JOHN WESLEY

'Chasing Monsters' - John Wesley (4/10)

The most versatile, but alas, the least memorable of John Wesley's discography, 'Chasing Monsters' sees the singer-songwriter (of Porcupine Tree fame) range from subtle acoustic work to blown up psychedelia, all the while maintaining his warm and intimate sense of delivery. While John Wesley is generally quite a consistent artist and the execution here is up to par, it feels like the songwriting here lacks something that was usually present on other works; a sense of emotional impact.

Perhaps it was a result of his experimentation with a wider range of sounds, but the signature style of warm storytelling and sweet melodies doesn't seem to be here in such a satisfying quantity. While going to ambitious lengths as to include mandolin and violin sounds here, it's quite surprising that the music doesn't have nearly as much of an effect on me as I would hope. While albums like the excellent 'Shiver' would go to prove what a talented singer- songwriter the man is as well as throw in the dynamic and progressive theme, 'Chasing Monsters' doesn't feel nearly as inspired a work. In fact, the only track here that really stands out is the title track, which is a very acoustically-driven song.

'Chasing Monsters' is arguably the weakest album in John Wesley's discography, but it still holds a few moments and tracks that impress. As a whole however, I do find myself a bit disappointed.

'Under The Red And White Sky' - John Wesley (7/10)

Released in 1994, 'Under The Red And White Sky' was devised and endorsed by Steve Rothery (of Marillion fame) to showcase the talents of one John Wesley, a gifted singer/songwriter that rose to wider spread attention when he was enlisted as a guitarist for prog giants Porcupine Tree. While certainly a listen separate from the bands and work he might be more well-known for, the solo work of John Wesley is something that any fan of Porcupine Tree (or someone looking for high quality singer/songwriter music) owes it upon themselves to check out.

Having worked my way backwards through this man's discography (from most recent to the debut) 'Under The Red And White Sky' appears to be one of the couple of Wesley releases that really distinguishes itself as being something both relatively well executed and intimately written. Especially for a essentially one-man effort, it is rare (and yet a pleasant surprise) that a songwriter's first steps treading in the waters of recording would be among his finest. Here, it isn't necessarily that the songs themselves are outwardly superior to those on following albums like 'The Emperor Falls' (although in many cases, that rings true.) What really makes 'Under The Red And Blue Sky' shine out for Wesley is the passionate performance he presents the compositions with.

I have always thought of John Wesley as a strong singer and musician, but some of his music seems to get stuck in the rut of a strict by-the-numbers adherence to the song structure; rarely letting the music really ring out. Here, Wesley's voice really soars; further intensified by some great instrumental arrangement to make a well covered (although certainly not dense) soundscape. Instrumental cameos from the Mellotron (among others) demonstrates that John Wesley is indeed rooted in the progressive scene, although his style may sometimes suggest otherwise.

While 'Under The Red And White Sky' doesn't seem to have much bearing in terms of overall album flow, the music does range from the rocking to the soft, although many of the songs seem to fit into little 'archetypes' that Wesley seems to have set for himself ('acoustic, sensitive love song,' 'soft rocking blues number' etc.) With this in mind, Wesley seems to have found a style that works for him; a musical outlook he scarcely seems to wander out of. While the inherent lack of true variety may turn some off of this man's work, his down-to-earth approach to making music comes as a real source of refreshment in a world where flash seems to be valued over substance.

The true highlight of the album does not rest in any song in particular (although some tracks such as 'None So Beautiful,' 'Rome Is Burning,' and 'Silver' stand out to my ear) but moreso the lyrics themselves. The first few times listening to this album, it felt like it was content to slip into the background while I was working. However, giving the lyrics a real listen instantly captivated me; with his words, John Wesley tells stories.

While John Wesley's musical scope may seem limited, the man is very good at what he does, and it is clear that he approaches his music with passion and a really sincere, heartfelt attitude. This man is a poet with a guitar.

'The Emperor Falls' - John Wesley (5/10)

Coming to attention as the session and lead guitarist of progressive rock giants Porcupine Tree, the solo career of John Wesley should certainly be of interest to the bigger fans of the band out there. Regardless of his association with Steven Wilson however, Wesley has a very heartfelt style of his own, and anyone who appreciates a warm singer-songwriter approach to music should look into the man's solo material. With his second full-length under his own name, 'The Emperor Falls' demonstrates many of Wesley's strong points. However, the overall execution of the product pales in comparison to some of the other work he has done, and a little more variety with attention to detail could have made this a much more enjoyable and memorable experience.

