FAR EAST FAMILY BAND is one of the pioneering prog bands to emerge out of Japan. Several musicians who later made careers of themselves by releasing New Age albums in the 1980s were members of this band. They were Fumio Miya[&*!#]a, Akira Ito, and most of all, Masanori Takahashi, which most of you don't know by that name, but by the name of Kitaro. Other band members included guitarist Hirohito Fukushima, bassist Akira Fukakusa, and drummer Shizuo Takasaki. Fumio Miya[&*!#]a was previously with a band called FAR OUT (which many just simply regard as another FEFB album, even if only Fumio Miya[&*!#]a was the only person in common with both bands). Now, if you're expecting the music of FAR EAST FAMILY BAND to be more cheesy New Age, throw that thought at the window. FAR EAST FAMILY BAND is pretty much to KITARO what VANGELIS was to APHRODITE'S CHILD, that is, these bands music are much more rock oriented than the careers these keyboardists later pursued in the 1970s and '80s. "Nipponjin", with the subtitle of Join Our Mental Phase Sound is the second album from FAR EAST FAMILY BAND. Basically these songs are remakes of stuff from "The Cave - Down to the Earth" and the FAR OUT album. The album starts off with the title track, which sounds exactly like the original, but with added on synthesizers and Mellotron (and if you ever heard the FAR OUT original, you'll noticed how effective that song is without the synths and Mellotron). The music starts of with spacy electronic effects, synthesizers, and electric sitar. Mellotron is used as well, then the music kicks in to a wonderful ballad, with drug oriented lyrics. After a few minutes, the ballad is over, and kicks in to a wonderful guitar jam. After a couple minutes, the music slows down once again, with the electric sitar once again. Then the song ends with chanting in "Om", with some chanting in Japanese as well. The next song, "The Cave" is more the style of FAR EAST FAMILY BAND. Most of the music is sung in English, but the more intense passage has Fumio Miya[&*!#]a singing in Japanese. "Undiscovered Northern Land" sounds like something Klaus SCHULZE might do, with the big exception of the Mellotron and bamboo flute (SCHULZE did produce the album, but did not play on it, and the album was recorded in Japan). "Timeless" is one of the more rocking numbers on this album. "The God of Water" is simply an ambient piece, that segues in to the ballad "River of Soul". Several more pieces segue in to each other, before the final piece, "Mystery of Northern Space". First few listens, I hated this piece, but it started to grow on me. It is more dramatic than the rest, and it also has some strings. But in light of that, I'm glad to say it's nowhere as bad as that wretched "Four Minds" off The Cave: Down to the Earth. Although an excellent album, and this pretty much demonstrates what FAR EAST FAMILY BAND is about, their following album, "Parallel World" blows "Nipponjin" (and everything else they did) out of the water, still "Nipponjin" is recommended. - Review by Proghead (Ben Miler)Track Listings
Side 1:
1. Nipponjin (16:51)
2. The Cave (8:37)
Side 2:
3. Undiscovered Northern Land (2:54)
4. Timeless (4:26)
5. The God of Water (2:06)
6. River of Soul (8:28)
7. The God of Wind (2:33)
8. Movin' Lookin' (1:39)
9. Yamato (0:48)
10. Mystery of Northern Space (5:57)
Total Time: 54:19
Line-up/Musicians
- Fumio Miyashita / guitar, keyboards, vocals
- Akira Ito / keyboards
- Masanori Takahashi (Kitaro) / keyboards, percussion
- Hirohito Fukushima / guitar, vocals
- Akira Fukakusa / bass
- Shizuo Takasaki / drums
Releases information
Lps-Vertigo-6370 850-Germany-1975
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When I discovered Atmosphera, I was happy with the opportunity to hear a progressive rock band from a different country (Israel). But after reading the comments made by the other prog fans I saw that Atmosphera is considered another Yes clone. This is not a bad thing, because every band that sounds like 70's Yes is good, but it is a lost opportunity of hearing to new kind of music because it doesn't incorporate different cultural influences. By the way, a good symphonic prog band inspired in Yes music is alone an opportunity to listen to good prog and that's why I got their music. Well, just listening to the music to know if the band is just another Yes clone or not, so lets go to the music.The first song, the eponymous song, is a good symphonic rock song, with superb keyboard work (piano, synthesizer) influenced by Wakeman, though the keyboard lines are more like in Relayer. The drum work is very good, the bass reminds me Squire and the vocals are very good, but sound like Anderson. So this is pure Yes. But the music is pretty good, with long instrumental interludes that are very creative and skillfully played. Mainly the keyboard work is superb and there is no excess in this 16-minute song. The guitar has some Howe influences and the guitarist make some very fast solos that are not much Yes.
