The second of the strongest folk influenced albums that Tull did, after the classic Songs From The Wood. This album always puts me in mind of a classic television programme from the 1970's (the name of which is irritatingly forgotten as I write this) that dealt with all matters rural, presented by a man whose love for the rural way of life in England knew no boundaries.
That is precisely what this album is all about. It is a paeon to a way of life fast becoming a relic in a modernising society, and makes it very clear that Anderson, for one, wholly regrets its passing. No more the days of heavy horses working the land, to be replaced by tractors and modern factory farming methods. For anyone who cares about the intensive farming tragedy of modern times, the title track is essential, but that is also countered by the sheer love that Anderson has for these magnificent creatures, evidenced by the lyrics, which list many breeds, and the album cover itself. This track is, essentially, a love story, and damn well told it is too. Special mention to Darryl Way for his orchestral arrangements and David Palmer for fantastic violins.
It is impossible to think of any weak track on this album. Some became huge live favourites, including the rip roaring No Lullably, One Brown Mouse, and the title track itself.
As with most Tull albums, there are significant mood shifts here. No Lullaby is perhaps the closest the album comes to the blues roots of the band. Heavy Horses features perhaps the finest riff that Martin Barre ever came up with for the band, whilst Moths is such a beautiful and delicate ballad. I don't think I have ever heard Anderson sing so beautifully as he does on this track, and this story of the short life story of the moth is interspersed by some quite exquisite flute, acoustic guitar, and orchestral arrangements.
The mood can be very uplifting. "Smile your little smile, take some tea with me a little while" from One Brown Mouse. "Do you wonder if I really care for you?". I could reproduce all the lyrics, but, hopefully, you will see the playful, and loving, way in which Anderson creates his story and its characters. This also features some of the finest keyboard arrangements ever constructed by the band. Likewise, Weathercock. "Good morning, Weathercock, how did you fare last night?" cries Anderson, exemplifying the important relationship between the farmer and the elements, but not one that relies upon the modern forecast, but rather the rustic sense of the farmer in touch with the land he works. I find this a great way to close the (vinyl) release.
This is a band at the top of its game. A better story told than many a concept album, methinks.
The album that could almost, in the light of hindsight, be subtitled "A Farewell To Epics", because this was the last time that the band would ever try anything quite so lengthy or a concept piece, certainly with the sci fi fantasy that marked earlier epics. I take issue with those who declare that this album marked the end of Rush as a prog band. Maybe it was their last proggy album, for want of a better word, but they certainly, with subsequent releases, established themselves as one of the planet's leading progressive rock bands (and I do think there is a difference).
Of course, in 1978, we all lapped it up. Hemispheres is the direct sequel to Cygnus X-1 and has five distinct segments lasting an entire side of 18 plus minutes. Listening to it again now, there are some lovely sections, but dare I say it, I really don't think it has aged particularly well over the years, certainly not as much as its illustrious two predecessor albums. The story (which is so well known, I won't bother to repeat it here) is insensibly carried forward from the first part, and it all sounds very disjointed in a way that, for example, 2112 didn't. Sure, it features some massive riffs, excellent rhythm section work, and Geddy Lee in fine vocal fettle, but, somehow, it just doesn't hold together for me. The acoustic passages are by far the best in this.
Side two gave us a hint as to the future direction the band would take. Circumstances and The Trees are two shorter tracks, whilst La Villa Strangiato, whilst hefty in terms of length, offers us no lyrics and lets the music speak for itself.
Circumstances is a good rocking track, with excellent riffs. The Trees is a track I love and strikes me as actually being the true successor to the music in A Farewell To Kings. Lush and acoustic to begin, the main riff follows with the type of catchy main section for which they would continue with in the later releases. A great track, with prophetic lyrics as to the future of our world, and the Lifeson & Lee main feature riff packs in more of a punch in a mere couple of minutes than the title track did in its entirety. The final, instrumental, piece of music is a glorious exercise in symphonic rock and is the sound of a threesome entirely at ease with themselves and their craft. The theme of this would later be taken forward in XYZ, albeit in a shorter time frame (i.e., without the drum soloing). This is up there with that classic.
Reviews for this album range from the incredible to the damning, and it remains one of the progheads favourite Rush albums of all time. I'm in a minority when I say that I regard side two as being far better than side one. In fact, I suspect that the band, especially Peart, thought the same, because they had gone as far as they could with this phase of writing and recording. They then did what all the best bands do - they moved on and progressed to another level.
