A Review On The Front Page Review

Front Page Review is the type of hidden gem that perfectly illustrates the vibrancy of ‘60s rock. They were a psychedelic, indie rock band that was part of the “Bosstown Sound.” The “Bosstown Sound” was a term used for New England bands that emerged from the San Francisco music scene. These bands were not taken seriously because they were perceived as only concerned with money and fame. The band never really gained popularity and their only album ever recorded, Mystic Soldiers, was not released until 30 years later. Steve Cataldo is the man behind this excellent album; he is the lead guitarist, singer, and songwriter. Each song is an audible display of Cataldo’s talent and hard work. He seemed to perfectly capture his own psychedelic and dreamy sound of the time. Every song off the album takes you on a musical quest, which makes the album so special.

Despite their lack of recognition and discography, Front Page Review’s Mystic Soldiers is worth hearing. This exquisite album is a must listen for all fans of ‘60s psychedelic rock. It will get you dancing and feeling groovy.

I first came across Front Page Review randomly. My Apple Music subscription offers a radio station that caters to the type of music I frequently listen to. My love for all types of ‘60s rock made it only sensible for Front Page Review to be recommended to me. The song titled Prophecies/Morning Blue was the first song I ever heard by the band. It was love at first listen. I knew that through the rough mix of the distorted sounds added to that first song off the album, I had found something worth listening to. Prophecies/Morning Blue opens up with some manipulated sounds of children playing in the background and ends with a swooping and loud swirl of pure, psychedelic goodness. Not to mention the smooth and clever change of rhythm in the middle of the song, which leads up to the peak: an illustrious organ playing done by Joseph Santangelo. Listening to that brief organ solo is a moment I could stay in forever— it gives me chills every time!

As I went through the album, I noticed how every song made me want to stop everything I was doing and just start dancing! The overall catchiness of the instrumentals in all of the songs took me by surprise—I was not used to hearing that consistently in one album.

I will briefly note three other songs off the album. The first song is titled Silver Children. This song is truly a ‘60s dream through Santangelo’s organ playing. It creates a sort of dazed and peaceful atmosphere, allowing the listener to get lost in it. This song feels like the warmth of the sun beaming down on your face on a spring day; all it can do is make you smile.

The next song is called Valley of Eyes. There is so much intensity in this song that it leaves you thinking about what exactly Steve is writing about. The obvious political undertones of this song are conjoined with powerful guitar playing and simple lyrics. When I hear this song it feels as though I am on a journey and I have reached an important part of it that can not be ignored. Valley of Eyes is an epically told quest to find answers because there is far too much violence in the world. The narrater is losing hope, but hopefully someone will listen.

I have saved my absolute favorite song for last. For the Best Offer is personally one of my favorite songs of all time. Cataldo’ s vocals on this song are beautiful! Not to mention the instrumental portion of the chorus. All of the instruments coming together in this song work together wonderfully to create this mysterious and, for lack of a better word, groovy tune. It hits the listener out of nowhere, a sudden burst of energy driven by a frenetic guitar. This song may first seem playful and trivial, but as it goes on, it puts its foot down and demands respect. This song has the best offer for your ears.

The short lived music endeavors from the Front Page Review will continue to live on for ‘60s music lovers. This album is such a treat that can not be resisted. I’d like to give a huge thank you to all the musicians involved in the making of it. It’s truly a lost treasure from the past.

Steve Cataldo: Singer/Songwriter, Guitar

Richard Bartlett: Guitar

David Weber: Drums

David Christiansen: Guitar

Thomas Belliveau: Bass

Joseph Santangelo: Organ, Piano

Continue reading “A Review On The Front Page Review”

Shining Pyramid’s Atmospheric Triumph

Shining Pyramid, Tree, December 29, 2020
Tracks: Transmitter C (9:18), Triskel (4:11), Campfire (3:03), Rain (4:58), Like Katriona (10:20), Weird Science (6:15), Joy? (5:32)

London’s Shining Pyramid released their third album back at the very end of December 2020. This follows 2015’s self-titled debut, loosely based on the 1895 Arthur Machen of the same name, and 2018’s Children of Stones. Their latest album, Tree, was my introduction to the band, as they generously sent me a CD to review. I was hooked from the opening electronic notes, which reminded me a little bit of Oak, who I seem to mention a lot around here. The duo is comprised of Nick Adams on guitars and Peter Jeal on keyboards. A page on their website offers a breakdown of the guitars and keyboards used on the album. I’m not a musician, but I found it interesting that Adams used such a wide array of guitars and basses on the record. They all sound wonderful.

