Tag: John Wenlock-Smith

Review – Anthony Phillips – Slow Dance 2CD Jewel Case Edition – by John Wenlock-Smith

Anthony Phillips is the forgotten former member of Genesis who was there at the beginning but due to his extreme fear of being on stage, quit the band after the ‘Trespass’ album, leaving the door open for a certain young Steve Hackett, whose story is widely known.

Anthony is not the first musician to quit or to struggle with stage fright as many others, like Eddie Van Halen and Ozzy Osborne have also suffered through its clutches. Andy Partridge of XTC is also a fellow sufferer, although that is more with anxiety though but still, it is similar in nature and has an a debilitating effect. Many others also are affected, more than you would imagine really. Anthony simply wasn’t able to function in this realm and he decided to leave the group he had helped found and devote himself to a more classical direction, he was also a qualified music teacher for a while and he also studied orchestration.

All of which leads me to this newly remastered and extended version of his 1990 album ‘Slow Dance’ which is heavily classically influenced and gives rein to his wonderfully inventive playing and orchestrations. There is more than a hint of 1977’s ‘The Geese And The Ghost’ album which has a similar style.

Whilst I am not a classical buff by any means, other than the basics and well known classics, I find there is much to appreciate in this fine reissue. I think of it more as a tone poem or score and as such, it is definitely a case of repeated listening to get the subtle moments of brilliance that are on display here. The main album is in 2 parts, although the extra tracks on the second CD are also interesting, mainly being edited portions of the entire main album.

I actually prefer Slow Dance Part One for some reason, I especially like the repeated gentle motif that reappears throughout the piece. This music is gentle, delicate and beautifully crafted, when you read in the accompanying booklet of the trials and tribulations that had to be stared down to enable its completion, you will, like me, no doubt be in awe of both the vision and commitment employed whilst making this album come to life. It really is a sumptuous piece of music, uplifting and life affirming in equal measure. It is a triumph of talent, perseverance and, above all, a towering testament to the grace and beauty of the music it contains.

Did I mention that it is totally instrumental? That said there is a wealth of creativity here. Slow Dance Part One is of twenty four minutes duration whilst Slow Dance Part Two is twenty six and a half minutes in length and has more orchestrations, strings and synths than part one does. The synths are all very 1980’s in tone and, whilst good, sound slightly dated in parts. I also feel that part two lacks the same emotional depth as part one, although that may be my perception having heard part one more than part two.

Let’s explore each part in greater depth shall we?

Part One begins with washes of synthesisers laying down a great sound and setting the stage for a delicate acoustic guitar motif that will be repeated at frequent intervals. The synths swell again before a fingerprinted guitar line is played and the opening melody is played on synths. I really like the gentleness of this pastoral sounding section, it is very satisfying to hear such gracious and gentle tones amidst all the synthesised backing. A stronger note then ushers in an almost pizzicato played part along with woodwind and a chopsticks sounding piano section that returns to the main melody played once again. Lush strings return to the chopsticks sounding part and a clarinet leads to orchestrations. There is then a sectionis reminiscent of the main theme of ‘The Geese And The Ghost’ album as it has a similar sound to it, not identical but definitely similar in sound. We then enter a section of syncopated percussion elements which is very effective, after which we return to the main theme once again. The final section of part one is a keyboard along with a drum machine playing and whilst it doesn’t affect the quality, it does date the music to the era in which it was recorded, this piece then ends with a few more syncopated piano notes.

Part Two is decidedly different and more keyboard focused with the major portion being concerned with keyboard orchestrations, there are less guitar parts in this as a result, although this does give the whole piece room to evolve naturally, again the drum machine plays its part in keeping the pace of the piece. As we get further in a sequenced section begins with woodwind playing alongside it most effectively, the theme from part one reappearing in a slightly different form. The vast orchestrations are introduced to the sound interspersed with the sequenced section and a harder section with guitar fills is added but soon gives way to the orchestrations once again. This is where I feel the piece lacks a little focus and is merely using synthesisers to swell the sound without much substance. The sequenced part returns with string flourishes which actually sounds really good, although a bit like 1980’s Tangerine Dream in places. After this section ends we return to the main theme through sweeping strings and synth orchestrations, I’m hearing the open sweeping soundscapes of ‘Stratosfear’ by Tangerine Dream once again but this proceeds at a stately pace. It is all very epic and measured, the final section returns to little piano and keyboard runs to good effect. Part Two ends on gentle notes before fading away in the distance with a final play of the central melody.

In summary a most interesting but, possibly for most, not essential release with a great booklet explains the background to the album. I am very glad to have heard this for myself as I really enjoyed it even it lies outside of my normal listening material.

Released 26th January, 2024.

Order from Cherry red Records here:

Anthony Phillips: Slow Dance, 2CD Jewel Case Edition – Cherry Red Records

Review GIANTSKY – Giant Sky II – by John Wenlock-Smith

GIANTSKY – ‘Giant Sky II’ is unusual for me in that it is well outside of any comfort zone that I occupy. This album, though it interests me, it’s a challenge and that makes it worthy of my time and effort, it’s good to be challenged musically at times and who knows what you may discover on the way…

So that is the attitude in which I approached this album, knowing absolutely nothing about the project except the blurb that says it is a amalgam of musical styles and influences including Nick Drake, Mogwai, shoegaze (whatever that means?) and, last but not least, the Blade Runner soundtrack, well that certainly piqued my interest as I consider Blade Runner and its soundtrack to be utter masterpieces.

Looking at a dictionary definition of ‘shoegaze’ in music it is revealed to be ‘A style of rock music in which the distinctions between separate instruments and vocals are blurred’, this term apparently came from bands who had that sound in part because they were looking down at effects pedals used in making it, which helps a little I guess.

