Saturday, May 13, 2023

Pallas - 1986 - The Wedge

Pallas
1986
The Wedge



01. Dance Through the Fire (4:48)
02. Throwing Stones at the Wind (5:15)
03. Win or Lose (4:37)
04. The Executioner (Bernie Goetz a Gun) (5:38)
05. A Million Miles Away (Imagination) (4:40)
06. Ratracing (8:00)
07. Just a Memory (5:30)

Bonus tracks on CD releases (from the 1985 EP "The Knightmoves"):
08. Stranger (3:50)
09. Sanctuary (9:34)
10. Nightmare (4:24)

Alan Reed / lead & backing vocals
Niall Matthewson / lead, acoustic & Roland-synth guitars, e-bow
Ronnie Brown / grand piano, synthesizers, Mellotron, backing vocals
Graeme Murray / Bass, Taurus bass pedals, 12-string & acoustic guitars,  backing vocals
Derek Forman / drums, Simmons el. drums, Yamaha drum machine, percussion

With:
Mick Glossop / chorus vocals, producer


"I got no money--I got no faith. I got no interest in the human race,-- But I don't mind" - PALLAS "Throwing Stones at The Wind"

When it was first released in 1986, this album received little attention to my ears as I was at the time fully loaded with Marillion early albums and EP from "Market Square Heroes" until "Misplaced Childhood". I only played the cassette version of "The Wedge" occasionally because I considered Marillion was the only excellent prog band in the mid eighties. Of course, I also knew IQ "The Wake" but again, Marillion was my main menu of daily music life. Whenever I played this cassette usually I took mostly track 9 "Sanctuary" that pleased my neo prog ears at the time. Alan Reed was the new lead singer replacing Euan Lowson.

"Dance Through The Fire" (4:46) opens the album through percussive work combined with keyboard punch in fast tempo music. It's a rocking track that is suitable to open the show, actually. It has also tempo change into slower one when guitar solo enters in the middle. The music reminds me to the work of Steve Hackett solo album. " Throwing Stones At The Wind" (5:15) still continues with rock music spirit with excellent guitar riffs combined with drumming. The music is energetic and simple to follow. "Pull the string, make him sing, He'll do anything that you want him to, They tell him he's free, Between you and me, He's throwing stones at the wind" is lyrical part that is very usual to emulate. Beautifully composed song. "Win Or Lose" (4:32) is a slow track with keyboard-based structure that reminds me to the music of Saga. It's a nice music.

"The Executioner" (5:36) caught into my specific attention after I watched the live version through "The Blinding Darkness" DVD set. It's another rocking track with neat arrangement especially the combination between keyboard, bass guitar and vocal during opening part. The song has a very strong symphonic nuance. "Imagination" (4:35) might confuse you with Saga because the music is in the same style. You must try it; especially for those of you who are familiar with Canadian Saga. "Rat Racing" (8:09) is an interesting track with symphonic style, many tempo changes, great keyboard work. When guitar solo enters the music it really represents the neo progressiveness of this album. Excellent song. "Just A Memory" (5:29) is an enjoyable track using music loop / programming reminiscent of Genesis "Tonight, Tonight". I really enjoy this track as the melody and the composition are really good.

"Stranger" (3:50) is for me a mediocre track and still reminds me to Saga. But "Sanctuary" (9:34) is really an excellent composition. It starts with beautiful combination of keyboard, guitar, Taurus bass pedal and vocal. The acoustic guitar work is in Eastern tuning and characterizes the melody in the same style. The howling guitar at the back reminds me to Steve Hackett. When percussive enters the music it even makes the song sounds better. The music increases into faster tempo with percussive as driver of musical nuance. Really great! The best track of this album! "Nightmare" (4:24) is another excellent track that combines great guitar solo, keyboard and bass to make this track a cohesive one. It concludes the album.

Overall, this album is an excellent addition to any prog music collection. Keep on proggin' ..!

Pallas - 1984 - The Sentinel

Pallas 
1984
The Sentinel




01. Eyes in the Night (Arrive Alive) (4:08)
02. Cut and Run (5:02)
03. Rise and Fall (10:16)
04. Shock Treatment (4:29)
05. Ark of Infinity (7:05)
06. Atlantis (8:00)

1992 CD release:
01. Shock Treatment (4:29)
02. Cut and Run (4:59)
03. Arrive Alive (4:05)
04. Rise and Fall, Part 1 (6:05)
05. East West (4:58) *
06. March on Atlantis (5:23) *
07. Rise and Fall, Part 2 (4:08)
08. Heart Attack (7:59) *
09. Atlantis (7:59)
10. Ark of Infinity (7:05)

* Bonus tracks

Euan Lowson: Vocals
Niall Matthewson: Lead Guitar
Ronnie Brown: Keyboards
Graeme Murray: Bass
Derek Forman: Drums



This is one of the most talked about neo-progressive rock albums in the '80's. It has a reputation of being a masterpiece and a classic album in this genre. Despite all that, I hadn't heard it until InsideOut re-released it in the CD format this year, so it was with high expectations I started listen to it.

- This is a concept album with a war theme. The music is a mix between 70's bands such as EMERSON, LAKE & PALMER, GENESIS, PINK FLOYD, RUSH and YES, and eighties and nineties bands such as ARENA, IQ, MARILLION and PENDRAGON. The high-quality compositions have great melody lines, intelligent lyrics, many instrumental passages, great musicianship, bombastic keyboards and intricate rhythm and mood changes. In a retrospective view the sound is very eighties, much due to the keyboard sound.

Besides the tracks that were on the original release there's also some tracks that never made it onto the vinyl version. The CD also includes a Multimedia section with pictures and a video of the band performing "Atlantis" live on stage. The highlights on the album are "Cut and Run", "Eastwest", "March on Atlantis", "Heart Attack" and the closing "Ark of Infinity", but every track is a masterpiece in itself.

The gatefold cover artwork by Patrick Woodroffe is very beautiful. It's very reminiscent to Roger Dean's works, and it illustrates the music very well. If I have some negative critic it would be that I might have had too big expectations on this album, because it didn't really fulfil my dreams. I even doubt that "The Sentinel" were such an innovative album when it was released. Despite my few negative words, this is without doubt an album that deserves its place as a classic album in the progressive genre. The compositions are top-notch, and all in all this are a highly recommended album that you ought to buy.

Pallas - 1981 - Arrive Alive

Pallas
1981
Arrive Alive



01. Five To Four (10:25)
02. Queen Of The Deep (11:34)
03. Flashpoint (7:14)
04. Heart Attack (9:02)
05. Crown Of Thorns (9:25)
06. The Ripper (14:53)

CD tracks:
01. Arrive Alive (4:17)
02. Five To Four (10:11)
03. Queen Of The Deep (11:27)
04. Flashpoint (7:01)
05. The Ripper (14:42)
06. Crown Of Thorns (9:25)
07. Paris Is Burning (5:12)
08. The Hammer Falls (5:20)
09. Stranger On The Edge Of Time (5:35)

Ronnie Brown / keyboards
Derek Forman / drums
Euan Lowson / vocals
Nial Mathewson / guitar
Graeme Murray / bass, bass pedals, vocals