Swirling synths set the stage on Tree, but the spacey guitar quickly steps into the spotlight, taking on a Floydian tone with a bit of the late Piotr Grudziński (Riverside) thrown in for good measure. It would be a mistake to describe this album as only ambient, or only atmospheric, electronic, or space rock. It contains elements of those things, but the guitar keeps the album rooted in rock territory, even if the album is on the sedate side of the rock spectrum. 

Shining Pyramid

Perhaps what I like most about Tree is the variety it contains, even though it’s only 44 minutes long. The opening track, “Transmitter C,” centers around a very spacey guitar with electronic synth sounds swirling around it. “Campfire” places an undistorted guitar seemingly just behind the bass in the mix, giving it a bit of a distant feel before the keyboards build and take the main spot in the mix. It isn’t particularly atmospheric. The next track, “Rain,” offers an ambient sound centered on a simple repeated piano refrain. That refrain, along with the bass, serves as a framework to support the varying synth sounds that keep the track interesting as it proceeds. Each track on the record sounds unique. They share common elements, but the band approach them in different ways. 

My favorite tracks are “Transmitter C” and “Like Katriona.” They’re both the longest songs on the album, allowing the music to build and grow. They also both feature a spacey Floydian guitar tone and appropriately proggy keyboards. These tracks sound the most musically focused and cohesive as well. A fun fact from their website: the ring of sound waves printed on the physical CD was taken from Adams’ guitar on “Like Katriona.” That’s a pretty cool little thing to throw into the physical product. 

I couldn’t help but feel a calming sense of peace when I listened to Tree with undivided attention. The music is calm and almost hypnotic at points. Frankly it was just what I needed. It gives you space to reflect, but it does so with interesting musical textures that make you want to return to it. For those into the atmospheric and ambient sides of prog, give Shining Pyramid a listen. They won’t disappoint. 

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In Concert: Todd Rundgren’s Clear Humanity

With multiple attempts at a 2020-21 tour yanked out from under him, Todd Rundgren has pulled a fresh concept out of his back pocket in turn. In lieu of a one-off worldwide livestream, Rundgren kicked off the “Clearly Human Virtual Tour” on February 14.

Sporting a setlist focused on the ambitious 1989 album Nearly Human, Rundgren and his 10-piece band (including bassist Kasim Sulton and synthesist Gil Assayas from the 2018 Utopia reunion tour) are now midway through a 25-date residency in Chicago; original talk of limiting each show’s streaming market via “geofencing” quickly gave way to a few visual and verbal nods to a different city each night. Intrigued, I ponied up $40 for February 25’s “Indianapolis” show; for more cash, you could control what camera angle you were seeing, order the usual merch, have your face projected onto video screens the band can see, or even attend in person (the last option subject to being one of 19 people to pay VIP prices, then pass a COVID test within 72 hours of the show).

It’s a great concept: cutting down overhead by staying in one place, Rundgren has added a horn section (Steven Stanley on trumpet and Nearly Human sax man Bobby Strickland), three backup singers (Nia Halvorson, Grace Yoo and Todd’s wife Michele), guitarist Bruce McDaniel and second keyboardist Elliot Lewis to his usual rhythm section of Sulton, Assayas and drummer Prairie Prince. The musical results all night were pretty marvelous, ranging from a smooth purr to a raucous roar, with lots of guts and grace to spare. Pin-sharp after two weeks with the material, the band eagerly powered through most of Nearly Human plus selected classics from the 1970s (the 10-part vocalese in “Can We Still Be Friends” was downright awe-inspiring), a few Utopia tunes and later R&B-inflected gems (with the precision funk of 2nd Wind’s “Love Science” and the slow burn of “God Said” from 2004’s Liars proving especially effective). Rundgren’s occasional forays into lead guitar on his iconic green instrument “Foamy” were spaced out for maximum impact; the rest of the time he stalked the lip of the stage, strutting his stuff while the players did their thing. His obvious delight in his “nebbish as soul man” persona was utterly endearing — and once he shucked his suit jacket to reveal a bit of a pot belly and comfy athletic shoes, you were in on the joke as well.