I have always thought of John Wesley as being a 'progressive' Bruce Springsteen of sorts; his no-frills approach to making music doesn't leave much room for experimenting, but theres alot of emotion here... Unfortunately, along the course of 'The Emperor Falls,' it feels like Wesley is revisiting the same few emotions over and over again, without exploring much further.

The sonic palette generally consists of acoustic guitar driven rock. Although there's certainly more arrangement here than a barebones acoustic record, things are kept pretty simplistic, giving the vocal delivery and essence of the songwriting centerstage. While this means that it doesn't have the replayability of a more involved piece of music, it is easy to get something out of the music, and feel something from the first listen onwards.

Wesley's voice and his instrumental sensibility are the highlights here. While there are cameos from members of the neo-progressive band Marillion, that seems more like a marketing technique over anything else; many times listening through, it doesn't sound like there is anyone else besides Wesley himself at the helm.

The production is functional here, but while Wesley's music has never been dependent on crystal clear sound, things sound alot more polished on the other records. In any case, the album's greatest flaw is it's lack of variety... While the upbeat, almost tribal Wesley/Hogarth duet 'So Bad' is a refreshing break from the acoustic melancholy, things could have taken a much more enjoyable turn if each song had new to throw into the mix. For what it is however, 'The Emperor Falls' is a competent piece of work from a very talented man, although I would suggest starting out with the latest album 'Shiver' or the debut for those who haven't heard his solo work before.

'The Closing Of The Pale Blue Eyes' - John Wesley (4/10)

This is one of the weird circumstances where I know the music in question is quality stuff, but I just don't enjoy it that much. By 'quality,' I mean that the music is sincere and emotional in nature. While it's completely understood that 'Pale Blue Eyes' was not trying to be meticulously arranged and complex, a little bit more variety in the timbre and sound panel might have done wonders.

My first introduction to John Wesley's solo work was 'Shiver,' which crosses me as having both the intelligence and emotional resonance to make it a gem. It might just be my musical background, but an unplugged performance doesn't feel so interesting when it's strapped this bare. The lyrics are thought-provoking for the most part, and some songs (most specifically, the first track 'Right Here Beside Me') work wonderfully without any production tweaks, but a lot of the songwriting doesn't feel as mature or involved as stuff Wesley has done on other records, like the one I've already mentioned.

In any case, John does a very good job of actually performing his pieces. His voice is very down to earth and sincere; and while a lot of the songwriting doesn't lend to musical showboating, the few solos he does here and there show he is a brilliant guitarist.

Perhaps with a few more listens, the album will grow- it is not necessarily bad at all. It just feels like with a few tweaks to the songs and maybe a piano thrown into the mix would have made for a much more enjoyable experience.

This early release by John Wesley (of contemporary Porcupine Tree) is an emotive collection of singer/songwriter style songs which miss much more frequently than they hit, making "Emperor Falls" a poor album overall with a few shining gems hidden within for fans.

"Emperor Falls" is song-oriented, leading from one short, sensative pop tune to the next. While unambitious, the writing is very genuine, but while emotions and lyrics aspire to connect with the listener, the mediocrity of music holds back the potential for anything special. Wesley's guitar playing is quite good, using vibrant layers and processed tones to create interesting tapestries of sound, he just doesn't do enough of it to make much difference.

The introduction, "Out of Your League" is one of the few standout tracks, displaying some of this strong playing with a strong momentum and slinky vibe; "Emperor Falls" is another keeper, having a unique feel and building to a fine solo. All other tracks will leave the listener wondering what the point was. Ideas are introduced but not explored, and many songs feel like they are just getting started when they end. The end result is a sort of pointlessly introspective collection of languid pop songs-- too personal feeling to connect with, and too lazy to simply go along with. There's a definite unpolished (or even unfinished feel) to these songs.

Hogarth's and Rothery's contributions are negligible, making this one just for Wesley fans-- who are better off sticking with "Shiver".

