The Best Prog Bands You’ve Never Heard Of (Part Twenty-Three): Polyphony

On By Connor MullinIn Progressive rock1 Comment

Although the name of this band refers to a musical texture defined by two or more lines of independent melody, I want to call your attention first to the album artwork, which is among the most beautiful I have seen in any genre of music. According to a review on Prog Archives, the artist wanted to show the “four elements of the universe subsiding toward an energy force which was ‘polyphony’.” The rich detail on the cover provides the perfect complement to such a complex album. With elements of ELP, Atomic Rooster, Jimi Hendrix, and Deep Purple, Polyphony seemed poised for success, but like so many other talented bands of the day were instead lost in the shuffle, and Without Introduction remained their only release. Here are my thoughts on the four tracks:

“Juggernaut” is a fitting title for the opening piece, which hits with a burst of keys and guitar right from the start. If Jimi Hendrix had joined ELP to form HELP (rumor has it he nearly did), it would probably sound like this piece. The interplay between Glenn Howard’s slide guitar and Craig Massey’s organ is excellent – and intense. It actually reminds me a little bit of Boston’s “Foreplay,” the lengthy introduction to their superb “Long Time.” We don’t get any vocals until after the nine-minute mark, and they may remind some listeners of Nad Sylvan, Progarchy’s favorite Vampirate.

The next piece, “40 Second Thing in 39 Seconds” is a brief experiment with a Moog synthesizer. It’s a bizarre piece, but considering what Emerson did with the Moog, it would be music to many a progger’s ears.

“Ariel’s Flight” is the longest piece on the album and, despite featuring more vocals, nevertheless remains dominated by Howard’s raw guitar and Massey’s deft work on the keys. Martin Ruddy’s pounding bass and Chris Spong’s steady beat on the drums are also superb; the rhythm section on this album is not to be ignored.

The closing track, “Crimson Dagger,” also opens with a blitz of guitars and keys but transitions to a smoother, psychedelic soundscape about three minutes in. This piece also features the strongest vocals on the album, including some solid backing vocals by all members except the drummer. Unfortunately, the song ends rather abruptly, but this is one of the album’s few weak points.

It’s too bad Polyphony was little appreciated in their day, as their debut album suggests they could have contended with some of prog’s heaviest hitters. Lovers of symphonic and “classic era” prog rock will especially enjoy this hidden gem, but it will no doubt appeal to many in the prog world.

Stay tuned for number twenty-four!

Album Review: Amanda Lehmann — Innocence and Illusion

On By Time LordIn Progressive rock2 Comments
Progarchists will know Amanda Lehmann from her work with Steve Hackett. Perhaps they’ve even been lucky enough to see her onstage with Hackett, both side-by-side wailing away on their guitars.

Now she’s out with a solo album, and I know what you’re thinking: Is it any good? Or is she just one of those musicians who best functions doing side work in service of a more famous talent?

Let me answer that question right away. The album is excellent. It’s proof why prog lovers should be open to new musicians and new experiences and not just spend their time buying bloated box sets of the greatest artists of yesteryear.

Now, there’s nothing wrong with owning and collecting all of Steve Hackett, because he is amazing, and he’s total prog royalty. But we have to realize that there are so many other talented (but lesser-known) artists out there who also deserve our passionate support.

To his credit, Hackett obviously recognizes Lehmann’s talent. By happy circumstance, he surely knows her thanks to his wife. That’s great. Likewise, by happy circumstance, you know Hackett only thanks to your fan-marriage to Genesis. That’s exactly how we meet one other and discover new things.

Next question: should you buy this album? Yes, absolutely. It is worthy to be added to your prog collection. If you need a quick excuse, let me point out Hackett himself appears on track 6, “Forever Days”, and deploys a wicked guitar solo that alone is worth the price of admission.

So, if you need an appearance from prog royalty to justify the adoption of a physical CD into your collection, this is it. Thanks be to Hackett for dropping this solo onto Lehmann’s album and giving us all an excuse to get to know her better.