During their pre-historic era (pre-historic meaning the time before the release of their debut oficial album "The Sentinel"), this powerful neo-prog quintet from Scotland named Pallas had been building a solid repertoire (mostly filled with epic and dramatic compositions) and a fan base in many of the same small and medium venues that also welcomed acts such as Marillion, IQ, Twelfth Night, Abel Ganz and Pendragon (.and others). Well, the main input of Pallas consisted of a robust combination of hard rocking drive and ambitious melodic developments, stating a connection between the symphonic colors of Yas/Genesis and the heavier side of art-rock (Deep Purple, Rush), plus modern touches of what then used to be techno/new-wave and Goth rock. Truth is this Goth element can be noticed in some dense guitar riffs here and there, but mostly it was present in Euan Lowson's persona, whose peculiar vocal range (a limited yet effective mix of "baritonized Ozzy" and "Gabrielized Paul Di'Anno") and theatrical deliveries became an essential element of this adolescent Pallas. This is particularly true for the Amazing 'The Ripper', but we'll get at it later. "Arrive Alive" is the name of their first full length recording before the accomplishment of a proper recording contract. and it consists of 2 demos and 4 live tracks. This digital version brings an extra amount of 3 bonus tracks, all demoed - the sound quality is irregular and amateurish, but this CD reveals a somewhat improved sound mix. The title track opens up the album in a primitive form, a bit meandering but owning a sense of rocking power. It catches the listener's attention easily (or it should, anyway.). The album moves on with the first epic track, '5 to 4', based on long thematic developments and featuring a menacing mellotron (or Novatron?) in some strategic places. The abundant utilization of a slow 6/8 tempo makes the sense of menace work efficiently. It is in track 3, the anthological 'Queen of the Deep', that the band's melodic creativity begins to show in full splendor. With its synthesizer fanfare of Celtic allusions and its robust instrumental amalgam, the stage is set for a display of epic feelings and pompous colors in a typically progressive framework. It also comprises a lovely languid interlude that provides an air of ethereal mystery to the fold. An excellent neo gem, indeed! 'Flashpoint' intends to be as catchy as 'Arrive Alive', and it also finds the band indulging in a punchy jam that includes what are arguably the best Matthewson lead phrases in the entire album: 'Flashpoint' is hard rock a-la Rainbow with a symphonic rock guise. Now, here comes this other absolute gem of Pallas' pre-history: 'The Ripper'!! It is a 14+ minute journey to the sadistic mind of a serial killer, portraying his love for the rape and destruction of women's bodies as rooted in a horrible Oedipical sickness. The instrumental scheme states a powerful confluence of Goth-oriented terror, heavy psychedelia and Black Sabbathian metal in a progressive frame that evokes a sort of "Alice Cooper-ish" Genesis. Go figure! I won't even describe the tortured screams right near the end, where the horror of the female victim and the pleasure of the inner child mingle in one passion. Listen to the CD. and go figure! So sick that it can't help being lovely. Let's move on, shall we?... The album's official tracklist ends with yet another Pallas classic: 'Crown of Thorns', a song with similar epic intentions but a more spiritual tendency. This is Pallas at their most majestic for their pre-"Sentinel" era: the quintet is really headlong for the preservation of the legacies of Yes, Genesis and, why not, a bit of Uriah Heep. The bonus tracks are varied enough to show a band really concerned about bringing a clever eclecticism to art-rock: 'Paris Is Burning' is a well constructed semi-ballad with Chanson Nouveau allusions and a brief climax before the end; 'The Hammer Falls' starts on a very reflective mood until the 1'30" mark, when the band shifts to an extroverted ambience not too far from the sort of colorfulness we have found in 'Crown of Thorns'. Finally, 'Stranger on the Edge of Time' finds the band incorporating a stitch of Ultravox-related sonorities, albeit never giving up on the artsy element. A light-hearted closure for a very interesting item of neo-prog: this is Pallas showing off as a talented progressive adolescent headed for a maturity just around the corner.

I originally bought this album on it's release in cassette form, I also own it on vinyl & cd. Sadly, due to the recording being somewhat rough & ready, there is no real benefit to the sound on the cd version. As for the content of the record, well, I could reel off a list of superlatives that still wouldn't do it justice. There are Pallas classics a-plenty on here, Heart Attack, Crown Of Thorns, Queen Of The Deep, and, of course, The Ripper. At this stage of their career, the emphasis really was on live shows, and, boy, they did not disappoint. As well as the excellent musicianship on display here, they also provided a stunning visual show, centered around vocalist Euan Lowson who has been compared to Peter Gabriel in his Genesis days. The comparisons can be left at the theatrical aspect, as, vocally, there is little similarity. From Niall Mathewsons soaring guitars, through Ronnie Browns exquisite use of the Novatron, and Graeme Murrays excellent backing vocals, bass/12 string & bass pedals, the band tick all the right boxes. All in, I thoroughly recommend this album as, in my opinion, the very best of the '80's prog revival.

Monday, May 8, 2023

Starcastle - 1978 - Real To Reel

Starcastle 
1978
Real To Reel




01. Half a Mind to Leave Ya (4:48)
02. Whatcha Gonna Do (When It All Comes Down on You) (3:33)
03. We Did It (3:54)
04. Nobody's Fool (4:00)
05. Song for Alaya (3:06)
06. So Here We Are (3:57)
07. She (3:43)
08. Stars Are Out Tonight (3:53)
09. When the Sun Shines at Midnight (6:16)

Terry Luttrell / lead vocals
Matthew Stewart / electric & slide guitars, electric sitar, vocals
Stephen Hagler / guitars, piano, electric piano, vocals (5-lead)
Herb Schildt / synthesizer, organ, electric piano, electronic strings, ALF computer synth
Gary Strater / bass, clavinet, vocals
Stephen Tassler / drums & percussion, synth percussion, vocals



Real To Reel_ was Starcastle's last studio album and was the point where most hard-boiled supporters gave up on the band. It represents the completion of a transformation from an ethereal progressive rock outfit to a standard radio-friendly, commercially viable AOR group. I don't hold with this disdainful attitude but I can understand it. Prog fans consider the genre a cut above all other rock classifications; the domicile of legitimate musicians. To those same fans AOR, by comparison, is akin to the crud which accumulates in between your toes! I don’t have the same hard and fast rules so, whilst I recognise the change in direction, I don't hold it against them.

Unlike most guitar-led AOR Bands, still dominating proceedings for Starcastle are the keyboards of Herb Schildt and Stephen Hagler – even Stephen Tassler's percussion is synthesised. Only "So Here We Are" is a typical riff-driven rocker. Tracks like "Half A Mind To Leave Ya", "She", "We Did It" and "Whatcha Gonna Do (When It All Comes Down On You)" have enough hooks to attract radio airplay – but they are a little long for AOR; as if the band feel restricted musically by the change in genre. But there are still elements of the old Starcastle in evidence, particularly on the magnificent power ballad "When The Sun Shines At Midnight".

I've no idea why Starcastle decided to call it a day after _Real To Reel_. I would have thought they could have tapped into a new lucrative market. Maybe their heart just wasn't in the change in direction.

This album is pretty underrated, it's not prog mind you, but this is a collection of well written and well performed soft rock pieces. I do think that some of the songs aren't good, kind of like when you listen to 'One Eighty' by Ambrosia, some of those soft rock songs just don't work. I think that even though this album isn't prog, and it's more Soft Rock, it still has a bunch of acceptable musical forms that would fit in any prog collection. Soft Rock and Prog are more related than many people give credit to the genre for. Supertramp is a great example of a Prog band with a bunch of Soft Rock elements, and if you are a Supertramp fan, this is an acceptable listen.