The next song is another 16-minute song, Cuckoo (Love's Labour Lost), that starts with a great intro, with superb guitar, bass, keyboards and drums. The sung parts are not much far from the Yes style, but the instrumental parts sound different from what Yes have done. The guitar solos are stunning and the drumming is superb. The keyboard solos are very good also, including nice piano and synthesizer. This song has many more variations than its predecessor and it is better in my opinion.
Tomorrow is another superb symphonic prog song with great instrumental introduction. The song is almost instrumental with very different parts and the progressive sound is different from the other songs, with superb guitar and keyboard melodies and solos. It is the best song of the album and it is totally fresh, without strong hooks to the sound of other bands, showing their creative potential at that time..
The last original song is Love is Waiting for a Lover, which has a different lead singer and the song is a bit different in sound than its predecessors, not being very close to Yes sound too, but for some few parts. There is an interesting synthesizer-lead instrumental interlude in the song. It remembers a little late Led Zeppelin because of the guitar and vocals.
The rest is alternative versions and but for Catharsis, that is a kind of RIO experiment of the band and pretty interesting, the other songs doesn't have much impact in the overall album.
So it is not much an Yes clone, though the sound is somewhat very Yes inspired and the music is very good, without fillers. They have excellent musicianship and good writing skills. Unfortunately they didn't have support and the band disbanded before they could do more things. Essential Symphonic Prog. - Review by akin (Fernando Raffani)
Track Listings
DISC 1 (68:20)
1. Lady of Shalott (16:24)
2. Cuckoo (Love's Labour's Lost) (16:47)
3. Tomorrow (10:47)
4. Love Is waiting for a Lover (7:58)
5. Cuckoo - Alternate Version (16:25)
DISC 2 (73:42)
1. VCD (video-cd) Track (20:47)
a) Lady of Shalott (Videoclip) (1977)
b) Me El-ma
c) MIO Catalog
2. Announcement (Shaul Grossberg, Bet Lessin) (0:36)
3. Tomorrow - Live at Beit Lessin (11:00)
4. Lady of Shalott - Live at Galei-Tzahal (12:41)
5. Catharsis (Istopy) (7:46)
6. Nightmare (Me El-Ma) (6:31)
7. Toridtagitar (Me El-Ma) (5:22)
8. The Children Dance (Me El-Ma) (8:59)
Total Time: 142:02
Line-up/Musicians
- Efrayim Barak / vocals
- Moti Fonseka /guitar
- Alon Nadel / bass
- Yuval Rivlin / keyboards
- Ami Lipner (later re-named himself to Mi El-Ma) / drums
Releases information
1977 Nana Disc / 2002 MIO Records
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Captain Beefheart and The Magic Band - Doc At The Radar Station (1980)
1 Audições Postado por CesinhaBiker às 05:21
I had just two albums with Captain Beefheart on it in the LP (vinyl) era: Zappa’s Bongo Fury, which he guested on and Doc At The Radar Station. Trout Mask Replica was the first CB CD. That one I really can’t recommend. I picked it up on the strength of it being one of his better known releases, but I just didn’t care for it even though I do have a taste for weirdness in music. I think because of that I have been hesitant to add any more of his albums to my collection.I had no hesitation to adding Doc though. If you can call a CB album accessible, this one is more so for me than Trout. For what it’s worth Henry Kaiser covered three CB songs on his album of cover tunes, Those Who Know History Are Doomed To Repeat It, and two tracks were from Doc.