Hackett also co-wrote a nice little song with Lehmann that closes the album: track 9, “Where the Small Things Go”, which at 1:42 shows us that small little songs do indeed go well at the end of an album. It’s a nice finish, showcasing the artistic bond between the two artists with a gentle acoustic departure using classical guitar.

Lehmann wrote the rest of the album’s material herself and it’s all superb. The album kicks off with “Who Are the Heroes?” as we first get to hear her singing voice along with her guitar work. I was pleased to find myself making analogies to Kate Bush right away. Lehmann’s vocal phrasing and general sensibility (marking both her vocals and arrangements) call to mind Bush quite remarkably.

Lehmann’s voice is different in timbre, so don’t go listening and expect a soundalike. It sounds more like an alternative universe where Kate Bush smoked three packs a day. So, Lehmann is truly her own voice, but she’s still hugely talented like Bush and longtime fans of Bush will understand what I mean about their shared artistic sensibilities.

Further proof of my analogy is “Tinkerbell” (track 2, 4:52), which includes orchestral arrangements, and “Only Happy When It Rains” (track 3, 3:47), which has a swinging jazzy arrangement that would not be out of place on an early Kate Bush album. Here, the mischievous Hackett plays harmonica. And Rob Townsend plays sax; he also appears on “Memory Lane” (track 5, 4:49), a poignant personal reflection about dementia by Lehmann inspired by her mother.

“The Watcher” (track 4, 7:25) is an epic prog extravaganza that is well placed. After introducing her range of musical abilities on the first three tracks, Lehmann hits us with a prog experience that makes us happy we came on this journey. The title made me think of “Watcher of the Skies” immediately, but that obvious association aside, this track illustrates why I hope Lehmann keeps composing and putting out albums. She’s got what it takes and she makes great unknown music that stands well next to the best known of our favorites.

“Childhood Delusions” (track 8, 4:46) consolidates the Kate Bush comparison for me, with its jazzy whimsy. I can easily imagine Bush singing this song. Lehmann’s own unique voice is great on it too. Who knows, maybe they can do a duet of it sometime for charity. I’d totally pay to hear that. Kate Bush is one of my all time favorites, but I am most pleased to discover this album thanks to the nifty introduction that the generous Steve Hackett has arranged for us all.

The album credits don’t say who plays sax here, but maybe we should assume it’s Townsend a third time. The album credits also fail to tell us who the drummer on the album is, so I’m going to go right ahead start a rumor and say it’s Phil Collins, just to get more people out there buying this excellent album.

Nick Magnus and Roger King between the two of them offer impressive support, contributing keyboards and engineering and mixing on different tracks, thereby helping to keep everything throughout the album running smoothly at the highest levels of musical excellence.

“We Are One” (track 7, 4:56), which precedes “Childhood Delusions”, is also highly reminiscent for me of the sort of Kate Bush song I love, and it is another prog extravaganza standout (like “The Watcher”). If you haven’t already paused during this review to order a copy of this CD, let me just stop now so you can go do it. I hope you will enjoy this music as much as I do.

King Crimson in Concert: A Love Letter on the Occasion of – A Final Hot Date?

On By kruekuttIn Progressive rock8 Comments
Robert Fripp, resplendent with mohawk, at August 28th’s Royal Package presentation.

A studio album is a love letter. And I enjoy love letters, especially when they’re from my wife. But live music … (looking to the heavens with a sigh) I’ll always go for the clinches.

Robert Fripp, King Crimson Royal Package presentation

King Crimson, Meadow Brook Amphitheatre, Rochester Hills, Michigan, August 28, 2021

Following an opening set from The Zappa Band that showcased Frank Zappa’s lifelong trademarks — smug, satirical vignettes enfolded in gleefully virtuosic workouts — King Crimson went straight for the clinches. The rock (as in the opener “Pictures of A City” and “Radical Action II”) rocked hard; the metal (including “Larks’ Tongues in Aspic Part Two” and “Level Five”) was remorselessly heavy; the out there material (“Neurotica” and “Indiscipline,” played back to back) went waaaaay out there; the more intricate music (the opening multi-part drum trio, along with “Discipline,” a welcome surprise in the setlist) shone with both precision and passion.