Starcastle - 1977 - Citadel

Starcastle 
1977
Citadel



01. Shine On Brightly (5:14)
02. Shadows of Song (5:08)
03. Can't Think Twice (3:51)
04. Wings of White (4:48)
05. Evening Wind (5:27)
06. Change in Time (4:31)
07. Could This Be Love (3:23)
08. Why Have They Gone (6:53)

Terry Luttrell / lead vocals
Matthew Stewart / guitars, mandolin, vocals
Stephen Hagler / guitars, vocals
Herb Schildt / synthesizer, organ, piano, Mellotron, Oberheim
Gary Strater / bass, Moog pedals, vocals
Stephen Tassler / drums & percussion, vocals



Starcastle was accused of being a "Yes" clone band, and unfortunately, they never rose to the legendary status that they might have deserved if they had been able to continue in the same path they were headed in their first three albums, especially their first. Their debut album sold quite well and was able to get some airplay, but their following albums didn't do as well because of their reputation of being a clone band. But, they were stellar musicians, and if you are looking for a great 70's progressive band that you might have missed, you might want to check out Starcastle. Their music is bright and positive sounding, with a lot of keyboards and synths and great guitar solos.

For their 3rd album, the original line-up was still intact ( and would be for their fourth album also). Lead singer Terry Luttrell was recruited from REO Speedwagon in their early days and he does have a high voice very similar to Jon Anderson's, except it was a little bit weaker and was often supported by the other members of the band, thus a lot of their music had some very nice harmonics, and such is the case on this album. Matthew Stewart and Stephen Hagler shared guitar responsibilities and their style is quite bright and open, and even they were able to sound a bit like Steve Howe at times, but they also had their own distinctive style. On Citadel, their guitars many times can be a little hard to distinguish from the keyboards however, where on their debut album, the differences were more distinctive. Herb Schildt was responsible for most of the keyboards, organs, mellotron and synths, and was definitely a master of the keys. His playing is probably one of the most unique sounds in the band as he didn't really have the same pompous style of Wakeman or Emerson, but definitely came up with some great keyboard riffs that seemed to stand out more than anything in the group's sound. On top of this, Gary Stratter played bass and Stephen Tassler played drums and percussion, and even though they made up a top notch rhythm section that was able to handle the tricky meters and tempo changes quite well, their sound didn't always stand out quite as much because of the bright sound that was always achieved in the mixing of the bands albums, and this album definitely suffers a bit because of that.

This brightness in the sound in Citadel also accounts for the fact that the tracks sound a bit too much alike. At the first several listens, it is difficult to pick out much of a diverse personality between the songs. It takes several listens to begin to pick out the different melodies and traits of each song. Citadel was the first Starcastle album I owned, and even though I generally liked the sound, it took me a few years to finally get familiar with the songs, because I also felt it all sounded too much the same. Once I did get familiar with the music though, I started to appreciate it more, and the things that weren't so obvious started to become quite amazing to me. While it is true that the album is not as good as the first two, it is still quite excellent once your familiarity with it grows. Nothing on here matches the genius of "Lady of the Lake" or other tracks on the debut album, but they are still very progressive and fun to listen to, especially if you are craving something different to listen to from that era. On Citadel, there are some standout tracks that are quite good including "Shine on Brightly", "Wings of White" and "Evening Wind" which are the most progressive tracks here. The record company had also started to penetrate the band's sound on this album however and was able to convince the band to do a couple of more radio friendly songs like "Can't Think Twice" and "Could This Be Love?", neither of which really was successful from a single or radio friendly point of view. Still, I think this is a valiant effort for the band and it might be just the right thing to fill that 70's symphonic prog hole that you might be feeling. I know, once I became familiar with the music, that it brought me a lot of enjoyment back in the day when dinosaurs were the main mode of travel.

After this album, Starcastle was able to release one more album that was an almost complete sell out. After that, they went into hiding until after the current decade started. I admit I never heard their album released in 2007 "Song of Times" and someday I might break down and hear it, but as far as the 70s were concerned, this was the last great album by a great band.

If the music you listen to has to be "bad-ass" or have some sort of tough attitude in it in order for you to take it seriously, then don't bother ever picking up this album, or any Starcastle album for that matter. These guys are big, fuzzy pussycats and they sing about love and light and things that shine with love and light and so forth. But, if you can deal with the overwhelming positivity of it all, you will be rewarded with some breathtakingly beautiful music. Some of this album could be called "power-pop" I guess, in that the songs are relatively concise and serve mainly as vehicles for gorgeous vocal harmonies; and the lyrics may be too much for some people (light and love and shiny falcons...). However, back to those gorgeous vocal harmonies. Where did these guys come from? Every song without exception delivers faultless harmonies that shine forth like beams of light through the fog -- and the instrumental interplay beneath is always exciting. I don't know about everyone else, but that kind of thing really does it for me. So, in a weird world, I consider Starcastle a top-notch band, and I highly recommend any of their albums to the open-minded listener.

Starcastle - 1977 - Fountains of Light

Starcastle 
1977
Fountains of Light



01. Fountains (10:22)
02. Dawning of the Day (3:43)
03. Silver Winds (4:54)
04. True to the Light (6:25)
05. Portraits (5:02)
06. Diamond Song (Deep Is the Light) (5:35)

Terry Luttrell / lead vocals
Matthew Stewart / electric & slide guitars, electric sitar, vocals
Stephen Hagler / guitar, piano, electric piano, vocals
Herb Schildt / synthesizer, organ, electric piano, Oberheim sequencer
Gary Strater / bass, Moog pedals, clavinet, vocals
Stephen Tassler / drums & percussion, vocals



According to most prog fans, Starcastle's sophomore album is their best, and I totally agree. This is the album in which their style is properly conveyed via the delivery of powerful performances and the realization of effective musical ideas. The influences are obvious: Yes (the lead singer's timber, vocal harmonies, bass lines, organ and Moog soloing), Styx (the dual guitar interplaying, catchy melodies energetically managed through attractive arrangements) and Kansas (orchestral combinations of guitar and keyboards during the most symphonic passages). But still, you can notice that Herb Schildt's use of synth layers all along is more related to the cosmic voyages of Vangelis than Wakeman: this element provides Starcastle with a distinct touch of eeriness that serves as a peculiar factor in Starcastle's music. He and Gary Strater are the most notable performers in the band: Starter's exquisite, vehement travels across the strings and frets of his bass are both immaculate and powerful, managing to provide a solid input for the melodic aspect of the themes, and not merely sticking to its rhythmic functions. The 10+ minute opener 'Fountains' is very impressive, indeed, although it slightly tends to become a bit repetitive at times; the next two tracks have a more commercial feel to them, but the use of odd rhythm patterns and those ever-present cosmic synth layers keep them from becoming mere AOR songs. IMHO, tracks 4-6 fill the best half of the album: they also comprise the most Yessian stuff you can find here. 'True to the Light' sort of retakes the mood that had been previously portrayed by the opening track, albeit a bit more focused and with an incorporated touch of 'Starship Trooper'-meets-'Siberian Khatru'. Then comes 'Portraits', a delightful bucolic based number, in which the two acoustic guitars create a candid mood while the Moog and other synths go floating by: the vocal harmonies are delivered with enough finesse not to break the mood. This could be described as a Crosby/Stills/Nash-oriented reconstruction of 'And You and I', with the mystic stuff being replaced by folkish flavours: I only wish this song would have been developed further, with an extended treatment of the acoustic guitar chord progressions, and perhaps, some soloing, too - it just feels somewhat short. Finally, 'Diamond Song (Deep is the Light)' serves as an effective closure: it comprises nice melodies, beautifully crafted vocal harmonies, an excellent organ solo, and what is perhaps the best Strater bass playing ever.

