JOHNNY BOB

Let's herd them on out of here!

What's In a Name?

William Shakespeare had Romeo ask, in a personal reverie about his true love, "What's in a name? That which we call a rose/By any other name would smell as sweet..."

But would it?

Suppose it was called 'Goat-thistle Bramble-bushweed'. Personally, I think names DO influence one's experience of things, and do matter. They signify.

So, 'Johnny Bob'...

Or is it 'JohnnyBob'? I've seen it both ways (hmmm...could be an elephant calf, also tagging along. Go on- git!).

This is a fine album, filled with substantial, thoughtful, intelligent music.

Here's my point: I don't think the band is well served with this name. Of course you too are entitled to your own half-baked, wrong-headed opinions.

And you may just LOVE the name 'Johnny Bob' (JohnnyBob??)

Elephant Two

Well, the music actually has lyrics! Words set in patterns- clusters- sentences, phrases, lines, poetic, suggestive of things- signifying something.

Or so I suppose, since lyrics are not easily accessible. Nowhere to be found.

Again, maybe I'm extra weird (and yes, there are those who might have strong opinions here), but I assume if bands take the trouble of composing and singing lyrics in their music, maybe it's because they matter!

Of course, if the lyrics are meaningless, I suppose one could safely ignore them, but frankly, I enjoy seeing how lyrics enhance or detract in the total musical experience of an album.

Yes, Weird, I Know

So suggestion: Please make lyrics easily available. Why should we have to guess what is being sung?

OK, Elephants Be Gone

So now that we have them out of the way, what have we got.

Well, a simply lovely collection of tunes, with the unlikely (and to me unlovely, unhelpful) title of 'Egbert's Barber Shop'.

Music that is stately, cinematic, keyboard-filled/kissed/blessed/lushly-laden. Solemn. Playful. Changing and varied. Poetic.

Music that calls to mind Gabriel-era GENESIS, especially to these ears "Foxtrot".

Did I mention those keyboards- the mellotron choral and orchestral sounds, organ, piano, synthesizers...?

I mean, guitar bands are great. I LIKE guitars, even used to play them a whole bunch. But for me, it's the keyboards that make a progressive rock band extra amazing.

Those Arrangements

Of course, the band isn't JUST keyboards- no, perfectly accomplished drumming, adequate, husky, expressive vocals, resonant bass and bass synthesizer bottom end, and crisp, tasteful drumming.

All ably, nimbly, temptingly arranged- the chorus subsides into bass and drums, then tempos change, and the full band comes charging in...and what's that? Flute? Clarinet (or is that sax?). Great stuff.

Concept?

Not sure. Lyrics not easily available and hard to fully capture just by listening.

But I THINK so. I had the impression of a very adult fairytale, and told I would guess, with sophistication and flare, worthy of examination and contemplation- the very sort of story told by Peter Gabriel among others.

But those whales? The ocean? The barber-shop? Inquiring minds want to know!

My Conclusion:

Once you get those elephants cleared out, this is a fine, substantial, well-conceived album. Please don't let those lumbering critters dissuade you from giving this one a listen.

My rating: 3.75 stars out of 5.0. (Maybe not ESSENTIAL, but I'll bet you'd enjoy this one).

In January of 2020, the band released an EP called "Hunted by a Caproid" which consists of the long 18+ minute title track and 4 shorter tracks. The main track is based on a poem written by the band's lead singer Carsten Diaz and read dramatically by storyteller Barney Hallmann. The words are clear and mostly easy to understand. After an atmospheric beginning and the spoken reading opens the track, it goes into a nice, smooth groove with electronics whirling around a heavy, consistent beat and other interesting sounds including some processed vocals. The music continues flowing along nicely, almost sounding like a more experimental Alan Parsons, and then adding in some brass effects that give it all even more depth. After 5 minutes, we move into another section when the music stops and the reading resumes. After about a minute, music starts again with a faster beat, occasional percussive breaks, new electronic effects and themes along with guitar and such. That Alan Parsons vibe continues, but this time the guitar is a bit heavier in places. Reading resumes again at 10 minutes backed by atmospheric sounds, and then after a minute, a slower beat brings in the actual lead vocalist for the band, and writer of the poetry Carsten Diaz, though the vocals are somewhat processed. Now the mostly electronic instrumentals have an almost folk-like lilt to them and the organic element is felt through bass, drums and guitar. Singing continues yet the timbre changes often especially with the effects that are added to the vocals. After 14 minutes, the last stanzas of the poem are spoken backed by more atmospherics and once that is finished, another section containing sung vocals create a new theme and section carries the track to the end.

The main track goes by quickly for a 18 minute track, but it is, in reality, a multi-part suite that is quite enjoyable. The feel is definitely of a neo-prog style of highly original style, easy to listen to, yet nicely progressive in an art-pop way, but not really what you would call standard fare. Everything about it is quite nice and it keeps your interest all the way through.

As far as the remaining four tracks, these are actually the four sub-sections of the title track, presented as separate tracks without the poetry readings, so you can listen to the EP with or without the spoken word sections. Either way, this EP is quite enjoyable however you decide to listen to it. If you are a fan of accessible prog, then you will love this as it has that nice Alan Parsons vibe to it throughout. It makes me want to check out their other full albums.