Duncan Mackay

Let's make room for one of the greatest prog-keyboard-players ever! Mackay goes
right alongside with Wakeman, Moraz and Emerson. The only problem is that this
man was always underrated. Originally a violinist, Mackay was always more interested in keyboards.
He worked hard and long to publish his first album Chimera (1973) whitch had only three tracks. The Concept
was pretty similar to Close To The Edge. This album really showed Mackay's talents, or did it? The problem was that in the same year Mackay released his pilot-album, Genesis released The Lamb Lies Down On Broadway and Yes released Tales From Topographic Oceans. Chimera never stood out and disappointed Mackay joined forces with Steve Harley and Cockney Rebel. 1977 Mackay released his second album Score whitch is a lost gem (even more than Chimera). Score is a kind of Greenslade meets ELP who meets Genesis only to go back to Greenslade album. It's a great display of Mackays skills which fly out of his keyboard arsenal. Now the problem with Score was that even with John Wetton handling part of the vocals it never succeeded because of punk and new wave. Couple years later Mackay released Visa an electronic, ambient-prog album (not one of my favourites but still ok). In between Duncan Mackay played in Camel (Nude and The Single Factor) and Alan Parsons Project.

I have always loved his playing on Budgie's Deliver Us From Evil (1982)

Let's not forget his stint with 10cc!

Love the debut, haven't heard his second.

Great debut - -

The "Wow factor". It is the unspoken rule, the acid test ~ and if we're lucky, the result ~ when listening to progressive rock. It's what we all hope for again and again like a junkie who still hasn't gotten it through his head that that first, sweet high is never to be repeated, no matter how hard he tries or how powerful the junk is.

But occasionally if the brain isn't too fried and soul too jaded, an LP stimulates that long-lost remnant of one's virgin moment with a fickle lover. A kiss, a hand down the pants, and the lusty past may be relived. Or at least its memory. So it is with veteran Duncan Mackay's baby from '74, Chimera, and like most Gen-Xers the album is a troubled but astounding individual; Of its time in a big way reminding not a little of early ELP, and yet holding its own with a gifted gene pool during an amenable era for complex art music. More precisely, keyboardist/composer/singer Mackay and his trusty little duo of drummer Mike Gray and bro Gordon on violin are in league with the single-led efforts of Morgan Fisher or Dave Greenslade. And on Chimera, Mackay just lets it go, recognizing the liberties attainable and musical gold hidden there, somewhere, if he looked hard enough.

Luckily he did. 'Morpheus', though problematic, is pure anglophonic gold streamed with Mackay's organs and synths-- derivative to be sure but in the best possible way, even outdoing his much bigger peers, the tiny rhythm sec somehow keeping it all afloat. It moves through blues, baroque, samba, gospel, and hot galactic battles waged with laserbeams and proton missiles. '12 Tone Nostalgia' splits some sentiment but saves it with gritty organ prog that takes on J.S. Bach as good as any of 'em before shooting into orbit for another battle in the atmosphere. Friggin' awesome, and twenty-minute 'Song for Witches' seals it with a juggernaut of dazzling piano jazz-meets-baroque treated with heavy development, introspection, and some humor.

A prog monster that I wouldn't bet against in a knife fight with almost any of the big boys except maybe Wakeman on a good night, Duncan Mackay's introduction is, or was, a revelation. A quintessential vintage prog experience and what a 5-star rating is all about, a chip of Chimera should be placed under the tongues of every aging prog artist to bite down on when things become too much and they long for that absurd and shining moment when rock musicians were the Mozarts of their time. Recommended with enthusiasm.

esky wrote: Let's not forget his stint with 10cc!

BrainStillLife wrote: Let's make room for one of the greatest prog-keyboard-players ever! Mackay goes right alongside with Wakeman, Moraz and Emerson. The only problem is that this man was always underrated. Originally a violinist, Mackay was always more interested in keyboards. He worked hard and long to publish his first album Chimera (1973) whitch had only three tracks. The Concept was pretty similar to Close To The Edge. This album really showed Mackay's talents, or did it? The problem was that in the same year Mackay released his pilot-album, Genesis released The Lamb Lies Down On Broadway and Yes released Tales From Topographic Oceans. Chimera never stood out and disappointed Mackay joined forces with Steve Harley and Cockney Rebel. 1977 Mackay released his second album Score whitch is a lost gem (even more than Chimera). Score is a kind of Greenslade meets ELP who meets Genesis only to go back to Greenslade album. It's a great display of Mackays skills which fly out of his keyboard arsenal. Now the problem with Score was that even with John Wetton handling part of the vocals it never succeeded because of punk and new wave. Couple years later Mackay released Visa an electronic, ambient-prog album (not one of my favourites but still ok). In between Duncan Mackay played in Camel (Nude and The Single Factor) and Alan Parsons Project.