Most prog fans enter into Starcastle from the Yes angle, usually after having read or heard about this "clone band" and how they are an "interesting listen" due to their copy-cat nature. With these kinds of preconceptions in tow, it's no big surprise that they are typically passed over lightly when not openly mocked and dismissed. I think it's the vocal element that most people find derivative, because in no way do Starcastle ever approach cloning Yes instrumentally, especially after their first album. And about that vocal element -- wow! This album is packed with some of the most gorgeous vocal harmonies in all of my bookshelves of CDs. I'm a sucker for transcendent harmonies, and let me tell you, this is what Starcastle is all about. If you like multi-layered, shimmering, laser-beam harmony arrangements... give these guys a try, and make sure to suppress your doubt until you at least get to the parts I'm talking about. As for me, I'm long past convinced.

Starcastle - 1976 - Starcastle

Starcastle
1976
Starcastle



01. Lady of the Lake (10:26)
02. Elliptical Seasons (4:27)
03. Forces (6:25)
04. Stargate (2:54)
05. Sunfield (7:36)
06. To the Fire Wind (5:16)
07. Nova (2:35)

Terry Luttrell / lead vocals
Matthew Stewart / guitars, vocals
Stephen Hagler / guitars, vocals
Herb Schildt / synthesizer, organ, piano
Gary Strater / bass, Moog pedals, vocals
Stephen Tassler / drums, percussion, vocals




Of all these mid-70's US prog bands, the only one that got a real exposure was Starcastle, but I take it that it was mainly because they landed a recording contract with the Epic (CBS) label contract, which got them wide distribution. But compared to the Pentwater, Citadel, Mirthrandir or Yezda, these guys were not really more deserving, since they also leaned heavily on their British prog influences. Actually, of all these mentioned, this Illinois sextet was probably the most derivative of all of them, that they could qualify as Yes clones. Personally, I always had a hard time taking these guys seriously, partly because of their ridiculous (though proggy) name and their even-more ridiculous album artworks, but of course, even as a teenager, though I loved Yes, I couldn't understand why these guys aped them so much. Not only they they not better their idols, but they used one more person (a second guitarist) to achieve that dubious goal.

Opening on the 10-mins+ Lady Of The Lake, right away, you'll check to see if you haven't misplaced a Yes disc inside a Starcastle sleeve. Once you're reassured that you weren't too drunk last night or that your brother wasn't playing a prank on you, you wonder (and check in reference books) if Yes had not recorded an album under a pseudo for the rivals Epic/CBS of their Atlantic (WEA) label. Once you're sure that Starcastle is no joke, you'll also find that they are no Yes pastiche, like the Rutles were to the Beatles. Don't get me wrong, the final result is a competent prog rock, if you disregard the Yes soundscapes, but where it hurts is that there isn't one ounce of originality in the album, or the subsequent ones. Neither Elliptical Reasons, nor Forces on the A-Side will dispel the unease either. The shorter flipside is no different, but to be honest, it would be too fastidious to start enumerating or citing the Yes borrowings on each songs on the album. I thought I'd let you do that, should you find that amusing. Even the two shorter pieces (both under three minutes) do not sound anything but Yes. OK, enough said. If you don't mind your music to sound "ala" and you like Yes enough to accept copies, no doubt Starcastle's discography will be right up your alley.

Samurai - 1971 - Kappa

Samurai
1971
Kappa



01. Trauma (10:19)
02. Same Old Reason (2:49)
03. Daredatta (3:39)
04. Vision Of Tomorrow (3:52)
05. King Riff And Snow Flakes (22:29)

Mickey Curtis / voices, flute
Mike Walker / voices, percussion
Joe Dunnet / guitars
Hiro Izumi / guitars, koto
John Redfern / keyboards, recorder
Tetsuo Yamauchi / bass
Yujin Harada / drums
Graham Smith / harmonica


A trip through both light and heavy prog psych, this is an oft forgotten but excellent lost gem of psychedelia's golden years. Mickey Curtis leads his wonderful band to carve new soundscapes and lay down some kickin' tracks. "Trauma" opens the album with a ten minute long journey through both the light and hard aspects of the band's style, in a great instrumental romp. The rest of Side One is a few cut and dry, though well done, bits of hard psych. Side Two is a psych epic through the realm of King Riff, an ever rockin' and mind blowing country. Keys are the hidden weapon here, for while guitar leads and flutes chime in, the keys add extra texture, and then shine brightly in the lands of King Riff. Another excellent hidden treasure from psych, highly recommended to psych and heavy prog fans.

Samurai - 1970 - Samurai (Green Tea)

Samurai
1970
Samurai (Green Tea)




German Version
01. Four Seasons (9:51)
02. 18th Century (1:03)
03. Eagle's Eye (5:50)
04. Intermediate Stages (7:35)
05. Boy With A Gun (5:06)
06. Daffy Drake (2:46)
07. Five Tone Blues (14:56)
08. Green Tea (5:38)
09. Mandalay (6:23)

Japanese Version:
01. Green Tea (5:38)
02. Eagle's Eye (5:50)
03. Boy With A Gun (5:06)
04. 18th Century (1:03)
05. Four Seasons (9:51)
06. Mandalay (6:23)
07. Daffy Drake (2:46)

Mickey Curtis / voices, flute
Mike Walker / voices, percussion
Joe Dunnet / guitars
Hiro Izumi / guitars, koto
John Redfern / keyboards, recorder
Tetsuo Yamauchi / bass
Yujin Harada / drums
Graham Smith / harmonica


An exotic offspring of the proto-progressive era. At the dawn of the seventies, the Samurai ensemble had a good chance of becoming a competitive product for the British apologists of the genre. Alas, it didn't work out. And yet it would be a shame to pass by such a wonderful formation.

It began with Mickey Curtis (b. 1938). In truth, coming up with a more colorful personality is difficult even for a person with imagination. This original of the mestizo breed (a terrible cross between Japanese and English bloodlines) has always strived to build bridges between East and West. His career started in 
1958 - by imitating Elvis Presley. In parallel with the singing affairs, Miki came to grips with cinematography. As a guest star, he "lit up" as many as 70 films. However, the main thing for our hero was music. Having had enough of making pop hits, in 1967 the smart Asian muddied the then-avant-garde project Miki Curtis & Samurais in 1967 . With the recruited staff, Curtis traveled not only in the Land of the Rising Sun, but also in the old Europe. So, at the German studio Metronome Records, the taciturn rockers managed to arrange several things. Having supplemented the team with people from Foggy Albion ( Joe Dunnet - guitar, John Redfern - organ) and changed the name to Samurai, Mickey associates arrived in London. We met them well. Commissioned by United Artists, the sextet bungled a couple of singles. However, the small forms of self-expression of the mastermind were not very satisfying. Curtis could see perfectly which way the wind was blowing. That is why he ventured into an experiment in the style of art-rock.

In the moderately eclectic content of the disc "Green Tea" everyone will find something of their own. The opening (title number) is a carefully balanced symbiosis of the frontman's melodically bright vocal monologue with mixed-type playing structures (rhythm and blues, flute fusion, charming organ background). The assertive "Eagle's Eye" pursues other goals. Here you can feel the influence of the Zeppelinswith their original viscous psychedelic hard. Guitarrero Dunnet, in collaboration with Hiro Izumi, stuffs the palette with rollicking solos, and Graham Smith ( String Driven Thing , Van der Graaf Generator ) strapped in for the company saturates the action with passages of harmonica. The chamber ballad "Boy with a Gun" is a chic fusion of ethnics (koto, flute) with an intimate baritone narration in the best traditions of transatlantic singer-songwriters; impeccably constructed piece. The acoustic interlude of "18th Century" has the Nordic melancholic overtones of neo-folk bands like Tenhi .and others like them. The epic panorama of "Four Seasons" stretches from the freaky heavy prog with nuclear flashes "Hammond" to the total LSD astral. "Mandalay" looks unusual - an attempt to find the threads between a purely oriental fabulousness and an Americanized kind of jazz. The final mural "Daffy Drake" is an absurdist psychedelic tale with a Beatle tinge and a superbly exposed artistic angle; a happy ending to an incredible journey.

