ENTRANCE

Alright, this one certainly qualifies as one of the worst album covers in all of music history. A guy pissing on a tree in the woods isn't exactly the best way to advertise that you are a German based funk rock brass band trying to follow in the footsteps of American bands like Chicago and Blood, Sweat & Tears! EMERGENCY was formed by Czechoslovakian Hanus Berka in 1970 and consisted of others from the former Czechoslovakia, a German and an Englishman but after the lackluster response to the band's self-titled album EMERGENCY disbanded only to resurrect itself shortly thereafter with a completely new lineup.

Berka was back on sax and keyboards but also expanded his contributions to flute and mellotron on this sophomore album ENTRANCE. The rest of the new lineup in eluded Frank Diez (guitar), iøí Matousek (keyboards), John REdpath (drums, vocals), Curt Cress (drums) and the only other member from the debut to return, Otto Bezloja on bass. This lineup would also implode after the release of ENTRANCE leaving Berka to start with an entirely new band once again. Now that's determination! Given the new lineup it's not surprise that ENTRANCE took on a completely new vibe than its predecessor.

While still very much in the camp of an American brass rock sound based on funky blues rock, EMERGENCY's approach on ENTRANCE was much more varied. There is much more detail on piano rolls with some honky tonk and stride piano workouts. The brass instrumentation had been deemphasized to a mere saxophone presence which only supplements a call and response approach alternating with the vocals. Some solos do occur. It sounds like the trombone is still present at moments but no credits are giving so perhaps an unknown session musician provided a few parts here and there. There are also more parts dedicated to guitar solos and the jam band feel is much stronger than before. It feels like the band adopted the sound provided on the closing cover track of the debut album "Gimme Some Lovin" by The Spencer Davis Group. Diez is a much more accomplished guitarist than Newby from the debut.

Also since there are two percussionists on ENTRANCE, there is a stronger emphasis on doubling the drumming grooves and thus on its way to sounding a bit like Santana minus the Latin flavors. The occasional flute appearances bring a bit of Focus to mind. At this point EMERGENCY sounds like a hodgepodge of Focus, Santana, Traffic and a funky jazz-rock band and perhaps English jazz-rock bands like The Web. The compositions are generally better laid out than the straight forward debut and given the leap in progressive rock evolution in the previous two years seems fitting. There are more examples of individual instrumentations soloing during the extended jams afforded by the lengthy time lengths. Only five tracks on this one with all exceeding seven minutes.

There is also more attention paid to the dynamics with a starker contrast of slower and more upbeat tracks. Overall this one is a slight step up from the debut but considering it was released in 1972 a bit lackluster in comparison to other jazz-fusion pioneers of the era. The overall sound of ENTRANCE sounds like it should have been released in 1970 so clearly these guys were a bit behind the curve. Hardly essential but an interesting artifact from the vaults and i'm quite certain that what i call the "Look I'm Pissing On A Tree!" album will not be rediscovered as some sort of lost classic. Still though these guys could jam for sure and had they not been drowned out by dozens of more interesting bands may have actually scored some success!

An album of brass-enhanced pop jazz-rock music not unlike that of Blood Sweat and Tears: the band's lead singer John Redpath's voice is pretty much a dead ringer for that of David Clayton Thomas.

1. "Why Am I Doin' It" (7:50) built a bit more like CHICAGO's version of "I'm a Man" this one rocks, it rolls, and it blues- rocks, it even jazz-rocks a little. Nice Terry KATH/David CLAYTON THOMAS vocal from drummer John Redpath but the song does over-stay its welcome a bit despite saxophonist Hanus Berkas enthusiastic play. (13.25/15)

2. "Happiness" (7:00) piano-based blues rock that sounds very Southern USA like the Allman Brothers, Leon Russell, Dr. John, or even Van Morrison. (12.75/15)

3. "Journey" (7:30) a very-Sixties Bay area-sounding blues rocker built over a repeating three-chord piano arpeggi does ramp up for a bit in the third minute form some brass-rock before reverting to the original motif for some bluesy piano pounding. Nice recording engineering delivering clear tracks for each and every one of the instruments. Very solid. (13.5/15)

4. "Emergency Entrance" (11:20) opens with a nice weave of drums, percussion and bass before weird mosquito-like synth joins in with piano and rhythm guitar. Flute takes the next solo (I'm assuming that the mosquito-synth was intended as the first) with mostly-percussion backing. A bit like instrumental palette and sound beneath Van MORRISON's "Moondance"--or if it were extended into an instrumental jam. Organ, piano, saxophone (briefly), and electric guitar get the next solos, in that order--all of it pretty "raunchy" (though cleanly recorded). It's a nice song for displaying the capabilities of the band's individuals. The second movement of the song is pure blues--with saxes, low- end guitar, and organ takin' us into the Swamp. There is crescendos at in the tenth minute with some whole-band blasts and then some high-tailin' runnin' out for the final minute. (17.5/20)

5. "Killin' Time" (10:20) a two-part suite that starts out quite gently, even emotionally beautiful reminding me of some of NEKTAR's more tender moments. John Redpath's vocals are also very gentle--like BOZ SCAGGS on "Harbor Lights." But then the song jumps into a different gear, coming together for some more Southern Rock bordering on Chicago melodically. Here John's vocal is much more than something from an Allman Brothers or Blood, Sweat and Tears album. After a brief saxophone solo the song moves into its second phase: this one more organ-based and organ- dominated like something from an early Brian Auger or ROD ARGENT jam. Jiøí Matousek is a very talented organist! Sax takes the next solo--here reminding me of why I don't like this overgrown kazoo. I have to admit that overall this is a pretty cool song. (18.25/20)

Total time: 44:00

While I came here because of my deep dive into Jazz-Rock Fusion--something this album is NOT--I have to admit that I really enjoyed this experience. My several listens through Entrance has helped soften my rather dismissive "complex" against blues-rock.

B+/four stars; an excellent album of proggy/jazzy Blues-Rock music--one of the best of its kind that I've heard.