Let’s get down to the main event; GIANTSKY are from Norway, main man Erlend Viken is the songwriter for Soup and this is a collaboration with the Trondheim Symphonic Orchestra, Combos, WZRD, Motorpsycho, Hanne Mjøen and more.

So what is all the fuss about or is it just hyperbole, does this have any musical merit or is it just tosh? Read on to find out…

The album opens, as does almost every progressive influenced or affiliated album nowadays, with Origin Of Species, an instrumental with a growling synth and almost Close Encounters Of The Third Kind notes that shimmer in the sound before a broader sweep of orchestrations is introduced. It’s all very effective and fairly traditional in tone, which cannot be said of the next track, Imposter, which begins with an acoustic guitar chugging with an echoed,reverbed vocal and the introduction of a fine female vocal. A distorted, fuzzy guitar then briefly enters the fray before disappearing, the female voice returning before a guitar and synth solo appears and the guitar solo plays out for the remainder of the track. Speak Through Walls opens with gentle acoustic guitar and a delicate female vocal once more, The track has some fine piano lines and also some lovely orchestral events (initially the flute) which sound really grand. A deep synth bass is added to the sound palette and the tinkling piano evokes Blade Runner, as does the sequence where an effect laden guitar plays with good use of tremolo effects. The latter part of the song is very busy and intense in sound, almost bordering on distortion, but it’s still a highly effective track nonetheless.

Space Farrier opens with piano and synths before an electronic drumbeat is added, all very 1980’s in tone, making it very intriguing. The songs then gains in intensity and the drums become more intense than before. This track is instrumental throughout its duration with great effects in the middle section, all very over the top and Hawkwind like in parts before the tinkling piano returns to tame the sound somewhat. A heavier synth bass is added to the mix most effectively as the track draws to a close ,with more tinkling piano. A very impressive track that segues into The Present with engagingly gentle guitar and keyboard washes which create big open sounds that compliment the narrative from Eckhart Tolle. To The Pensieve is far more moody and downbeat in tone and amidst it all are lots of chattering synths and a graceful piano along with more tremelo guitar lines. It is actually rather sweet and gentle, I really like this track as it has a great atmosphere to its sound. The song wells in the middle part, growing in intensity as it builds up in power before returning to the gentle sound once again with more flute and woodwinds playing. A couple of shorter tracks follow, namely Dispatch Of Species and Curbing Lights, the former is an atmospheric instrumental with a drone type melody and what sounds like a pipe organ, especially in the bottom end. Curbing Lights is a more sprightly number with synth and what sounds like Theramin effects and a busy drum pattern playing around everything in what is almost a wall of sound, it is very effective indeed.

The album’s longest track I Am The Night opens pretty gently with more piano and a good bass line sitting alongside the acoustic guitar. An electric guitar line then plays joined by ethereal vocals before a strong bass motif is played and a flute joins in. This is superbly constructed and performed, a double bass drum rhythm and then a decidedly more aggressive section begins with increasing sound and intensity. There are some impressive guitar lines added within the overall sound and, as such, are perhaps a little buried in the mix by all that is happening around it. It is definitely an interesting track but one that is maybe too busy at times, which stops it being the best track on the album, just my opinion though! Birds With Borders opens with a lovely folk section and more fine vocals. This initially gentle song builds in its intensity, creating its own unique voice in the journey and it certainly makes a mark, as do the excellent orchestrations that form part of its sound. Tables Turn is a harder sounding track with great effects and excellent male and female vocals, almost heading into atmospheric ambient territory. The penultimate track is King In  Yellow and it’s very interesting with lots going on and lots of orchestral embellishments along with a slow burning, almost sedate, rhythm section and lots of effects. There’s a sustained, almost Mike Oldfield-like biting guitar line within the mix as it powers onwards. It may only be a short track but, for me, it’s a great one that really connects.The album closes with Seeds which has another gentle opening, with duetting vocals, a sturdy piano motif and swirling sounds. It’s pretty lush overall with fine synth lines, all heavily modulated which sound really effective as they build and climb well, taking the song forward. A great guitar line is played as the song begins to wind down. This track is well delivered and epic in tone and it sounds really good, especially on headphones, as the song and album end on long sustained tones.

I really can’t quite make up my mind about this album, it certainly is very interesting, immersive and sounds fantastic in parts. However, I personally found it overlong and at times difficult to really get into, perhaps I need to hear the first album and then this one played one after the other. There’s no denying the musicianship and songwriting skills on show but I would suggest that you listen first before investing, it’s your choice.

Released 1st December, 2023.

Order from bandcamp here:

GIANT SKY II | GIANTSKY (bandcamp.com)

Review – D’Virgilio, Morse & Jennings – Sophomore – by John Wenlock-Smith

‘Sophomore’, the second album from the triumvirate of Nick D’Virgilio, Neal Morse and Ross Jennings, comes roughly two years after their debut album ‘Troika’ and, once again, we see three distinctly different voices blend together harmoniously, in tandem but also in good spirits.

The debut album was conceived and compiled during the lockdowns and around the movement and activities of these three working musicians in 2021, with one of the most impressive elements being that the trio had not actually met each other in person, well Nick and Neal had in their Spock’s Beard days but Ross was just a name at that time, known but, as of yet, not known by the others. This has been rectified for this release, with the three together in the video for Anywhere The Wind Blows.

Well, for those who enjoyed ‘Troika’, you will love this gentle further chapter of the trio’s story. The twelve track release is full of gentle, mostly acoustically driven music with more than a passing nod to the likes of CSN&Y, Graham Nash, Gordon Lightfoot, America or even James Taylor. This is especially noticeable on the track The Weary One, again the video will show you their great teamwork and their fabulous harmonies of voice. This really is a very relaxed, chilled vibe to listen to, however, for me the album really came alive when heard on headphones and when I had the lyrics as, although the vocals are clear, I just find it helps.