To summarize: an attractive artistic act worthy of bearing the banner of early British-style progressive rock; a great find for those who like to delve into the past.

I have only a cd of the Japanese version, as far as I know, there has never been a cd release for the German version, so, if anyone out there has the German version and would be so nice to upload us a copy, We would be really grateful!

Darryl Way's Wolf - 1974 - Night Music

Darryl Way's Wolf 
1974 
Night Music



01. The Envoy (6:28)
02. Black September (4:48)
03. Flat 2-55 (6:52)
04. Anteros (4:21)
05. We're Watching You (5:10)
06. Steal The World (4:18)
07. Comrade Of The Nine (2:43)

John Hodkinson / vocals
Darryl Way / violin, keyboards
John Etheridge / guitar
Dek Messecar / bass
Ian Mosley / drums



Wolf was the band which Curved Air's violin/occasional keyboard player Darryl Way formed during '73/'74, whilst Eddie Jobson filled his shoes in that band. Assembling a selection of highly skilled musicians ; Ian Mosley (drums, and to this day, drumming for MARILLION), Dek Messecar (bass/vocals* - *1st two albums only) who later joined CARAVAN for the 'Better by Far' and 'The Album' releases, and John Etheridge (guitar), who later joined SOFT MACHINE for their albums 'Softs' and 'Alive and Well in Paris'. Employing a full-time vocalist, Colin Hodkinson, for this release (and he has a very good voice), enabled Dek more freedom for his, often stunning Bass playing, and this shows on the fantastic opening track, 'The Envoy'. Etheridge's guitaring is firmly in the jazz mould, and can remind one of an embryonic Holdsworth in style. This album, 'Night Music', is quite a gem, fairly consistent throughout, and fans of the abovementioned bands should most certainly enjoy all of Wolf's output. I wouldn't consider their music 'fusion', but it has hints of Canterbury and is a great example of U.K. progressive jazz-rock.

The third work of release in 1974 "Night Music". The enhancement of the Vorcal part was aimed at on John Hodkinson of IF. It is a quite experimental content though the pop taste is felt like the main feature as for the tune that the way initiated. It is a masterpiece of the progressive rock that has been forgotten why. To our regret, it became the final work.

Darryl Way's Wolf - 1973 - Saturation Point

Darryl Way's Wolf
1973
Saturation Point




01. The Ache (4:52)
02. Two Sisters (4:21)
03. Slow Rag (5:19)
04. Market Overture (3:40)
05. Game of X (5:49)
06. Saturation Point (6:47)
07. Toy Symphony (7:12)

Bonus tracks on 2008 reissue:
08. A Bunch Of Fives (3:31)
09. Five In The Morning (2:40)
10. Two Sisters (Single version) (3:21)

Darryl Way / violin, keyboards
John Etheridge / guitar
Dek Messecar / bass, vocals
Ian Mosley / drums



What a stellar line-up of excellent musicians, led by the crafty virtuosity of Darryl Way of Curved Air legend, with future Soft Machine guitarist John Etheridge , future Caravan and The Strawbs bassist Dek Messecar and future Trace and Marillion drumster Ian Mosley. So what do we get? Some blazing string driven things with very few keyboards, the six string electric in battle with (at time against) the four string chin job! "The Ache" is a fiery instrumental opener that showcases Etheridge's rather tectonic playing as well as Way's capacity to parallel the emotional zeal with seeming ease. "Two-Sisters" leaves the station as a pleasantly sung Brit Rock piece, until the two soloists (the two brothers?) conspire to shred the arrangement to pieces, the little terrorists! Way in particular has a sizzling outro. "Slow Rag" is Etheridge's turn to show off his skills, weaving a leisurely guitar tapestry, in unison with Way's ultra-romantic glide, an ornate acoustic foray that has a definite Mediterranean feel, almost mandolin-ish , building up into a paroxysm of emotion and then gently ebbing, the violin's elegance leading the er. way. Mosley thrashes nicely on this fine piece. "Market Overture" supplies some electric piano musings, with supersonic jazzy electric guitar picking and a kindergarten violin sortie that builds inexorably, percussive adornments and booming bass taking this to an impromptu end. "Game of X" is at first straight ahead rock and roll, a two- fisted power boogie with scorching violin and some oddball hard scat singing but the shifting moods take this into a different expanse of improvisational violin screeching at the raucous guitar ramblings. Almost punkish at times, this definitely shows that the Wolf has big fangs. It becomes quite obvious that overproduced and lush symphonics are not what this rock predator is about. "Saturation Point" is a slow moving exploration that gives again both stringers the opportunity to forage above the bed of electric keyboards and seek out new sounds to play with, seemingly effortlessly. The classical tendencies here a quite remote as jazz or rock seem to be the prey of the day. Etheridge in particular has an electric guitar style that is enormously impressive, fluid yet raw, very animated as opposed to run of the mill. The bass rolls along nicely and keeps things nice and tidy. The fantastic finale is "Toy Symphony" (the definite highpoint here), which does revert to some intense violin classicisms but are quickly kidnapped by some weighty fuzz bass and cliff-hanger drumming, again flinging the arrangement into rockier geographies. Darryl Way displays his complete mastery over this tremendous instrument by choosing to eschew gratuitous note splashing and wringing out feeling and emotion from his trusted weapon. The final few minutes are a frenzy of exhilarating interplay that will leave you breathless. Just like

Actually the most interesting reason to check out this group is their line-up . Everyone of them will pop-up elsewhere - Etheridge in Soft Machine , Mosley in Marillion , Messakar in Caravan . This sort-of-supergroup-to-be does not get much credit with me , however. Not that the music is bad , far from it , it has some cool-hard-AOR-melodic prog that will certainly appeal 70's completist - to which I almost qualify but in knowledge only because there is no way I will rebuy those album - maybe one day I will do a compilation of those three albums on a CDR ( a friend has them on Cd ). As you might guess WOLF is Darryl Way's group and it sure does sound like it as his violin and kb are all-over the place. He was also a big influence into early Curved Air with Monkman as the other writer - he left after three or four albums and Curved Air was never the same after. This first album has only two or three tracks that are sung and there is sufficient space for the apt musicians for some great interplay but to me the problem is not enough creative songwriting. The last two tracks on side 2 are my faves.

Darryl Way's Wolf - 1973 - Canis Lupus

Darryl Way's Wolf
1973 
Canis Lupus



01. The Void (4:35)
02. Isolation Waltz (4:37)
03. Go Down (4:45)
04. Wolf (4:06)
05. Cadenza (4:48)
06. Chanson Sans Paroles (6:28)
07. McDonald's Lament (7:10)

Bonus tracks on 2008 reissue:
08. Spring Fever (3:29)
09. Wolf (Single Version) (4:05)


Darryl Way / violin, viola, keyboards
John Etheridge / guitar
Dek Messecar / bass, vocals
Ian Mosley / drums

With:
Ian McDonald / piano & tambourine




Darryl Way was a founding member of CURVED AIR and a very good violinist to say the least. After CURVED AIR released "Phantasmagoria" in 1972 Darryl left the band to be replaced by a young Eddie Jobson. Way would go on to release two studio albums in 1973 including this one "Canis Lupus" as well as "Saturation Point" both with the same lineups. They would release one more studio album in 1974. The band is more commonly known as DARRYL WAY'S WOLF and this certainly is a band effort all the way(ahem). Both in the compositions and featured instruments. Darryl adds some keyboards too and we have future MARILLION drummer Ian Mosley here along with future SOFT MACHINE guitarist John Etheridge and finally the key in my opinion vocalist and bass player Dek Messecar. He would go on to do both for CARAVAN and I can appreciate how he was such a good fit for them. I just like his singing voice which is clear and higher pitched. And he plays a mean bass too, talented man. So yes this album caught me off guard, I wasn't expecting such an uplifting and consistent recording.

