THE CURE

Of the Manning issues I have heard, this is my favourite. While at times he can wax a bit overly sentimental and literal in his lyrics, and alternate uncomfortably between harder and softer styles, this is rarely a problem on "The Cure". This album sounds more like a group effort too, which is usually a plus even for an album by a solo artist - that is, the accompanying instrumentalists sound like they are more than just guests. This is not to take anything away from Manning himself who handles a variety of tasks including fretted instruments, percussion, songwriting, and impassioned but not overemotive vocals. It is folk based but also much too "big" in the production and instrumentation to really be considered a folk album by any stretch.

The album absolutely explodes out of the gate with "Domicile", which is everything I could want in a progressive "song". It's very symphonic and features cutting lyrics about the havoc wreaked by mankind on the planet, yet it does not sound preachy at all. I'm too busy enjoying the arrangements to get depressed by it either. On "A Strange Place", we are treated to a ballad with magnificent strings. "Whispers on the Wire" incorporates Doors and Moody Blues influences into something quite energetic and unique. "Songs of Faith" is a paean to the difficult Apollo 13 flight with a suitably languid mood. The violins and piano combinations in the instrumental breaks are especially appealing. "Falling" is another fine ballad augmented by sax. The title cut is overly ambitious 17 minutes and falls into some of the patterns that would become more common in his later work, such as coming across as a set of insufficiently related pastiches, although the "Hello Dr Strange" segment is pretty impressive taken on its own, thanks to a fine melody and arrangements.

While it might not be everything for what ails you, "The Cure", like a generous helping of chicken soup, will probably help a lot and certainly won't hurt.

The debut album was so well received that Guy Manning became Manning the band, and Guy, Andy, Jonathan and Simon went back into the studio. This time they were joined by Laura Fowles on sax, and Ian Tothill and Iain Fairbairn on violin. In many ways, this album is much deeper than the debut, and is far more intense. Again, they are harkening back to Floyd, but also Genesis and VDGG. There are long instrumental passages with some great guitar and keyboard interplay. It is not as immediate as the debut, but given time is the more rewarding.

Feedback #59, July 2000

Guy Manning is a person I have a lot of respect for. He plays so many different instruments and writes great songs and always has interesting concept albums. It's his Folk side that i'm not into but that's just me and my particular taste in music. Considering his last two albums are his best yet shows he's just getting better with age."The Cure" was his second album and he offers up a variety of styles here and it's much proggier than his debut.

"Domicile" opens with strummed guitar, vocal melodies and organ before kicking in briefly. Flute and aboe then take over when it settles. It continues to change frequently. This is a feel good song for me. Sax after 6 minutes. Great tune. "Real Life" opens with samples before almost spoken vocals take over. "A Strange Place" opens with brief samples as the music kicks in. Vocals and percussion lead before a minute. Orchestral-like 3 1/2 minutes in then aboe arrives as it settles. The female vocal melodies are cool after 5 1/2 minutes. "Whispers On The Wire" features some good sounding keyboards with vocals, guitar and drums standing out. I like the electric guitar later.

"Songs Of Faith" opens with samples for about a minute before reserved vocals with acoustic guitar takes over. The vocals get fairly expressive at times. Some floating organ and I like the electric guitar 3 minutes in. Is that a fiddle after 6 minutes ? "Falling" is a song I like a lot from 3 1/2 minutes in on, especially the sax before 4 1/2 minutes. "The Cure" is the 17 1/2 minute closer. All seems well early with the birds chirping but check out the creepy section around 12 minutes and to end it. I like the sampled mellotron and atmosphere on this track.

3.5 stars.

Next album by Guy Manning came under the title ''The cure'', apparently a concept release divided in three themes, but this time he removed his first name, propably to indicate that the gathering of musicians around him worked as a proper group.The line-up of Manning/Tilson/Barrett/Baskind is now supported by talented female sax player Laura Fowles and two experienced violin players, Ian Tothill and Iain Fairbairn.The album was recorded in two studios, The Burnside in Leeds and The MBL Heron Garth in Burley-in-Wharefedale, and it was completely written by Manning apart from the opening piece, which was co-written by Tilson.Cyclops was again the distributor.

The opening theme ''Syndrome'', consists of only one track, the 10-min. ''Domicile'', which sounds like the emerging THE TANGENT, a mix of old-fashioned Prog stylings, fronted by symphonic textures in the vein of GENESIS and YES with a good bunch of Canterbury-styled piano and organ and some attacking VAN DER GRAAF GENERATOR-like saxes, a real winner.The following 36 minutes composed the second theme ''Therapy'', split in five cuts.Here the assault of Manning in vintage Prog moves continues, even if the contemporary sound is quite evident.Some keyboard parts are a bit pale and flat, but the arrangements are pretty cool with nods to SPOCK'S BEARD and a nice Canterbury contribution in the organ parts.Lots of angular synthesizers and dual keyboard runs, a fair amount of acoustic interludes, beautiful breaks into keyboard-led ambiences and impressive guitar exercises with both melodic solos and jazzy chords.CAMEL, GENESIS and NATIONAL HEALTH are among the bands to spring to mind during this theme, which provides lots of room for instrumental variety and some surprising British Folk tunes via the use of violins.Closing theme ''Prognosis'' is built around the 17-min. title-track and you should propably expect a true grandieur for the album's outro.But this is not the case here, ''The cure'' appears to be the most uneven piece of this work.It is not bad at all, but it seems to be more down-to-earth material compared to the previously displayed stuff.Basically a long Neo/Symphonic Prog piece with smooth singing parts, big symphonic keyboards and emphatic instrumental moves with synthesizers and organ in evidence along with loose guitar plays, passing both through cinematic and bombastic textures and even some sound effects in the process creating dreamy soundscapes, but the farewell minutes are rather minimalistic and secure, based on electronics and some nervous but fake synthesizers, only saved by a great Mellotron washing.

While ''The cure'' is not totally convincing, it shows a talented artist developing its composing level within the progressive borders.Production is also a bit restrained, but the music quality is usually great and sufficient.Pretty cool and warmly recommended Prog Rock.