The opening song, Hard To Be Easy really grows on you, there is a lot of musical versatility on display and the bass work is great, the bottom end being very solid and consistent with the music. The songs warrant multiple plays to really engage with them fully. This album is not as straightforward as the debut was but, even so, it sees a real progression in their sound and there are multiple little touches that make this really work. It is an intelligent and somewhat compelling album of songs, all of which are well crafted and well written by the three of them. Tiny Little Fires is a case in point, this may be mostly acoustic but it powers along tremendously with a great little riff and a good synth solo that lifts the song well, it also has great Hammond Organ support. Right Where You Should Be has strong country elements, including pedal steel guitar sweeps and licks that supplement the track. It is an introspective song but tells us that we are right where we should be all along, it is possibly one of the albums strongest songs. Although to be fair, The Weary One is also a very strong contender with a good sympathetic cello part playing. There is also a very elegant fiddle that adds to the great dynamics of the song, the harmonies are also really fine on this track, making it another standout.

Mama is a more electric track and far more rock oriented than its predecessors. It is an ode to strong and firm mothers who guide their offspring into a good life, children who make them proud and don’t bring shame. This has a neat electric guitar solo from and is an interesting and rather rocky track and excellent fun. I’m Not Afraid is about doing right every day, another dose of Neal’s faith popping out I suspect with its generally positive lyrics. There’s another great guitar element and lines in this one. Weighs Me Down is another country music style song that has more of the stylish pedal steel amongst its sound and is a bit more downbeat and reflective in tone, it rolls along well though! Walking On Water has an almost Doobie Brothers swing and feel to it and the great lyrics and Spanish guitar flourishes add to this impression. There’s a great chorus too in this song, this one really impresses. You can hear the Doobies influences clearly but it’s all incredibly well done, the fiery guitar part in the middle does little to deny that view! What it is is a really great song, the albums longest and, to these ears, the best of the bunch.

Anywhere The Wind Blows is the albums final official track, and, again, there is a strong soft country-rock sound to it. This is the song that was the album’s lead single and has a rather excellent video that you can find at the end of this review. The track has a good accapella part in the middle, it’s a terrific song with sumptuous backing that really allows the trio to sing their hearts out. On the CD, that’s almost it except for the two extra songs which are slightly different takes on Right Where You Should Be and The Weary One, which are both very good but add nothing extra to their earlier incarnations, although they are possibly a little different vocally. Either way, they merely reinforce just how confident and accomplished the trio are, I believe further adventures, and possibly some live shows, could be on the horizon, it will be interesting to see what unfolds in that direction

However in the interim, sit back, enjoy and appreciate the craft that the trio offer on ‘Sophomore’. I really like it a lot, it’s different to my usual fare but fantastic to listen to when you want something different.

Released 10th November, 2023.

Order the album here:

Sophomore (lnk.to)

Review – Subsignal – A Poetry of Rain – by John Wenlock-Smith

I’d not really bothered much with Subsignal until now, I’d seen folk talking about them online but not investigated them for myself, fearing that they were German prog metal and as such possibly best avoided, especially when my taste is for towards symphonic prog like The Emerald Dawn, Big Big Train and the like.

Well, I could not have been more wrong in my view for this album has definitely impressed the hell out of me. It is rather exceptional, just ten songs in all (on the bonus version) but with such style grace and variety running throughout. Okay, there are a few more heavy tracks but, in everything, there is melody and intelligence that go hand in hand to create some really strong and fine music. I did think that, perhaps, the album started off slowly but by the time you reach the fourth track, Silver (The Sheltered Garden), things really improve and very dramatically so.

What I like here is the fantastic use of dynamics to really make an impression and all the touches that they add to help in this realm but let’s start at the beginning shall we? Subsignal are a five piece, German, band who have been around since 2007 when they began as a side project for Arno Menses and Markus Steffen of Sieges Even after they disbanded.

The album begins with a brief overture called A Poetry Of Rain which leads into The Art of Giving In. The overture is gentle with good acoustic guitar over a wash of synthesised sounds and then a strong drumbeat ushers in the second track with some almost Dream Theater like guitar with strong bass and double bass drums to give a metal feel. However, within this power there is the band’s secret weapon, the sublime voice of Arno Menses who sings rather than growls and has a strong voice without any accent, he really is an accomplished and fine vocalist. There is also a suitably ferocious guitar break which impresses greatly. This is an exciting track that definitely grabs your attention from the off, the song ending on a high note with a strong driving performance with, oddly enough, an almost country feel with its pedal steel guitar and almost Americana sound, it is most impressive. Marigold is next and although you can almost hear The Power Of  Love (Jennifer Rush) in the opening, it thankfully moves in a different direction. There are lush vocal harmonies and some gentle guitar licks and fills, this is a layered and sumptuous sound which adds greatly to the songs strengths and is really rather fine by any standards. Silver (The Sheltered Garden) opens with a powerful crunchy guitar and an equally aggressive bass but behind the power there is a beast of a song. With great instrumental support from guitar and bass respectively, this track really deserves to be heard far wider than just prog circles as it is brilliant, strong most satisfying.

Impasse is even better than its predecessor, this track is remarkable with some very nifty bass runs throughout. It is a slow burn of a song, one that really grows on you with its acoustic mid section which really is impressive in style. A great chorus leads to a beautifully melodic guitar solo that puts you in mind of Steve Rothery and the impression doesn’t end there as the song has more than a touch of Marillion to it in many respects. For me, this is the track that really makes the album so good and so strong. Embers Part II: Water Wings has a great looping guitar line that sticks with you long after it ends. There is a build up of power in the mid section with chiming guitars and a prominent bass before the power riff resumes and the band add in soaring vocals and great piano runs against the looping guitar line. All of these together make this another highly impressive track, think of AOR with prog touches, utterly sublime and fantastic. Melencolia One is a punchy little rocker that marries great dynamics and intelligence with strong songwriting and performances. Again, more great bass runs add to the dynamics and the return of the crunching guitar works well, almost too good as I am totally swayed and won over by now. I really am liking this band a lot, so much so I am going to investigate their back catalogue as soon as I can!