"The Void" opens with keys as the bass joins in followed by drums then vocals as it all picks up. So good! Head bobbin' time. Vocals will come and go as two main pieces are contrasted throughout. The guitar comes in each time the vocals step aside. "Isolation Waltz" is all about that heavy rhythm section early on and we finally hear violin for the first time on the album 2 minutes in. Some vocals on this one. "Go Down" is a relaxed tune with guitar, bass and drums as laid back vocals join in. Vocals are more passionate a minute in, moving stuff. Guitar replaces vocals. Vocals and a more mellow sound after 3 minutes. The guitar does return late. "Wolf" features synths, violin and vocals and Way lights it up after 3 1/2 minutes on that violin.

"Cadenza" opens with some amazing sounding violin leads. Drums and bass join in then guitar before 1 1/2 minutes. Man some talent here with Etheridge and Way on their respective instruments. Bass after 1 1/2 minutes then a drum solo 3 1/2 minutes in that I like. This song really features the instrumental talents of these four guys. "Chanson Sans Paroles" opens bringing ZAO to mind with that melodic violin led sound. It's violin and bass driven early on then we get this calm with piano and atmosphere before 2 minutes which is really cool. Guitar kicks in soaring this time as the tempo picks up. Some intensity later before returning to that opening sound. Great track! "McDonald's Lament" ends it with electric piano, violin and bass. It picks up with guitar and drums joining in and the violin turns more passionate.

This not very well known progressive rock band gives us here a wonderful album, full of impressive violin, electric & acoustic guitars and VERY dynamic & punchy bass! The drums are very well played and rather complex. Everything is very well synchronized, like Gentle Giant. It sounds a bit like Curved air, Caravan, Kayak, the King Crimson of the 70's, Camel and Gentle Giant; but this album has really its own sound, and this makes the band very interesting. There is a good interrelation between the electric violin and the guitars. The lead vocals are very good, and surprisingly the keyboards are not extremely abundant, mainly consisting in discreet electric & acoustic piano, and in a couples of spacy moog solos. "MacDonald's Lament" is absolutely a gem with its mellow crescendo featuring an unforgettable violin solo!

Irish Coffee - 1971 - Irish Coffee

Irish Coffee 
1971
Irish Coffee



01. Can't Take It (4:05)
02. The Beginning Of The End (6:18)
03. When Winter Comes (4:50)
04. The Show (Part I) (2:31)
05. The Show (Part II) (2:59)
06. Hear Me (3:58)
07. A Day Like Today (6:51)
08. I'm Lost (4:32)

Bonus Singles:
01- Masterpiece / The Show (Triangle, 1971)
02- Carry On / Child (Triangle, 1971)
03- Down Down Down / I'm Alive (Triangle, 1972)
04- Witchy Lady / I'm Hers (Barclay, 1973)

William Souffreau / vocals, guitar
Jean Van Der Schueren / lead guitar
Willy De Bisschop / bass
Paul Lambert / Hammond organ
Hugo Verhoye / drums
Luc De Clus / lead guitar on "Witchy Lady" & "I'm hers"
Raf Lenssens / drums on "Witchy Lady", "I'm hers", "Down down down" & "I'm Alive"
Dirk Dierickx / backing vocals on "Masterpiece" & "The Show"





Hailing from Belgium, early Seventies band Irish Coffee only delivered a couple of singles and a sole album in their few years active, but the debut from 1971 is a bit of a dirty raucous ripper of organ dominated heavy rock with light touches of jazz, R n'B and psych but still finds time for more mindful breaks. Think bands like Atomic Rooster, Deep Purple, Rare Bird, Birth Control and Beggars Opera, with gruff Hammond organ to the fore and fleeting moments of drawn out jamming, but mostly delivering a strong punchy collection where the tune itself is always the priority.

Opener `Can't Take It' is up-tempo and infectious, a snappy rocker and blustery vocal belter powered by Jean Van Der Schueren's biting guitar slinging, Willy De Bisschop's pumping chunky bass and Hugo Verhoye's frantic drumming. `The Beginning Of The End' lurches with a dramatic heaviness of marching call-to-arms drum rattles, Paul Lambert's thoughtful organ interludes and dreamy chiming guitars with William Souffreau's blistering red-faced huffing almost taken to testicle- bursting extremes in parts! `When Winter Comes' slows things down for a Rare Bird-like stark and introspective weary rock- ballad (although there's an unexpected but very welcome energetic burst in the closing minute), where the vocals move between sombre spoken word passages, warm group harmonies and a romantic lead vocal full of aching longing crooning a despondent yet tender lyric - and damned if the line `Will you came and be my sun?' wouldn't win over any lady!

Prog fans shouldn't get too excited when they see the two-part `The Show' listed on the back cover that is split over the end of side one and carries on over on the flip. While they both share a similar `come see the show' theme and wild party vibe, the first is a unapologetic pop-stomper with funky grooving wah-wah guitars and brief wailing soloing spots, a screeching vocal and call-and-response Hammond trickles all swirling around a catchy chorus, while the second is dirtier with a murky sweaty sound full of lusty debauchery!

`Hear Me' has a crashing and restless momentum from delirious smoky Hammond organ runs and mangled guitar raggedness, and the tormented `the Devil's in my head, Lord I need you...can't help myself, it's this world that makes me do it!' lyric wouldn't have sounded out of place on an Atomic Rooster album! The almost seven minute `A Day Like Today' is one of the more ambitious pieces, full of ruminative droning Pink Floyd-like guitar drifts, and with its downcast and anxious anti- war lyric and desperate urgent vocal pleadings, its sentiment is undoubtedly genuine. Closer `I'm Lost' is another nice diversion, a gentle come-down pop-rocker with jangling acoustic guitars, a rattle of spirited drums and joyful Hammond organ, and both vocally and instrumentally it reminds of British band Beggars Opera from the same time.

While it's maybe not quite up to the same level as the best albums of several of the above-mentioned bands, listeners who dig those early `proto-prog' groups that made adventurous rock music full of cool playing and great tunes should have a blast with `Irish Coffee'. It's a grower of an album, one that proves highly addictive and seriously fun if you give it enough spins!

The reissue of this album on Akarma knocked me cold, and continues to every time I play it. Belgium had an underrated and fantastic music scene in the early 70s, but Irish Coffee are the most impressive group I've heard from there, no question. What makes this album a masterpiece is the hard driving guitar work juxtaposed with quality songwriting and a bit of the Czar/ Stonehouse/Asgard UK vibe to the tracks. Czar and Deep Purple come to mind often, as does surprisingly a bit of early Spooky Tooth, yet Irish Coffee managed to create their own sound. The soaring, swirly guitars and inventive rhythm changes form the basis of the instrumental sound, while a strong and emotional voice and fine harmonies are the vocal element. It all works flawlessly for the entire album with each song building up to a frenzied crescendo or a lost world weary refrain. Lyrically, this is a really dark and tortured album with very disturbed themes about nuclear war, mental devastation, unremitting fear, and the like. The music, though, is surprisingly uplifting at times and makes you cheer for them to make it big not just in Belgium, but also internationally. Sadly, this was not to be. Irish Coffee couldn't even find a record contract and so put this out themselves. It is often the case with private pressings to have execrable sound quality, this one has BRILLIANT sound quality! You can hear everything clearly and each member of the group shines on every track. I haven't heard musicianship and songs this good for awhile! If you like UK hard rock/progressive rock you will love this, and if you like late period psychedelic rock with Eastern flourishes you'll love this, and it it that mixture of unique influences that makes for such an impressive album. The singer is fantastic, going over the top only when he needs to and not straining to sound like Gillan or Plant although he occaisonally recalls both. Irish Coffee deserved to be a worldwide sucess, at least the reissue gives us a chance to hear another great band lost in the shuffle. I would add that a musical rennaisance was going on in the early 70s in England and it spread throughout Europe. Irish Coffee were part of that rennaisance as were a lot of overlooked bands from Europe. They, however, sound both exotic in a UK way and exotic in a Euro way. I could not ask for more from an album. There is not one song on here that isn't brilliant. A full fledged masterpiece.