Left to right: Mel Collins, Tony Levin, and Jakko Jakszyk groove on “Neurotica,” as Jeremy Stacey and Gavin Harrison wait to pounce. Photo by King Crimson manager David Singleton. Click here to access Singleton’s online diary for the show.

To be fair, the genres — along with the era a song may have come from — are never that clear cut with this Crimson, even within individual pieces. The mid-section of “Pictures of A City” saw Mel Collins pushing at the boundaries of tonality with his sax solo, egged on by Robert Fripp’s banjo-from-hell guitar chords. Tony Levin’s inventive bass lines on “The Court of the Crimson King,” “Red” and “Larks Two” honored the original work of Greg Lake and John Wetton while adding his own spin to spur on Collins and Fripp. And the drum battle that opens “Indiscipline” turned into a comedic cutting contest, as Pat Mastelotto, Jeremy Stacey and Gavin Harrison moved from flashing their chops to cracking up each other with their contributions. (Harrison’s deadpan disco snippet got the audience laughing too.) By treating everything as brand new, the band gracefully transcends the multiple eras in which these varied musics were birthed.

With a shorter setlist than recent tours and fewer surprise choices in the mix, what stood out for me this evening were the ballads — “The Court of the Crimson King,” “Islands,” “Epitaph” and “Starless”. Even the two guys sitting in back of me who talked through a good chunk of the show shut up for them! Vocalist/guitarist Jakko Jakszyk stood and delivered, drawing old emotions and new insights from the lyrics as he sang. And the ensemble coalesced around him with palpable intensity, cradling the vocals, then conjuring up the ironic circus of “Court,” the serene seascape of “Islands” (kudos to Stacey for his luscious piano work), the bleak cultural devastation of “Epitaph.” The endlessly mounting tension of “Starless” was, as always, a high point — melancholy and uplifting at the same time, grabbing for the audience’s heart as it built and cracking psyches wide open as the double time finale took flight. After that, what could be the encore but a slamming “21st Century Schizoid Man,” complete with Levin prodding Fripp and Collins to even greater extremes and a kit-spanning drum excursion by Harrison?

The band takes a bow following “Starless.” Photo by King Crimson manager David Singleton.

I make no secret of my admiration for King Crimson; Robert Fripp and his various co-conspirators have formed my ideal of the questing musician’s life and work since I stumbled into a Frippertronics record store show back in 1979. And I’ve never hesitated to sing the praises of the current Crimson incarnation; their 2017 and 2019 tours yielded two of the best rock concerts I’ve ever attended. So it moved me that, with the COVID-19 pandemic delaying this show for a year and throwing numerous obstacles in their path, Crimson could return to the States and provide another genuinely awe-inspiring evening for the thousands gathered in this Detroit-area amphitheatre. Never say never; but if (as Crimson’s management has stated) this may the final time the band plays North America, I’m convinced that we shall not see their like again.

Band and audience seen in 360 degrees at the final bow. Photo by Tony Levin; click here to access his online diary for this show.

Setlist (as assembled by Robert Fripp):

  • Drumsons – Bish! The Way to Universal Peace and Amity
  • Pictures of A City
  • Red
  • The Court of the Crimson King (with coda)
  • Tony (Levin bass) Cadenza’s Wernacious Slitheriness
  • Discipline
  • Neurotica
  • Indiscipline
  • Islands
  • Larks’ Tongues in Aspic Part Two
  • Epitaph
  • Radical Action II
  • Larks’ Tongues in Aspic Part Five (Level Five)
  • Starless
  • 21st Century Schizoid Man (including Gavin Harrison drum solo)

— Rick Krueger

Kevin Keller’s Shimmering Beauty

On By Thaddeus WertIn Ambient, Atmospheric rock, Progressive rockLeave a comment

Shimmer Cover

Longtime followers of me on Progarchy know that I am a huge fan of musician/composer Kevin Keller (See my earlier posts here and here.) Keller’s extraordinary The Front Porch Of Heaven was one of my favorite albums of 2020. I call it extraordinary, because he recorded it in the aftermath of having open heart surgery, and it is an aural odyssey of his experience.

