THE MASTERS APPRENTICES

I actually don't think this is the definitive compilation, though I'm not sure that there is one. For a completist, it is missing a couple of a-sides ("Linda Linda" and "Future of our Nation", although these are at least both available on other albums), and most of the b-sides, many of which do not appear on other albums. It does have all their major hits, and a pretty good selection of album tracks from Choice Cuts (and a couple from Panama Red - none from the earlier albums that weren't also released as singles). It also has the single version of "How I Love You", as opposed to the album version that has appeared on other compilations - the single was an instrumental with the melody played by guitar, the album version still had the melody played by guitar while Jim Keays recited the lyrics instead of singing them, which had the effect of magnifying their cheesiness. So it's a convenient compilation to own if you want all their major songs on CD, but if you're a completist, you're going to be looking for other compilations (the Milesago website lists one titled "Jam it Up: A Collection of Rarities" which seems to have all the missing single sides plus a few other tracks). And if you're particularly interested in the prog side of Masters Apprentices, you're better off tracking down copies of Choice Cuts and A Toast To Panama Red, rather than settling for any compilation.

A Toast To Panama Red largely follows in the same riff-based heavy rock direction as it's predecessor, but with more psychedelic elements, and more proggy grandiosity. The 2-part "Games We Play" is the major track, the opening section contrasting contemplative acoustic verses with heavy guitar passages, before we ramp up the grandiosity with a choir and narration. The sturm und drang approach is also used to good effect in "Love Is", with it's fanfare-like opening giving way to a 6/8 acoustic ballad, eventually lifted by a horn arrangement; and again in "Beneath The Sun" where a mellow ballad suddenly meets an unexpected key change and a somewhat heavier second section (this section also featuring an instrument I can't identify - sounds like a xylophone making bird calls or something...). Even the songs with no obvious change of mood seem somewhat unsettled. "Answer Lies Beyond" gets most of the way through it's running time before the main riff is finally introduced, up to that point basically jamming away on the same chord underneath a two-note melody (but if that makes it sound boring, it's not at all). I'm still trying to figure out what metre "The Lesson So Listen" is in - it sounds like the drummer is ignoring the rest of the band and keeping a straight 2/4 while the others go off on other tangents. "Thyme To Rhyme" is a pretty acoustic ballad with some very strange psychedelic noises going on in the background. "Melodies of St Kilda" is another heavy track which dramatically changes tempo halfway through". "Southern Cross" is the track that bears the most resemblance to the previous album, being a comparatively simple two chord rocker with Doug Ford given plenty of room to solo. It's overall a less accessible album than Choice Cuts - you understand why it didn't sell anywhere near as well, generate any hits, or why fewer of it's tracks are included on compilations - and in some ways a less successful album overall; but this is the band at their most ambitious and experimental, and therefore at their most interesting.

Recorded during their return tour of Australia in 1971, Nickelodeon presents five tracks not featured on any other albums, and just one familiar song - their contemporary hit "Because I Love You". For the most part they are firmly in Zeppelin-style heavy blues rock mode, but with considerably less inventiveness than they displayed on Choice Cuts. "Future of our Nation" and "Evil Woman" are your typical early 70s heavy rockers consisting of basically a single simple riff played at plodding tempo - in the latter case, dragged out for a 20 minute jam, although the band at least come up with a few new ideas late in the improvisation. "When I've Got Your Soul" and "Fresh Air By The Ton" are basically extended blues jams, especially the latter. "Light A Fire Within Your Soul" breaks the mould of the album, being a much lighter mellower piece, but it's still basically three chords and one line of lyrics. "Because I Love You" suffers in comparison to the studio version basically due to the limitations of their equipment. Disappointing in comparison to the studio albums of the time, but still a mark of how far the band had progressed from their early days.

