THE MIGHTY RA

However, the departure of keyboardist Rob Wilsher for Karnataka at that time, seemed to pull the rug from under the band, and certainly affected their forward momentum. Although Rob was able to fulfil a number of live shows for a time, the need for a suitable replacement keyboardist, and even the resolve of the band to continue its musical vision, was sorely tested. Line-up changes are a constant feature of most prog rock bands, and whilst some survive them intact, others are less successful. However, it is pleasing to see that with the recruitment of Jeremy Robberechts on keyboards, to join founding members Andy Edwards (guitar & vocals), Dave Rowe (bass, pedals & vocals) and Rob Griffiths (drums), the band seem back on track, with the new Now In A Minute album not only being another great release, but showing a band successfully balancing their previous signature sound with a refreshingly different feel at times.

Although I would still describe them as melodic progressive rock, like many on the current UK prog circuit The Mighty Ra are musically informed by the classic UK heavy and hard rock sound of the 70s and 80s. However, there is no doubt that they incorporate progressive flourishes (particularly neo-prog), have a propensity for extended and more complex compositions at times, an ability to sprinkle other genre influences (such as psychedelia and jazz) and follow an eclectic approach to lyrical content and subject matter. Having an expressive keyboardist doesn't necessarily make a band 'prog', but it does broaden and deepen their musical range. Whilst Rob added a symphonic rock style to the band's debut (I likened it to Mark Stanway's contribution to the pomp rock of Magnum at the time), Jeremy's approach is more akin to the Hammond organ vibe of the likes of Jon Lord (Deep Purple/Whitesnake) and Ken Hensley (Uriah Heep). The result is a heavier, classic rock sound on the album at times, but without losing that expansive and exploratory musical vision that prog offers the discerning listener.

In addition, The Mighty Ra have always had a cutting lyrical edge to them, not least their diatribe against organised religion, conformity and conspiracy theories on the debut album's closer, A Bigger Lie. On the latest album it comes through even stronger. With the anti-establishment zeal of the old, Sons of Glyndŵr, they tackle both the modern and historical world head-on, with an "I'm as mad as hell, and I'm not going to take this anymore!" attitude (for those old enough who remember Peter Finch's character in the 1976 film Network.) There is a feisty angst from Andy and Dave that would do Roger Waters proud, and it provides a refreshing and edgy counterpoint to the band's instrumental virtuosity.

There are 8 tracks in total, providing a recognisable musical style, but not without a diversity of musical and lyrical ingredients to add flavour and spice. Gods of Reality starts the album powerfully, with slab of energetic, swaggering, classic hard rock. An observation of the world as it really is - where power, greed and wealth go hand in hand. Andy's no-nonsense, sneering vocals add their scorn, with Dave adding a megaphone delivered manifesto later, to further emphasise the tone of the catchy chorus: "So, bow, To the gods of reality. At the feet, Of the gods of reality." Andy's guitar soloing shines brightly, backed by Dave and Rob's insistent rhythm and Jeremy's stabs of organ. There is a distant hint of Zeppelin's Kashmir at times too, and a powerful anthematic finale to boot.

By contrast, Mr. Disingenuous, starts with a lovely, smooth, jazzy, Steely Dan vibe and a sauntering bass and drum rhythm, peppered with rising guitar-led surges. Andy's vocals have a laid-back, understated feel, but gradually build in intensity through to the arrival of the chorus. The song is another rant against the modern world, focusing on the lies spun by advertisers, marketeers and politicians to deceive every one of us. Television presenters, shopping channels, even the news - just tune in and be misled! "Here's Mr, Disingenuous. Mr. Insincere. Master of the Universe, And everything we fear."

After a dreamy, mid-point interlude, the rich instrumental interplay builds nicely, with flowing retro organ and more exceptional melodic guitar playing, climaxing in a soaring solo and a powerful reprise of the chorus. A multi-faceted angst-ridden epic that has impressed when played live previously but really comes into its own on the album.