A Wound is a Place to Let the Light In opens with an accapella vocal before a grand piano enters, along with more strong bass runs, add in a highly emotive vocal and you get another spectacular track with a stunning chorus and. It’s totally compelling and I’m on the ropes here now. The Last of its Kind is the final song proper on the album and opens with sequenced keyboards noises before some heavy bass and a muscular riff. The vocals are now sung growled and all the better for it on this track. An active drum beat and fills add to the surging power of the track with good keyboard textures floating over it all before a neat guitar solo leads in to the next verse and chorus. The song then takes a left turn with a jazzy saxophone solo which, when set against the heavy riff, is very impactful, as is the growling bass that carries the song forward before the punishing riff is reintroduced as the track draws to its conclusion. There was a bonus track, A Room on the Edge of Forever, on my download and it is a more restrained, gentle number with acoustic guitar and Spanish guitar trills The good clear vocal helps greatly before sweeping guitar chords usher in a multi layered vocal section and a delicate acoustic solo plays to fine effect. A key change adds emphasis and lift to the track which is very strong and ends on a gentle note

Well that’s it, it certainly does make a hugely positive impression when you listen and their great mix of heavy and soft sounds works really well for the band and makes this a truly exceptional album, why have I not heard these before now? This is a really excellent release, if you don’t know this group then maybe its time that you discovered them for yourself.

Released 22nd September, 2023.

Order from the band here:

A Poetry of Rain – SUBSIGNAL – The Official Website (subsignalband.com)

Review – Baker Gurvitz Army – Live 1975 – by John Wenlock-Smith

I got very excited about this release but, before you think I’m strange, let me explain myself…

I’ve always been a bit obsessive about details, I even make my own lists of albums I own, ranking them in order of personal preference. For many years the second Baker Gurvitz Army album featured highly in those lists, as did this live album (well, actually it’s a live set from Reading University along with a few extra tracks from a different show in London, at the New Victoria Theatre).

I was already a fan because of my often mentioned friend Peter Boner who had introduced me to the band when I was just fifteen. So much so that I acquired a copy of their 1974 debut single Help Me/Space Machine that, of course, failed to make any significant chart impact. More is the pity as that single really rocked with thrilling synthesiser sounds, a very fiery guitar break from Adrian Gurvitz and the thunderous drumming of one Ginger Baker. That single is on this release, albeit it in a slightly different form in that some of the singles dynamics are missing, but it’s still a great track.

This album confused me initially as it contains tracks from all three BGA albums, then I realised that their brief career only spanned three years in all, with their self-titled debut album in 1974, ‘Elysian Encounter’ in 1975 and ‘Hearts On Fire’ coming in 1976. Shortly after their career was severely derailed by the death of their manager in a light aircraft crash near Moffatt in Scotland in 1976. This scuppered the band’s activities and with the increasing tensions between Adrian Gurvitz and Ginger Baker the band imploded and split to seek different activities. Which is why I was excited about this CD, especially as live recordings of the bands early days were not that accessible then and this is a particularly fine recording of this rather phenomenal band in action. They really deliver the goods in their performances, it’s really fiery and very well done.

The Baker Gurvitz Army were all seasoned musicians and this shows in the sound they offered. The band had been expanded from the trio format of the debut to a five piece with keyboard player Peter Lemer, his keyboards helping to add a jazzy edge to some tracks and Steve Parsons(Mr. Snips) was recruited as the band’s vocalist. The album has an earthy live sound, as you can tell from its rawness, also, many of the songs are extended from the studio recordings. Unsurprisingly, there are a number of drum solos and drum focused elements within the tracks although, to be fair, everyone gets their own moments to shine in tracks like 4 Phil, Remember and Memory Lane.

As I sadly never got to see the band in action (I don’t know why as they came to Birmingham Town Hall in 1975 so I could have gone), this cd is chance to experience, in some part, that missed opportunity for me. The set is balanced between the debut and ‘Elysian Encounter’ and, oddly, the title track that later appeared on ‘Hearts On Fire’ and there is a lot of time for improvisation throughout. Quite frankly, there may be a drum solo or two too many but, overall, this is a really fine snapshot of a great band who really warranted significantly more kudos and respect than they actually garnered.

The booklet is, as with most Esoteric releases, rather splendid with a good summation of their short career. The sound is very crisp and clear with only a few dropouts in a recording that is nearly fifty years old and it is an excellent document of an exciting evening that hopefully those who were there will still remember. This new release documents those moments for us all to relive and enjoy once again or, for younger folks, to discover and enjoy! For fans of 1970’ British Rock music this is a diamond and a much desired album, hearing a band hungry and accomplished and really firing on all cylinders. It is highly recommended from this possibly somewhat biased reviewer…

Released 24th November, 2023.

Order from Cherry Red here:

Baker Gurvitz Army: Live 1975, CD Edition – Cherry Red Records

Review – UPF – Planetary Overload, Part 2 – Hope – by John Wenlock-Smith

Well, I may have met my match with this one but, first, let me explain. I am always talking about how progressive rock albums need both length and space in order for the music to evolve and expand enough to make music make sense. The fact that brevity is not usually a big feature of prog does actually matter, well it does to me at least. Well this latest album from United Progressive Fraternity (UPF) really challenges that idea and could be seen as overload or just simply too much!

‘Planetary Overload, Part 2 – Hope’ is nearly three hours long and has thirty-one tracks, several of which hover around the fifteen minute plus length. Alongside which the cast of contributors is huge, ranging from Steve Hackett to Jerry Marotta and all points in between but it’s fun when you can spot their contributions, like Steve Hackett’s guitar tapping on Chants of Hope.