It's hard to believe this is the same band that recorded "Undecided", or even the same band that recorded Masterpiece just a year earlier - the development is just astonishing. The band are so much more fluent in their playing, and so much more ambitious in their compositions. Seems the time they spent in London, and the influences to which they were exposed, did them a lot of good. For the most part, they've gone in the direction of riff-based heavy rock, a la Led Zeppelin. "Easy To Lie", "Catty" and "Song For A Lost Gypsy" are emblematic. The opening sequence of "Rio De Camero" and "Michael" are the most impressive in this vein - if you pay close attention you can hear that they are still based on fairly simple chord changes and the usual modal scales, but the interplay between the instruments makes them sound considerably more complex and thrilling. "Our Friend Owsley Stanley III" is probably the most proggy, with it's irregular metres and slight Jethro Tull overtones. "I'm Your Satisfier" is a fairly simple blues rock tune bearing the most resemblance to their previous work (it pretty much takes up where "Think About Tomorrow Today" left off). "Because I Love You" has deservedly remained a radio favourite. "Song For Joey" is a brief acoustic guitar solo. There are times where their influences are worn too closely, for me the major issue is Jim Keays' vocals. His natural range is baritone, and earlier records stuck mostly to a middle tessitura. However, here he often seems intent on imitating Robert Plant, and his forays into the high tenor range do not sound comfortable. Some pressings have an additional track "New Day" (although it is not always identified as a separate track - on my CD it is part of "Song For Joey". This is a short acoustic ballad with Jim Keays abandoning his Robert Plant impersonation in favour of a Van Morrison impersonation. At least this time it's his comfortable range. An excellent album - one of the best Australian albums of the period.

I'm happy the Masters Apprentices are on this site, but proto-prog is the wrong place for them. They actually spent the 1960s jumping on every bandwagon except prog - garage R&B, psych pop, and hard rock - while other bands such as Levi Smiths Clefs, Tully, Tamam Shud, Copperwine, Sons of the Vegetal Mother, and even (briefly) the La De Das and Chain did more to get the prog ball rolling locally. The Masters finally caught up with developments when they released Choice Cuts in 1971 - admittedly they caught up in great style, releasing a couple of the best albums to come out of the Australian scene in the early 70s, but they were hardly the pioneers.

Masterpiece was recorded in late 1969, with a couple of single sides from 1968 also thrown in. It captures them at the height of their psychedelic pop period, and is basically a collection of very gimmicky songs with very gimmicky production, the biggest gimmick of all being the use of annoying orchestral interludes to link the songs on side one. If you need an international comparison, then they were probably aiming for something like Forever Changes or Odessey And Oracle or The Who Sell Out - it's not proto-prog unless you want to argue that the use of orchestra makes this Australia's answer to Days Of Future Passed. Nevertheless, it has it's entertaining moments, and on it's own merits probably deserves three stars - but not on a prog site.

The people who make these decisions have chosen to categorise Masters Apprentices as 'proto-prog', but in truth they were latecomers to prog, even by Australian standards. They began in the mid 60s as one of Australia's best R&B/garage-punk bands, set apart by the rapidly maturing songwriting skills of original rhythm guitarist Mick Bower. This album catches them towards the end of their garage stage. Like most Australian albums of the period, it is a collection of previously recorded single sides, and a few hurriedly recorded filler tracks. The filler includes five cover songs, generally the lowlights of the CD, particularly the dreadfully insincere cover of "My Girl". The remainder of the album is made up of Mick Bower originals - four previously released single sides which represent their hard-edged garage-punk side, and three newer songs which show a more sophisticated pop side (including "But One Day", which maybe sounds a little bit too much like the Yardbirds' "Still I'm Sad"). Not a strong album, and not even remotely prog - on it's own merits, as a garage/R&B record, it probably deserves 3 stars, but for a prog site, it gets only 2.

There is apparently a later version of this album floating around which leaves off some of the covers and includes a few later single sides - the track listing on this site appears to reflect that version. It's probably a stronger album for those changes. The Aztec re-release restores the original track order, but adds their subsequent 1967-8 single sides as bonus tracks, including the classics "Living In A Child's Dream" and "Elevator Driver". It also includes a bonus CD of demos and rehearsal recordings from 1966,

"Stop what you're doing and just listen to us!"

Masters Apprentices the Aussie prog 70s icons have created many singles in their illustrious career and of course there are a plethora of compilations, but this compilation is the definitive and the best showcasing everything the band did to make them famous Australian icons of classic prog rock. 'Fully Qualified' features all the singles from Poor Boy to Love Is.

The great thing about the album is it is a chronological history of the band. From 1966 are the singles Poor Boy, Undecided, Wars or Hands of Time and Buried and Dead from the debut self titled album. MA were a singles band in their early lineup from 1967 to 1969 and all these are featured, some never before released on CD, and treasures such as the psychedelic Elevator Driver, Think About Tomorrow Today and Living In a Child's Dream are here, direct from the single version.

From 1971's "Masterpiece" are 5:10 Man, A Dog, A Siren & Memories, and the instrumental How I Love You.