Doc has one of the funniest song titles I’ve ever heard: Making Love to a Vampire With a Monkey on My Knee. Amidst all the weirdness, there is actually a straightforward beautiful instrumental: A Carrot Is as Close as a Rabbit Gets to a Diamond. Most of this album is just plain weird though. If you don’t like strange music on occasion, you might be better off passing the Captain by. - Review by Slartibartfast (Brian S. Lindsey)
Track Listings
1. Hot Head (3:23)
2. Ashtray Heart (3:25)
3. A Carrot Is as Close as a Rabbit Gets to a Diamond (1:38)
4. Run Paint Run Run (3:40)
5. Sue Egypt (2:57)
6. Brickbats (2:40)
7. Dirty Blue Gene (3:51)
8. Best Batch Yet (5:02)
9. Telephone (1:31)
10. Flavor Bud Living (1:00)
11. Sheriff of Hong Kong (6:34)
12. Making Love to a Vampire With a Monkey on My Knee (3:11)
Total Time: 38:52
Line-up/Musicians
- Don Van Vliet (Captain Beefheart) / vocals, harmonica, Tenor saxophone, Soprano saxophone, bass clarinet
- Eric Drew Feldman / bass guitar, synthesizer, mellotron, grand piano, electric piano
- Bruce Fowler / trombone
- John French / guitar, slide guitar, marimba, bass guitar, some drums
- Robert Williams / drums, percussion
- Jeff Moris Tepper / guitar, slide-guitar, nerve guitar
Guest:
- Gary Lucas / guitar, French horn
Releases information
LP Virgin 13148 (1980) / CD EMI 787136 (2001)
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One of the legendary rare album from this band (hailing from Aachen next to Belgium and The Netherlands), this was released as a private pressing and an original pressing goes for fortunes. This high cost is probably not increasing of late as the re-formed group has made a new pressing of both the vinyl and the CD. This group is one of the German groups I have been aware early in my life as they passed to Bilzen festival in the early 70’s, and although too young to attend at the time, I managed to remember their weird name. Much later in the 70’s I was able to “score” a used copy of this album (with a different artwork than the famous toilet cover), which held cult status in my eyes, because I loved their rough and raw sound.RZ is often unjustly compared to Jethro Tull because of the presence of a flauter (but this one is not mad does not sing and speaks perfect French), but not only is this reductive but also incorrect: sure there are similarities but RZ is much more bluesish and jazzy, have a tendency to expand instrumentally much more than Tull would. If any comparison to Tull should be made, it would be towards a much proggier version of Tull’s debut Time Was and a sort of progressive garage rock.
Two short tracks and two 7-min+ monsters make-up the first side of the album and Knight of The Third Degree is an excellent acoustic laced Gershwin-type of jazzy tune. Very happy and aerial, this music is made for good mood and loaded with positive vibes. The two shorter tracks (which came as the A and B-side of a single) are quite superb also. Freitag (Friday) could not be anything else than joyful too, and just like a Friday night on the town is raw, live, naughty and bluesy fun. Must be said that guitarist Gunter Krause’s vocals are not a highlight of RZ’s overall sound, but it is not a problem either: just apt and adequate.
The second side of the album is occupied by their “piece de résistance”, a lenghty mostly instrumental track built upon Gershwin’s (him again) Summertime theme, which was also the high point of their concerts. Unfortunately, the studio version could’ve done without the lenghty drum solo (heard worse than this particular one, but I always thought of drum solos on studio and live albums as useless), but the rest of the track is a great showcase (with some almost jam-like lengths) for the whole group’s instrumental prowess. At times, the positive vibes are making the listener exhilarating, basking in a cloudless sky of happiness.
