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Daevid Allen - Good Morning! CD (album) cover

GOOD MORNING!

Daevid Allen

Canterbury Scene


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Tom Ozric
PROG REVIEWER
4 stars Amongst the sleeve notes of this 2nd solo album proper, Daevid exclaims ' At last .... a band without a Drummer ! Hooray ! ' This album is the product of Daevid's getting together with a Spanish troupe of acoustic musicians called 'Euterpe', whilst he was based in Majorca. 'Euterpe', by the way, is the name of a Greek God of Music..... and there is no Drummer !! The music is as whimsical and dreamy as anything Allen has created (before and after). Most of this material is purely 'personal' sounding and stream-of-consciousness stuff. It is surely Spacey and Psychedelic, original and weird. Even if Allen is an out- to-lunch sort of character, his individual ideals, beliefs and approach always sound way ahead of their time. And he does have a valid perception of the world in which we live in. The musical illustrations presented here by Daevid and his 'bunch of Catalunatics' only occasionally display some form of melody, and for the most part, have a strange structure, if indeed any at all. For these traits alone, the album stands its own ground. I came across this record during the mid-90's, and haven't listened to it that often, but it's certainly excellent. I adore the cover-art - it's so Gong. The highlight and masterpiece track off the album is the big one on side 2 - 'Wise Man In Your Heart' (11.35) - featuring none other than his trusty Gong-mates Pierre Moerlen (Perc.) and Mike Howlett (Bass). This tune alone is amazing. A phenomenal, mesmerising Glissando Guitar heavy travel, with a superb rhythmic backing, and kozmik rant from Allen. This composition is precious and reason alone for tracking down this release. Those familiar with the extended, Space-excursions from Gong, 'You' (in particular), along with the more Jazz-oriented Moerlen- led ensemble, will discover a perfect marriage between the two styles. The title track is another strong piece of music. I'm not really convinced it belongs in the Canterbury camp, but Space-Heads and Gong- Freaks should enjoy this excellent album regardless.

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Send comments to Tom Ozric (BETA) | Report this review (#187462)
Posted Friday, October 31, 2008 | Review Permalink
Evolver
SPECIAL COLLABORATOR
Crossover & JazzRock/Fusion Teams
3 stars Back in the mid 60s, most progressive musicians at the time were putting out songs that were, well, silly. That doesn't make them bad, but just listen to Piper at the Gates of Dawn by Pink Floyd, or Steve Howe's pre-Yes band, Tomorrow, or Giles Giles & Fripp, or The Nice. At some point around 1970, most bands got verrrrry serious. This never happened to Daevid Allen.

As far as I know, to this date, Daevid Allen is making the same funny, whimsical music that he always has. And this is a good thing. Nobody does it better.

This album is just what you would expect. I like it.

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Send comments to Evolver (BETA) | Report this review (#209603)
Posted Wednesday, April 01, 2009 | Review Permalink
Warthur
PROG REVIEWER
4 stars Daevid Allen's first solo album after his resignation from Gong after You is a collaboration with Euterpe, a mainly acoustic group of Spanish musicians. The album is a bit more cohesive than his previous solo effort, Bananamoon, and finds Allen in a contemplative mood. His famed sense of humour and whimsy is still present, of course, but this time around there's heavy doses of reflection and ponderings on the way people hurt each other and the struggle not to repeat the mistakes of the past - topics which are of great interest to Allen, but which had only been communicated through whimsical comedy in his previous work.

Euterpe are a fine backing group for Allen's musings, Gilli Smyth is of course on hand to add Gong-esque space whispers, and the album comes to a peak with The Wise Man In Your Heart, on which fellow Gong veterans Mike Howlett and Pierre Moerlen guest, and which in its swirling futuristic-psychedelic rhythms seems to provide a precedent for the dance music of a couple of decades later. On the whole, Allen couldn't have judged this one better - the album not only reassures fans that he's still the mischievous wizard of times past, but also has a distinctly different sound from his work with Gong, proving that there's more to Allen than pothead pixies.

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Send comments to Warthur (BETA) | Report this review (#549998)
Posted Friday, October 14, 2011 | Review Permalink
4 stars How does one describe this music? There are almost no drums. Other than Allen's own glissando guitar, most of the guitars (and mandolins etc) are acoustic. There are electric keyboards, which (along with the glissando guitar) are mostly used to create a spacey, trancelike effect. One or two of the songs have something approaching a standard song form, but others are completely through-composed, almost stream-of-consciousness affairs The opening track "Children of the New World" is one of the more conventionally structured songs - it almost sounds like one of Genesis' more pastoral moments (similar guitar picking, similar harmonic sense and melodic approach though obviously lower in the vocal register). "Good Morning" sounds like it is going the same way, but veers off in multiple directions, in several places completely unhinged vocally - particularly when Ana Camps takes over towards the end. "Spirit" largely eschews rhythmic drive in favour of floaty vocals. Partway through, fast strummed guitars and a somewhat menacing narration takes over, then stops abruptly, and the floaty vocals return, supported by keyboards and glissando guitar. "Song of Satisfaction" is a delicate song accompanied by piano only. "Have You Seen My Friend" is a whimsical song, folk-flavoured, the mandolin comes out here, but so does the Moog with some more typically proggy lines, and in the middle we even get a brief quote from Greensleeves. "French Secret Garden" has similar folky elements, but when the electric guitar comes in it sounds more like a throwback to the early psych-rock of the 60s (but still no drums). For the lengthy "Wise Man In Your Heart", Allen is joined by former Gong colleagues Pierre Moerlen and Mike Howlett, who provide a distinctively Gong-like trance groove, with plenty of tuned percussion, with washy keyboards and guitar in the background, and eventually Gilli Smyth's distinctive space whisper adding to the trancey feel. Take away the arrangement, and the melody sounds like a celtic folk song. It was a highlight for me on first listen, and seems to be for other reviewers, but I wonder if that's because it's Gong-like qualities give it a stylistic familiarity to hold on to, compared to the rest of the album? "She Doesn't She" is another whimsical folk-like piece, this time in a waltz rhythm, with prominent saxophone (? no one is credited with playing any such instrument), and what sounds like an accordion. Although musically the album often wanders off in obscure directions, lyrically it is a far more direct statement than Allen's previous work with Gong, eschewing talk of pothead pixies and flying teapots in favour of direct meditations on the way we treat each other. A strange album, but a beautiful one.

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Send comments to sl75 (BETA) | Report this review (#722310)
Posted Wednesday, April 11, 2012 | Review Permalink

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