Songwriting: 2 Instrumental Performances: 2 Lyrics/Vocals: 2 Style/Emotion/Replay: 2

I choose to revview the first album of JOHN WESLEY because for me this album seems to be something like touching the absolute of sensitivity and passionUNDER THE RED AND WHITE SKY is an album made by a trully gifted artist with a sensational passionated voice and also a multitalented instrumentist!This album had a major impact when I've made a first audition,may years ago...more then 15 years ago and I think it's like he wine,,,the older he gets the better he become!!It's made with so much professionalism and care for the aesthetical aspect and for the love of good ,very good composed songs!This album has something magic,and each song is like a piece of a huge puzzle,carefully packed ,with so much care for every little detail !!Superbe compositions and so inspired melodic lines,and just take a look to the other musicians that are involved in this album!Something like an ALL STAR TEAM,and that's why,maybee,the standards if WESLEY have been so elevate!Mr Steve Rothery himself produced the album and gave WESLEY the chance to express himself with this album,so rich and dense in emotions and moods!Lyrically songs at 90% and not even a moment of boredom or the reaction to consider the album stereotype,no,just beautiful music,inspired and poetic texts,true,magical art,a higher form of artistical belief!Impossible to choose any particular song,simply becaue all are so wonderful and each of them is a little musical pearl! Years after years,Ive searched other album to bring me to the state of euphoria and serenity that this album is bringing to me,and I haven;t found something similar,so intense and passionated!The man is busy and active even today,being active in MARILLION'S tours and having strong collaborations with STEVE WILSON and PORCUPINE TREE!He made other albums in the next years,very good and beautiful,but he didn't reach this inspiration and talent that found on the debut album!I admit I am subjective,but I give 5 STARS to an album of pure art and sensitive till tears sometimes!WONDERFUL!

The clear winner in John Wesley's catologue, "Shiver" explodes with dynamic, guitar-led rock, propelled by earnest songwriting, simple yet thoughtful lyrics, and an elegant mood which will easily grab the listener from start to finish.

"Shiver" presents a variety of songs, from big melodic rockers to moving ballads or slinky grooves. Most songs are mid-tempo, approachable, and very memorable. Wesley's use of layered guitar shines in this crystal clear production, giving us a rich pallette of sounds to appreciate. Although his earlier releases had a somewhat limited impact, Wesley seems to have picked up some new tricks from his time spent with Steven Wilson-- who also produced "Shiver". Fans investigating "Shiver" via Porcuine Tree will not be let down; there is a definite modern, prog vibe to these songs, although they certainly differ in style to modern PT. "Shiver" leans towards an intelligent (electric) singer/songwriter feel, with catchy lyrics and melodies; accessible, but never dismissable.

The excellent, crafted feel to the songs and Wesley's guitar playing is very vibrant, making for a memorable, emotive crossover experience.

Songwriting: 3 Instrumental Performances: 3 Lyrics/Vocals: 4 Style/Emotion/Replay: 5

'Shiver' - John Wesley (8/10)

First off, I'd like to say how pleased I am to have John Wesley finally on the 'chives. Many progressive music fans will have already heard him from one source or another, as he plays rhythm guitar and does back up vocals for Porcupine Tree. On an added note, Steven Wilson produces this album, which should peak the interest of a Porcupine Tree fan even further.

All things aside however, John Wesleys solo work takes on a different style to most PT material, although fans of the latter should appreciate it. There is little to do here in terms of experimenting, or 'prog,' but that doesn't get in the way of Wesley crafting a moving, warm and human album.

Anyone even remotely familiar with the work of Bruce Springsteen will hear a very evident influence, although Wesley adopts the existing style and melds it into something of his own design. While the music in itself is nothing ground-breaking, the magic here is in the lyrics themselves and how Wesley performs them. While many progressive artists look to the ultimately cerebral and surreal (Yes, or The Mars Volta, to name a couple) Wesley focuses on subjects that apply to actual life, and rather then being solely introspective, stories are told with his music. Humbly put, Wesley is writting poetry for the working man.

Possibly the highlight of the album for me 'The King Of 17,' which tells the all-too common tale of a teenage runaway from an abusive family. Let the beauty in Wesley's words speak for itself: "We head to the east to catch up to the sun / You smile as you watch it rise / We come from nothing, we leave nothing behind / My world is the hope in your eyes..."

'Shiver;' while not blasting through boundaries of musical imagination, is one of the more poetic and human albums I've heard in quite a while. I would like to thank my friend and fellow PA member Joel (progkidjoel) for introducing me to this man's backcatalogue, and I am eager to delve into the rest of his albums!

On a further note, 'Shiver' and other releases from John Wesley's back catalogue are available for free download from his official website.