The departure of keyboardist, Rob Wilsher, clearly had quite an effect on the band, and the very personal New Wheel, mixes the regret and disappointment at this change in personnel, with the determination to adapt, search for a new band member and defiantly continue with the band's musical vision - ultimately culminating in this album. "A new wheel in the machine. Another player in the dream. We will find you. And begin again." Instrumentally, the track has a real Deep Purple feel, with a nice rumbling bass and Jon Lord-like keyboard thrusts and proggy noodlings from Jeremy - who asserts this own style well, accompanied by dynamic guitar riffs and another glorious solo from Andy, prior to an intense climax.

Sakuru is a Japanese-tinged composition from Dave, that compares the human condition to that of the cherry blossom that bears the song's title. It looks at life v death, evolution, sustainability and considers vibrant beauty, brief fulfilment, sad demise but its ultimate longevity in its intriguing lyrics. Interspersed with exotic spoken words and a mediative Japanese haiku poem, musically it has another Purple/Heep 70s hard rock feel, with a memorable, repeating "She is Sakura" vocal motif. Once again, organ chords, sad dreamy synths, more dynamic guitar and a strutting rock character intertwine throughout, along with more impressive and extended guitar soloing to close this vibrant melodic rock track.

Fashoda is a story-driven song, recalling a stand-off incident between Britain and France in the Sudan in 1898. Effectively an imperialist power play between the two countries, curtailed by the withdrawal of the smaller French expeditionary force from an isolated British fort on the Nile. It ultimately had some significance in the run up to the First World War, and later conflicts in Africa. It is an interesting topic for further exploration and does highlight the band's progressive tendencies to incorporate historical themes and off-kilter content into their melodic prog rock. Musically it builds up a nice head of steam over Rob's cantering drum patterns, with some nice changes in pace, ambience and intensity, lush organ and piercing, heavy guitar riffs. An Eastern-edged musical atmosphere rises from the hot sands later, with some pleasing keyboard patterns from Jeremy adding to an exotic finale.

Last Night On Earth begins with a funky, later-era Pink Floyd feel, with Rob taking over vocal duties. Lyrically, it is nicely ambiguous. Is this an escape from a dying Earth and a venture into space, or are we talking about death and a move to the next phase, for better or for worse? A farewell or even a salute to the past? "On this last night on Earth, this last night on Earth." The music sways and dances over Gilmour-like guitar patterns, with a more progressive/psychedelic vibe, especially during the more reflective later section and then an expressive saxophone burst from Myke Clifford.

Revolution is a refreshingly upbeat call to arms from the band, with almost a pop-prog It Bites character, mixing exuberant driving rock, with some nicely judged proggy keyboards, changing rhythms, playful melodic guitar and engaging vocals from Andy. Lyrically, it is essentially a shout of, 'hang on, the people don't want war!' "Carry on to the end of the earth, Fighting for truth and what it is worth. Revolution is here, I've seen it today, The voice of the people with something to say."

The album closes with Stories Of Old. Beginning with gentle acoustic guitar and flute-like synths. There is a contemplative feel to the music as Andy's vocals consider the stories of old, retold, of adventures, hopes, fears, dreams, places and people ? but whether they are true or not remains to be seen. Rob's marching drums set the scene, and Jeremy adds delicate piano notes over a background keyboard wash, creating a melancholic and slightly uncertain atmosphere. There is some expressive ensemble playing from all the band prior to a more powerful, yet rueful. return to the lyrics, a moving closing guitar solo and an almost resigned acoustic guitar-led audience rendition of one of the verses (producing a persistent earworm in the process). "It's the same old story we tell, In the book we could write, That would tell it so well. All the places and people we've seen, And everything we could have been." It is a pleasantly different end to an album that has more light and shade than you might have thought, given its overall driving melodic prog rock template.

With Now In A Minute, The Mighty Ra have produced another highly enjoyable album bursting with the infectious drive of classic-era UK hard rock, but with a progressive sparkle throughout. Contemporary, engaging and edgy lyrics, extended, virtuosic instrumental passages and a musical tightness within the band to be admired, the Welsh melodic proggers seem rejuvenated. If I can appropriate a classic Thin Lizzy song - "The boyos are back in town - spread the word around!"

(From 'The Progressive Aspect')

Coming together before the extended period of Covid-related lockdowns, The Mighty Ra have been waiting to release their debut album and perform live for some time now. Part of Rob Reed's White Knight Records family, these talented musicians seem to have found a creative spark between them that promises great things to come.

