SKY

Sky's debut album was published in a time when the terms "prog rock", "art rock" and other derived ones meant something vile, pathetically pretentious and ultimately worthless. Sky was actually a supergroup consisting of veterans united for the task of making intelligent and attractive music for the turn of the new decade - former Curved Air founding member Monkman, together with three excellent and well reputed session musicians (Flowers, Peek and Fry) and classical guitar maestro Williams, joined forces in order to perpetuate the ideology of combining rock, classical and jazz, and to do so, they decided to alternate attractive, complex musical ideas of their own with foreign ideas excerpted from the area of chamber music (and occasionally, traditional folk as well). There are also some hints to pop sensibility, which helps the melodic lines and harmonic layers to come to the fore as a clear point of reference for all musicians. While it is clear all throughout the album that each individual member incarnates a polished example of mastery and finesse at their respective instrument, the main point is that the interplay between all players is the absolute star in this casting, and not only tow or three of them. And this is the major virtue of this album (and of Sky's overall style): the fluid combination of all individual efforts into a common sonic source. It is the 5-part suite 'Where Opposites Meet' - which filled the whole B side of the vinyl - where all the band's virtues are fully exposed: that makes it the definitive highlight if the album. On the poppier side of things, 'Westway' and 'Cannonball' manage to be quite catchy while retaining some of the prototypical elegance of symph prog, while tracks 3 and 4 show us the band's academic side. Among the shorter numbers, my personal fave is the beautiful, relaxing 'Carillon': I wish the band had arranged it properly in order to extend it a bit longer. After all this praise, let me tell you something about my collateral reservations on this album: I feel that this repertoire lacks some extra energy that is potentially there, but not properly worked on and developed (except for the aforementioned suite). My guess is that the fivesome chose to focus in their capability to create exquisite music while they were getting to get increasingly acquainted with each other: once they did so, the resulting energy took off, as their next two albums would eventually prove. But by the time their debut album was recorded, that special spark was yet to find its "full frontal" light. All things considered, my personal rating for this album stands somewhere between "just good" and "excellent": anyway, it sure makes a great entry in any good prog collection.

For all his worth, this writer always had problems considering this "group" seriously, not just as a rock group but also as valid artistes: There are so many doubtful moments about these guys's integrity - I am speaking of the classical music's adaptations as well as giving credits to the masters who wrote the themes these guys are re-working. Those of you who have read my (poor) reviews of groups like Trace or Ekseption, will know I am not kind to that particular brand of Rocking The Classics. I was always a bit wary of Curved Air's Francis Monkman ripping off the dead classical, composers, too and in Sky, this is probably even more audible than in his previous group. However, compared to those Dutch masters of the genre, both Curved Air and Sky (funny air association is it not?) are much more personal in the way they render their versions.

While a lot of progheads laud Sky's first four albums (well they are prog, but certainly nothing approaching the cannons of the genre), these guys never really work up a sweat either in the writing dept or even playing out their tunes. Even their loudest passage on this album does not even reach the waist of dB levels of the slower Yes tracks. One big problem I have with these guys is their slick sound, not one single note louder or out of range than the rest of them; While I would not call Sky elevator music or easy-listening, it is not that far away from that either. The jazzy intonations these guys are giving are sometimes also veering towards ECM- type of jazz rock/fusion never far from passe-partout and downright bland.

Please do not get me wrong here, the musicianship is impeccable and the music can be even enjoyable, but as background music to an afternoon in the sack with the partner, but as far as listening music is concerned, I find this unnervingly shallow. I suppose that the period in which they recorded their better albums (this actually might be it) has also something to do with their sound: by now digital synths were definitely taking the upper hand on their analogue ancestors, and believe me, it shows, but they will not resort to loops or other effects: these guys were studio pros and knew how to play their instruments. In some weird sort of way, their music can be likened to a vocal-less Alan Parson Project (their fist three albums), with a slightly more prog twist. Also a cross of Happy The Man meets an instrumental Toto.

