BE BOP DELUXE

Be Bop Deluxe reminds me more of what used to be termed as "art rock" on this site before it got relabeled "crossover." So what we have here is not the usual symphonic prog, or anything resembling the other genres that began in the 1970s. It's generally quirky pop rock with progressive leanings and performances clearly made by very skilled musicians. In fact, this group could have pulled off some really wonderful music if they could take some of their better tracks and extend them to two to three times their length.

Overall, there are some similarities with other art rock groups of the period, like Roxy Music, 10cc, and David Bowie. The quirkiness at times reminds me of Gentle Giant, but even those these musicians are talented, they aren't even close to the same league as Gentle Giant. Because of the quirkiness, the music has a very eclectic feel to it.

Sunburst Finish is clearly not in the same league as the classic progsters of the 1970s, but their music is far better than the average pop rock of the time. Those of you with an interest in quirky stuff should really like this. If it weren't for the charming quirkiness, this would be a rather bland album.

A solid three stars.

In retrospect, I hear a young quartet of capable, efficient musicians unable to find a distinctive style to call their own. The sound of the band on this disc, which as a live set from late in their career can also be heard as a more or less representative best-of-Be Bop Deluxe collection, is strictly quintessential but hardly classic mid '70s guitar rock, without enough hooks to hold onto after thirty-plus years.

Certainly there's nothing here approaching the pure electronic energy and (at the time) innovation of guitarist Bill Nelson's techno-pop solo albums from the early 1980s. And none of his unique visual fixation with Jean Cocteau or post-war suburban Americana and beatnik culture.

But on the other hand, without even being familiar with the original studio albums, without even being a fan of the group, I have to acknowledge what an excellent live album this is, as a piece of performance. Many of the songs here obviously came to life on stage, with lengthy instrumental breaks and galvanized solos only possible in front of an eager audience. Nelson's long, luxurious guitar break during "Adventures in a Yorkshire Landscape", bracketing an equally romantic turn by Andrew Clark on electric piano, is one of the album's highlights. Even more impressive (and longer) is the quicksilver guitar and keyboard jam over the funky accompaniment of the song "Shine".

There are plenty of similar moments when the music really gels. But the album itself would have to be considered a period piece now, produced and played in a style which locates it very precisely in the middle 1970s. Listeners of a certain age will no doubt recognize the attractive time-capsule aura surrounding it (the album was released the same year I graduated from high school). But to anyone who didn't come of age in the '70s it might be little more than a dusty, irrelevant fossil from another generation.

The album starts with the somewhat proggy, but over-produced Stage Whisper. This is a pretty good tune, but it gets lost in the aforementioned production. The swirling phasing on the guitar and drums ruins the entire affect of the piece. Love With The Madman is a fairly standard midtempo ballad, saved by some fine guitar by Bill Nelson. Maid In Heaven is a somewhat forgettable guitar heavy rock song. Sister Seagull is a slow, slightly psychedelic tune, again helped by Nelson's guitar, It almost sounds Hendrix inspired. . Sound Tracks brings back some prog, but not a whole lot of prog.

Side two begins with Music In Dreamland, that has sort of an early-Yes sound. Jean Cocteau sound a bit like Brazilian jazz. Between The Worlds may be the proggiest song on the album. And my favorite here. It sugues into Swan Song, another good proggy piece.

So about half of this album definitely has prog elements, and it deserves a place here. I would compare it to the middle years of Todd Rundgren's Utopia, before they became completely a pop band.

After the guitar-fest of Futurama, Sunburst Finish introduces a more song oriented approach, although there is much here for the prog fan to enjoy,

Fair Exchange kicks things off in fine style. Quirky lyrics and frenetic playing. 7/10

Heavenly Homes. Slow paced with superb guitar breaks. One of their best. 10/10

Ships In The Night. What's all the fuss. A below par pop song, not representative of the band. 2/10.

Crying To The Sky - Another slow one with two enormous guitar solos. I actually conned a DJ to play this at a disco in the 70s - my proudest adolescent moment. 10/10

Sleep That Burns - Similar to Fair Exchange in many ways, complex and involving. 9/10.

The previous review did not rate 'side 2' - beg to differ.

Beauty Secrets - Semi acoustic style, 7/10.

Life In The Air-Age - A typical BBD song. "It's grim enough to make a roboy cry" - brilliant. 8/10

Like An Old Blues - next! 1/10

Crystal Gazing - Semi orchestral, beautiful melody and heartfelt lyrics. 9/10

Blazing Apostles - I guess the 2nd most well known song on this album. Does not work for me though. Predicatable and weak. Well plated though. 3/10

Bonus tracks:

Shine - Instrumental, one dimensional. The kind of thing they might have used to warm up. 2/10.

