GEOFF PROUDLEY

— First review of this album —

There are many among us who consider Rick Wakeman's debut solo album, the Six Wives of Henry VIII to be a scintillating masterpiece and rightly so, as it showcased a massive young talent with a historical inspiration in showing off his amazing skills on a wide variety of keyboards. Each wife got an interpretation that clearly was in the Yes man's head and his flexible fingers did the rest. Nearly 50 years later, British artist Geoff Proudley decided to embark on a more focused interpretation of the first wife of Henry VIII, the rather interesting Katherine of Aragon. Spanning nearly an hour and a half, the 22 pieces on this remarkable release, packaged in a precious CD box with a massive booklet is surely a treasure I will enjoy for many years to come. For a lifelong amateur historian like me, how could I possibly resist? Her life story was a lengthy struggle against interminable difficulties, and one really needs to peruse the booklet while listening as the story unfolds, in order to truly appreciate the effort Geoff has done in putting into music all the events that befell her life. Just a little intro to get you interested: "Catalina" was born the daughter of The King and Queen of Spain; she was proposed at the age of 3 to the Prince of Wales but the latter died a few months after their wedding. While waiting to marry the headstrong Henry VIII, she was the first known female ambassador in European history. That is all the info I am offering; the rest of her life story is in your hands and eyes. Geoff demonstrates remarkable proficiency on grand piano throughout this release, but also infuses harpsichord, organ, choir mellotron, various synthesized instruments, lush orchestrations that painstakingly highlight the period of the 1500s, a time when the Renaissance and Baroque periods were at their peak. As per her tragic life, things start out relatively positively during the first half composed of 10 tracks and progressively (oops!) turn to a slowly building catastrophe as the remaining pieces divulge a darker tone.

The epic opening statement "Conquest" serves to set the tone from the get-go, heavily classical influenced bombast of the finest vintage. An elegant piano arises from the storied fields of Spain, hauntingly elaborate and passionate. As the cinematographic pace picks up in momentum, the orchestrations become resolute. Synths are used in a more classical sense eschewing zippy little solos for a more comprehensive feel, with occasional castanets, Hispanic suggestions of 'rios' and 'cordilleras', a soundtrack latitude that bodes well for the proceedings. On "Leaving Spain", the mood veers away from the previous Spanish feel, for the long maritime voyage will lead the princess to England to eventually marry the King. "The Crossing" evokes turbulent tempests, salty gales, whopping whitecaps, and the seemingly endless expanse of water and time (the track is fittingly the longest at 8 minutes!). The various instruments create an aquatic ambiance of hope and adventure that is quite enthralling. On a resonating track like "Alliance", the music leaps away from the Middle Ages into the light of artistic illumination, within highly palpable, mostly joyous, upbeat, and serene arrangements that describe the story and the era perfectly. The overtly Tudor feel merges into a more Spanish sentiment as the two powers join into a monarchic union. The sombre yet crushingly beautiful "Solace" is a sheer masterpiece, even Rick would applaud heartily. The tremendous harpsichord (a sadly underused instrument in prog) is once again, front and center on the colossal "Ambassador", a playful yet diplomatic excursion into the complexities of communication between friends and enemies alike. Pipe organ and echoing choir work on the bombastic overflow of "Coronation" infuses an image of grandeur, power, majesty (excuse the pun) at the ceremony of the crown being placed on the royal head. There is lot of euphoric amusement as well as exploding fireworks on the lively "A Prince for A King" which conjures images of torch-lit banquets, minstrels and troubadours clapping at all the fun, with many krummhorn, recorder and bassoon sounds that could easily suggest classic Gryphon.