Not one to rest on his laurels, Keller is set to release a new album, Shimmer on September 17, 2021. It continues his winning streak and illustrates Keller’s remarkable ability to write and record consistently excellent “ambient chamber music”. The interesting twist to Shimmer is that it is Keller’s response to the RPM Challenge, where musicians try to record an entire album from start to finish in the 28 days of February. As he wrote the songs, Keller solicited feedback from his fans on social media, and incorporated their suggestions into the compositions. The result is a surprisingly cohesive and organic-feeling collection of tracks.

The first song, Orchards, kicks things off with a bouncy piano riff that is reminiscent of Minimalist masters such as Steve Reich or John Adams. It’s an energetic track that allows a beautiful melody to develop on top of the rhythmic foundation. One of Keller’s strengths is his tasteful deployment of analog synthesizers, and Shimmer as a whole is a perfect example of that strength. While the piano is the lead instrument on most tracks, the synths provide a bed of ambience that support and enhance the songs, not overwhelm them.

Inverness, the second song, is one of my favorites. It begins with a slow, stately theme that is almost Enoesque in its simplicity and builds, note-by-note, into a fine melody that picks up steam until it fills the soundstage completely. There are subtle bass tones that are almost below the threshold of hearing (at least my threshold!), and they add much power to the song. After the music reaches an emotional crescendo, it gradually tapers off into the ether.

The third track is also the title track, and the best phrase to describe is, well, shimmeringly beautiful. It is a 10-minute small masterpiece of restraint. Keller uses every second to carefully develop the composition before the listener’s ears. Over a simple piano ostinato, some wordless female vocals float angelically, as more musical motifs enter, courtesy of woodwind-like synths. Eventually, some more propulsive elements take over, as the piano playing responds energetically. At the 7:15 mark, the party winds down, and the final couple of minutes are devoted to a graceful, spacier recapitulation of the main theme. I could listen to Shimmer all day on repeat and never tire of it.

“Side Two” opens with Bridges, a fine example of Keller’s ability to craft a gorgeous melody. Bridges is 21st century romanticism at its best: it conveys a wistful longing without a hint of saccharine sentimentality. And just as the listener is getting lost in its beauty, it’s gone.

Ithaca is a very ambient, spacey track with synth strings playing extended notes under a delicate theme played on virtual piano. There is a sense of hushed anticipation to this track; you have to listen closely to even hear the theme. 

Riverbend, at 8:50, is the second longest song. It brings to my mind classic Tangerine Dream (think Risky Business soundtrack) with its insistent, burbling synths. It eventually develops into quite a majestic piece of music.

Shimmer closes with Delta, which is the most “traditional” sounding song on the album. A virtual piano plays the main theme, which is picked up by various analog synths. The production builds until the final minute, when a lone synth plays a variation on the theme into the fadeout.

Shimmer is another triumph for Kevin Keller, who is one of the most talented musician/composers working today. It is even more remarkable, considering he wrote and recorded the entire album by himself in a mere 28 days. The production is outstanding, and Keller’s masterful use of analog synthesizers lends a warmth and intimacy to his music that many other electronic artists simply can’t achieve. 

Shimmer will be released on both CD and vinyl. You can preorder it here. If you appreciate intelligent, well-crafted music that straddles the boundary between melodic ambient and classical music, then there is no other artist who creates more satisfying work than Kevin Keller.

You can preview the album here: https://soundcloud.com/kevin_keller/sets/rpm-2021-new-album

 

The Best Prog Bands You’ve Never Heard Of (Part Twenty-Two): Island

On By Connor MullinIn Progressive rock1 Comment

If the album cover looks familiar to you, that’s because it was designed by the same man responsible for Emerson, Lake, and Palmer’s Brain Salad Surgery and Ridley Scott’s Alien: H. R. Giger. Island may be the strangest thing to come out of Switzerland since that eccentric creator of biomechanical horrors. That small, idyllic mountain country may not come to mind when one thinks of avant-garde, but, like Giger, Island certainly does not fit the Swiss mold – or any mold, for that matter. Pictures is easily one of the bolder, more original releases that I have ever heard. Like Van der Graaf Generator, Island relied not on bass or guitar (in fact, they feature not a single guitar on the entire album), but rather on percussion, keys, and woodwinds. Like Gentle Giant, Island’s free jazz-style approach offered the band opportunities for some incredibly complex improvisation. And like King Crimson and Peter Gabriel, Island wasn’t afraid to add a dash of black humor to their lyrics, providing the album with a (somewhat) lighter tone than is suggested by that horrifying album cover. Now to the music itself:

