Tag: Circus

Connor’s Best of the Obscure

On By Connor MullinIn progressive rock1 Comment

Much to my shame, I have listened little to the latest offerings from the eclectic world of prog. I am currently working on changing this bad habit of mine, but I confess it has been difficult, as I still have many obscure gems to unearth (and I will continue my list soon – I promise!). Anyway, in no particular order, here are my top ten obscure prog artists (out of an ongoing list currently standing at thirty-four):

  1. Cathedral – Stained Glass Stories: the first album review I ever wrote for Progarchy just so happened to concern one of the better obscure gems I have discovered thus far, a symphonic masterpiece evocative of Yes or Genesis.
  2. Universe – Universe: psychedelia mixed with a dash of Christianity makes for a rare but beautiful bird of an album in the rich world of 1970s music.
  3. Alloy Now – Twin Sister of the Milky Way: space prog at its finest. Major Tom would have been better off if he had this album on his final journey through the heavens.
  4. Jan Dukes de Grey – Mice and Rats in the Loft: Nursery Cryme‘s obscure cousin, an album both comical and horrifying at the same time. Also, Derek Noy shreds on twelve-string guitar. Shreds.
  5. Island – Pictures: a cover designed by Giger and music blending the darkness of Van der Graaf Generator with the dexterity of Gentle Giant? These chaps certainly offer one of the more complex obscurities out there.
  6. Hands – Hands: America’s answer to Gentle Giant. But these chaps are no copy cats: they are top notch musicians who gave to the world their own idiosyncratic sound.
  7. Lift – Caverns of Your Brain: a superb effort by a group of young American musicians. Aficionados of symphonic and space prog will love this gem.
  8. Fruupp – The Prince of Heaven’s Eyes: as a chap of Irish descent, I suppose I have a soft spot for young Mud Flanagan and his adventures. And if this band were talented enough to open for Queen and King Crimson back in the day, they’re probably worth a listen or two.
  9. Touch – Touch: one of those groups that could have been a contender: Jimi Hendrix and Mick Jagger were fans. Alas, it was not to be. But thanks to YouTube, you can listen for free to some incredible vocals and even more impressive work on the keyboards.
  10. Circus – Circus: Mel Collins in the days before he was cool (I joke of course; Mel Collins has always been cool). But it is Mel Collins in the days before King Crimson – and his band, although not entirely original, was really good.

The Best Prog Bands You’ve Never Heard Of (Part Fourteen): Circus

On By Connor MullinIn progressive rock2 Comments

This Circus closed after a brief tour in 1969 – our loss, in my humble opinion. Formed by Mel Collins (of King Crimson fame) in the late ’60s, Circus produced only one eponymous album in their brief existence, but it’s a gem. Collins takes centerstage here on sax and flute, but fellow bandmates Ian Jelfs (vocals and guitar), Kirk Riddle (bass), and Chris Burrows (drums) more than hold their own.

The majority of the songs (five out of eight, to be exact) are covers – but dull and uninspired they are not. And the three original songs (all penned by Collins) would be worthy additions to an early Soft Machine or Giles, Giles, and Fripp album. Here are (more than) a few highlights:

Circus opens up with a cover of the Beatles’ classic “Norwegian Wood,” and it is one of the better interpretations of any Beatles song I have ever heard. Rather than relying on melodic vocals (although Jelfs does sound somewhat Beatle-esque in his singing), the band members allow their instruments to do most of the work for them. Collins is absolutely superb on the sax, and the middle of this lengthy cover includes some fun interplay between the drums and guitar.

“Pleasures of a Lifetime” – Collins’s first contribution to the album – opens with a gentle acoustic melody, but picks up the pace about halfway through thanks to Burrows’s deft handling of the sticks.

The cover of Henry Rollins’s “St. Thomas” is a great upbeat tune, featuring top notch work from Jelfs on guitar and Collins on flute.

“Goodnight John Morgan” is another original tune and, alas, an all too brief one. I suggest listening to this one as you sit at a smoky bar late at night with a scotch in your hand while the rain pelts the roof above you. Collins’s sax will put you into that kind of mood.

“II B. S.” (a cover of a Charlie Mingus classic) opens with a funky bass riff that doesn’t let up. Percussion anchors this tune, but Collins once again shines through on the saxophone.

The last two songs – a cover of The Mamas & the Papas’ “Monday Monday” and a cover of Tim Hardin’s “Don’t Make Promises” – feature masterful work on the flute courtesy of Collins.

Sadly, Circus couldn’t deliver the same quality of material for a second album, and they split up, Collins going on to replace Ian McDonald in King Crimson. But at least we can enjoy this hidden gem, which sounds as fresh and as lively as it did when it was released over fifty years ago. For those who enjoy jazz fusion mixed with a healthy dose of psychedelic rock, you will not want to miss this under-appreciated effort.

Stay tuned for number fifteen!