A good album that is great to revisit every now and again.
A Song For All Seasons was released in 1978 and is generally recognised as the last of the "Prog" albums released by Renaissance, although I personally find much merit in later albums. Not all "AOR" is bad.
Anyhow, that is for future reviews. This album, of course, contains the band's best-known piece of music in the wider world outside of progressive rock music fans, Northern Lights, which, deservedly, became a smash hit. It contains, in my opinion, everything that is good about this great band, the soaring lyrics of the beautiful Annie Haslam, intricate and detailed song writing, performed with panache. I fell in love with this track, and, as a result, with the band as a young 14-year-old. I remember taking the album home with me on the school bus, with "who the f**k are they?" ringing in my ear!
The remainder of the album is a glorious example of how the best Prog rock bands from this "classic period" began to reinvent their sound, approach to song writing, and musical commercial nous. Utilising the services of David Hentschel, he of Genesis fame, and the lovely orchestrations of The London Philharmonic Orchestra, the album still sounds wonderfully fresh and vibrant, and stands as a glorious buttress amongst much of the commercial new wave fodder of the day.
It is, in truth, symphonic folk Prog rock personified, only now, with the exception of two longer, "traditional" tracks, the wonderful Day Of The Dreamer, and the title track which closes proceedings, in a shorter form. This does not mean that any of the things which made this great band so vital are compromised. It merely made them more accessible, and that is never a bad thing to this reviewer's mind. The title track is one of the finest pieces of classical symphonic rock ever put to vinyl. Jon Camp's bass lines are simply to die for, and, at their best, as here, Renaissance most certainly gave Yes a serious run for their money in this sub-genre.
Of course, longstanding fans such as I will already have this album, and it is fair to say it still divides opinion. This review is rather directed to younger folk looking to see what they might enjoy whilst trawling through Prog Archives. If you want an immediately, beautifully performed, accessible introduction to the type of pastoral music that earned us lot the derogatory "bloody hippies" title in our schooldays, then look no further.
A joy to return to, four stars for this. An excellent addition to any serious progressive rock collection.
So, after Yes bombed critically with Tales..., who would be daft enough, certainly in the heady punk/new wave late 1970's, to issue a double LP consisting of a mere four tracks? In addition to this, basing the album around themes and including choral and orchestral arrangements? Surely, commercial, and creative suicide in those heady days?
Well, thankfully, no, but I think Oldfield really deserves to be commended for taking such a bold step, and, at times, parts of this album are right up there with his best works, and this certainly, in my opinion, compares very strongly with Ommadawn and Hergest Ridge.
There are some lush arrangements on this album, and the whole is really a symphonic piece for what was then the modern era. Maddy Prior and Oldfield's sister, Sally, lend weight in their guest appearances, and both are excellent.
However, it is to me the orchestral strings by David Bedford, the contribution by Queens College Girls Choir, and some exceptional flute work by Sebastian Bell and Terry Oldfield, that, mixed with the trademark Oldfield guitar and some lush keyboards, make this album such a pleasure to listen to.
Also, unlike Topographic Oceans, which I found hard work during parts of sides two & three, I never get tired of hearing this throughout its entire length. Like all great symphonic pieces, it holds the attention, during quiet and rockier phases. However, my only criticism of the album is that, as much as I love Oldfield's harder rock edges, the phase on side three is not really in keeping with the ambient feel of everything else on the album. It's still good, but somehow slightly out of place.
Oldfield also anticipates the popularisation of world music on this album by including African drums, a fair few years before such instrumentation was utilised more widely.
All in all, a very strong release and a very brave one considering the time in which it came out.
An excellent album from the instrumental master.
This is by no means a Yes classic, but I do also feel that it is a little underrated and unfairly vilified. There is still a great deal to enjoy on this album, made, of course, at a difficult time for many bands in the genre.
What doesn't help is the production, which is shocking and makes the band sound as if they are calling from a phone box in deepest Papua New Guinea. I also hate the album sleeve, and (sorry) the Americanisation of the title itself.
As I said, though, there is still a lot to enjoy on the album. When Anderson soars with See it All, See it All, 'till Tomorrow, accompanied by Howe's guitar, you remember just why you love the band in the first place.