Samurai - 1971 - Samurai

Samurai
1971
Samurai



01. Saving It Up for So Long (3:45)
02. More Rain (4:27)
03. Maudie James (4:56)
04. Holy Padlock (4:43)
05. Give a Little Love (3:40)
06. Face in the Mirror (6:44)
07. As I Dried the Tears Away (8:17)

Bonus tracks on 1996 CD release:
08. Give a Little Love (live) (4:59)
09. Holy Padlock (live) (7:49)
10. More Rain (live) (4:47)
11. Concerto for Bedsprings (live) (12:27)
12. Love You (live) (4:35)

Tony Edwards / electric & acoustic guitars
Dave Lawson / organ, piano, keyboards, vocals, arrangements
John Eaton / bass
Lennie Wright / vibes, drums, percussion, producer
Kenny Beveridge / drums, percussion

With:
Don Fay / tenor, alto & baritone saxes, concert flute
Tony Roberts / tenor sax, concert & alto flutes, bass clarinet




So I've officially come to the end of my journey with the band formerly known as The Web, releasing their final album in 1971 as Samurai. With the continued de facto leadership of would-be Greenslademan Dave Lawson, it really effectively is the same band. I find it's a killer final statement.

"Saving It Up for So Long" starts off with a cool beat and an even cooler everything else. Fuzzy guitar plays alongside the horns, and I'm just loving the whole arrangement. Dave Lawson's vocals are smooth and strong here. The section in the second half is really wild. This is Prog! In a much different sort of 'cool', "More Rain" has a semblance of some of the freer, psychedelic side of Folk Rock. Once again, with a composition otherwise so simple and familiar, they do things that are unique and attention-grabbing. This track has a small ensemble of flutes, the perfect instrument for this feel. Great track; again, despite its apparent simplicity, it offers a lot of interest.

"Maudie James" continues this lax'd mode. Fuzzy guitars again delightfully interplay with the horn section, but now also with piano. Queue sax solo! Really, a killer solo this was, performed by apparent non-member Don Fay. To me, this is Jazz Rock preceding early Steely Dan, as in tracks like "Do It Again" or "Your Gold Teeth". Up next is "Holy Padlock", begun with a certain melancholy. This track has a sort of mysteriousness to it that I can't quite place. This whole album is just a vibe, if I may attempt a Gen-Z-ism haha. Here we get a really saucy organ solo from Dave. The vocals on the other hand feel less inspired than desired.

The harshness with which the uber-wah'd guitar on "Give A Little Love" was honestly unbearable to me. Luckily for the guys, it's another track with mood and spunk that wins. Where it's really (actually/definitely) winning is in yet another Hammond organ solo; something one might expect (not surprisingly) from Rod F*cking Argent. Compliments abound there; compliments withheld for nearly all else... Up next, we return to The Cool of the frontend of Samurai with "Face in the Mirror". A few Jazzy Ringo-isms win me over, too! I'm very agreeable, if not impressionable, at the end of the day, ha! The vocals come in when the instrumentation is lower in the mix. Interesting but effective choice. Here I give my compliments also to guitarist Tony Edwards for one of his best performances. A very psychedelic jam indeed; in this, "Face" will likely appeal to other fans of Proto-Prog at large.

Finally, we have "As I Dried the Tears Away", and in the very least that's a pretty apt title to close out an album of this moody nature. Nothing on this album should strike you as overtly 'happy' (and in this, in its general cohesion, this is a winning element). We ride this one out low and slow at the start, and we get some vibes from drummer Lennie Wright. So beautiful, seriously. And once again, an unworried coolness that feels unattainable by the vast majority. We've all heard a lot of music here, right? haha. This is just unbelievably chill despite being super cool. I believe I felt this before, but before and after the solo the organ sounds like something the great Dave Stewart would have played. I think I need to listen through Greenslade again and anything else Mr. Lawson has to offer. He's got a helluva lot of vision. Praise be! Great closer. Great album.

The Web - 1970 - I Spider

The Web 
1970
I Spider



01. Concerto for Bedsprings (10:10) :
- a. I Can't Sleep
- b. Sack Song
- c. Peaceful Sleep
- d. You Can Keep the Good Life
- e. Loner
02. I Spider (8:30)
03. Love You (5:21)
04. Ymphasomniac (6:43)
05. Always I Wait (8:10)

Bonus tracks on 2008 Esoteric remaster:

06. Concerto for Bedsprings (live) (10:40)
07. Love You (live) (4:22)

Dave Lawson / vocals, piano, organ, Mellotron, harpsichord, producer (6,7)
Tony Edwards / electric & acoustic guitars
Tom Harris / tenor & soprano saxophones, concert & alto flutes, tambourine
John Eaton / bass, cabassa
Lennie Wright / drums, timpani, congas, güiro, vibes, co-producer
Kenny Beveridge / drums, bongos, woodblock, jawbone



I Spider (1970) is the third and final album by the Web before morphing into Samurai. Although I know this was the first album of theirs that I had heard, it's one of those funny things in which I don't recall how I became even basically acquainted with them, or even remotely when exactly. A nice, mysterious block of whitespace in the ol' history books, eh? I certainly would consider it an if-you-know-it-you-know-it's-a-classic sort of album; no purpose in gatekeeping this for the masses; it's just Prog Obscura, Prog for Prog fans(?). Anyhow... Most notable to me now, a recent realization in fact, is that this is the entry point of keyboard-vocalist Dave Lawson (best known from Greenslade). Being the shift to [traditional] keys, as well as the key vocalist (replacing John Watson), Lawson also "assumed the leadership" of Samurai post-name-change.

Our album begins with the 10-minute mini-epic, wonderfully entitled "Concerto for Bedsprings". There is a dark, even unsettling eeriness to me that feels perhaps like VdGG. This is substantiated further by the swirling, uneven rhythm and crying saxophone starting around minute 2. And a second major shift occurs before minute 3; absolutely wondrous. This feels so out of time, yet I find I could often enough say the same thing about their contemporaries in Blood, Sweat & Tears and Chicago; all that to say, compliments all 'round: beautiful and dreamy Jazz. Dave Lawson, it should be noted, next to his absolutely lovely keyboard performance, has a voice that will likely polarize, but is very of the time; gruff and dramatic [Not dissimilar to vocal performances found in early, early Heavy Metal music]. Not quite to that effect, but musically they do have roots the same as Arthur Brown and Atomic Rooster. This track is strong. Great opener; perhaps 'Essential'.