Speed Of The Wind - Wow, what a great quality extra this is! Sublime. 9/10

Blue As A Jewel - Wow again! This has a lovely sustained guitar that weaves in and out.

Well to sum up, 6 great tracks and 3 others not far behind. A very deserved 4 stars.

The album has many catchy riffs and good playing. The standout tracks are "Ships in the night" which was a hit single, and the track "Sleep that burns." The later tracks or side 2 on vinyl are not to memorable unfortunatly which is why I have not scored it higher. Worth a purchase though for some of the highs.

The music of Be Bop Deluxe is similar to that of Ziggy Stardust-era David Bowie and early Roxy Music. What makes this acceptable from a Prog perspective is the high level of musicianship, the occasional and short keyboard solos and the fact that the tracks flow into each other like on some of Queen's best albums. (Ironically, the same year as Sunburst Finish was released Queen released A Day At The Races, an album that ended the tradition of having the tracks flow into each other).

All this creates an acceptable and sometimes even quite enjoyable mix of straightforward Rock 'N' Roll and Pop with some progressive aspirations; Art Rock ('N' Roll) is perhaps a better description. The songs considered in themselves are hardly progressive, but the unity of the whole and the diversity of the album makes it, as I said, acceptable. We find here a nice balance between rockers and ballads and there are only a few weak moments.

The often crooning vocals are an acquired taste and sometimes remind of Brian Ferry of Roxy Music. The lyrics are sometimes full of Rock 'N' Roll clichés like the silly Fair Exchange. Some similarities with 10cc can also be detected.

Sunburst Finish is high quality, arty Rock 'N' Roll with slight progressive leanings. Recommended for those who feel attracted to that kind of music.

Two (and a half) stars

There's not a bad track on Drastic Plastic, however there are a couple of highlights to compare favourably alongside the band's best earlier work, namely: "Dangerous Strangers", "Islands of the Dead" and the sublime "Japan", the latter which only appeared on the US LP release unfortunately (however it can be found now on the compilation CD "Raiding The Divine Archive")

I was lucky enough to see the band tour this album but alas it was to be the end of the road for what seemed a magical combination of rock and musical innovation. I spent many a following year exploring the earlier albums. The band were very talented and have retained a special place in my memory, mainly because of my initial introduction to Drastic Plastic.

4 stars for the sheer enjoyment the album continues to give me.

Bill Nelson is certainly a very good, if not great guitarist, and desrevres to be recognized. The songs to me sound somewhere in between Todd Rundgren's Nazz and seventies David Bowie. They are very good pop-ish rock songs, with some psychedelia mixed in, but mostly mainstream.

Perhaps in their later years this band was prog, as the last three songs (my disk doesn't have the unnamed tracks at the end that later issues of the CD apparently have) are somewhat proggy sounding.

If I were rating this as a rock album, it would probably get 4 stars, but this is Progarchives, so...

The first LP, that is songs 1 through 11, move chronologically from "Axe Victim", featuring the title cut, to "Drastic Plastic", represented by "Panic in the World". In it, "Panic.." being a good example, we can hear how Be Bop Deluxe presented a paradoxically less flambuoyant alternative to David Bowie glam. Of course, Nelson's searing guitars were not even fathomable by Mick Ronson. These are just 2 of Be Bop's prog credentials. Other highlights from the first part are the 1-2-3 punch of "Sister Seagull", "Sleep that Burns" and "Ships in the Night", which show Nelson's ability to extract a team effort to do his writing justice. These are catchy yet enduring and heartfelt songs.

The second LP opens with a couple of electronic numbers that presage Nelson's RED NOISE, before offering the lovely ballad "Lovers are Mortal", that draws together romantic lyricism with a steady acoustic guitar against spacey keys and a dirge like beat. "Quest for the Harvest of the Stars" is like Hawkwind gone acoustic, and works well in a kitschy way, while "Japan" and another heartstopper "Speed of the Wind", offer more of the group's quality prog credentials. Even if "Shine" is a bit too much a vehicle for Nelson's guitar and not much else, and "Blue is a Jewel" is an odd foray into southern boogie, the compilation pleases in its breadth.

If you can track down this LP, it could serve as a good introduction to the group, but it could also be a worthwhile addition if you have not replaced, and do not plan to replace your BBD LPs, on the basis of the "rest of" tracks.