Bonus track Dies Irae is an invaluable addition to the album (even though it is inspired by Berlioz) and might even be my favourite. But even with this track, Iwill generously round my rating to the upper nit, meaning three stars only.

This album is a gem, as is the one that followed it, Sky2.

SKY was an interesting experiment: a group of session musicians, some with band experience (Francis Monkman from CURVED AIR and Kevin Peek fresh from working with DAVID BOWIE) collaborating with a highly skilled classical guitarist on what people at the time considred jazz/rock fusion. I first saw them on a TV jazz programme in the early 1980s, but by then I'd purchased their first two albums and had been converted to their sound.

They were far more than 'rock the classics' instrumentalists, though they were to do themselves a disservice with their fourth album, which contained little original music. This first album did have some well-known classical pieces, the best of them SADIE'S haunting 'Gymnopedie', but the highlights of SKY'S oeuvre were always their roriginal music, and here Francis Monkman was front and centre. The astonishing 'Where Opposites Meet', which takes up side two of the vinyl release, is essential listening, to see what can be done with a combination of classical and contemporary stringed instruments. It's entirely Monkman's composition, and I've heard nothing better. 'Westway' is the album's other highlight, a piece that nails their colours to the mast immediately: here we get splendid bass lines overlaid with playful acoustic guitar and harpsichord, underpinned by a driving beat.

It goes without saying that the musicianship here is outstanding. But don't mistake perfection for lack of passion. What we get here is subtlety. An excellent debut release, and well worth picking up - if you can find it.

Granny prog?

Sky were formed in 1979 through the coming together of five highly accomplished musicians. Classical guitarist John Williams had previously called upon the services of bassist Herbie Flowers as producer of his solo album "Travelling". Curved Air's keyboard player Francis Monkman played on that album, and the three began to discuss working together on a project. The vision was to bring together rock and classical music in a way which would appeal to a wider audience. Guitarist Kevin Peek and drummer Tristan Fry were brought in to complete the line up, and Sky was born.

There are certain parallels in the work of Sky with those of Asia. Both involve highly talented and accomplished musicians creating something which is hugely successful in commercial terms, but which does not fully reflect the underlying talent. Here we have a succession of instrumental pieces which even your granny would enjoy. The music is simplistic and direct with catchy hooks and heart-warming melodies. Now there is of course nothing wrong with that whatsoever, this album is a highly enjoyable listen. If it prog at all though, this is prog-lite.

While many of the tracks here have strong classical leanings, all but two are original band compositions. Pieces such as "Carillon" will sound highly familiar, its simple melody being instantly infectious. Such upbeat numbers are balanced by the more delicate arrangement of Satie's "Gymopiedie No. 1". "Cannonball" was released as a single, the chiming lead guitar melody being ideal for that medium.

The focal point of the album is the 20 minute suite "Where opposites meet" written by Francis Monkman. In the sleeve notes, Flowers hypothecates that the title reflects the diverse backgrounds of the group members. Monkman however alludes to an altogether more abstract concept involving Zen and infinity. The track takes the form of a classical piece, with varied lead instruments and moods. From a prog perspective, this is altogether more satisfactory, but even here there is something lightweight, perhaps new age, about the whole exercise.

The 1993 CD release has a bonus track "Dies irae", a piece credited to Francis Monkman but which has its roots in Berlioz "Symphonie Fantastique".

In all, a pleasant listen, and an album you can safely play to the relatives.

Incidentally, the band name apparently came about through a session of sticking names to the wall. I wonder though if it subconsciously relates to the ending of the names of some of the great composers such as Tchaikovsky and Moussoursky. Just a thought.

Sky I is as the name suggests the debut studio album from UK progressive rock act Sky. Sky has a very prolific progressive rock name in the lineup and it´s the reason why I picked this album up in the first place. Francis Monkman is mostly known for being a founding member of Curved Air and guesting on the Rajah Khan song from the third Renaissance album Prologue. Sky is not a showcase for Monkman´s skills though, but more of a group effort.