"Choice Cuts" was released the same year and was the first great MA album. It featured the chart topping infamous Because I Love You that is featured on every compilation in existence on the band. It begins with innovative acoustic guitar that is lilting and beautiful, then Keays croons, "its because I love you not because we're far apart..." and it builds to the memorable mantra that is recognisable in Oz pop culture, "Ooh, Do what you wanna' do, be what you wanna' be yeah". It repeats over and over at the end of the song and sticks in the brain. Everything about the track works and it will always be synonymous with the band's eclectic style. It features on Oz advertisements also. An indispensable Aussie treasure.

Turn Up Your Radio was also popular enough to feature on an advertisement campaign but is more remembered for its zany wild screaming and frenetic sax. This was a raucous song that most Australians have heard in one form or another. The words are straightforward and demanding "Stop what you're doing and just listen to us!" it also features homages to Bill Haley with "1,2,3 o' clock, 4 o' clock rock!... We're gonna rock!", cue the echo machine and then the blasting saxes crank it up again. The lyrics are based on 50s jukebox jargon and it's really all about the sound of rock n' roll and its effect on us the listener, "everybody's doing what they learned a long time ago, listen to the music and turn up the radio". Ok, fair enough. It's a definitive blockbuster that radio stations loved, even using it as an anthem. The film clip is a queasy zoom-in zoom-out 70s black and white blitz.

Also from "Choice Cuts" are Rio de Camero, a Latin America sound alike with a great instrumental break and a huge hit for the band; Easy to Lie with a great bass line that drives it along and it sounds psychedelic with filtered vocals and phasing guitars; Michael, a strange one with excellent guitar work from Ford and emotive vocals; Death of a King, a tribute to Martin Luther King with a slice of prog; Our Friend Owlsey Stanley III, an off kilter track with wild phased guitars and a weird structure that is psych prog at its best; and Song for a Lost Gypsy, another strange one that changes time sigs and features an exceptional lead break. That means there are only 3 tracks from "Choice Cuts" not found on this compilation, making this a must if you have not got "Choice Cuts".

From "A Toast To Panama Red" in 1972 are two treasures from their proggiest material, Love Is, a track that boasts some imaginative use of brass and acoustic flourishes, with an excellent lead break and estranged lyrics that are well sung with multilayered harmonies; and Thyme to Rhyme, a soft melancholy acoustic guitar driven piece.

The final track is an unreleased curio Wild, Wild Party from a rehearsal in 1966 remastered for this release in 2006.

Overall, this is the best compilation of MA and it coincides perfectly with the DVD release of the same name that features most of these tracks with the band performing on promos, TV specials and live concert footage with interviews. I recommend this compilation as the best place to start for those interested in discovering some great Aussie prog related classic rock. This is the best album of the band, 2 CDs of solid singles, rare and well loved, all the best tracks from "Choice Cuts", and therefore deserved of masterpiece status.

Masters Apprentices the Aussie prog 70s icons have created many singles in their illustrious career and of course there are a plethora of compilations, but this studio album is more or less the type of track listing found on compilations such as 'Fully Qualified'. In fact there are only three tracks on this that are not on "Fully Qualified".

'Because I Love You' is a chart topper that is featured on every compilation in existence on the band. It begins with innovative acoustic guitar that is lilting and beautiful, then Keays croons, 'its because I love you not because we're far apart...' and of course it build to the memorable mantra that is recognisable in pop culture, 'Ooh, Do what you wanna do, be what you wanna be yeah'. It repeats over and over at the end of the song and sticks in the brain. Everything about the track works and it will always be synonymous with the band's eclectic style. An indispensable Aussie treasure.

Rio de Camero is a Latin America sound alike with a great instrumental break and a huge hit for the band.

Easy to Lie has a great bass line that drives it along and it sounds psychedelic with filtered vocals and phasing guitars.

Michael is a strange one with excellent guitar work from Ford and emotive vocally.

Death of a King is a tribute to Martin Luther King with a slice of prog.

Our Friend Owlsey Stanley III is an off kilter track with wild phased guitars and a weird structure that is psych prog at its best.

Song for a Lost Gypsy is another strange one that changes time sigs and features an exceptional lead break.

In any case this is one of the best albums with some of their greatest tracks. I recommend this as an excellent starting point but there is so much more the band produced that are as good, if not better, than this album. "Fully Qualified" is the one to get, a compilation certainly, but the best document of the band featuring everything great on "Choice Cuts", 7 tracks, and all their unreleased singles.

'A Toast to Panama Red' is Masters Apprentices most accomplished approach to prog rock and it is a fabulous album. Each track chugs along with some excellent guitar from Ford and the wonderful vocals of Keays. Time sig changes are prevalent throughout and very well structured compositions that begin and end without flourish.