What I will say is that, this is the equivalent of a transatlantic flight in that it’s long and the scenery changes constantly. And in a similar vein, there are many musical elements that are employed here in the rather strange, and possibly difficult, third UPF album. You get everything including speeches from the likes of Sir David Attenborough and Chief Oren Lyons amongst others, for this is very much an environmentally focused album, in that this is a plea for us to change how we exist, evolve and engage with nature.

Anyway, enough waffle from me, what exactly are you getting with this album? Well, in a nutshell, you will find some staggeringly good and complex symphonic progressive rock music with more than a touch of Peter Gabriel’s World Music thrown in for good measure. You get songs that have good messages and that actually mean something and you get excellent musicianship and some really quite remarkable playing, all wrapped up in a strong, conceptual set of 3 CD’s with excellent artwork from Ed Unitsky.

What’s not to like? Fans of antipodean prog like Unitopia and Southern Empire or even the excellent Damanek will find music to both discover and enjoy here. There are a large variety of styles used from quite aggressive passages to almost swing and orchestral sections. Faultline, for example, has heavy sections and jazzy swing tempo passages to it that are most impressive.

The album begins with Hope Is Drums Of Hope and a symphonic overture, all very ethereal and airy, before Mark ‘Truey’ Trueack’s earnest baritone vocal begins. There is a lightness of touch in this opening section with an evocative violin from Steve Unruh, who plays a large variety of instruments including guitars, bass pedals ,violin and flute and also provides lead and harmony vocals in conjunction with Trueack. These two together form the axis of UPF, although they draw on a wide array of contributors to achieve their unique sound. This opener has a hell of a lot happening during its running time including that great violin, lots of drums, a delicate piano and masses of choral type voices, its’ all very over the top but definitely appealing to these ears.

One of the album’s longer tracks, Being of Equal, has a very middle eastern sound to it, almost Arabian really. This is all very epic sounding, as the song continues a strong electronic element and bass line is added which actually fits in really well with the mystical elements. It really sounds exciting and different, there is an excellent synth burst too that really empowers the track. Yes, it is a complex and engaging track but it is also an excellent album track that really helps set out what the band are all about. This is an album that you are going to have to invest your time with in order to get the most out of it so be warned, this is going to require your efforts here, although I will point out that this will be mutually rewarding as you will encounter some really remarkable and challenging music on your journey.

Justified is another interesting track, very minimal in its sound with just a drum beat along with a sole vocal before taking a more expansive and broader musical route at the early part of the song. Lyrically it is interesting as well, lines like; “If you lay down with dogs you’re going to wake up with fleas, you’re scratching the surface not treating the disease.” It’s very well written and intelligently crafted, the touches of world music really enhance the sound they make and it’s really gorgeous in places, like on this track. Another bonus is the third disc of tracks in which, as The Romantechs they revisit several tracks and even a couple of old Unitopia tracks like Justify from ‘More Than A Dream’ and The Garden from the album of the same name. These are interesting retakes and well conceived and delivered versions of two classic songs, When you factor this bonus disc is of nearly seventy minutes duration, you can tell this is a very rewarding album when you do your part in giving it time and space in your life.

UPF certainly have a valid message wrapped in an attractive, challenging and complex musical format. There is a lot to get your teeth into so what are you waiting for? Dig in deep and enjoy the vista that United Progressive Fraternity offer with ‘Hope’.

It may be worth mentioning that ‘Hope’ continues on with themes that were both raised, voiced and addressed on their previous album ‘Planetary Overload Part One – Loss ‘ released in 2019. ‘Hope’ was delayed in part by the pandemic and continues in expressing both environmental and humanitarian issues and concerns. I also recommend that you give that one a listen as well and embrace the whole picture.

Released 15th July, 2023.

Order from bandcamp here:

UPF’s – PLANETARY OVERLOAD, PART 2 – HOPE | United Progressive Fraternity (bandcamp.com)

Review – Tribe3 – s/t – by John Wenlock-Smith

Tribe3 are a progressive rock band who hail from Bridgend in South Wales, there must be something in the water down there as the area is awash with prog groups emerging this year with Last Flight To Pluto and The Mighty Ra both hailing from a similar geographical location to Bridgend.

This self-titled album consists of six tracks in all and lasts for about fifty minutes so, yes, its mostly longer tracks, with The Downfall of The Birdwatcher being the shortest at at just over six minutes. The music the band make is actually rather good and has elements of Rush and Yes, although I also detected hints of 80’s prog groups like Marillion, IQ, Arena or Pendragon. It’s certainly an interesting mix of both influences and styles, obviously bands are influenced by earlier artists and that influence is going to appear somewhere so these traits are unexpected really, but it is good to hear that the band are trying to create their own style here, and are mostly successfully at that.

The album opener is Invictus and is the albums second longest track. This sets out their stall rather well, starting with Mellotron voicings and sounds, mostly choral in tone, all very epic and stately really before morphing into something different where an intricate guitar motif is played by Chris Jones. Invictus refers to being unconquerable or undefeated in Latin and the song is about that feeling and not allowing life to beat you. It’s all about resilience in the face of what life throws at you really, a maxim that we can all adopt in these challenging days in which we live. The song has more than a nod to 80’s era Rush, especially with the Bass pedals moving the track along. Fear Is The Key is about how the world is controlled by a shadowy few who wield control over governments and power brokers, all whilst running to their their own agenda, they control by using fear to get their goals actioned. This is possibly a flawed idea, but the song has credibility in its music even if you don’t agree with its lyrics, it certainly makes you think, hopefully it does at least. The Downfall of The Birdwatcher is next and this shorter track lists the names of many common birds that a twitcher would seek to see for himself. In this instance our hero falls afoul of the law when his actions are reported to the Police and, when his actions are deemed innocent and he is cautioned and released, the offended party take matters into their own hands and damages his perch so that gravity will bring about his downfall, a cautionary tale perhaps.