The only weak link, for this show at least, was Rundgren’s voice. His melodies, especially on his soul material, are fairly fearsome, multi-octave constructions; they require a sturdy vocal instrument, a comprehensive range, consistent breath support, and lots of stamina! On this night, Rundgren’s bottom and top were strong, but a little phlegmy and forced, and the midrange between the two was unsteady to the point of outright disappearance at times — including during the opener “Real Man”. (l’ve had to sing for numerous worship services or concerts with a dry throat, sinus congestion or a cold, and I think that’s what may have been going on. Take it from me, it ain’t much fun.) Previous reports have found Todd in great vocal form on this tour (and Cirdec Songs’ Cedric Hendrix reported that he was up to snuff for the next night’s show); hopefully, this was a one-time glitch that some rest — or maybe hot tea and honey — fixed! And in my book, Rundgren earned “show must go on” bonus points for his perseverance in difficult circumstances.

In short, Todd Rundgren’s come up with an enjoyable cure for the no-concert blues — one that, even on a bit of an off night, was highly effective, impressive and fun! If it’s been too long since you rocked out in your favorite venue, I recommend you check out the remaining livestream dates for the “Clearly Human Virtual Tour” at NoCap Shows.

— Rick Krueger

Setlist:

  • Real Man
  • Love of the Common Man
  • Secret Society (Utopia)
  • Something to Fall Back On
  • Parallel Lines
  • Unloved Children
  • Love in Action (Utopia)
  • Compassion
  • Can’t Stop Running
  • The Waiting Game
  • The Smell of Money
  • God Said
  • Love Science
  • Feel It
  • Sweet
  • Change Myself
  • Can We Still Be Friends
  • Lost Horizon
  • Rock Love (Utopia)
  • Hawking
  • The Want of a Nail
  • Hello It’s Me
  • I Love My Life
Jarrod Gosling and Cecilia Fage

Album Review: Cobalt Chapel’s “Orange Synthetic”

Cobalt Chapel, Orange Synthetic, Klove Recordings, January 29, 2021
Tracks: In Company (4:27), The Sequel (3:49), Message To (3:18), A Father’s Lament (3:41), Our Angel Polygon (4:32), Cry A Spiral (4:53), It’s The End, The End (5:26), Pretty Mire, Be My Friend (4:04), E.B. (2:15), Orange Synthetic (6:21)

Yorkshire, UK, duo Cobalt Chapel recently released their second album, Orange Synthetic, and it’s a wonderful contemporary progressive take on the psychedelic music of the 1960s. It has fresh production values with lush textures and glowing vocals. So who are Cobalt Chapel? Cecilia Fage (from Matt Berry & The Maypoles) and Jarrod Gosling (from I Monster). Gosling also happens to make the album artwork for Tim Bowness‘ solo albums. 

Fage’s vocals are the clear centerpiece of the album, and her voice is absolutely stunning. It’s treated with some echoey effects that give it a choral feeling, which matches the aesthetic implied by the band’s name. The album sounds fantastic, with the vocals and music clear, clean, and distinct. The various organs and keyboards are the primary musical sounds, with their textures swirling around the listeners head as Fage sings in the center. The guitar, drums, and soft bass complete the psychedelic sound. You’ll be hard-pressed to find a better-sounding album out today. It is mixed very well with everything easy to pick out. Nothing is muddled. You can even make out the clicking of keys or buttons on whatever instrument Gosling is playing at the end of “A Father’s Lament.” There’s a slight hum in the background at that point which makes you feel like you’re in the room with him as he closes out the song. The whole record is really a pleasure to listen to.

