NICE [AKA: EVERYTHING AS NICE AS MOTHER MAKES IT]

Finally getting to this, I think I'm a tad surprised to see how low/middling the ratings are for The Nice's output. Similarly, it's interesting seeing them, a very short-lived late-60s group, labeled as Symphonic Prog and not Proto-Prog; I think I may have been looking at their role in the sound of Prog itself all wrong. This, simply entitled Nice (1969), is their third studio album (with two live tracks).

Initially feeling justified in my feelings of them as Proto-Prog, "Azrael Revisited" is our opener, with this very specific, warm tone from the keys and Lee Jackson's gruff vocal delivery. What's cool to me especially though is that something that sounds like this can live in the '60s at all. This perhaps pseudo-acoustic piano tone is something that Keith Emerson would continue to develop later on with his Wild West-inspired ragtime material (a feature of most ELP albums). To me, the ultimate submission in this era-, genre-, and Emerson-specific arena is "The Sheriff". And when comparing to that or "Jeremy Bender", our opener here is honestly far less interesting or gripping. The fade to black, at least, was a nice touch. This is then followed by a looking-forward to Trilogy, "Hang On to a Dream", a piano ballad with most delicate vocals from Mr. Jackson, backed by really beautiful, chamber(?) vocals. Light, jingly percussion and a bouncing bass come in around the midpoint, during a surely-acoustic piano solo. Ultimately, despite its far-flung strengths, "Hang On" is bordering on "Collectors/fans only" to my ears.

We then get a track I was quite excited for, "Diary of an Empty Day", our last regular ol' song-length tune before three mini-epics. The composition swirls about with more light, though cymbal-heavy drums and bouncing bass guitar, as Emerson fugues about on Hammond. The flamenco-esque acoustic guitar by the end was a real treat, too! And onto that first 'mini', the nearly 9-minute "For Example" greatly resembled, in part, Tarkus to come. I'm realizing I've not mentioned drummer Brian Davidson, but honestly, even when he's free-wheelin' as he is here, I feel he just gets lost in the mix, so to speak. I don't find myself thinking, 'Oh wow, that drum fill was cool' or whatever... Is what it is. Props then to Carl Palmer, amirite? Closest we get thus far is after minute 2, with this slack, rolling bashing he gives the kit, but then I also recognize for the second time (at least) how weirdly lo-fi the actual mix is. It's very muddy. What you might as well expect from 'truly' live-recorded material, which we're just coming to, but... Yeah... Very familiar Hammond figures can be found in the middle. One thing I hope is in fact Davidson is the lovely vibes we get the privilege to hear in the straight-ahead Jazz explosion we're gifted near the end. Delightful. And of course I would get excited about a "Norwegian Wood" reference haha.

The final two tracks are recorded live at Fillmore East, the first being "Rondo '69" [Nice.], a partial cover of the Dave Brubeck Quartet classic "Blue Rondo a la Turk" off their beloved Time Out, interestingly released 10 years before this (1959)! I wanted to give it a listen here, taking a pause, and, frankly, this is progressive [Proto-Prog?!] music assuredly! And this is the same sentimental nature (for what came before) and ambition (in order to truly look ahead) that I believe was shared by Keith Emerson. I'm not surprised, really, but were The Nice that much better live?! Intro alone, they sound fantastic (even Mr. Davidson haha). Anyhow, "Rondo" was first released by The Nice on their '67 debut, The Thoughts Of Emerlist Davjack (been a while, admittedly). And finally, we have an interesting cover of Bob Dylan's "She Belongs to Me", originally released on his Folk Rock classic album Bringing It All Back Home (1965). The keyboards are most reminiscent to Dave Stewart's performances off of the most contemporary Arzachel. But also sounds a bit like Rick Wakeman early on in his time with Yes? Awesome, memorable riffs here. Very enjoyable; how I think long and drawn out should go. I'm sure it was a blast to have seen live. And it should really be mentioned just how unlike the original this is.

[I guess it is nice to see your feelings about an album shared, at least given overall ratings, by the largest group of reviewers; if that makes sense.]

True Rate: 3.75/5.00