The Cd version is now coming with six bonus live tracks from their farewell concert: the sound is just bootleg adequate (no more), and their live sound was slightly harder and bluesier and except for the odd track are not much added value. I would’ve rather seen them released as a separate album with the bonus track on their following Phallobst album.
Hardly essential to the prog rock history, RZ’s two albums are both recommended to fans of early 70’s prototype of prog rock. A good sound moment of good vibes, happiness and hippy idealism. - Review by Sean Trane (Hugues Chantraine)
Track Listings
1. Walpurgisnacht (3:00)
2. Knight Of 3rd Degree (7:32)
3. Spanferkel (2:20)
4. Freitag (7:14)
5. Weiß der Teufel (17:09)
Total Time: 37:15
CD bonus tracks Farewell! Live Aachen 1972 Part 1
6. 900 Miles
7. I Put A Spell On You
8. See See Rider
9. Avalon Suite
10. Summertime
11. Prickel Pit
Line-up/Musicians
- Klaus Gülden / flute
- Helmut Lieblang / bass
- Günter Krause / guitar
- Udo Dahmen / drums
Releases information
LP: LW 1035 RPI
CD: Long Hair Record 029
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Van Der Graaf Generator - The Aerosol Grey Machine (1969)
0 Audições Postado por CesinhaBiker às 04:59
'The Aerosol Grey Machine' was initially planned as the first Peter Hammill solo-record, but was finally released under the group name 'Van Der Graaf Generator', a device for producing high electrostatic potentials up to 15 million volt and quite a good name for such an energy loaden band. Now, VDGG owns as much to Byron, Shelley, Keats and E.A.Poe as to Chuck Berry. Peter Hammill is like Bob Dylan in the first place a poet, who composes music for his poems, supported by a great band . Hammiill has an expressive vocal range (from lamantations to cries and whispers) and on 'The Aerosol Grey Machine' one can already find the major elements of VDGG's music : Hammills expressive vocal style and poetry, Banton's classical inspired keyboard playing and Guy Evans' subtile drumming. The first five tracks (four songs) have a similar structure, the instruments enter one after the other (first the guitar, [on 'Afterwards' organ] than the bass, the piano or organ, Evans enters on drums establishes a medium tempo groove and Hammill starts singing , with small variations throughout the track. It is already typical VDGG, but the dynamic of the later records is still missing. The most interesting track of the four is 'Into a Game', the song starts the same way as the others, but in the middle there is an instrumental break starting with bass and drums joined by Banton, who delivers a nice piano solo and then Hammill joins and sings ad-libitum "into a game.." over the groove, until the track fades. 'Aerosol Grey Machine' is a funny publicity spot followed by a short instrumental 'Black Smoke Yen', where Evans establishes an interesting drum pattern joined by the bass and another piano solo by Banton. Now comes the best part: 'Aquarian' is a fantastic Prog-Pop-Song! It is the only track on the record (a part from the Bonus tracks) that follows a classical song structure with verse & chorus. [with the band joining on vocals for the chorus]. It starts with a great groove by Evans heavily phased drums and a pumping bass line joined by Hammill's vocals, a great chorus and a final organ frenzy.'Necromancer' is a nice stop and go rocker and 'Octopus' a heavy rocker with a ostinato bass line, organ washes and a nice organ solo in the second half, reminding Jon Lord. The record misses the dynamic tension of the later records, but is nevertheless a great record. - Review by Alucard (Martin Horst)Track Listings
1. Afterwards (4:58)
2. Orthenthian St. (Part I) (2:23)
3. Orthenthian St. (Part II) (3:53)
4. Running Back (6:32)
5. Into a Game (5:56)
6. Aerosol Grey Machine (0:56)
7. Black Smoke Yen (1:18)
8. Aquarian (8:27)
9. Necromancer (3:30)
10. Octopus (7:41)
11. Giant Squid* (3:19)
12. Ferret & Featherbird** (4:34)
13. People You Were Going To*** (2:44)
14. Firebrand*** (4:08)
Total Time: 60:20
*USA Mercury LP release included
no 11 in place of no 09
** The FIE! Records CD release includes no 9 and 11 with one Extra No 12
*** The Repertoire CD misses no 11, but contains no 13 and no 14 as additional tracks these 2 songs were first published in 1968 as a single.
