COLOSSEUM

When speaking of Progressive music, in general I prefer studio albums to lives because the studio work allows the artists to put as many details as they want in their music.

This album is the exception. It's first of all a rock album. The quality of the sound is "Fit for purpose" in the sense that you know clearly that it's live music and this is the kind of sound that a rock live must have.

Then if a heavy-blues subgenre existed this is how this could be called.

"Rope Ladder to The Moon" is a great opener. It conquered me at the first spin. "Walking in the Park", alone, is enough to make it a five-stars album, but all the tracks are excellent: Skelington is another masterpiece of blues-rock. Just a note: if I'm not wrong, "I Can't Live Without You" wasn't on the vinyl version of the album and was added later to the CD edition. The original double album had two tracks on sides 1 and 3 and 1 track on side 2 and 4. This is the reason why this song is not of the same level of the other 6.

Another remarkable thing is the sax work on Tanglewood 63, the most progressive track of the album. Finally, "Lost Angeles" has all the things that one can ask to an epic, even if "only 15 minutes long.

The internal sleeve of the vinyl edition was full of photos from the live session, and i remember at least one with Dick Heckstall Smith playing two saxes at the same time (he does it some times in this album) and is something that other than him I've seen done only by James Senese, but the whole lineup is skilled and talented.

This album is son of its times. Something unrepeatable today, so other than an excellent album it's a document of how good blues-rock was sounding after the blues revival period. A great live full of great songs.

One of the pivotal early progressive rock releases, Colosseum's Valentyne Suite' album has long been rightfully hailed as a classic of the genre. Blending jazz, blues and rock in equal measure, Colosseum were part of the first wave of prog bands alongside the likes of King Crimson, Still Life, Rare Bird and Genesis, releasing their debut album 'Those Who Are About To Die We Salute You' in 1968, just after Procol Harum had unleashed the multi-part epic 'In Held Twas I' from their 'Shine On Brightly' album. Whilst Colosseum's first album showed a group still learning their trade, 'Valentyne Suite' would see all the disparate elements sown together almost perfectly, creating a thrilling union of rough-edged blues-rock, jazzy textures and complex time-signatures that belied their youthful status. Opening track 'The Kettle' finds the group in blistering form, with James Litherland's prime guitar riffs and Dave Greenslade's wailing vocals pounding energetically through four-and-a-half minutes of almost Hendrixian rock 'n' roll, the song all the time teetering on the edge of instrumental chaos and threatening to lose it's rhythmic grip but somehow always holding on to the pulse. It's a thrilling sonic sound-clash that perfectly illustrates Colosseum's imaginative style, whilst the more melodic, jazzier follow-up 'Elegy' provides the perfect antidote, settling things down with some classy sax from Dick Heckstall-Smith. For many, however, the real treat on 'Valentyne Suite' is the three-part title track, which provides a lengthy, ever-twisting journey through Colosseum's jazz-fuelled reading of contemporary rock, with cool sax, finely-tuned guitars and Dave Greenslade's beautifully-played organ combining to wonderful effect. Indeed, 'Valentyne Suite' would provide the high watermark for Colosseum's brief-but-brilliant tenure, with the less engaging but still worthy follow-up 'Daughter Of Time' providing yet more swiftly-executed jazz-rock and the live effort - titled, rather blandly, 'Colosseum Live' - demonstrating each members impressive playing skills as they stretch and mould various album tracks into exciting new versions, each album featuring an earthy and richly-imbued sensitivity for the modalities of their material. Like the best jazz-themed rock Colosseum have that canny ability to appeal to several audiences at once, with their breathtaking playing and innovative merging of styles putting them on a par with the other jazz-prog greats of the era, such as Soft Machine, Nucleus, Mahavishnu Orchestra and Miles Davis. A classy treat, 'Valentyne Suite' fully deserves it's place in the pantheon of great and influential progressive rock albums. STEFAN TURNER, LONDON, 2010

Colosseum's , early British jazz-rock band, debut album. Recorded in late 60-s, this music has its roots in very different from US competitors soil. Based on Graham Bond Organization and John Mayall's Bluesbreakers ' participated musicians, this album is excellent mix of blue-eyed r'n'b, British blues and jazz.