I really like Don't Kill the Whale, and not just because of the ecological message which now seems somewhat ahead of its time. It's simply a catchy tune well executed.
Madrigal sees Wakeman on form with a pleasant accompaniment to a slightly throwaway Anderson lyric. Release, Release, though, is a mess, almost as if the band were, ill advisedly, trying to jump on the revolutionary punk bandwagon. It doesn't work at all, sounds dreadful, and is utterly misplaced.
Arriving UFO starts the second side off and is a particular obsession of Wakeman's. It is by no means a Yes classic, but I do like the Reach Out sequence at the end.
Circus of Heaven is, to me, the finest track on the album, even though it really is untypical of most of the band's output. I just love the concept of a little boy (Anderson's son contributed to the vocals and was probably no older than my son is now) seeing all the wonders of the universe, beautifully sung by Anderson, parading past him and then expressing disappointment that there was no candy floss, toffee apples, or clowns! Who said that Jon didn't have a sense of humour?
Onward I find to be a fine love song, very much enhanced by the brass element augmenting Squire's gentle and fluid bass line. It is also a great track live.
And so, to the last song, On the Silent Wings of Freedom, which is somewhat more in the vein of epic tracks of yore. The trouble is, though, it's a poor epic, far too messy and bitty to have a coherent whole around Squire's bass, Wakeman's somewhat lazy keyboards, and an understated vocal performance by Anderson.
This line up of the band disintegrated shortly after the resultant tour (when I saw them for the first time in the round), very upset and disillusioned with each other and the music business. Personally, the LP sounds to me as if they needed a break from each other, but I wish it hadn't taken quite so long for this line-up to come together again. However, the breakup did absolutely usher in a completely new era for the band, and one that would, eventually, augur in a completely new direction and success. That, however, is for another review!
The point at which many diehard fans gave up and turned away in disgust, with now Gabriel AND Hackett missing. The trouble for me is that I was a 14 year-old when this was released, I got it as soon as it was released, and Collins singing was my first introduction to the band, and I loved it.
Looking back over the years, and acknowledging the genius that came before this album, I am still of the opinion that it is a very good LP and I still enjoy putting it on now.
There are, if people care to listen, some great prog moments, and Down and Out starts it off very well. Rutherford really steps up to the plate replacing Hackett on lead guitars, as much as I regret his passing. The drum work is excellent, and Banks continues his by now trademark wall of sound keyboards from the previous LP.
I love Undertow, and it is particularly apt in the deep mid-winter here in the UK and elsewhere. I like the feeling of defiance and utterly no regret at what has passed in life before in these lyrics. Again, Collins drum work is superb, and the sound produced in the chorus is pure prog. I always rated Banks above all other keyboard players, including the maestro Wakeman himself, and he shines here with a magnificent crescendo of noise.
Yes, Ballad of Big is silly, but it is fun as well with a fantastic singalong chorus. I think Collins shines on this and the whole LP.
Snowbound is a rather throwaway track - nice but by no means essential. This was the start of a pattern of worryingly weak tracks which rather detracted from the excellence of all else.
For example - Burning Rope, a track which must be near the top ten of most Genesis tracks. Rutherford brings a rockier feel to the band's guitars and Banks moves his song along at a great pace. Again, Collins roars along with complex drum patterns and meaningful, soulful lyrics. This track continues the rather melancholic, wintry feel to the words...Yet only eagles seem to pass on through. It is also a rarity in that the track starts with the chorus. An outstanding piece of work which convinced me that this was a band worth sticking with. Just listen to Rutherford's guitar solo in the middle.
Deep in the Motherlode tells very well the story of loss of innocence in the great American gold rush and contains some brilliant keyboard & guitar interaction toward the end period. Many too Many is simply fantastic. Say it's all right Joe proved that Collins could, when pressed, tell as good a story as Gabriel and act it out on stage - you see and emphasise with the bum of the title. Scenes from a Nightdream is a fantastic commercial prog song, with poor little Nemo on a knife edge. All parents will emphasise with the darker elements of nightmares of children in this song.
The Lady Lies keeps the album chugging along at a brisk pace. And then we come to the heresy....yes, it's a hit single...Top of the Pops, Nationwide (well, I am getting on!) & etc. And do you know what, I really don't care. I've lost count of the number of fans who were introduced to the band by this track and then became hooked on “proper prog” as a result. Even if they didn't, it's an excellent pop song, well played, and utterly effective. Good on them.