Line-up/Musicians
- Hugh Banton / piano, organ, backing vocals
- Keith Ellis / bass, backing vocals
- Guy Evans / drums, percussion
- Peter Hammill / lead vocals, acoustic guitar
- Jeff Peach / flute
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Opus Avantra - Lord Cromwell Plays Suite For Seven Vices (1975)
0 Audições Postado por CesinhaBiker às 04:56
Whereas "Intrespezione" opened in a stark and challenging way, "Lord Cromwell..." chooses to unfold in a serenely, stately manner with a neo-classical arrangement for piano, flute and... well, timpani. This should send up a warning flag but happily the song morphs into rock and cycles through several different textures before its melodic and pleasing conclusion in a fairly EL&P or Le Orme-like way. No "sophomore album" problem for Opus Avantra, then.This one appears to be a concept album as the song titles gel with that of the record. I'm not versed in italian so I can't tell you how lyrically deep this delves but I can confirm that each of the tracks synonymous with one of the sins sounds rather like its sinner, ie, "Avarice" sounds like the soundtrack for the life of a mercenary man with a great desire for power and "Envy" is a challenging, staggering piece that cleverly expresses inner bitterness and rage.
This one is twice as rocky as their previous endeavour and a better starting point for the more orthodox prog-heads among us. - Review by laplace (Hyphen Abuse)
Track Listings
1. Flowers on Pride (5:29)
2. Avarice (5:26)
3. Lust (3:53)
4. My Vice (1:59)
5. Ira (7:52)
6. Gluttony (3:05)
7. Envy (5:44)
8. Sloth (4:32)
9. Allemanda (3:03)
Total Time: 41:03
Line-up/Musicians
- Alfredo Tisotto / Steinway and Fender piano, Hammond, synthesizer and Pipe organ
- Luciano Travella / flute
- Renato Zanella / Fender guitar
- Enrico Professione / violin
- Pieregidio Spiller / violin
- Riccardo Perraro / cello
- Paulo Siani / percussion, drums
- Gina Bianco, Susan Worshap, Cindy Brasher, Carl Adams / vocals
- American Chorus Setaf
Releases information
Suono (SRLP 1002)
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A personal favourite album of mine from the era, from one of the most obscure bands but also, despite making only two albums, one of the best bands too. This incredible debut is testimony to that. Marsupilami were, as far as I'm aware, a group of British ex-pats who resided in the Netherlands. They had the honour of being the first prog band on Transatlantic, and along with Gryphon, one of only two prog bands- Transatlantic was one of the best folk labels of all time, featuring the wonderful Bert Jansch, Pentangle, Mr Fox and many others- including a pre-fame Mike Oldfield in Sallyangie with his sister Sally. They have a very distinctive sound that cannot be compared to anyone else.'Dorian Deep' sets the tone of the album- a wonderfully operatic opus with lots of dramatic vocals, much spacey organ accompaniment and lots of jazzy guitar- the band get pretty heavy too, with some furious drumming and thunderous bass playing. Terrific stuff. 'Born To Be Free' starts out with a bluesy feel, with some neat guitar flourishes and great organ accompaniment, plus ominous and bleak vocals. This track then speeds up into a very uptempo jazz rock interlude with terrific solos on guitar. 'And The Eagle Chased To The Dove To Its Ruin' was the first track I heard of the band, and sold the album to me right there; it was one of the most mindblowing musical experiences I had ever had in my life. It starts out very doomy, with some unusual chord changes on guitar and organ, with funereal vocals, which turn into some pseudo poetic rambling. The bass playing propels this track into a fast and stupendous prog masterpiece- operatic caterwauling, lovely flute playing, great organ fills and Steve Howe-esque guitar runs. It then slows down into a more tranquil part, until going into a flute tour-de-force with some of the most amazing vocals you'll ever hear, and lots of heavy guitars. This then reverts to the main theme, before coming to a sudden holt. Truly astonishing. What's it about? Lord knows- but it sounds AMAZING. 'Ab Initio Ad Finem (The Opera)' is an extremely dramatic instrumental, with lots of complex solos on guitar and organ- really great stuff. 'Facilis Descencus Averni' has some more incredible vocals and wild flute, guitar and organ playing- with some crazy evil cackles for good measure. Again- terrific stuff, and truly shows high drama at its peak.