The album opens with the appropriately titled “Introduction,” which sounds like Ligeti’s Requiem or something out of Kubrick’s 2001: A Space Odyssey. This brief piece ends with some eerie words whispered over a cacophony of sound before it transitions rapidly to…

The dynamic “Zero,” which opens with a flourish of keyboards. The interplay between keyboardist Peter Scherer, drummer Guge Jurg Meier, and woodwind wunderkind Rene Fisch is impressive and will probably remind most listeners of King Crimson or Gentle Giant. But we do not hear the vocals of Benjamin Jager until…

The title track. Jager, who sounds a bit like Peter Gabriel, has some fun on this song (it takes a quirky fellow to sing about “gastric juices”), but the focus remains on the instruments, and Jager himself is no slouch on percussion. In the middle of this complex piece we are entertained to both a gentle clarinet solo and smooth sax work courtesy of Fisch. These mad scientists of music continue to experiment on…

“Herold and King / Dloreh,” a fitting title for such an odd piece. After some three minutes of beautiful but somewhat dark piano melodies, we get a good half minute of silence before Jager’s vocals fade in…singing the lyrics in reverse, of course (look again at the title of the song). Once again, we are treated to some fascinating interplay between keys, sax, and percussion, and at one point the ominous sound of a drone provides an additional layer of eeriness. To up the weirdness factor, the track includes some whispered vocals (reminiscent of Goblin or VDGG) and scat (or something like it) throughout. The strange brew continues to satisfy on…

“Here and Now,” the closing track. This piece features (briefly, alas) a gorgeous and textured organ sound, and the percussion and sax shine as they have throughout. The drone effect is again put to good use, adding a haunting layer to what is otherwise the most “upbeat” track on the album.

This is a challenging album that may not initially appeal to your tastes. In fact, it may take three or four spins before you can appreciate it, and it is certainly worth more than one listen: this is top-notch musicianship with a healthy dose of dark humor. Anyone who appreciates Gentle Giant, Van der Graaf Generator, or King Crimson will be impressed by this little-known avant-garde masterpiece. Just don’t let Giger’s monster scare you off.

Stay tuned for number twenty-three!

The Big Prog (Plus) Preview for Fall 2021!

On By kruekuttIn Ambient, Andy Tillison, art rock, Discipline, hard rock, Insideout Music, jazz, jazz rock, Kscope, Neal Morse, progressive metal, Progressive rock, Radiant Records, singer-songwriter, The Reasoning, The Tangent2 Comments

What new music and archival finds are heading our way in the next couple of months? Check out the representative sampling of promised progressive goodies — along with a few other personal priorities — below. (Box sets based on reissues will follow in a separate article!) Pre-order links are embedded in the artist/title listings below.

Out now:

Amanda Lehmann, Innocence and Illusion: “a fusion of prog, rock, ballads, and elements of jazz-blues” from the British guitarist/vocalist best known as Steve Hackett’s recurring sidekick. Available direct from Lehmann’s webstore as CD or digital download.

Terence Blanchard featuring the E-Collective and the Turtle Island Quartet, Absence: trumpeter/film composer Blanchard dives into music both written and inspired by jazz legend Wayne Shorter. His E-Collective supplies cutting edge fusion grooves, and the Turtle Island String Quartet adds orchestral depth to the heady sonic concoctions. Available from Blue Note Records as CD or digital download.