There are folk elements to the music, with the album being influenced by Yorkshire itself. The song “E.B.” sounds the most folky, with instruments kept to a relative minimum and Fage’s voice carrying the brief track. Overall though the music retains a psychedelic vibe through heavy use of keyboards and organs, along with very 60s-sounding drums and guitars. The music is much more upbeat than the type of psychedelic music I’m more familiar with, though. It isn’t as spacey, although there are times when it sounds like they’re about to launch into the spacier side of this corner of rock music. They never quite get there all the way, except for on “Cry A Spiral,” which is the spaciest track on the record. Even on that song the ending is heavier and more lush-sounding, ending with a light touch of saxophone and various organs. Melody takes a central position on the album, which is perhaps what makes this album so appealing on repeated listens. You’re left feeling refreshed after listening to Orange Synthetic

If I had to make one complaint, it’s that I would have preferred some longer extended instrumental sections. The end of the first track, “In Company,” breaks into what sounds like it’s going to be a wonderfully psychedelic Floydian soundscape, but then it breaks off suddenly. The second track similarly fades out as it enters an instrumental passage. The third track does the same thing. It drops into the beginning of a 1960s-style psychedelic mood, yet it cuts off after a few brief seconds. At about 43 minutes in length, I think there’s room on the album for some longer musical exploration. They set the listener up for it, but they leave me longing for that instrumental space to breathe.

The title track, which ends the record, is the longest on the album at over six minutes, and it has a longer instrumental passage in the middle that feels much more natural for this kind of music. When Fage’s vocals kick in again after that passage, I’m left satisfied. In that regard the song is the perfect ending for the album. I just wish more of the songs on the album more generously balanced the instrumental side of this style of music with Fage’s beautiful vocals by having more extended musical passages. 

I highly recommend Cobalt Chapel’s sophomore album, Orange Synthetic. It’s a refreshing blend of upbeat psychedelic music with stunningly beautiful vocals presented with choral overtones. The music is accessible, yet complex enough to reward on repeated listens. Cobalt Chapel have masterfully brought the psychedelic sounds of a bygone era into fresh territory for a contemporary audience. 

Buy the album on CD, vinyl, or digital download, including signed copies of physical media: https://cobaltchapel.tmstor.es/#main_menu

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The Big Prog (Plus) Preview for Fall 2020!

As always seems to be the case, there’s tons of great music coming out between now and Black Friday, November 27. Below, the merest sampling of upcoming releases in prog and other genres below, with purchase links to Progarchy’s favorite online store Burning Shed unless otherwise noted.

Out now:

Simon Collins, Becoming Human: after 3 solo albums and Sound of Contact’s acclaimed Dimensionaut, Phil Collins’ oldest son returns on vocals. keys and drums; his new effort encompasses rock, pop, prog, electronica and industrial genres. Plus an existential inquiry into the meaning of life! Available on CD from Frontiers Records.

John Petrucci, Terminal Velocity: the Dream Theater guitarist reunites with Mike Portnoy on drums for his second solo set of instrumentals. Plus Dave LaRue of the Dixie Dregs and Flying Colors on bass. Expect lotsa notes! Available on CD or 2 LP from Sound Mind Records/The Orchard.

The Pineapple Thief, Versions of the Truth: Hot on the heels of their first US tour, Bruce Soord and Gavin Harrison helm TPT’s latest collection of brooding, stylized alt/art rock, honing in on the post-truth society’s impact on people and relationships. Available on CD, BluRay (with bonus track plus alternate, hi-res and surround mixes), LP or boxset (2 CDs/DVD/BluRay) – plus there’s a t-shirt!

Rikard Sjöblom’s Gungfly, Alone Together: Sjöblom spearheads a thoroughly groovy collection on vocals, guitar and organ, with Petter and Rasmus Diamant jumping in on drums and bass. Heartfelt portraits of daily life and love that yield extended, organic instrumental jams and exude optimism in the midst of ongoing isolation. Available on CD and LP (black or deep blood red vinyl).

[Upcoming releases follow the jump …]

Continue reading “The Big Prog (Plus) Preview for Fall 2020!”