The atmosphere veers into the predictable darker realms, with sombre synthesized orchestrations on "the Future Now Denied", a funeral for the infant Prince, which promptly segues into an extended church organ fluster that portends a hard road ahead, where her duty in defending the country showed her resolute bravery ("Queen Regent"). A little cheerful piano breather on the delicate "Mary", an heir of the wrong sex according to the King's wishes but nevertheless a surviving offspring is a sheer delight, as is its polar opposite, the doom-laden contemplation of "The Shrine", where a solitary praying figure outlines the desperation of another failure. The fierce brutality of knights in full armour, a lethal pointed lance held forcefully under arm, hurtling towards each other in some ensuing collision is expertly portrayed on the galloping cavalcade "The Joust". A sport the King fancied, but in his momentary lapse of reason, he almost gets his head splintered, albeit by accident. By the time the ominous instrumentations on "Dark Forces" meander through the speakers, it is clear that the regal relationship is veering towards a divorce and the presence of the fiery upstart Ann Boleyn becoming a worrisome affair. Katherine does not fold, defiant in the face of the inevitable and the music reflects the drama most effectively. With tracks like "The Legatine Court" and "The Inexorable Tide", the political manoeuvring reaches a frenzy of manipulation, pleading and pressure. What will be the outcome? The compositions reflect all these trials and tribulations with the right amount of agony and despair, the piano in particular reflecting an almost Kafka-esque injustice in its insistent tones. Her intense sorrowfulness is reflected on the weeping "On Why Has Thou Forsaken Me", as Geoff masters the ivories with incredible accuracy and sentiment. This is another breathtaking sliver of genius. The Queen was on her way out, to be replaced very soon, as she must face "Banishment in Exile", with all her dignity still intact. The colossal pipe organ on "Katherine the True Queen" bellows in utter resonance to the fight Katherine undertook to never falter in her commitment and remaining praiseworthy from both her people and historians alike. Cancer had ravaged her isolation even further, and in answer to the multitude of prayers that emanated from her courageous spirit, she even pardoned the King in her final and eloquent final letter to him. "Ascension" is a fitting, celestial finale.

While some might find 80 minutes a tad too demanding on their stressed patience, let me say that this was an absolute breeze, an epic narrative that allocated me the opportunity to sit down and listen, read the booklet intently and (I know its hard in todays world) IMAGINE the specifics of her life with my own thoughts, descriptions, colours, and particulars, a grandiose score providing my imagination with endless fuel and sustenance in daring to dream my own dreams, is what makes art such a vital panacea.

5 states of heaven

The name rang a tubular bell in my memory banks, as this keyboardist was part of a British band called Coltsfoot, releasing a duo of albums in 1988 and 1995, I must admit I did not give it a decent listen, as it sat in my to do bin for a while. As the purchase button was pressed on this 2021 offering, I was looking forward to discovering something pleasing, as Prog Rogue likes to take occasional risks, eschewing the research department completely. Well, the senses are, though still working overtime, sharply honed as this blew me sideways into a heavenly ditch of musical delight. A one-man show, armed with a variety of synths, piano and programming, an all-instrumental affair of the heart, as the 12 tracks rip along with pace and atmosphere.

"Opening Moves" is a sizzling, head-on down the highway engine revving turbo charged electronic opener that has the gall and audacity to then, suddenly stop on the side of the sonic road and reduce the throttle down to the most gorgeous piano sequence anyone could hope for, a moment of uncanny genius. On the pulsating "Return to Skara Brae "(a rather stunning prehistoric village in the Orkneys with ruins from eight houses, circa 3000BC), the piano, synthesizers and drum programming merge into a time travel soundscape that seek to emulate the remnants of a time and place that almost predates history. The theme is both tortuous and complex, much like the cool environment it depicts. This segues nicely into the lavish "The Grand Entrance", a piano/synth feast of the finest order, with insistent rhythms, atop which the thunder and lightning synths usher in a harder sequence that verges on symphonic metal. This is extraordinarily thorough, energetic, and clever. The eloquence shown on "Brittle Star", albeit brief, is beauty incarnate, the emotional restraint that is delivered verges on the dramatic. This sets up the epic, 11-minute colossus "One Way In But No Way Out", stamping outright prog credentials, as Geoff constructs an aural edifice with painstaking diligence, the rhythmic jungle beat shoving along more power chords, choir strings, and adding the sudden arrival of a pocket of cosmic serenity that suggests a sense of voyage and journey into the unknown, slowly revving up into a careening cavalcade of sound and fury. This effusive track will enter my legendary list of all-time epic compositions, as the pace is awe-inspiring to the point of sonic hypnosis. I caught myself giggling nervously throughout as I was grooving to the delirious electronic vibrations, a clear sign of utter respect. The glorious theme played on the piano on "Until the Darkness Leaves You" rings completely familiar, flush with dramatic overtones, rivulets of hues and contrast, filigrees, and shadows, attesting that Geoff could (and does, according to his bio) contribute to amazing scores for video productions of all kinds, including cinema. Music for the mind, and medicine for the soul. The astute usage of mellotron-like strings and choir add enormous depth to the arrangements, as best showcased on the turbulent tempest intro that is "Open Hand (Danza Della Vita)", where the slithering viper organ makes its appearance, bruising and rampaging as it mates with a slick synthesizer motif that dances with a sultry outpouring of passion and atmosphere. In total opposition, "Do You Dream like This?" wanders in a sheath of volatile redolence, drops of tear-like electric piano notes echoing in apparent supplication, adorned with flashes of synthesizer streaks to keep the dream-like sequence alive. The title speaks for itself, "Fuse" is a lit firecracker that sends phosphorous strands into the heavens, an ideal soundtrack for a fireworks display, remindful of Italian electronic pioneers Sensations' Fix "Music is painting in the air", a title that was dedicated to none other than Robert Fripp, back in 1974. Gracefully explosive and highly cinematographic. The title track is bopping piece that delivers a simple, almost blues-like, and insistent piano pattern, on which the orchestrations bloom into startling domains, as if the earth collides with the heavens. Flickers of synthesized twirls adorn the onward delivery with gusto. 'Cuckoo to you' goodbye salute, so I guess I know what I like in my wardrobe. More fragrant e-piano excursions on the swirling tornado that is "There's Many a Slip, twixt Cup", a bold, heavy fusion, electro-jazz maelstrom that has all the raw ingredients to be a killer track on any set-list. Geoff has the imagination to weld together so many differing styles, all well within his rather tight prog parameters. "Overclocking" perhaps offers a wink to the previous cuckoo, but it is a fitting finale of untamed synth Immelmann loops, swirly-twirly, topsy-turvy snarls of electronic figurines, Swiss time running wild, a suitably fizzy cocktail of genius.