The Neal Morse Band, Innocence and Danger: another double album from Neal, Mike Portnoy, Randy George, Bill Hubauer and Eric Gillette. No overarching concept this time — just everything and the kitchen sink, ranging from a cover of Simon and Garfunkel’s “Bridge Over Troubled Water” to brand-new half-hour epics. Available from Inside Out as 2CD, 2CD/DVD or 3 LPs/2 CDs

Trifecta, Fragments: what happens when Steven Wilson’s rhythm section turns his pre-show sound checks into “jazz club”? Short, sharp tracks that mix the undeniable chops and musicality of Adam Holzman on keys, Nick Beggs on Stick and Craig Blundell on drums with droll unpredictability and loopy titles like “Clean Up on Aisle Five” and “Pavlov’s Dog Killed Schrodinger’s Cat”. Available from Burning Shed as CD or LP (black or neon orange).

Upcoming releases after the jump!

Continue reading “The Big Prog (Plus) Preview for Fall 2021!” →

Mandoki Soulmates Perform “Utopia For Realists: Hungarian Pictures” Open-air Concert in Budapest

On By Bryan MoreyIn Progressive rockLeave a comment

It’s nice to see concerts coming back a bit, even if it’s very far away from me. From Inside Out Music:

Under the motto “Utopia for Realists”, thousands of enthusiastic fans celebrated the stage return of the Mandoki Soulmates in front of St. Stephen’s Basilica in the heart of Budapest last Saturday, where they performed ‘Utopia For Realists: Hungarian Pictures’ in full, ahead of its release in September. After the pandemic break, this was the legendary band’s first performance since their show at the Berlin Concert Hall to celebrate the 30th anniversary of the fall of the Berlin Wall.

Get a taste of this incredible evening here: https://youtu.be/upwS8kAkxd8

“I am happy and proud that despite the travel restrictions, many of my soulmates were able to arrive in Budapest,” enthused producer Mandoki, who presented an impressive line up of international rock and jazz icons such as Al Di Meola, Mike Stern, Randy Brecker, Bill Evans, Till Brönner, Tony Carey, Richard Bona and Italian bandoneon virtuoso Fausto Beccalossi as vocalist and drummer. Also on hand was Budapest music legend Szakcsi, professor at the Franz Liszt Academy and icon of Roma music. Mandoki: “It was overwhelming to finally be able to make music together again after such a long time.”

The Mandoki Soulmates also delivered goosebump moments for music lovers of all stripes in front of St. Stephen’s Basilica with their progressive jazz-rock suite “Utopia For Realists: Hungarian Pictures” (soon to be released via InsideOutMusic), based on themes by Béla Bartók and the greatest Soulmates hits. “Bartók mixed sounds and traditional melodies from a wide variety of regions in the Carpathian lowlands to send a signal against the threat of National Socialism with the power of music to unite people. This idea of uniting people has been a lasting inspiration for me,” Mandoki explains. 

InsideOutMusic recently announced the release of a brand-new expanded version of Mandoki Soulmates ‘Hungarian Pictures’ suite, released under the title ‘Utopia For Realists: Hungarian Pictures’ on September 24th, 2021.

Continue reading “Mandoki Soulmates Perform “Utopia For Realists: Hungarian Pictures” Open-air Concert in Budapest” →

Big Big Train Release New Track: “The Connection Plan”

On By Bryan MoreyIn Big Big Train, Progressive rockLeave a comment

Hot off the release of their most recent album, Common Ground, Big Big Train released another new track today: “The Connection Plan.” Why? Greg Spawton comments,

”In the lead-up to our tours in 2022, we wanted to share a series of single  streaming releases. The ‘Stay Tuned’ streaming series will feature newly recorded compositions, we hope listeners will enjoy them”.

It sounds like this track, and presumably future ones, will only be available on streaming sites for now. I wouldn’t be surprised if they end up as either a special download for the Passengers Club or on a future record or EP.

