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Glass No Stranger to the Skies album cover
3.24 | 20 ratings | 2 reviews | 25% 5 stars

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Studio Album, released in 2004

Songs / Tracks Listing

CD 1 - The Studio Sessions (44:32)
1. No Stranger to the Skies (9:14)
2. Give the Man a Hand (6:25)
3. Domino (8:24)
4. The Myopic Stream (8:17)
5. For Ursula Major & Sirius (12:12)

CD 2 - The "Live" Recordings - "Broken Oars" (56:11)
1. Broken Oars-I (5:57)
2. Broken Oars-II (5:05)
3. Broken Oars-III (8:07)
4. Broken Oars-IV (7:36)
5. Broken Oars-V (2:07)
6. Broken Oars-VI (1:01)
7. Changer (10:54)
8. Home (2:55)
9. Patrice's Dream (12:29)

Total Time 100:43

Line-up / Musicians

- Greg Sherman / Mellotron, Hammond, clavinet, grand piano, Baldwin e-piano, synths (ARP 2600/Odyssey/Pro-Soloist, Oberheim, Elka String)
- Jeff Sherman / bass, electric & acoustic guitars, Fender Rhodes & Baldwin e-piano, Moog bass pedals
- Jerry Cook / drums, gong, timpani, triangle, Moog drum

- Paul Black / drums & bells & flute (1,2.7)

Releases information

Recorded 1973-1978 at various locations

2CD Relentless Pursuit ‎- RD4128 (2000, US)
2CD Musea ‎- FGBG 4516.AR (2004, France)

Thanks to erik neuteboom for the addition
and to projeKct for the last updates
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GLASS No Stranger to the Skies ratings distribution

(20 ratings)
Essential: a masterpiece of progressive rock music(25%)
Excellent addition to any prog rock music collection(25%)
Good, but non-essential (45%)
Collectors/fans only (5%)
Poor. Only for completionists (0%)

GLASS No Stranger to the Skies reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by erik neuteboom
3 stars Glass was a musical project by the two brothers Jeff and Greg Sherman (with Paul Block on drums) in the Seventies. The sound is based upon a wide range of vintage keyboards like Fender Rhodes piano, ARP 2600 synthesizer, Baldwin electric piano, Elka string-ensemble and the unsurpassed Mellotron. In 2004 Musea released this 2-CD featuring material recorded between 1973 and 1975.

The climates on CD-1 entitled "The studio sessions" alternates from mellow with lush Mellotron (flute and violin) and acoustic guitar to more up- tempo featuring fat synthesizer (some flashing runs) or swinging with clavinet or jazzy piano. The music from Glass sound pleasant but also very simple and dated. The CD-2 entitled "The live recordings" is more dynamic, especially the drumming from Jerry Cook sounds propulsive. Some tracks contain fine Mellotron waves and acoustic guitar but the compositions have less structure and even tend to sound a bit boring at some moments. Nonetheless, this is pleasant prog for the vintage keyboard aficionados.

Review by Atavachron
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Glass were a woefully unsung - or perhaps I should say unknown - group of heroes that made a go of it after seeing Soft Machine open for Hendrix in Seattle, 1968. They'd been the cover band Outcasts earlier that decade when Greg and Jeff Sherman [keys & bass/guitars] drafted drummer Jerry Cook but intrigued with the liberties taken by British art bands, they began focusing entirely on original work. After many trials and tribulations, nothing was ever issued until finally in 1999 old tapes were retrieved and mastered for release in 2001 on their own Relentless Pursuit label, saving yet another important prog band from oblivion and securing this trio's impressive accomplishments for the record book.

No Stranger to the Skies is a 2 CD set of handpicked numbers from their heyday in the mid '70s, disc one from the studio and disc two a semi-live collection. The retrospective starts with a tingle and a jazz riff from Greg Sherman's electric piano doubled by mellotron washes that build in concentric circles around the rhythm core, the group taking its time with development punctuated by deliberate changes of direction. Limits in the production are evident but not much more than the early Greenslade recordings and this 9-minute opener makes up for any aural flaws with impressive theme extension. 'Give the Man a Hand' establishes a less developed jazz-fusion approach reaching a grand piano solo from Sherman, and 'Domino' is the essence of gradual as it sneaks through a web of twined keys showing the Softs' influence and a general fondness for the Canterbury sounds of National Health, Gilgamesh and even Quiet Sun. 'The Myopic Stream' is Aaron Copland meets a fusion ensemble and 12-minute 'For Ursula Major and Sirius the Dog Star' is a bit disjointed but comes together with rashers of synths and piano strewn together. Disc two features the half-hour 'Broken Ears' suite which if you can get through the almost imperceptible opening five minutes blossoms into an escapade of hot symphonic jazz that twists down a road of bass, mellotron, synths and drums, faux Elizabethan play, slow-moving acoustic guitar ramblings and general strangeness. 'Changer' follows, a satisfying keyboard/bass/drums bit that brings to mind Mike Oldfield's early stuff, and 'Patrice Mersaults Dream' is twelve minutes of exactly that.

Somewhat underdeveloped for what they were trying to do but with huge untapped possibilities, Glass was clearly on the right track and was just a bit too late on the scene to have the time to evolve professionally (and probably would have done better in Europe had they released a proper record). Further, there are passages here that may make you drowsy or even check your email and for that there is little excuse. But overall the reemergence of Glass as a significant U.S. prog band is gladly received, the unearthed work small but historically relevant, and their appearances at modern Prog music events welcome.

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