2019 Prog (Plus) Preview 2!

More new music, live albums, reissues (regular, deluxe & super-deluxe) and even books about music heading our way between now and Christmas?  Yep.  Following up on my previous post, it’s another exhaustive sampling of promised progressive goodies — along with other personal priorities — below.  Click on the titles for pre-order links — whenever possible, you’ll wind up at the online store that gets as much money as possible directly to the creators.

Out now:

Andrew Keeling, Musical Guide to In the Court of the Crimson King, 10/50 Edition: composer/musicologist/online diarist Keeling’s revision of his 2009 book (the first of a series acclaimed by King Crimson’s Robert Fripp).

Marillion with Friends from the Orchestra: 9 Marillion classics re-recorded by the full band, the string quartet In Praise of Folly, flautist Emma Halnan and French horn player Sam Morris.  Available on CD.

A Prog Rock Christmas: Billy Sherwood produces 11 holiday-themed tracks from the typical all-star cast (members of Yes, Utopia, Flying Colors, Renaissance, District 97, Curved Air and more).  Download and CD available now; LP available November 1.

 

October 25:

King Crimson, In the Court of the Crimson King (50th Anniversary Edition): featuring brand new stereo and surround mixes in 24/96 resolution by Steven Wilson.  Available in 3 CD + BluRay or  2 LP versions.  (Note that the new mixes will also be included in the Complete 1969  CD/DVD/BluRay box set, which has been delayed until 2020.)

Van Morrison, Three Chords and the Truth: 14 new songs from Van the Man, available in digital, CD or LP versions.

Neil Young & Crazy Horse, Colorado: the first Young/Horse collaboration since the 2012 albums Americana and Psychedelic Pill, available in CD or 2LP versions.

Continue reading “2019 Prog (Plus) Preview 2!”

In Concert: Nick Mason Pours Chicago a Saucerful

Nick Mason’s Saucerful of Secrets, The Chicago Theatre, April 4, 2019.

“After twenty years, I got tired of waiting for the phone to ring.”

Always quick with a quip, drummer Nick Mason tossed off that one during the first lull in his new band’s voyage through Pink Floyd’s early catalog.  Dryly diplomatic and subtly duplicitous (it’s actually been 25 years since Mason last played in North America, 14 since the Live 8 Floyd reunion), it was nonetheless revealing.

In recent years, Roger Waters has trotted his favorite era of Floyd (first The Wall, then a Dark Side of the Moon through Animals-based set) around the globe; David Gilmour toured his solo album Rattle That Lock, then decided to auction off his guitar collection for charity, keeping the door firmly shut on nostalgia following Rick Wright’s passing.  Mason, on the other hand, has dug deep into the history of the band he co-founded — prepping the massive box set The Early Years with Gilmour, then working on the touring memorabilia exhibition Their Mortal Remains.   So when Blockheads guitarist Lee Harris and post-Waters Floyd bassist Guy Pratt suggested a group focusing on the pre-stardom Floyd repertoire, Mason was itching to give it a whirl.

It’s a great idea.  Freed from the expectation of playing the hits, Saucerful of Secrets dives headlong into a rich stream of psychedelia, prog and pastoral balladry, setting back the clock to when Pink Floyd’s audience had no idea what was coming next.  And there’s something for everybody here: trippy blues barrages “Interstellar Overdrive”, “Astronomy Domine” and “One of These Days”; the whimsical Syd Barrett-led singles “Arnold Layne” and “See Emily Play”, along with Barrett’s later, profoundly disturbing “Bike” and “Vegetable Man”; hushed, acoustic post-Barrett meditations like “If” and “Green Is the Colour”; the bludgeoning rock of “The Nile Song” and “Childhood’s End”; and extended free-form explorations of “Atom Heart Mother”, “Let There Be More Light” and “Set the Controls for the Heart of the Sun”.

Tackling this wide range of material, the quintet was tight enough to keep the audience engaged, but loose enough to veer into clamorous group improvisation as the mood (frequently) struck them.  Pratt and rhythm guitarist Gary Kemp (best known as the main songwriter for Spandau Ballet) divvied up the lead vocals and drove the tunes forward, with Pratt cracking occasional jokes about absent Floyds during breaks; Harris spun off one obliquely creative solo after another on a bevy of guitars; Dom Beken captured Rick Wright’s spectrum of tasty keyboard colors and open chord voicings to perfection.

