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

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

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

Blonde On Blonde – Rebirth

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

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

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

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

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

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

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

Blonde On Blonde – Reflections on a Life

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

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

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

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

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

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

Anthony Phillips – Invisible Men

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

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

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

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

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

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

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

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

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

Tim Blake – Noggi ‘Tar

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

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

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

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

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

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

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

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

I love this and highly recommend it.

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

Review – Hawkwind – The Machine Stops – by Gary Morley

HAWKWIND The Machine Stops

Hawkwind. Ah, Hawkwind.

They have formed part of my musical DNA. An alien strand possibly, but a strand nevertheless.

I’ve been a technician on Space ship Hawkwind since hearing ‘In Search of Space’ back in time.

Whilst at college, we scoured second hand shops for copies of ‘Space Ritual’, fantasised about getting hold of a copy of ‘Captain Lockheed’, dreamed of seeing them live and snapped up bootleg cassettes at Record Fairs.

Over the years they remained a firm favourite; I bought albums on vinyl, saw them live (‘Chronicle of the Black Sword’ tour and at Reading Festival), upgraded the collection to CD and followed their musical journey as they ploughed their way through space and time.

That journey has now taken a trip into the universe of top 40 albums with ‘The Machine Stops’, based on a 100 year old dystopian fable written by EM Forster.

When  you are in the business of the future, 100 year old novellas seem counter intuitive  but the concept of humans living isolated from each other, communicating indirectly and having all their needs met by the ubiquitous machine is as relevant today as ever it was.

This relevance has struck a chord with the people that buy Hawkwind. Hard core fans (Hawknerds) have elevated the art of supporting the band to a new level, with communal weekends; events and building on the bands counter culture philosophies to construct their own world. A world that intersects with the “normal” one in the shape and fabric of this album.

And it’s a cracking piece of art. From the disturbing cover (David Lynch does Red Dwarf) you know that this is a serious concept album.

Luckily, the music is able to match the lofty concepts that the story evokes.

Poster

If you’ve heard Hawkwind, you know what you’re going to hear. Synths burble, guitars and bass crackle and paint a vivid canvas for the lyrics to tell their story.

The album starts with a great little piece, All Hail The Machine that sets the bleak scene of the machine as benevolent dictator and god, satisfying all the protagonist’s needs. It evokes memories of the classic “sonic attack” piece from ‘Space Ritual’, with its angular narration and call and response coda.

We then rip into a Hugh Lloyd Langton style guitar riff and an up-tempo Hawk rock piece, simply titled The Machine

As with all dystopic tales, the status quo is soon in question, with the bleak reality being unveiled through the next hour.

The machine’s descent into erratic dysfunction and the effects on the people is told through the various tracks, using the entire musical palette that 40 years of invention can bring to bear.

You get post industrial percussive tracks that would give Test Dept a run for their money, those synths painting broad swaths of sound , crunchy guitars to please the Metal heads  , energy and attitude to satisfy the punks drawn to the anti establishment myth of Hawkwind.

They also were the forerunners of the Ambient and post rock movements , all of this goes in the mix , the end result is a fine album that sounds stunning, lyrics that were not scribbled on a fag packet  and a story worth the effort the band have spent in putting the package together.

The Hawkwind that made this album sits alongside the band that made ‘Levitation’, ‘Astounding Sounds’ and ‘Hawklords’ all of which still sound as good today as they did when first released.

The album is best consumed as a whole, either through a “real” hifi or good headphones. There are some fabulous details in this musical canvas that deserve the benefits of a good set of speakers, notably the gorgeous synth washes and chirrups in Katie, a nice little instrumental interlude that leads into King of The World, which utilises that great Eastern type vibe the Hawkwind developed with ‘Hassan’ / ‘Assassins of Allah’ on their legendary ‘Quark, Strangeness & Charm’ album, mixed with the driving mantra of ‘Psychedelic Warlords’.

SRL

I’m referencing old Hawkwind in celebration of this new incarnation. It’s the band’s DNA reproducing itself down through the corridors of time. The echoes of great men departed are all over this album. Calvert, Lemmy, Dik Mik, Simon House, The Late Hugh Lloyd Langton all have helped shape this sound and it is more than the sum of its parts. In my Room shares a melodic opening with ‘Zarozinia from ‘Chronicles of The Black Sword’, another great Hawkwind literary album based on the ‘Elric Chronicles’ written by their long time fan / collaborator, Michael Moorcock.

As you may have picked up on, I’ m a bit of a SF fan and Hawkwind were always the most SF leaning of bands, followed by Blue Oyster Cult in my reckoning.

That post industrial percussive Test Dept feel is heard at the start of Thursday which also features founder and sole original member, Dave “The Captain” Brock steering Spaceship Hawkwind through this mid paced number splashed with artificial beats and hammerings echoing through the golden void.

In conclusion, this album sums up Hawkwind for the uninitiated without alienating the hard core Hawknerd fan. There are, as with all their recent albums, echoes of their past reverberating through the threads, but this adds to the feeling of “belonging” that it encourages.

The band has just completed a well received and visually spectacular UK tour with a stage show based around this album. The reviews have been great, I’m amazed at the love for a 40 year old institution that was always outside the norm and thrived in the space between.

Hawkwind, with this album have stopped being a shared secret cult and become an institution for all the right reasons.

Released 15th April 2016.

Buy ‘The Machine Stops’ from Cherry Red Records/Esoteric