Guitarist, vocalist and main songwriter Andy Edwards has a rich pedigree behind him, and as a former member of Ezra and The Fyreworks his links with Magenta's Rob Reed go back many decades. He also played on some of the earlier Cyan albums as well as on the debut album of Last Flight to Pluto. Rob Griffiths on drums has played in a range of bands, including Cirrus and The Nick Ward Band, and was the initial instigator for The Mighty Ra coming together. Dave Rowe is an experienced bass player and singer/songwriter who has performed professionally in the Middle East, Australia, Asia and the UK and Europe over 35 years. Rob Wilsher on keyboards was the last one onboard, and he also has many years of live and studio recording experience in the UK and Europe, having toured with Magnum and Steve Harris's British Lion, as well as being a founding member of Welsh neo-proggers Multi Story.

With this amount of experience and talent on show within mainstream classic rock and progressive rock, it is not too surprising that debut release All Secrets Known is a melodic progressive rock tour-de-force, worthy of as wide an audience as possible - and certainly beyond their native Wales. Over eight diverse and lively tracks, successfully recorded, mixed and mastered by Nick Lloyd at Oakwood Church Studios, the band clearly show their shared vision, love of playing, and even humour, making it, in my opinion, one of the best debut releases for some time in the melodic progressive rock genre. Dave Rowe's impressive album design and art direction is certainly striking, and the quality of the music matches it perfectly.

The album kicks off in grandiose fashion with All Secrets Known, a song about ancient knowledge and secrets passed down from aliens to the Egyptians - with our protagonist wondering what he would be able to do if he had ultimate power. The warm, God-like tones of Les Penning provide the atmospheric spoken introduction over a background of Rob's lush synthesisers, with Andy's guitar joining in. A lovely, though slightly mysterious piano pattern welcomes in the vocals, and then Dave's rumbling bass and Rob's dynamic drums build up the strong structure.

"And I could be master of everything I see They would worship me"

Yet despite his vision that "Tyrants and despots would be no more. We would live in peace," would there be a price for this, as he warns us, "So stand with me or fall." A resonant guitar solo then leads to the climatic finale, where the rich ensemble playing and melody grow in power and complexity before a gentle, but slightly ominous conclusion.

Next up is a more traditional, commercial slice of melodic rock with Nothing Comes Too Easy, with Rob's Magnum- like keyboard flourishes and chords complementing some nice guitar riffing and well-judged soloing from Andy. This exaltation to live in the present and enjoy the moment is delivered at an upbeat pace, with Dave's Geddy Lee- like bass runs driving the track throughout.

The band have a nice thread of humour running through the start of Freedom. This western-inspired tale of a bandit on the run from justice has an atmospheric Ennio Morricone spaghetti western introduction (Liberta) full of whistles, chimes, jew's harp, orchestral passages and operatic shouts. You can almost see Lee Van Cleef carrying his musical pocket watch down the dusty frontier street, with a 'wah, wah, wah' vocal echoing away and anticipating the powerful guitar entry into the main theme of flight (La Fuga). After this, the track positively gallops away with Rob's insistent drumming. Andy's vocals have a confidence and assurance to them as he belts out;

"Free, I can get away I can ride the trail for another day The hangman's noose will seem far away"

There is some inspired interplay between Rob's expressive keyboards and Andy's soaring guitar lines, whilst the catchy "Freedom" vocal refrain keeps pace - all frantically ending in a fateful church bell and jew's harp twang. A truly cinematic journey.