Big Big Train – The Connection Plan – YouTube

Check out Progarchy’s interview with David Longdon about Common Ground: https://progarchy.com/2021/06/29/big-big-trains-david-longdon-the-progarchy-interview/

Check out my review of Common Ground: https://progarchy.com/2021/07/18/big-big-train-common-ground-2/

And see this page for more Progarchy reviews of Big Big Train’s music: https://progarchy.com/album-reviews/review-index/b/big-big-train/

The Best Prog Bands You’ve Never Heard Of (Part Twenty-One): Gnidrolog

On By Connor MullinIn Progressive rockLeave a comment

An enormous and menacing hand looms over a graceful yet defiant swan: here is an album cover fit for a symphony orchestra. Yet Gnidrolog’s Lady Lake, despite it’s romantic artwork and title, features neither orchestra (a la Camel’s The Snow Goose) nor keyboards imitating the sound of an orchestra (a la nearly every symphonic prog band) nor even the prominent sound of a stringed instrument (guitars notwithstanding, and they are not the driving force behind this work). Instead, Gnidrolog relies on a blend of saxes, flutes, and recorders to create a full, rich sound that provides the foundation for one of the stronger obscure prog albums of the 1970s.

Lady Lake is the second of three albums produced by Gnidrolog, an English quintet consisting of identical twin brothers Colin and Stewart Goldring (lead vocals and guitar, respectively), John Earle (flute and saxophones), Peter Cowling (bass), and Nigel Pegrum (drums, flute, and oboe). Although each member is clearly talented (all of them, like the members of Gentle Giant, play several instruments), Earle is the star on this album, and he puts his woodwinds – a refreshing substitute for keys or mellotron – to good use. Here are some of the highlights from this under-appreciated gem:

Released during the Vietnam War (1972), Lady Lake opens with the idealistic epic “I Could Never Be a Soldier.” The longest piece on the album, it opens with some superb flute courtesy of Earle and the multitalented Pegrum, giving the song a Jethro Tull-like feel. Colin’s vocals, however, sound nothing like Mr. Ian Anderson’s: think Peter Hamill without the “apocalyptic” quality and grittiness. (The vocals are not bad, but neither are they the strongest element here.) Colin’s twin Stewart enjoys some time in the limelight with a brief guitar solo about ten minutes into the song, followed by some funky bass work by Cowling, before the epic finishes just shy of twelve minutes with a flourish of sax courtesy of Earle.

The title song is perhaps the best on the album. After Cowling and Pegrum lay a solid foundation with bass and percussion, respectively, Earle’s layered saxophones add a welcome richness and texture. Toward the middle of the piece the layered saxes are blended with the smooth sounds of recorder and oboe. Cowling’s ominous pounding bass reminds us, however, that the looming hand continues to threaten our (false) sense of tranquility. The frenetic ending hits with the force of Van der Graaf Generator thanks to Earle’s talent on the sax, which would impress any admirer of David Jackson.

“Social Embarrassment” may be one of the stranger finales on any album, progressive or not. Earle sings lead vocals on this one (his voice sounding a bit like Jon Anderson’s). Cowling again demonstrates his chops on bass guitar, and Stewart Goldring unleashes a furious electric guitar solo toward the end of the song before he is overwhelmed by the screams (yes, screams) of the Colney Heath Male Choir: perhaps the hand has conquered! Now that’s a memorable way to close an album.

Despite my reservations concerning the vocals, Lady Lake is nevertheless an excellent example of early progressive rock. The songwriting is above average and the musicianship top-notch. It would be a worthy addition to any serious progger’s catalogue.

Stay tuned for number twenty-two!

Kerry Livgren’s Long-Awaited Cantata, “The Resurrection of Lazarus,” Now Available to Order

On By Bryan MoreyIn Progressive rockLeave a comment

After decades of work and contributions from 18 vocalists, including Robby Steinhardt and John Elefante as well as many musicians, Kerry Livgren’s cantata, The Resurrection of Lazarus, is now available to order at his website: http://www.numavox.com/cd.htm. This album has taken 35 years for Livgren to complete, and I for one am excited to hear it. I believe I first heard about this project about a decade ago, so even my young self has been waiting a long time. 

Details are a little vague, since to my knowledge no music from it has been released. I assume they’ll be shipping CDs soon after you order them. I wish I could tell you more about it, but I will once I receive my CD. It doesn’t appear to be for sale on Amazon yet (a website I loathe), but I imagine it will be soon since his other music is for sale there. 

In case you missed it, Kerry Livgren released a new book last year, which you can also purchase on his website (see link above). Check out my review: https://progarchy.com/2020/11/01/a-life-of-miracles-kerry-livgren-and-the-art-of-storytelling/