Compositions are mostly of bluesy structure (and some songs are still just blues as well), all melodic, energetic and catchy. All musicians are great, and saxman Dick Heckstall-Smith shows his best there! Unique balance between jazz-rock drumming, jazzy brass and r'n'b keyboards bring this music at the highest positions of early jazz-rock."Ides of March ", based on JS Bach's chords, sounds as medley between Bach and Procol Harum's "A whiter shade of pale " ! Combination of organ and sax gave the band their characteristic signature. No fillers on the album at all!

Different from American early jazz fusion , this band's debut is British early jazz-rock classics. Really recommended!

My rating 4+

Valentyne Suite is an old classic from 1969, the year where influences from classical music and jazz became increasingly important in psychedelic rock. It won't register as prog with everyone yet and people that don't like either blues or jazz won't probably go wild over this release at all.

For me this is first and foremost an superb collection of heartfelt music, with varied songwriting and an open-minded attitude.

With The Kettle we take a strong rocking start with heavy psychedelic blues rock, rather similar to what also Deep Purple was doing those days. Elegy remains equally upbeat, but with a more jazzy swing. Time for a blues on Butty's Blues, traditional in style but simply excellent. I could become a real blues fan from listening to this stuff. The Machine is a track that I could do without. It's not bad but rather straightforward, except for the noisy ending that reminds of PF's Bike.

On to what everyone was waiting for, Prog! A whole suite of it actually. The first part brings The Nice and Deep Purple to mind, full of heavy rocking energy and classical-inspired organ melodies. It develops into a great organ and sax jam on a rockabilly bass line. Part two starts a bit more mellow, full of oohs and ahs and romantic themes. Part three lets the guitar come to the fore. The band runs wild again on this one.

An inspired and vigorous lump of early prog rock, with the emphasis on rock!

Second Colosseum studio album is possibly the best late 60-s jazz-rock album. Not jazz fusion ( which for me means genre, invited by jazz musicians, added rock elements to their jazz music), but real jazz rock (when rock musicians took from jazz it's improvisation & instrumental arrangements.

Characteristically to time of its release, this is so called "early jazz rock" - heavy bluesy rooted with rock and jazz added in almost equal proportions. Excellent rock energy, bluesy soul, and jazzy musicianship. Dick Heckstall-Smith sax soloing is one of his best ( speaking about jazz rock music), rhythm section is heavy and great, James Litherland is band's best vocalist.

Rare balance between heavy and melodic blues-rock and jamming, long jazzy compositions. Kind of music was missed very soon in music history.

By the way, fans can compare this album with band's next release, strange "The Grass Is Greener" release for US market, where are some same songs, as on "Valentyne Suite", but recorded with band's new singer and guitarist Dave Clempson.

My rating - 4+.

Valentyne Suite is one fo those algums you hear a lot about it, but only recently I found a copy of the album to actually sit down and listen. If you´re expecting something symphonic, then most of this work is not very progressive at all. it´s much of that day´s blues rock band and, in that field, quite interesting and, yes, progressive.

The first number, the kettle, did not move me. It´s a pastiche of Jimi Hendrix Experience/Cream stuff, not very imaginative nor original. With Elegy things start to improve a little with a good mix of blues and soul, featuring some nice rhythm guitar. Betty´s Blues is an interesting jazz/blues number, with some real scrreaming brass arrangements. The Machine Demands a Sacrifice (what a title!) is too a nice number lead by a driving organ, strong rhythm (including some inovative percussion at the end) and a powerful use of brass and flute. it also has the best vocals of the entire album.

The real gem of the album, at least prog wise, is the 16 minute suite title track. This instrumental Piece is not only the album´s highlight but a very groundbreaking work at the time with stunning organ runs, shifting moods and rhythms, fine sax parts and one true embrace of jazz, rock and classical music. Even if at the time other groups were doing something similar (The Nice comes in mind), Colosseum´s contribution is not small in this part.

I can´t really say I´m totally enraptured by this album. I was never a fan of jazz and blues for starters. And at the time I felt much closer to the work of other, more classic influenced and melodic groups. However, I can´t deny the sheer power of this CD and its contribution to the evolution of prog music in general. Personally I´d rate this album three stars. For its importance I´m giving it another half star. If you´re into 60´s progressive blues stuff, this is a must have. If you´re into general prog music history this CD an excellent addition. For me Valetyne Suite is good, with a brilliant last part. 3,5 stars.