The album has a fantastic feel, in spite of the melancholic nature of the lyrics. It is the sound of a band very determined to prove, stubbornly, that they would continue to survive. And, yes, there was still some great stuff to come.
Get over your prejudices - buy it - you'll enjoy it!
Gabriel does minimalistic, plus a bit of punk. This is an album which made quite a few jaws drop at the time of its release, mine included, but, perhaps, should be judged a little more fairly in retrospect.
There is some vintage Gabriel on the album, that much is sure. I love On The Air, which is brimming with energy and anger, set around the time when Gabriel was increasingly admired by the punk/new wave community because many found the character of Rael as one of their own. This vein, and certainly the anger, is continued on DIY. This is just about as far away from Genesis as it was possible for the man to get, and that, of course, was the whole point. Think of a Russian Doll. Gabriel with his debut, and this, was palpably attempting to keep opening the doll until he found his personal musical identity away from the symphonic genre that he had helped personify. Personally, I don't think he fully managed it, certainly not effectively, until the excellent third album.
There are hints of where Gabriel wanted to go. Mother Of Violence is a bittersweet track, dripping with forlorn love, set against a mere piano and acoustic guitar. It is a wonderful track, and one of my personal favourites. Exposure is a fascinating electronic experiment, and by and large is a successful one, although many Fripp fans will, I know, prefer his so called "definitive" version. Flotsam & Jetsam is similar in feel and intent, whilst I adore the final track, Home Sweet Home, with its exceptionally dark lyrics warning the world of the pratfalls of superstardom. In fact, this track can be seen as a definite metaphor for the album itself, and where Gabriel was at the time.
The album, though, is reduced from being an excellent one by two factors. Firstly, the whimsical nature of tracks such as A Wonderful Day In A One Way World and Animal Magic. They are not bad, as such, but feel so out of place musically for such a talented artist that they have throwaway screaming at you. In addition, I have always felt that Gabriel got caught up in the whole Fripp minimalist and "get away from prog" ethos, to the extent where the whole album feels painfully under produced. In fact, this, and the short timespan it took to create the work most certainly led to Gabriel eventually taking the other extreme in album production, that of taking donkey's years to come up with anything. To me, this is most evident in White Shadow, a supremely good piece of music, featuring some incredible synth work, which ends up sounding as if Gabriel and the band are shouting down the end of a phone across the Irish Sea.
Really, this album is a transitional one. It is notable for the extraordinary bass performance of Tony Levin, drums by Jerry Marotta, and programming by Larry Fast. These would gel perfectly on the successor.
A good album it is interesting to revisit occasionally, but by no means essential.
This effort from 1978 is sandwiched between my two favourite studio albums from the band, Rising & Down To Earth. It was made following the release of the incredible live opus, On Stage.
By the time the band convened, various fallouts with Blackmore left him, Dio, and Powell from Rising. It is a very sobering thought that only Blackmore has lived to tell the tale as at the time of this review.
This album has generated a mixed response over the years, and the best way to describe it is as a transition between the pomp symphonic rock of its predecessors and the new, more commercial, direction that Blackmore wanted to take the band.
There are some great rock anthems on this. The stomping title track is a toe tapping marvel, whilst Shed (Subtle) is one of the most misnamed tracks in history. There is nothing subtle about it at all, it's just a great rocker.
Probably the closest the band came to the sci fi, mystical fantasy so beloved by Dio and the hallmark of Rising, was Gates Of Babylon, and it is really a fantastic track, caning along at a huge pace.
However, my favourite track on this is the closer, the wonderful ballad Rainbow Eyes. This was covered by Blackmore's Night, and sung by Candice Night very well, on Secret Voyage in 2008, which featured a brand-new arrangement of the song. This one, though, is also lovely. Dio never sang so delicately, and you get the feeling that he is really writing and singing about the beloved band he would soon leave. It also features beautiful strings and woodwind arrangements and is one hell of a high for the two to part on.
Elsewhere, the album veers from very good to somewhat formulaic, and Sensitive To Light is probably the best example of the latter.
Not an essential album by any means, but it does still bring back some happy memories for me when this band could do absolutely no wrong to a teenage rock fan. The next one, though, would explode the band onto the wider world's radar.