But ultimately, it was Mason’s show.  Sometimes damned with faint praise like “the best drummer for Pink Floyd,” his fine playing reminded me of Ringo Starr  (another criminally underrated drummer) onstage.  Self-deprecating about his lack of technique in interviews, Mason turns any limitations into assets by laying down an immovably solid beat, leaving plenty of space for his fellow players, and embellishing the grooves in simple, ear-catching ways (his malletwork on tom toms being the most famous example).   His reward?  Finally getting to play the gong on “Set The Controls for the Heart of the Sun” for this tour. (Mason’s spoken intro: “Roger Waters is one of my best friends, a brilliant musician, a brilliant songwriter — and not good at sharing.”)

So unlike later Pink Floyd tours, including The Division Bell outing I saw in 1994, Nick Mason’s Saucerful of Secrets isn’t about the spectacle (though the light show was fabulous), or the star power.  Rather, it’s about the music — and about the accomplished crew of players that bring these neglected Floyd gems alive in the moment, headed by the drummer who’s somehow become the most stalwart conservator of his band’s legacy.  For the 3,000 appreciative fans that rewarded Mason and his compatriots with a tumultuous standing ovation, that was enough.

Setlist:

  • Interstellar Overdrive
  • Astronomy Domine
  • Lucifer Sam
  • Fearless
  • Obscured by Clouds
  • When You’re In
  • Remember a Day
  • Arnold Layne
  • Vegetable Man
  • If
  • Atom Heart Mother/If (Reprise)
  • The Nile Song
  • Green Is the Colour
  • Let There Be More Light
  • Childhood’s End
  • Set the Controls for the Heart of the Sun
  • See Emily Play
  • Bike
  • One of These Days
  • A Saucerful of Secrets
  • Point Me at the Sky

— Rick Krueger

A Deeper Shade of White: Notes on “The Beatles”

In the 1997 movie Men in Black, Agent K (aka Tommy Lee Jones) spoke truer than he knew:

This is a fascinating little gadget.  It’s gonna replace CDs soon.  Guess I’ll have to buy ‘The White Album’ again.

Fast forward to the 50th anniversary Super Deluxe edition of The Beatles — my copy is #0112672, if you’re interested — my fifth purchase of the 1968 album.  Following the first CD release in 1987, Agent K’s prophecy was swiftly fulfilled, with 1998’s “30th anniversary limited edition” (CD #0438243), then 2009’s mono and stereo remasters each promising better sound and a more complete listening experience.  So does this new box provide anything previous versions haven’t?  And does it shed any new light on the “White Album’s” ultimate stature, both in the Fabs’ catalog and in rock history ?

Continue reading “A Deeper Shade of White: Notes on “The Beatles””

Bon Voyage: Melody Prochet’s Fantastic Journey

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This summer saw the long-awaited second release from Melody’s Echo Chamber: Bon Voyage arrived after five stop-and-go and, at times, tortuous years. On its June 15 release date Melody Prochet (vocal, guitar, synthesizers, violin, viola) wrote on her Facebook band page,

Today is a day life forced me to give up waiting for… ‘Bon Voyage’ is a little monster I hope will find it’s home in some of your hearts and…if not soothe, will resonate somehow positively…

So it comes down to listeners interacting with this beast, a theme-park ride of a record, while the artist, one imagines, pulls the covers over her head. First off, it is little, clocking in at a compendious 33 minutes. But given its twists and turns, its density and scope, the brevity of the work allows repeat listens to work out its strange but satisfying logic.

As I told a friend: I can’t imagine a Syd Barrett or Brian Wilson or Todd Rundgren or Wayne Coyne not really liking this record.

Prochet (b. 1987, Puyricard, France) began working on her sophomore project and releasing tracks (e.g. “Shirim”) in 2013. Rumor has it she threw away some of the material. Then last year she was involved in an undisclosed accident resulting in serious injuries. Her fans despaired until Bon Voyage was dropped in time for the summer solstice.