Third Colosseum studio album is a strange fruit. It was released in USA only, and formally is "Valentyne Suite" , band's second studio album's, version for US market. Even cover picture is almost the same (only darker and in a different hue).

But under the cover, situation is more difficult. Half of the album (4 songs) are all new ,and don't appear on any other band's studio album ( Jumping Off the Sun, Lost Angeles, Rope Ladder to the Moon and Bolero). So this album has a full right to be counted as their third studio one. And big part music is very different from "Valentyne Suite" there due to the replacement of James Litherland for Dave 'Clem' Clempson.

In fact, there are three songs from "Valentyne Suite" side A presented, and part 3 from "Valentyne Suite", long composition, filling all side B on original "Valentine Suite " release is used as well ( under slightly different name as well - original name is "The Grass Is Always Greener ... "). But from all 4 songs, only one could be possible absolutely the same as on "Valentyne Suite" album. It is "Elegy", great song with previous vocalist Butty Litherland vocals. Three other are re-recorded with Clempson vocals.

Music on this album is generally same great early heavy jazz-rock, with massive keyboards and excellent sax of Dick Heckstall-Smith. Having its roots in r'n'b from late 60-s, Colosseum is one of great early jazz-rock band of all times. Compositions are complex, but very melodic, still with great rock tradition of songwriting ( and not main accent on musicianship technique). You will easily feel some blues rock and light psychedelic smell there.

Interesting and very competent work, I think it is not a best entrance to Colosseum. Clempson is possibly their worst vocalist, and because of strange songs combination this album is not so representative. But absolutely must have for band's fans.

Valentyne Suite, Colosseum, 1969

The leap from the talented but somewhat hamfisted Those Who Are About To Die to the chic, suave musical narrative of Valentyne Suite is a remarkable step for this early traditionally-rooted jazz/rock outfit. From the first crunchy guitar chords and the entrance of Hiseman's superb, laid-back, absolutely textbook drumming, it clear this album is something special, fun and unique. Get a cup of your favourite brew, connect Valentyne Suite to your CD player and *relax*.

The Kettle is punchy, classy, deceptively simple-sounding jazz rock. Some belters of bass solos from the criminally unknown Tony Reeves, quality wailing blues guitar, a great riff and Hiseman's ever-present supporting, classy drumming. The lyrics are mostly nonsense, but sound great and the general energy is just right.

Elegy is one of the album's most unusual pieces and, to be frank, it doesn't quite work for me. Litherland's vocals are best for me in very small doses, and the disjointed organ/sax interplay is clearly very clever but fails to go much beyond that. Not quite sure whether the violins are really doing much but everyone's kicking around nicely, and any band with the instrumental talent and taste Colosseum have naturally leave redeeming features all over the place, whether in the solos or a neat bit of interaction I didn't quite notice before.

Butty's Blues is, predictably enough, a blues. Nothing wrong with that and it is a very creative one. Dave Greenslade on organ brings the house down wonderfully with a biting harmonica-impression and the one-man-brass-section-sound of Dick Heckstall-Smith is not to be underestimated. Litherland's vocals, guitar and the attached lyrics are a perfect fit. The rhythm section, as always, is great. Love it to pieces.

The Machine Demands A Sacrifice is the most frantic and strange piece on side one, going for a sort of edgy, cutting vibe and actually hitting it very well. Wonderfully choppy organ that grooves in a way that takes a while to work into you, snarly vocals, a rhythm section that alternates tense aggression, avant-garde percussions and charmingly absentminded jazz with absolute fluency. Not to mention the menacing rebirth of the piece towards the end into a block of sound. Strange, but it really works.

And now, the big bit: Hiseman's entrance is simply a 'you're here' announcement. Crisp, fresh, warm percussion lines, a bit of Broadway style offering a cinematic overview in glimpses between the band's precise, coherent jazz improvisations. Dave Greenslade is on particular top form, adeptly tackling wandering vibraphone, glaring organs and an incredibly smooth piano trio with Dick Heckstall Smith's mournful saxophone and a mounting wall of expressive percussion. The ideas are just everywhere, playing is precise, sharp and you get the sense of a band who are truly in the zone. Just when you're in your comfort zone, one of the neatest rhythm section parts ever written thunders out of the woodwork in air-drumming ecstasy. And hey, that's like inverted classical distorted organ... I mean... wow, where is this...

