Nucleus - 1970 - Elastic Rock

Nucleus

1970

Elastic Rock

01. 1916 (1:11)

02. Elastic Rock (4:05)

03. Striation (2:15)

04. Taranaki (1:39)

05. Twisted Track (5:15)

06. Crude Blues, Pt. 1 (0:54)

07. Crude Blues, Pt. 2 (2:36)

08. 1916- The Battle of Boogaloo (3:04)

09. Torrid Zone (8:40)

10. Stonescape (2:39)

11. Earth Mother (0:51)

12. Speaking for Myself, Personally, in My Own (0:54)

13. Persephones Jive (2:15)

- Chris Spedding / guitars

- Karl jenkins / piano, Hohner Electra-Piano, oboe, baritone saxophone

- Brian Smith / tenor & soprano saxophones, flute

- Ian Carr / trumpet, flugelhorn

- Jeff Clyne / acoustic & electric bass

- John Marshall / drums, percussion

Nucleus remains relevant today just as much as the more famous Soft Machine, to whom it supplied a stream of new recruits (Babbington, Jenkins, Marshall) and arguably to some, the evasive uniqueness of Ian Carr, bandleader and trumpeter par excellence. Their debut instrumental Elastic Rock involves those budding elements that would foreshadow the massive progressive mainstream explosion to come in 1972 and remains inimitable due to the exceptional prowess displayed by the members. Bryan Ferry has worked with some legendary guitarists in his career, names like Phil Manzanera , David Gilmour, Mark Knopfler, Johnny Marr and Robin Trower but he had always glowing comments for Chris Spedding, a truly rebel six string slinger who never achieved any fan recognition even in his UK backyard but enjoyed the deep respect from the musician community.

Ferry had him along on his solo albums as well as retooling Roxy Music in a live setting, the Live at the Apollo DVD providing glimpses of this brooding, unsmiling and highly original musician at play. But Chris really honed his chops with Nucleus, a terrific jazz-rock amalgamation that was extremely inspired on its first 4 albums. The much maligned bassist Jeff Clyne also shine nicely here, keeping a solid base bass that forges the arrangements ahead, slaloming through all the brass shimmer , the echoing keyboards and Spedding's choppy riffs. This is 1970s music and it sounds purely delicious even today! Smooth, groovy, confident and jazz club smoky, the lads put down a riff and waltz all over it with all the tools at their disposal , Spedding wasting no time on the title track , finger picking nicely in his raw style. Contrasts abound, from the serene "Striation" with bass and guitar leading the way and the subsequent breezy brass of "Taranaki", both short and succinct. "Twisted Track" might sound like a punky track, it isn't! Rather a trumpet ?led lullaby that twirls in the wind, emotionally charged and solidly effective , each member stepping up to briefly solo, sax, trumpet and guitar all coalescing into sublime oneness. The 2 part "Crude Blues" ratchets up the energy level quite a bit (putting more emphasis on the rock element), part one is pastoral oboe while Part 2 gets funky and silky (check out Spedding's work) and finds the sax and the oboe having some good sonic sex. "1916- The Battle of Boogaloo" actually sounds the most like Soft Machine, what with that classic merry-go-round of e-piano, guitar and brass riff, both hypnotizing and enticing, with Marshall bashing and thrashing wildly. The epic 8 minute plus "Torrid Zone" is my favorite here, a swampy brew of sound that brings early Weather Report to mind. The classic jazz jam formula is played out with finesse, crafty playing and intense inspiration, showcasing a raw sensuality that is hard to ignore. Spedding rasps his guitar with subdued machismo (close to Jan Akkerman on Focus 3 album jams) while the Carr trumpet blows divine wind. Brian Smith then unleashes a spirited sax solo to create that killer vibe we all love and adore.(What a gorgeous instrument that sax can be, my lord!). That such impressionable music is consecrated for the ages is why prog is so dear to us fans. "Stonescape" is trumpet and piano in a "semi-ambient lounge lizard, last call, the bottle of scotch almost dry" environment, definite Miles Davis afterglow! "Earth Mother" is the second monster track, echoing subtlety and spiritual affirmation to infinite levels, the group interaction bordering on phenomenal. Spedding delivers a shockingly transcendent solo, a meister of feeling in his won right. Marshall puts down one of his hallmark drum solos, short and devastating that leads into the final raucous track "Persephone's Jive", a joyous exuberance that stamps this album with the highest constellations..

The music is very technical but sounds effortlessly trouble-free which is a strange contradiction; perhaps the overt emotionally charged mood has more to do with the arrangements than anything else. A monument still worthy today and an absolute must for fusion groupies. The next one is even better (as if that was possible!!!)

I liked this record at first spin. Obviously you can hear influences from Miles Davis (In a Silent Way, Bitches Brew) and Soft Machine (that warm thick sound). The energy and vibe of the record reminds me a bit of early Colosseum at its jazziest. The rock influences are little, but enough to give the record that warm heavy psych sound. Nucleus has a nixe mixture of composition and improvised solo's of wind and electric guitar, without loosing their musical imagination and ability to offer the listener interesting atmospheres and harmonies. I think that's what makes the record attractive for listeners of progressive rock ' it's full of that adventurous spirit. Moreover, the drumming is exciting throughout. The album showers the listeners with great musical ideas, only to become slightly disjointed in the last three shorter tracks. Still a very consistent record. Artwork on the Akarma vinyl reprint is pure psychedelic bliss. Highly recommended for listeners of jazz-rock and eclectic prog.