OF QUEUES AND CURES

Heading to the first expanded live tour Neil Murray announced his departure from National Health, surprisingly joining the emerging Hard Rock trend of David Coverdale's Whitesnake.His replacement would be ex-Henry Cow's bassist John Greaves.What followed was an early-78' tour all around Europe as well as on the British Islands, supporting Steve Hillage.Greaves' role would not be limited on bass duties, it would be prooved he would have an energetic role on National Health's upcoming album, both vocally and compositionally, entering the Ridge Farm Studio near Dorking, Surry in summer 78'.A huge guest list appears on the so named ''Of queues and cures'': Art Bears's Peter Blegvad on vocals, Georgie Born (who replaced John Greaves on Henry Cow in 1976) on cello, Jimmy Hastings of Caravan fame on flutes/clarinet and the list goes on.The new National Health work was eventually released in November 78' on Charly Records.

National Health insist on playing a Canterbury-flavored Prog/Fusion with tight, cohesive and impressive instrumental capacity, full of jazzy nuances and even some mid-70's CAMEL-esque vibes.What is quite different from their debut is the limited presence of the fascinating combination between ethereal plays with harmonic tunes and the extraordinary, amazing interplays of the original quartet.Instead, the focus on ''Of queues and cures'' relies on the later ideas, being an absolutely professional work of a bunch of virtuosic musicians who blend their semi-loose jazzy ideas with the tremendous breaks and unusual Progressive Rock structures.No vocals in this album, just all instrumental material, complex and adventurous Prog/Fusion with endless organ moves, technical solos and furious interplays.Hasting's clarinet and flutes add an almost RIO-esque vibe at moments, while there are also bits of Horn Rock in a couple of moments.Speaking of National Health's arrangements, these come up as pretty intricate with stretched instrumental madness in long and very dense compositions, maybe a bit too dense for their own good.You cant do else though but admire this all-star line-up, which produced some of the most complicated Canterbury music at the end of the 70's.Constant changes between piano lines and organ waves, a guitar that starts up slowly and grows into monster, indulgent solos and chaotic instrumental masturbations with abstract and more tighten themes, unleashing the endless talent of the group.

To my ears National Health's sophomore album is not on par with the band's masterful and unforgettable debut, however it remains a fantastic example of passionate, challenging and captivating Progressive Rock of the best Canterbury tradition.Strongly recommended, maybe even more if you are deep into both Progressive Rock and Jazz/Fusion...3.5 stars.