Lament follows is hinged on delicate piano lines and a very Alan Holdsworth legato style guitar line that runs throughout the track. I really like this one as the build of the track is good and satisfying to hear, as is the excellent guitar break that plays out against the piano motif, it really catches the ear well. This song is definitely one of the albums strongest pieces, it is also the albums longest. Towards the end the piano refrain returns in a style very reminiscent of Marillion and this really impresses. Calm Before The Storm opens with a busy bass solo, all open notes and runs and you can definitely sense the Geddy Lee influence and inspiration here. This then has chiming guitar chords and syncopation akin to Rush and their epic soundscape. The song is a mournful view of modern earth and how everything green is disappearing to be replaced with greyness and dullness. It speaks of how nature will fight back by washing it all away, global warming, the rising seas and their encroaching will address the years of harm nature has suffered at the hands of man. A warning for us all possibly? The final track of the album is Dawntreader, a song about people who work away from home, usually at night, dockworkers, miners and the like who eagerly await the dawn in order that they can return home once again. This has a excellent and emotional refrain of “Stay With Me, You’re In My Heart…”. It is very laden with emotion and expression and is a slow burn interspersed with synths and strong effective guitar work on which this excellent album concludes.

It may have come to fruition after a few years of lockdowns and altered lives but with this album Tribe3 have taken an impressive and accomplished step forward into a new world. I eagerly await their next steps, meanwhile this album will no doubt continue to impress as will their upwards progression.

Released 13th October, 2023.

Order direct from the band here:

CD ‘Tribe3’ | Tribe3

Review – Cyan – Pictures From The Other Side – by John Wenlock-Smith

This November sees the release of the second instalment of the Cyan story. If you recall, this project saw the resurrection of an album and concepts from the very earliest years in Robert Reed’s musical journey and development where Rob and his school friends made an album that was actually released in the 1990’s on a small dutch label that allowed further parts to be released. Although Rob felt that these releases fell somewhat short of how he saw the album should have been envisioned.

To this end, when Rob decided to update the concept afresh with a more competent and rewritten version, he enlisted the talents of Peter Jones, Luke Machin and Dan Nelson, with Rob himself handling the keyboards and other things like production. ‘Pictures From The Other Side’ continues that journey and, again, the original source material benefits both from a 2023 production and also the reimagining and experience that has been gained the last 30 years.

The album has just six tracks, including the epic Nosferatu, opening with an extremely strong and compelling opening track, Broken Man, which allows Peter Jones to sing and channel his inner Gabriel. The track begins with what sounds remarkably like Uilleann pipes but is probably more likely to be Peter’s whistles or something similar, this is accompanied with a soaring guitar line from Luke Machin that takes the track forward in style. The song has great backing vocals from Angharad Brinn ( who featured on the Kompendium album from 2013) and also benefits from the athletic and agile bass playing of Dan Nelson, who is all across this track, adding solid and expressive support. When Machin’s guitar lets fly it really warms the heart to hear this marvellous collective really making an impact and allowing the song to really flow. The vocals are very much like Peter Gabriel and, again, this really makes a strong and favourable impression, in conjunction with Angharad Brinn, this all sounds really strong and enticing, especially when you factor in the fabulous music that Cyan offer as a unit. It is very imaginative, well nuanced and textured with an expansive sound and simply excellent musicianship from all parties involved, a stunning opener all told. Title track Pictures From The Other Side opens with gentle piano lines before the band join in and a jazzy saxophone plays in tandem with the vocals. The song sings of stories from the other side of life, although what that actually means is a little abstract and unclear. It is another excellent song though, relatively short but with a strong keyboard part in the mid section and some classy saxophone lines before a sweeping Luke Machin guitar line plays out over Rob’s keyboards. This has great dynamics to it, an ethereal vocal from Angharad taking centre stage as the song moves forward. There are some fabulous guitar parts within this song and, again, it really makes an impact. The track ends on a syncopated jazzy section with guitar, keyboards and sax all playing their parts to perfection, another winner!

Solitary Angel is a more restrained piece really although, again, it builds well in its intensity and does allow room for more of Luke Machin’s flights of fingers and notes to occur. That takes the track to greater heights, Machin really lives up to his growing recognition and skills here. I’ve had the pleasure of seeing this young man grow, not just in his confidence, but also in his abilities, to become the valued player that he is. This understated song has real class and adds a testament to the strengths that the group possess and display so well. The wistful and poignant Follow The Flow is a bewitching and beguiling piece of music that focuses on the twin strengths of Peter’s vocal and Rob’s piano playing to deliver just shy of four minutes of musical wonder. Once again Angharad’s beautiful, touching voice adds to what is a marvellous musical brief encounter. Tomorrow’s Here Today starts with an acoustic guitar alongside a fine vocal from Peter Jones and ethereal vocals from Angharad Brinn, who really add to this slow burn of a track as their voices blend really well and expressively. Deep keyboards are employed to add to the atmosphere and the dynamics as a synth solo is performed by Rob and, as Luke Machin joins in the fun, the song gathers pace and urgency and becomes a platform for swapping solos before returning to the previous mood. I really like this track and its use of dynamics to convey its points.

