilight of their years. 

Minus the Man has a certain something to it, especially in the chorus and the lovely and eloquent guitar line that weaves its way through the song so gracefully. The track is very pleasing and sets you up well for the epic Leave Well Alone that follows. This one has touches of Asia and also has some delicate acoustic and steel guitars from Steve Howe. The song is in three parts which all work well together and, as the longest track on the album, it really does impress. As it gives room for some stretching out, I imagine this would be a good live track for the band when they tour next year.

The Western Edge is the next track and this has a broad sound palette to it with more of Howe’s guitar lines adding great sound touches to proceedings. The pace of is brisk and rather urgent in places and it benefits from that energy, as well as the synths from Geoff that are littered throughout this song. It is the shortest on the main album and it does not overstay its welcome at all. Future Memories is a gentler song driven by Steve’s acoustic guitar and interlaced with his electric guitar lines as well. It is also graced by a very fine vocal from Jon, who I have to say really sings well on this album, he has grown into his role in the band and, whilst he is clearly influenced by Jon Anderson, his own unique voice has emerged, as is clearly shown on Music to My Ears, the penultimate track on the main album.

The final main album track is the Caribbean inspired A Living Island, inspired by Jon enduring lockdown in Barbados for five months, yes, some folks suffer for their art don’t they ? The song is graceful and moves from a Caribbean lilt to a more conventional ecological tour de force again, there are lots of Steve Howe’s delicate mandolin and guitar on this track.

This track closes the main album but I’ll do a short summary of disc two with the three extra songs. Sister Sleeping Soul is another Howe driven track with gentle guitar tones and a good vocal from Jon. Mystery Tour is a tribute, musically and vocally, to the Beatles and gives the chance to cram as many Beatle references into one song as they can, it’s still an interesting song though and has some merit to it i feel. It is also good to hear Steve playing such fluid guitar lines and tones and has a lovely guitar break from Steve along with great dynamics. This shorter track is very worthy of hearing as it has much happening throughout. Damaged World is another good track again with an environmental bent to the lyrics but the groove is strong and, musically, it is a good song. It is not as good or strong as the songs on the main album but, even so, it is always good to have Yes music in whatever form it may come.

This album set has caused lots of different views and opinions amongst fans both old and new but, in conclusion, I would say that, as an album, this is fine if you place it in its context and bear in mind how it was compiled. On that basis it is a worthy addition to the Yes canon and should be judged as such. There is much to enjoy here if you open your ears to this particular version of the band.

Released 1st October, 2021.

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The Quest (lnk.to)