The band simply has an astonishing capacity for this huge, improvisationally-rooted, many-part composition with roots in a huge number of styles coherently in unexpected and wonderful directions and then pulling it back together. Going through all the details would be a waste of my time and yours, but highlights include a Litherland-Reeves duet, almost each and every time John Hiseman inserts in a fill. Strictly in and of themselves, I think the bright first and destructive third parts are a bit better than the second, but it's the second that ties it all together and allows the third to seem so appropriate. An absolute triumph.

Onto bonus goodies (both lives, neither produced spectacularly, but both very audible): Arthur's moustache is an initially sluggish jazzy piece with what I think is a bass solo and a half slammed in the middle. You get an impression of what the band is doing, and that it's probably a good thing, even if the claustrophobic sound makes it fairly heavy going.

The more open Lost Angeles resembles, with its rolling vibraphone, the more pictorial bits of Valentyne Suite. Again, the extensive vocal bits don't really seem to serve the piece, but they're niceish, and Hiseman and, indeed, the whole band, seems to be on pretty much top form and we get some delicious guitar soloing. Worth hearing if you're a fan of the group.

So, props to an absolutely killer album. Only the slightly irksome presence of elegy is warding off a fifth star, but, for all that, you won't find a better other thirty minutes of music easily and for fans of musicians who know what they're doing, this is one of those albums you might not have but which contains half a dozen real virtuosos without the contagious impulse to show off at every possible juncture. Which isn't to say that they don't do just that more than sufficiently a lot of the time. If you don't have this album, your collection is incomplete.

Rating: Four Stars, possibly going to be revised to a five if I find myself warming to Elegy at some point in the future Favourite track: First part of Valentyne Suite, hands down.

Those Who Are About To Die Salute You is a really nice debut from Colosseum, but it's nothing groundbreaking. The best I can say about this album is that I like it. I think it's very professionally done, all the players are excellent, the singing ain't that bad and even the production is good considering when it was released.

But it does not excite me very much, even though the music is jazz rock which I usually like very much. The compositions seem fine, but to me they're only half way there and they lack certain spark which would make them more exciting and thrilling. I can't put my finger on it, I just don't get much out of this album. To me it's kind of basic jazz & blues based rock, lacking originality.

There's no denying that the album is good, but the imperative word for me here is that it's only 'nice'. 3 stars.

I suppose any listener to an album that fuses different musical styles will eventually ponder if one is particularly dominant. Is a folk-rock album, for example, more 'folk' than 'rock' or vise versa? Colosseum's Valentyne Suite ostensibally offers a jazz-rock fusion yet it is impossible to decide which of these these two styles is primary. Not because the music at any one point offers an equal balance between these styles but because individual tracks and even the band's players provide considerable variations that are not always compatible with each other. The opening track, 'Kettle' delivers a powerful piece of heavy psych comparable with the best of Cream, Hendrix and other pioneers of the sub-genre. James Litherland's guitar licks economically punctuate a solid rhythmic backing in which Hiseman's virtuoso drumming is especially outstanding. Yet, the second track, 'Elegy' is of a wholly different character offering a mellow jazzy vibe in which Heckstall-Smith's lyrical sax playing is at the fore. 'Butty's Blues' brings a more blues-jazz variation and 'The Machine Demands a Sacrifice' returns to a more psychedelic mode before the progressive rock masterpiece that is the 'Valentyne Suite' begins this time melding rock, blues and jazz with a series of baroque harmonies primarily on the Hammond Organ. Each track and all musicians are individually brilliant yet the combination of styles does not, ultimately, add up to a cohesive whole. The album can sound like a compilation of tracks from different bands whose only connection is a liking for jazz and willingness to experiment with various rock, classical and psychedelic themes. This is, however, only a minor flaw: the constant inventiveness, subtlety , technical accomplishment and occasional beauty of the music rewards repeated listening. That the album was the first release on the Vertigo Swirl label is appropriate as it contains just about all the styles that will feature on later additions with the exception of folk-rock. Not quite a perfect masterpiece, Valentyne Suite comes fairly close and fully deserves our esteem.