The final song of the album, Nosferatu, is also the longest at just shy of eighteen minutes in duration. Nosferatu is a reference to vampirism like Dracula but with its roots further back to Roman times in Transylvania and that region of the world. It’s all very Gothic and removed from Whitby and the Dracula legend of today. This has a gothic horror element to it but it is all done with a degree of reverence and respect. The elongated running time gives room for the track to breathe, expand and explore the themes more fully and this means lots of spaces for Robs expressive keyboards, Luke’s fiery guitar and Dan’s solid bass and gives them all the ability to have room to breathe, Angharad Brinn especially gets the opportunity to shine here. There is a definite strident section that really works well before the song returns to a more gentle feel part and then Luke’s defining guitar break takes the listener on a flight of wonder, the closing moments are especially strong with real pace and urgency to them as Peter ushers in the morning sun to dispel the vampires. This is a class ending to what is a very accomplished album of strong material.

In a year that has seen some excellent releases this one can easily be added as one of the year better ones. A real treat and one that most definitely warrants inspection and deserves being heard by as many as possible as it contains much very fine music and strong performances from Cyan. 

Here’s to the next part of the story!

Released 17th November, 2023.

Order the album here:

https://tigermothhosting.co.uk/CYANCD2023/

Review – John Wetton – An Extraordinary Life – by John Wenlock-Smith

John Kenneth Wetton left us too soon, much too soon sadly, he never had the opportunity to grow old disgracefully or to see his grandchildren, leaving us on the 31st of January 2017 in what was a dreadful year for the passing of legends, with legendary musicians like Tom Petty, Gregg Allman and Alan Holdsworth also passing the same year. John, however, did leave us many years of his artistry and songwriting craft with many recordings to treasure and enjoy from his work with bands like Mogul Thrash, Family, King Crimson, Roxy Music, Uriah Heep, U.K., Wishbone Ash, Asia, Wetton/Downes and Icon, in between which he found time to carve out his own lower key solo career, during which period he made the albums this set covers.

This new boxset gathers together all of his six solo Albums from 1979 to 2016, a sixty-four page book and two discs of unreleased tracks or hard to find demo’s. This set concentrates on John’s solo work so, whilst it has a slew of contributors, you won’t find any songs from either his Icon or Asia years. What you do get is a comprehensive trawl through John’s imaginative and artfully crafted music and his strong songwriting and playing. Further sets are a possibility, although quite what form that would take is very much a case of wait and see.

The set begins with ‘Caught In The Crossfire’ from 1980 and is followed by ‘Battle Lines’ from 1994, ‘Arkangel’ from 1997, ‘Sinister’ from 2000, ‘Rock Of Faith’ from 2003 and ‘Raised In Captivity’ from 2011! The set also has 2 discs of unreleased tracks, mainly demos or alternative mixes and takes. So, although there is a lot for your money, as always the music is very mixed in styles and approaches and not everything may be to your tastes. There are progressive parts for sure, but its focus is on John’s compositional skills and how that translates into his songs.

Many folks may feel that his best work was in conjunction with various partners who helped him hit better heights, there is certainly nothing in here that moves in the same orbit of success that Heat Of The Moment or Don’t Cry did, for example. But it definitely must be said that John definitely sprinkled his magic over the recordings he made over the years and this set clearly shows that skill here. I would imagine that most folks know a little of John’s history and hopefully of his music too, making individual reviews of the albums superfluous really, instead, I will concentrate on the more obscure unreleased music in the main. John was certainly prolific in his writing, especially when you consider that he spent a large proportion of his life merely surviving his addictions and keeping his demons at bay.

He scaled the peaks and trawled the depths of addiction but still managed to be incredibly creative in his own right, he was a true professional musician who didn’t let his drinking affect his performance. His life is documented in part in the recent autobiography published after his death, in which his exploits are recounted. I’ve not read it myself but did hear Ken Hensley talk about how important John’s compositional talents were whilst making Uriah Heep’s ‘High And Mighty’ album, lots of his fellow bandmates speak positively about John’s talent and skills.

The two bonus discs contain thirty-nine tracks in total, mostly demos or sketches of ideas that never reached fruition somehow. It’s an eclectic mix of material from the atmospheric instrumental of AD2023 to the more AOR stylings of Raven. The memorable Walking On Air with its accapella opening dissolves into a more traditional form of songwriting, mostly acoustic but with great keyboard support to  flesh out the sound convincingly. The ballad Straight From The Heart is a good song that plays to John’s strengths, especially his baritone voice that floats gracefully over the track. This could have been a good Asia song, it certainly fits the mould well enough. A fine take on Dylan’s All Along The Watchtower is a fine interpretation of a classic song, with Wetton’s clear vocal impressing greatly. Deya 1986 is, I believe, an instrumental written about his son Dylan. Again, this moody piece is good listening. Tears Of Rage would have made a good track for Icon, with its striking violin playing making a real mark.

Marianne is another power ballad that Wetton could write in his sleep, all earnest vocals and surges of restrained power chords hitting the mark. As the song builds in its intensity, its pacing is possibly too slow and would be improved with a more strident march or beat. Healer Of Shattered Hearts is another mid-tempo, atmospheric, track with a strong chorus that is most impressive. I’d Give It All For You opens with church organ (an arena that John knew well) and strong vocals, again this is very earnest and emotionally compellingly performed, making another fine track. Wings Of An Angel (Intro) leads into a track of the same name, another strong atmospheric emotional piece. All For One is another Asia style track with excellent vocals and a strong middle section. From a Distant Heart is an emotion laden tearjerker ballad of the sort that John did so many of, and did so well, giving a good vehicle for his spectacular voice. For me, Real World somehow doesn’t really work for me with its sampled voices of John Lennon and Ringo Starr. Far better is The Greatest Show On Earth with its great power chords, guitar solo and keyboard backing, this is an epic track. Adagietto is another quieter song, again very choral in tone, an atmospheric instrumental that’s very religious and the sort of thing you expect to hear in a mass. The Water Is Wide is a somewhat subdued folk type song, again this has definite religious overtones. I’m not sure if John had any religious convictions but he was a choir boy when young and grew up with a church background, so it seems something stuck there.