'The Answer Lies Beyond' motorvates along at a nice medium pace with cool riffs and pulsating drum beats of Burgess. The slow meandering phased guitar of Ford carries along 'Beneath the Sun'. The vocals are quiet, and there is no chorus, as is the case for most of the tracks. It changes direction mid way through with a hypnotic riff, strange effects and psychedelic nuances.

This was 1972 and prog had survived the birth pangs and was beginning to flourish with this type of heavy psych approach which was complex and not just designed for pot heads. Keays drew the album cover and his wife wrote out the lyrics in her own hand, it was a real collaborative effort. 'Games We Play 1' is surrealistic and off kilter with an early Sabbath feel in the guitar work with very erratic drumming. The 7 minute track changes moods and launches into an ace bassline by Wheathers that drives it along, than Ford's lead punctuates the track with high pitched fret screams.

'Games We Play 2' is an instrumental that heavily relies on a driving guitar riff and showcases the musical prowess of the band. 'The Prophet' poem is read over the music in true Hawkwind style and choral voices from the Crikey Choir! This enhances the track with an ethereal quality and its worth a listen though only available on this album.

The next track 'The Lesson So Listen' opened the vinyl album side 2 and is held together by a progtastic riff; angular guitar and intricate drum patterns propel it along. The contagious melody of 'Love Is' is a definite highlight, and is a track that boasts some imaginative use of brass and acoustic flourishes. There is an excellent lead break and the estranged lyrics are well sung with multilayered harmonies. 'Memories of St Kilda' is intriguing and works as a rocker that changes signature and blasts to a sudden conclusion.

'Southern Cross' is the highlight of the album featuring an excellent lead guitar solo from Ford, a key to the success of the group. There is some great bass on this too and vibrant drum beats. 'Thyme to Rhyme' is soft album closer with acoustic guitar and is short and to the point.

Conclusively this album is perhaps the best of Masters Apprentices apart from the plethora of compilations that are still being churned out. Great arrangements throughout and innovative structures creating a strange ethereal atmosphere. This is an early 70s look at Aussie Prog and it is well worth a listen. ****

With Choice Cuts a progressive and psychedelic sound begins to surface for The Masters.

A note: There may be some confusion about this album with European readers. Choice Cuts was released in Europe as 'The Masters Apprentices', sometimes with a heavily cropped version of the Hipgnosis designed cover. It is a totally different album to the Astor release under the name 'The Masters Apprentices' from 1967.

Choice Cuts represents a number of firsts for the Masters Apprentices: the first album the group has recorded where the intention was to go into a studio and record a complete album (the others being collections of work over a few years amalgamated into albums); the first of two album recorded at the legendary Abbey Road studios; and the first to feature the Masters line-up that would be considered the 'classic line-up' - Jim Keays, Doug Ford, Glenn Wheatley & Colin Burgess.

With the new line-up and the production guidance of Jeff Jarratt (an engineer on a number of The Beatles recordings and Pink Floyd's 'Piper At The Gates Of Dawn') the Masters recorded an album that was influenced by much of the new music they were exposed to while in the UK. These influences included King Crimson, Hendrix and Free from the heavier end of the music spectrum, and Donovan and Van Morrison from the acoustic end.

Choice Cuts is by no means a true progressive album, however it does step away from the beat sound of the past and migrate into progressive areas. "Michael" and "Easy To Lie" are a couple of tracks with a progressive edge. Both make use of some smouldering guitar from Doug Ford that reminds me of Uriah Heep's guitar sound. These are supplemented by the somewhat psychedelic "Our Friend Owsley Stanley III" (a direct reference to the LSD culture of the period), the tribute to the slain Martin Luther King with "Death Of A King", and "Song For A Lost Gypsy".

The hits from the Choice Cuts album are the ballad "Because I Love You" and the Latin- influenced "Rio De Camero". "Because I Love You" features Jeff Jarratt playing piano of the legendary white grand piano belonging to Paul McCartney, and has become an Australian classic over the years. "Rio De Camero" was written at the last minute to give the album another few of minutes playing time, however it did not become a hit until 1974 when it was released as a single to support the Masters "Best Of" album 'Now That It's Over'.

Overall Choice Cuts presents this incarnation of the Masters Apprentices as a competent and cohesive playing unit. It is an important album that showed that Australian artists could venture overseas, learn from their experiences, and translate that into music with a fair level of success.

While not rating high as a progressive album, the Dinosaur is giving Choice Cuts four stars. Why? Because of the influence Choice Cuts had on those artists that followed by giving belief that great albums could be made by Australian artists. This included the next Masters album, an outright progressive album in the form of 'A Toast To Panama Red'.