The music is very melodic, generally simple, instrumental progressive rock. Most melody lines are played by the classically trained guitar player John Williams on acoustic guitar but Monkman´s keyboards are also pretty dominant. The rythm section is pretty straight forward. Just keeping the beat most of the time. Nothing out of the ordinary. The album consists of six songs where the first five are short ( about 3 minutes each) and the last song Where opposites meet Pt. 1 to Pt. 5 is a 19:30 minute long piece. Personally I think Sky´s music fits the short song formula best. I´m a little bored when I listen to Where opposites meet Pt. 1 to Pt. 5. Sky reminds me a bit about late seventies and early eighties Camel.

The musicianship is excellent. I could have wished for a more interesting rythm approach, but I guess that´s an aquired taste.

The production is a bit thin and it´s obvious that we´re close to the end of the seventies here.

The music is very pleasant and nice but it´s almost too nice at times and as other reviewers have also pointed out this is close to easy listening background music. It´s a bit more sophisticated and interesting than that though and I´ll rate the album 3 stars. It´s a pretty average album that seriously lacks highlights IMO. Good but never excellent.

The band SKY would appeal to those who enjoy the instrumental works of the Alan Parsons Project, early symphonic period of Mike Oldfield and '80s Camel. Entirely instrumental, almost like a distant sounding Discipline-era King Crimson without the dissonance of Mr. Fripp and oddball lyrics of Adrien Belew. Better yet, what the California Guitar Trio might sound like by collaborating with the Alan Parrsons Project. Very proper and organized sounding instrumentals. The album gets better as it moves along and really starts to take off with _Cannonball_ then concludes with the sprawling _When Opposites Meet_ which has familiar themes pop in and out throughout its 20 minutes. The bonus track _Dies Irae_ is similar to the track _Vrooom_(King Crimson '95) in composition style, however - without the sheets of sound. 3.5 really, but gets a 4 rating to bump it up a bit here. The second SKY album is similar, but can't grab my attention for the entire 2 LP set. Stick with the first SKY. If you need more, then by all means get SKY 2 as well. Points of reference for production values similar to SKY in *sound* in the year 1978 are BANCO's _Di Terra_ and Alan Parson Project's Pyramid.

SKY were a band of 5 excellent and versatile musicians, all veterans of the 70's music industry, performing totally instrumental music with a mainstream edge to it. The main attraction here though would have to be Francis Monkman, keyboardist of the original line-up of CURVED AIR. His work here on keys is often beautiful (piano, harpsichord, clavinet and synths), complimentary to the other band members' classical approach to composition and performance - indeed Aussie John Williams is a master of classical guitar, often incorporating jazz, rock and even folk elements in his playing. The rhythm section of Tristan Fry (dr/perc.) and Herbie Flowers (bass) are capable of handling the diversity of the involved arrangements, and lastly, a second guitarist/composer in Kevin Peek completes the line-up. As a few pointers here, ALAN PARSON'S PROJECT and early 80's CAMEL come to mind. Soft-Prog maybe - accessible, but skillfully played - much of the complexities are overshadowed by the smoothness of the production and the highly melodic nature of the songs. Side 1 features 5 short pieces, of which the stand-out would be their arrangement of Satie's 'Gymnopedie No. 1' - just love that gentle beauty, Monkman's keys are wonderfully ethereal here. The remaining tracks are mostly undemanding and pleasant on the ears - up-tempo opener 'Westway' has that noticeable APP feel to it, 'Carrillon' is classical and mainly acoustic, 'Danza' is folky, said Satie piece is superb and 'Cannonball' is again similar to APP with a commercial and catchy arrangement. The 'meat' of the album is Monkman's side-long contribution 'Where Opposites Meet' - a keyboard-heavy journey full of captivating themes, occasional odd time sigs, great ideas and shifting moods. The musicianship is tight, especially the interplay between keys and guitars. The bass playing is solid for the most part, though elaborate at times and the drums are kept simple. 3 star effort here, as massive improvement came on their next album 'SKY 2'.