The second disc is also interesting, nineteen tracks on this one. It opens with Raised In Captivity which is a searching song asking questions of his growing up, it has a very 1980’s sound with a particularly effective drum beat throughout. The Other Guy (Second Best) is another unrequited love song/power ballad and would have been another good Asia track. I Will is another punchy track and, again, very 80’s sounding but a very memorable track. Bad Thing is another AOR type track with a good vocal and catchy chorus. Boys Of The Diamond City follows and is another AOR stomper with 80’s drums, a great vocal from John and a strong chorus. This would have made a great single for John or even Asia. Flesh and Blood is a further AOR number with a very 1980’s rock style production, think of John’s performances on ‘Phenomena II: Dream Runner’ for a comparison. Again, it’s good single material, maybe John should have released this after he left Asia first time around, with Geffen’s involvement he maybe could have had a higher profile solo career. It’s an absolute corker of a song, as is the next track Burn Your Name In My Heart, which would have been another contender for that imaginary unrealised Geffen album. Sex/Power/AndMoney could also be on that album, a very strong track. In fact this second disc of tracks could really be that unfulfilled album, as its all there in the first ten tracks, including a duet with an unnamed female vocalist that sounds really sweet.

So what I’m hearing here is the unrealised and unreleased John Wetton Geffen era album from the mid 1980’s which gives these songs a sense of direction and focus. After this we have several songs from the ‘Over The Top’ soundtrack that John both wrote for and sang on. The remaining tracks are in a similar vein, mid tempo AOR tracks, including Halfway To Heaven, another song for a soundtrack album. There are other gems scattered throughout the set but, for me, Disc 2 of the unreleased stuff really makes the set worthwhile and worthy of purchase.

So in all this is a really interesting set but possibly not for the casual listener, more for the fervent followers.

Released 24th November, 2023.

Order from Cherry Red here:

John Wetton: An Extraordinary Life, 8CD 12”x12” Box Set – Cherry Red Records

Review – Glorious Wolf – Mysterious Traveller – by John Wenlock-Smith

Glorious Wolf is a studio project from Dutch musician, Ruud Dielen, the name comes from his own name which, in Dutch, is derived from the Germania origin that translates as Glorious Wolf. ‘Mysterious Traveller’ is obviously a labour of love for Ruud and one that allowed him to explore his love of progressive music. After many years in various blues and cover bands Ruud decided to enlist some friends to help him realise his vision, the results being this very musical release, here Ruud gets to explore his influences and pay homage in his own style.

The album has just seven tracks, three vocally led and four instrumental tracks. If symphonic prog is your particular bag then I think you will find much to enjoy herein, Ruud was also kind enough to give an insight into the various tracks. The album has a very lush sound and is well produced with great separation between all the instruments, which gives a good overall sound and strong impressions.

The opening track Repentance begins with lush keyboards and a strong guitar riff that is repeated over the keyboards, along with some striking drums and bass. Ruud uses a wah-wah pedal to great effect here and a busy bass adds to the track’s dynamics well. That great riff gets a further airing and the bass pounds along in tandem. The song is about how the world is in repentance and needs love, which is pretty much true these days. This track has a lot of restrained power to it, you can sense it being held back, although why this is the case is not clear. Either way, it is an impressive opener and one that encourages you to keep listening to the album. The muscular sounding Slow Down is another fine track, one with strong keyboards and the organ is especially prominent on this track and to good effect. I like the great supporting bass that underpins everything and the swirling Hammond that gives body to this instrumental track. This piece has strong hints of ‘Meddle’ and ‘Obscured by Clouds’ period Pink Floyd, especially in the excellent guitar work from Ruud, who is channelling his inner Gilmour on this track before the synth comes to the fore. This is another excellent track with strong musical performances and one that oozes style. It is also one of the albums longer tracks, with that time being used to show the skill of the band, alongside their imagination. This is followed by a second vocal track, The True Story, which is a song about Mother Earth and how beautiful she is and that we should stop exhausting and depleting her resources. Again, this is a sentiment any intelligent person would agree with, I’m sure! The sympathetic support from bass, drums and keyboards really impresses. This is a slow burner of a track, one that definitely hits the mark, the great fluid guitar lines at the end are particularly impressive and give a touch of class to this track.

Howling At The Moon has a crunchy and prominent guitar riff and the pounding drums and great keyboards all give weight to this shorter instrumental track. There feels to be there a strong element of power being restrained once more and that actually makes the track all the more effective to these ears. Title track Mysterious Traveller is an instrumental about the Amazon Rainforest. This superb track has a great sound, especially in the bass department, making it another fine track and the brilliant guitar just adds to it all and making it rather impressive stuff. Battlefield is a call to stop the wars and to instead use the funds that war costs to solve world hunger. This is a highly sensible idea, except that we all know that war is a vehicle for certain industries, investors and individuals to make money, so this is an idea that will sadly go unheeded by the masses. Many a war has been used to support corrupt regimes and to enrich certain sectors of society, especially if countries involved in the arms trade have no scruples and peddle their wares to any interested parties, regardless of their record of human rights. The final track Beautifully Broken is in two parts, presented as one piece. War breaks hearts, Love heals, Greed is not what we need to feed our hearts. This song has lots of great guitar work, all of which is mostly understated, it also has lots of dynamics and contrasts, all with strong musicianship and musicality. The second half of the track is an amazing extended improvisation and runs out to the end of the album superbly.

Overall this album will not greatly tax you. It will ,however, give you a sense of satisfaction and fulfilment when you understand what it is trying to convey and the class and style it uses to these ends. There is a hell of a lot to enjoy here, I thoroughly enjoyed it and the artwork by the renowned artist Ed Unitsky is most impressive too.

Released 1st November, 2023

Order from bandcamp here:

MYSTERIOUS TRAVELER | Glorious Wolf (bandcamp.com)