So there- one of the most bombastic prog albums ever made, and consequently one of the better hidden treasures, being a particular favourite of mine. Deserves a place in any prog fan's collection. - Review by salmacis (James Jeffery)
Track Listings
1. Dorian Deep (7:40)
2. Born To Be Free (5:45)
3. And The Eagle Chased The Dove To Its Ruin (6:38)
4. Ab Initio Ad Finem (The Opera) (10:54)
5. Facilis Descencus Averni (9:37)
Line-up/Musicians
- Mike Fouracre / percussion
- Fred Hasson / vocals, harmonica, bongos
- Leary Hasson / organ
- Richard Hicks / bass
- Dave Laverock / acoustic and bowed guitars, vocals
- Jessica Stanley-Clarke / flute, vocals
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Very good and original brazillian prog-band!!! Their first and unique album is from 1976, but recorded in 1998. I found this piece in Florianópolis/Brazil (where I live) in an old book and CD store by 4 reais (a little more than 1 dollar)!!! What a luck!!! The first song is an instrumental beautiful work. It begins with Benchimol’s flute, strong sounds and wonderful harmony. “Insanidade” (insanity) is singing by Márcia, talking about dream/reality human reflexions. “Ninfa Azul” (Blue Nymph) evidently refers to old myth with Benchimol’s voice. More than 11 minutes of rock, blues, space rock… in a word: a real progressive rock! One more female vocal: “Novas Forças” (New forces), and the final one: “Mundo Guerreiro” (Warrior world): female and male vocals, debating in a background flute, saxophone and mellotron. Very recommended to symphonic prog-rocks fans! I’m waiting for a second album… Four stars. Five goes only to classics like Genesis, Yes and Elp. By the way, Benchimol has a solo career. If you have interest, there are three songs to free download on http://www.rockprogressivo.com.br. Enjoy!!! - Review by Prog-Brazil (Flávio M. de O. Zimmermann)Track Listings
1. Semente (6:49)
2. Insanidade (6:31)
3. Ninfa Azul (11:39)
4. Novas Forças (8:14)
5. Mundo Guerreiro (8:35)
Tptal Time: 41:48
Line-up/Musicians
- Sergio Benchimol / bass, guitar solo, violao de aco e 12 cordas, traverse flute, sax tenor, piano, mellotron, vocals
- Alexandre Kosinski / guitar solo, violao cigano
- Pedro Kosinski / baixo, piano, orgao, mellotron, moog, vocals
- Mario Carvalho / drums, vocals
- Marcia Kosinski / vocals
Releases information
Self production
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Band with Castro brothers and Júlio Pereira (who released the albums later: Bota fora - 1975 and Fernandinho vai ao vinho - 1976). Generally, they are considered symphonic prog. However, this album is Art Rock to me. I will say why. Mestre (Lord) is a three stars album in prog terms (Good, but non-essential), because it don't have long solos nor long symphonic pieces. It's a good album with short songs speaking about the political context in Portugal. So you have to know the historic context in that time in Portugal before listen this album, specially if you don't understand portuguese language. Because the lyrics, this album was forbidden by three months by portuguese censorship comission. In fact, the lyrics are very critical and good. And about the style of songs? They are various. The first song, Mestre, begins like: "Lord, nothing new under the sun, nothing just under the skies..." This song clearly is from people from exile. They have also some