Melody’s Echo Chamber (2012) was readily classified as “psych pop.” But for those who tire of musical taxonomies Bon Voyage is as open borders as they come. The opening track “Cross My Heart” begins with composite acoustic guitar chords followed by a swelling string arrangement, a mid ’60s Wilsonish verse, then a beat box section folding into a flute and percussion-driven jazz passage embellished with some fanatical bass lines. The lyrics here, as throughout the album, flow freely between English and French. We’re escorted back to the opening chords for a reprise of the main (?) verse and a riff-laden, cinematic flourish.

As soon as “Breathe In, Breathe Out” drops a power rock groove the listener’s head-bobbing is interrupted by a trance section before the track accelerates again to its finish, the opening themes reworked but almost unrecognizable in the sonic whiplash.

Prochet cites composer Olivier Messiaen (1908 – 1992) as a favorite, and perhaps what we catch on this record are flecks of his emphasis on color and unusual time signature.

The first of two foci on this record is “Desert Horse,” pairing a dark Middle Eastern groove (including on old Black Sabbath riff) with a bright but plaintive chorus,

So much blood
On my hands
And there’s not much left to destroy
I know I am better alone

…except the isolation that birthed this record finds its emotional epicenter in the epic “Quand Les Larmes D’un Ange Font Danser La Neige.” Ironically it’s among the more conventional and readily accessible tracks on the album, even at seven minutes. Imagine the Bee Gees not taking that disco detour…

[spoken word] …it comes through the window like a whistle or a whisper under the bed and little children think that the monster —

Angels, aching
Keep smiling
Ain’t no karma, only love
To punish those with rotten heart

Good to have Melody’s Echo Chamber back — and this creature on the loose.

“Eight Miles High” — Three Views

The Byrds’ “Eight Miles High” was released as a single on March 14, 1966, eventually reaching number 14 on Billboard’s Hot 100 chart.   Influenced by Indian sitar master Ravi Shankar and John Coltrane’s Africa/Brass album, it was one of the first (if not the first) glimmerings of psychedelic rock.  And thus a progenitor of prog?  I think so.

Check out three views of this pioneering tune for yourself.  First, a Byrds promo appearance lip-syncing for an unknown TV show.  Note David Crosby’s brilliant outfit, complete with Russian hat:

Of course, “Eight Miles High” has been covered numerous times.  Back in 1988, it was the one of the key tracks on To The Power of Three, the collaboration of Keith Emerson, Carl Palmer and Robert Berry.  How Eighties is this?  Check out Berry’s headless Steinberger bass!  Emerson’s keytar!  Palmer wielding a Dynacord electronic drum controller at the front of the stage!  Plus the, uh, dancers “playing” snare drums in the background.  Goodness!  (Though it does serve as a reminder that Robert Berry releases his posthumous collaboration with Keith Emerson, 3.2: The Rules Have Changed, on August 10.)

Three years later (ouch) in 1991, “Eight Miles High” was one of the cover tunes on Dave Stewart and Barbara Gaskin’s album Spin.  Since their 1981 version of Lesley Gore’s “It’s My Party” had snagged number one on the British single charts, Stewart and Gaskin had been bringing a thoroughly proggy attitude to the synth-pop duo format.  Spin is no different, mixing quirky originals with fresh takes on Rufus Thomas’ “Walking the Dog,” Joni Mitchell’s “Amelia,” Bob Dylan’s “Subterranean Homesick Blues” — and the Byrds.  One bonus feature of the album: the precocious pre-Porcupine Tree percussion of Gavin Harrison.  Check out the spectacular drum fill that kicks off this version!

Dave Stewart and Barbara Gaskin’s new album Star Clocks, featuring “eight Dave Stewart originals alongside a cover of an iconic 1960s song,” is out on August 17.  Pre-order it at Burning Shed.

Bonus track: Stewart & Gaskin’s samurai/Beach Boys/cathedral bells version of “It’s My Party,” with special guest video appearance by … Thomas Dolby?

— Rick Krueger