The one track on the album that does not follow the melodic progressive rock template I normally favour is probably one of my favourite tracks. Will We Ever Know is a stunning piece of psychedelia and space rock - yet still in touch with the band's signature sound. A Prometheus-inspired theme of human DNA manipulation by ancient aliens and ultimately a search into outer space for our creators as a cyborg race - it is quite an epic trip. Both musically and lyrically the song is heavily influenced by Gong, Steve Hillage, Hawkwind and early-period Pink Floyd. Dave's dominant bass and Rob's synthesised noodlings introduce Andy's Astronomy Domine-style vocals and subtle, supporting guitar lines. The central chorus is ridiculously catchy and will remain in your head for ages. A driving Hawkwind-like riff follows and, not to be left out, Rob's drums take on a Nick Mason Set the Controls for the Heart of the Sun rhythm before we sail into Gong's whimsical Flying Teapot territory:

"On the good ship Battenberg, Captain Cake is who we serve Orion's Belt and Sirius B The Mighty Ra in time for tea"

Andy delivers a cosmic closing guitar solo and the whole song has a marvellous groove that could have been extended beyond its eight-and-a-half minutes for me - I'd look forward to seeing this developing further in future live performances, perhaps.

Seven Days takes us back into classic melodic prog rock with a flowing rhythm, especially with Rob's powerful drumming, and more examples of keyboards and guitars in tandem - but never overtly flashy or at the expense of the overall melodic structure of the song. Andy delivers a delightful closing electric guitar solo to round things off nicely. Andy told me that the lyrics were inspired by the theatrical scene in the film Time Bandits, where the dwarves are entertaining Napoleon. There is joviality coupled with that dark sense of impending doom as the battle approaches. There's a show going on, but it is but a short respite to the war that is taking place all around. He is even able to get in a reference or two about Jimmy Saville and the closed nature of organisations like the BBC in the past. Heady, thoughtful stuff indeed.

"All we had was seven days 'Til the soldiers broke loose All we had was seven days 'Til our necks found the noose"

Rising Tide begins with delicate acoustic guitar and piano, with a well-judged, gentler pace and lovely vocal harmonies. However, it steadily gains power and depth, with urgent drumming and bass and some fine guitar riffing over a dense keyboard wash, building to a fine crescendo. Concerning the 2004 tragedy of the Morecambe Bay cockle pickers, the lyrics are very poignant and the increasing sense of panic as the tide rises is mirrored by the music's steady rise in intensity.

"Trying to escape from the rising tide. Brothers and sisters are by my side Senses tell me I'm out of time"

All of which ends in the plaintive cry of "But oh it's a long way. A long way from home. And oh, it's a long way."

Rain is the shortest track but it rocks powerfully and melodically, with all the band contributing to the vigorous and forceful instrumentation and accessible riffing. Andy recalls a range of exciting and exotic life experiences in his lyrics, but then compares them to his feelings at the birth of his daughter. No quiet sentimentality here, this slab on mainstream classic rock drives home that sense of euphoria very effectively.

"So, I can't begin to tell you There's nothing I can say I can't describe the feeling that I'm feeling Seeing you today"

Time for the album's epic track to close proceedings. Bigger Lie is a fitting way to finish, steeped in Pink Floyd influences. Dave's heartfelt diatribe against organised religion, conformity and conspiracy theories is pure Roger Waters angst. The opening keyboard sounds and acoustic guitar hint at Shine On You Crazy Diamond and Dogs, the spoken extracts of conversation recall Dark Side of the Moon and Andy's exquisite guitar playing is pure David Gilmour at times - as are his expressive vocals. It's a wonderfully complex piece where each band member is allowed the time to have their moment in the sun, but without detriment to the group dynamics. Dark, brooding and yet spacious and compelling - both instrumentally and lyrically.

"Oh, what a waste of time Oh, what a waste of yours and mine We need a bigger lie"

The Mighty Ra manage to pay homage to their prog heroes whilst adding their own twist, and there is no doubting the power of the closing repeated chant of "We need as bigger lie!", which is no doubt bound to be spat out with suitable venom by band and audience in future live performances. A cathartic and satisfying end to a vibrant and fresh debut album indeed.

With All Secrets Known, The Mighty Ra have certainly hit the ground running with a hugely enjoyable debut release of quality melodic progressive rock that encapsulates the band's musical experiences and influences, but also combines them into something fresh and exuberant. Lyrically strong and articulate, with confident vocals, guitars and keyboards complementing each other and yet delivering wonderful solos and progressive flights of fancy, all grounded firmly by an impressive and experienced rhythm section. Fans of melodic prog will find the album ticks all the right boxes and the music can be complex, melodic and yet accessible where necessary. Highly recommended!

(from The Progressive Aspect)