Up next on our 5-song album is the title track, "I Spider", moody and dramatic in its soft-spoken, yet simultaneously booming arrangements, with quieted horns, sizeable rhythm section and Dave's phenomenal vibrato. It has a dirge-like quality. In the middle section, over blasted tom-toms, the guitar slices roughly through the air, pitted against the dynamic breaths of sax. Melancholy continues on "Love You". Much less of an immediate statement as the two that came before, "Love You" halts then picks back up with haste. Now I must know how Lawson and Co. felt about Hammill and the rest of Van der Graaf, and vice versa... It's not uncanny, or anything, but the similarities are impossible for me not to make. Second thoughts showed how similar this is to my ears to the well-known Greenslade track-turned-theme-song "Gangsters" 5 years later (though it's actually an essential in my opinion).

Then we have the very cool "Ymphasomniac". Awesome stuff going on rhythmically, as it slips and slides around in a sort of circle. Also, consider the tones used for keyboard. This track allows percussion to really shine, with a break around minute 2. Even when the mood brightens, the band is just so cool and collected. Sick, groovy jam. We even get a bright, airy vibes solo! Up next, "Always I Wait" had me just stop what I was doing and softly proclaim, 'Damn.' This is just unbelievably cool for 1970. A mindblower, if you ask me. What Dave is doing on the organ especially is just melting me; thankfully I'm sober enough to stay upright (I mean, I have to finish this review haha). Everyone is keeping the f*ck up! This band was phenomenal at their best, truly phenomenal. Once again, Tony Edwards on guitar trades off, but this time with vibraphonist Lennie Wright, apparently one of two drummers (I don't know how I had missed that detail until now). Anyhow, this is the best track on the album (my partner hates Dave Lawson's voice haha; I'm a definite fan of all of it). [Perhaps, though, your hipster girlfriend can agree with the rest as well.]

Out with the old, in with the new: gone was John L. Watson, standing, or rather sitting at the keyboards. In his stead came Dave Lawson, and in celebration of his ensnarement by the band, gone too was the "The" in Web. The new-look Web released the group's third and final album, I Spider, in 1970. It was also their best, bringing to fruition the group's sound and leaving behind the rather stumbling genre experimentations of yesteryear. Moving strongly into progressive rock, the band strode far afield from the psychedelic meanderings they'd undertaken on their last set, Theraphosa Blondi. Lawson's fabulous organ playing was now the band's fulcrum, filling the album with rich and (especially on the title track) haunting atmospheres, as well as providing a fixed point from which the rest of the band could swoop off in their own directions. If "I Spider" is the album's most evocative track, the epic set opener "Concerto for Bedsprings" is its most magnificent. Its passages shift in moods and style, with the jazz-inspired "Sack Song" section particularly impressive, while the aggressive "You Can Keep the Good Life" is as hard-edged as any punk-fueled no wave band. Dramatic shifts in dynamic also drive "Love You," another showcase for horn player Tom Harris, with John Eaton's vicious, buzzing bassline powering the whole second half of the piece and providing furious encouragement to Tony Edwards' fuzz-drenched guitar. That number lies in the rock realm; "Ymphasomniac" leans toward jazz fusion but has unusually tasty bongoes and percussion solos as well, providing the bridge into the second pomp-rock half of the song. And that is the glory of this album, as most of the songs comprise two diametrically opposed halves, cleverly brought together either with a crash or with an inspired middle passage. The set's final track, "Always I Want," follows this pattern to perfection, as Lawson bemoans his lack of luck with the ladies, his rather crude lyrics hilariously at odds to the sophistication of the music itself. The group went out on a high with this superb set, which Akarma has reissued with its original, wondrously surreal artwork. Although Web disappeared soon after, the other members did not, swiftly returning under their new moniker, Samurai.

The Web - 1969 - Theraphosa Blondi

The Web
1969
Theraphosa Blondi



01. Like the Man Said (7:06)
02. Sunshine of Your Love (6:47)
03. 'Til I Come Home Again Once More (3:02)
04. Bewala (2:32)
05. One Thousand Miles Away (4:34)
06. Blues for Two T's (2:51)
07. Kilimanjaro (3:54)
08. Tobacco Road / America (5:40)

Bonus tracks on 2008 remaster:
09. Afrodisiac (3:20)
10. Newspecs (3:47)

John L. Watson / vocals
John Eaton / electric & acoustic (5) guitars, tambourine & cabasa (4), African drum (7)
Tony Edwards / electric & 12-string (5) guitars, military bass drum (4)
Tom Harris / flutes, tenor & baritone saxophones, bass clarinet (1), marimba (4)
Dick Lee-Smith / bass, Chinese tom tom (4), drums (9)
Kenny Beveridge / drums & percussion (4), African drum (7)
Lennie Wright / vibes, congas, claves, marimba (4,7), varitone (4), drums (6,9), xylophone (9)


From the moment our opener, "Like The Man Said", begins, it is clear we're in for a real treat of early Progressive Rock. Watson's vocals are full and soulful, but also sport a unique, wavering warble. I can definitely see this alone being a turn-off to certain listeners. What will definitely set this band apart from your average early Prog band, and puts it more in line with, say, Blood, Sweat & Tears, is their unfettered, balls-to-the-wall utility of their entire 6-person ensemble. Most obvious, in terms of being set apart from the vast majority, are Lennie Wright's vibes. In the halftime middle section, we get a lovely sax solo from reedsman Tom Harris. All comes back for the final few minutes with another verse and killer dramatic end. It seemed as though they were referencing something here, modulating it slightly, and it seems it must be what comes next: a full-blown cover of Cream's "Sunshine Of Your Love". Again, we have a larger-than-standard ensemble, and they do not hold back. From Watson's soulful boom to the pounding complexity of Kenny Beveridge's drums to the sax and warm bass, we get radiating intensity. For the majority of the solo here we get flute, later married to adlib'd guitar and vibes. 

Big tonal shift occurs on "'Til I Come Home Again Once More". This is straight-up Soul! Not entirely unsurprising for Jazz-inflected Prog from this era. Another tectonic shift pushes us into an entirely different continent (once more) on "Bewala", with wild, claustrophobic African tribal drums fit nicely with Wright's marimbas. Fun, unique track! I was certainly intrigued to see how this track would be used in the grander scheme of the album, and in a surprising sort of way it's definitely appreciated, juxtaposed by the soft, personal "One Thousand Miles Away". We're back into Soul country. Band sounds great, but nothing really shining here for me until the drums change to a swing (this doesn't last though). Up next is "Blues For Two T's". Fairly self-explanatory, though it's clearly the Swinging '60s. And actually, this is quite its strong suit (it's defined by the rhythm section and the flute, I'm sure you'll find). We are swingin', even delving into a Jazz Blues thing approaching the end.

We weren't quite done with that previously mentioned southern continent as we specifically return to "Kilimanjaro". This is actually quite nice, and a surprising thing to hear from what I've just assumed were a team of whites. Minimalism is explored by the simplicity of the rhythm and the returning marimba, nicely complimented by Watson's softest vocals yet (basically a croon). Coming to the close of the original album cut, we have "Tobacco Road / America". This is another swinger. Nothing you haven't heard before, far as "Tobacco Road" is concerned. "America" has a totally other vibe, featuring a bombastic feel. What's most interesting is that this is actually the Leonard Berstein composition from West Side Story! Another surprise, for a totally different reason! To me, this honestly sounds a bit like Zappa to my ears, substantiated by the shift back to the Blues for a guitar solo. Absolutely wild flute solo was then to follow; he put his whole soul into that.

The final two songs were 2008 Bonus tracks, starting off with the cool "Afrodisiac". Sweet jam with a great sax solo and these loose, rolling drums. Finally we have the Latin-inspired "Newspecs". Prety cool. I actually especially love the group vocals, with fun hootin' and hollerin'. Interesting choices, but I can understand ultimately why they were left off originally.