TONY PATTERSON & DOUG MELBOURNE: WE'VE BEEN EXPECTING YOU...

I am a big fan of Tony and Doug's work--both collectively and independently: they both create incredibly rich, mature, and engaging, almost-nostalgic texturally-lush prog/NeoProg that seems to feed my soul better than a lot of the other Retro- and NeoProg artists out there. We've Been Expecting You is the duo third collaborative effort since hooking up for a track ("Angel and the Dreamer") on Tony's 2016 solo release (his masterpiece), Equations of Meaning.

1. "Don't Lose Your Soul" (5:58) Peter Gabriel has handed the reins over! It's like PG singing a cover of The Beatles' "Tomorrow Never Knows" over a disco version of The Who's "Baba O'Riley"! Even in the third minute when the full complement of rock instruments join in the feeling is of something out of the techno-New Wave 1980s. Great section in the second half of the fourth minute with the "Don't lose your soul" line being sung repeatedly by the "choir" of background vocalists (all Tony?) over a progression of two great repeating guitar-and-Mellotron chords and then the synth solo to take us out. Not a bad start! (9/10)

2. "Darkest Hours" (4:59) Gabriel-esque marimba opening which builds with a couple other textural instruments (including programmed drums and bass) over which low Tony and high Tony sing a nicely harmonized melody. The palette and hooks are quite seductive: earworms to be sure, thought the chorus is a slight step down from the verse set ups. The lush piano-enriched "darkest hours" section after the second chorus is nice but the sudden ending is a bit disappointing (though understandably necessary). (9.3333/10)

3. "Brighter than the Sun" (6:12) a main motif that is constructed a little too closely to that of Tony's "Beneath a Perfect Sky" from his 2016 masterpiece, Equations of Meaning, that is made way better by a rather stunning guitar solo from one Stewart Colley that rivals some of David Gilmour and Steve Hackett's best works. This guitar solo (which starts at 3:55) is not to be missed! Too bad the vocal performance and chorus section are so plagiarized from Peter Gabriel. (9/10)

4. "Small Boats" (4:22) Another song that feels as if it came straight out of a classic Peter Gabriel album. The piano play is slightly different but the ambiance, production finish, and vocal are unmistakably Gabriel-esque. Gentle, child-like though rhythmic piano play opens this one before Tony enters to sing in an incredibly Peter Gabriel-like performance. Great subtle shift in motif for the third minute that ends when solo synth and bombastic drums and synth strings washes explode onto the scene for a part of a minute. Then we're back to the simple piano arpeggiations for the finish. (8.875/10)

5. "Sandcastles" (4:58) Okay, the hooks don't work for me, the sound palette is nice (despite the sad attempt to imitate the soft percussive bass notes of Tony Levin's ChapmanStick) but the song--with its feeble MIKE AND THE MECHANICS-like chorus--never produces anything but Phil Collins-like pop schlock. The instrumental passage is too meandering and multi-directional and I dislike the "clapping" sound given to the snare drum hits. (8.75/10)

6. "Grace"(4:56) Wow! If this isn't another Peter Gabriel song--straight out of So: unmistakably like a blend of "Mercy Street," and "Don't Give Up," and "In Your Eyes." I don't like the blatant copying (nor the clapping with the chorus). (8.5/10)

7. "Oceans Apart" (4:28) ocean shore wave and seagull sounds open this before synths enter to enrich and luxuriate the scene. After about two minutes of this beautiful, atmospheric introductory exploration, a lone piano enters, playing a four-chord piano sequence, while Tony sings in a Peter Gabriel "Here Comes the Flood" voice and style. But, there is no break out emotional crescendo--there is barely any rhythmic progression (only provided by some piano play in the second half). That's it! It's pretty, but kind of like an interlude/bridge between action scenes. (8.875/10)

8. "Spies" (4:56) tuned and untuned percussion are programmed side-by-side into a weave to back Tony in one of his multi-voice vocal performances. What I like most about this song is how totally original it is (despite it being very easily mistaken for a "new" or previously-unreleased Peter Gabriel song). Too bad those powerful drums, strings, and horns aren't "real"--are computer produced. (9.125/10)

9. "Heal" (4:29) sad to see another PG carbon-copy used to finish this song--and this would be one of those PG songs that would never be a hit but would be considered kind of a filler like "That Voice Again," "Love to Be Loved," "Fourteen Black Paintings," "My Head Sounds Like That," or "The Drop." Very disappointing. (8.6667/10)

Total Time 45:18

Not as great as Tony's atmospheric 2016 masterpiece, Equations of Meaning but he and Doug have teamed up to make some of the most best atmospheric crossover prog since Peter Gabriel. But, that being said, with only two original, "non-Peter Gabriel" sounding songs, this is by no means an album I would recommend unless you are craving some "new" and original "old" Peter Gabriel music.

B/four stars; an excellent production of lush, atmospheric Peter Gabriel-like Crossover Prog. If you like your Peter Gabriel, you'll LOVE this! If you think the world is better off with just one Peter Gabriel, you may find yourself reacting contrarily to Tony & Doug's album.

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