One of my all-time favourite electronic one-man show albums is Geoff Downes' New Dance Orchestra -The Light Program released back in 1987. This may be the perfect companion as it is an astonishing affair from those "Opening Moves" and all the way up to "Overclocking". Sixty One punchy minutes of stimulating bliss.

5 Uncommon Trip Narratives

Encouraging music Geoff launches. This opus "Tales From Strange Travels" was released as a British multi- instrumentalist / storyteller Geoff PROUDLEY in 2021. It looks like he recorded and produced material in the pandemic ... we can easily guess he has made up his mind to create his full-length poetry in such a serious manner. His vibes are filled with enthusiastic keyboard plays, fascinating melodic lines, and catchy hearty movements. Every synthesizer fan can be interested and satisfied in his musical visions, methinks.

The prologue "Opening Moves" sounds fantastically fresh and vivacious, like a glass of young, cool, fruity wine. In the former part, his swift and powerful keyboard works completely squeeze vigorous energy for the audience. Not so complicated but multilateral approaches via his keyboards are delicious and satisfying. The latter melody lines are quite soft and smooth. Such a mystic landscape is followed by "The Grand Entrar" featuring Geoff's authentic classical keyboard theatre. But we cannot only be immersed in this fading beauty. A metallic rockstorm comes after the calmness, and we also get absorbed in his diverse music therapy. One of my favourite tracks is "Brittle Star" consisting of his dramatic keyboard works along with complex, slightly tragic melodies and atmospheres. The short psychic agent would be prescribed for us under such a tough situation all over the world. Of course, it sounds like he would shout that we do never give up in "One Way In But No Way Out" full of spacey, another-dimensional sound power. Indeed it's crazy difficult for us all (no way out currently) but good energy should heal us. Let me say it may be time now you keep and stock full of energy "Until The Darkness Leaves You", a sensitive but dynamic music provision..

"Open Hand (Danza Della Vita)" is another quirkiness. Drastic synthesizer-oriented calls pop up immediately. On the contrary, delightful but a bit pessimistic psychedelia can be heard through the following stage "Do You Dream Like This?" kinda colourful relaxing stuff really. The titled track reminds us of the similar vein to 70-80s British Progressive Rock Scene like King Crimson or Alan Parsons. Melodically mysterious dissonance sounds quite comfortable. Tight rhythmic structure is supremely cool. This spirit can be touched in the following one "There's Many A Slip 'Twixt Cup And Lip" pretty solidified, clarified one. In the epilogue "Overclocking" we can find complicated but brilliant edgy keyboard techniques launched by Geoff. The last run is rough and tough but the audience should be suggested to run through the bright light in the near future, he would stress?

In conclusion, not so novel nor innovative his soundscape is, but we will get surprised and amazed that the one-man project created such an elegant, refined album. Geoff, you are great. :)