rock and jazz directed songs: S.A.R.L. (3:19), Velho Avarento (1:26), Pátria amada (4:02), Macaco (1:50). These last two songs remember that old jazz with clarinete from Louis Armstrong and Scott Joplin. País Relativo (4:40), História do azul do mar (2:49), Tiahuanaco (5:53) and Mestre (5:41) are more progressive tracks, with change of styles and some guitar solos. Porque (2:13), Pasárgada (3:28), Só mais nada (0:43) are more soft with keyboards. This last one closes the album singing: "It's maybe the last day of my life..." So if you like protest songs, but with very intelligent poetry and good music, remember Mestre by Petrus Castrus. - Review by Prog-Brazil (Flávio M. de O. Zimmermann)Track Listings
Side 1:
1. Mestre
2. Pátria amada
3. Porque
4. País Relativo
5. Macaco
Side 2:
1. S.A.R.L.
2. Pasárgada
3. Velho Avarento
4. Tiahuanaco
5. História do azul do mar
6. Só mais nada
No track or album length available
Line-up/Musicians
- Pedro Castro / Bass
- José Castro / Keyboards, Vocals
- Rui Reis / Piano, Organ
- Júlio Pereira / Guitars
- João Seixas / Drums
- José Mário / Xylophone
Releases information
LP / Sassetti. 1973
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It is always a rare treat when gifted artists come together for a project, and this collaboration between two of rocks' most influential guitarists fulfills that promise and creates just the right blend of rhythmic mastery with atmospheric minimalism. Robert Fripp and Andy Summers guise the music in neutral colors and subdued garb without losing intensity on 'I Advance Masked', a true partnership wherein both players contributed equally, each only adding something to a moment of music if necessary. The result is an unselfish record of constant forward movement and sonic wonders, especially for 1982.The driving title track sets the pace and we're off on a special trip. 'In the Cloud Forest' slows things with warbles, quavers, the chimes of Summers and piercing round notes of Fripp. Though vaguely reminiscent of both 1980s King Crimson and the Police, 'I Advance Masked' is an animal all its own, never imitating or taking from the two men's other bands. 'New Marimba' pulses and 'Girl on a Swing' is a nice respite with gentle chord washes and a beautiful solo from Fripp. 'Hardy Country' refreshes the tempo and the adventures in modulation that are such a part of this session. 'The Truth of Skies' moves into darker realms, 'Painting and Dance' teases with mathematic counterpoint and 'Still Point' thrills with an urgent rhythm and great lead.
A challenging record from start to finish, it can be both carefully listened to or relegated to 'background' music and still satisfy both needs. Very pleasing and a great stater for 'texture-rock'. - Review by Atavachron (David)
Track Listings
1. I Advance Masked (5:12)
2. Under Bridges of Silence (1:42)
3. China - Yellow Leader (7:09)
4. In The Cloud Forest (2:30)
5. New Marimba (3:38)
6. Girl On A Swing (2:04)
7. Hardy Country (3:02)
8. The Truth of Skies (2:06)
9. Painting and Dance (3:25)
10. Still Point (3:07)
11. Lakeland / Aquarelle (1:43)
12. Seven On Seven (1:37)
13. Stultified (1:28)
Total Time 78:12
Line-up/Musicians
- Robert Fripp & Andy Summers / electric guitars, Roland & Moog synthesizers, various percussion
Releases information
A&M 75021 4913 2 UK 1982
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