HUGH HOPPER & ALAN GOWEN: TWO RAINBOWS DAILY

An album of sensitive, somewhat melodic, protracted keyboard experimentation with support from jazz bass by two Canterbury artists still committed to the original spirit of Canterbury Scene artists. The problem herein is the lack of direction: each song sounds like it exists purely for study or experimentation with a certain sound, cadence, chromatic sense, rhythm, sequence, or nonmelody.

1. "Seen Through A Door" (5:54) sounds an awful lot like some of ANTHONY PHILLIPS keyboard work from this era and later--soundtrack like in a rudimentary, almost rehearsal kind of way. (8.5/10)

2. "Morning Order" (6:32) again, sounding more like the background music to a segment of Mr. Rogers' Neighborhood, the keyboard work progresses nicely as the bass remains fully present and supportive. Again, more experimental in nature as there is very little melody presented for listener engagement. (8.5/10)

3. "Fishtank 1" (4:56) more keyboard "practice" as bass plays one chord every twenty seconds or so. Nice melody from the left hand of the keyboard. (8/10)

4. "Two Rainbows Daily" (4:14) piano-based with a little more lively bass support and interplay. Reminds me of Lyle Mays' work. The structured and complete-feeling song on the album so far. (9/10)

5. "Elibom" (5:04) a duet that feels quite equal in participation, though, again, the melodic sense makes it feel more like an étude or a television soundtrack. (7.5/10)

6. "Every Silver Lining" (5:23) sounds like a TERRY C. RILEY practice session or early Berlin School contrivance but certainly not a complete song. (7.5/10)

7 . "Waltz For Nobby" (9:07) slow, delicate pace--could almost be a soundtrack for a children's story or an episode of Mr. Rogers. Very pretty melodies throughout and I love spaciousness. (9/10)

Bonus tracks on 1995 CD remaster: While the seven songs selected for the original release are void of any percussion/drums, these have percussion support but are much more demo-sounding in sound quality and, thus, more even more sparse, incomplete, and practice-like in their form. Nothing so very extraordinary here.

8. Chunka's Troll (4:03) experimental jazz 9. Little Dream (5:16) trio sublteties 10. Soon to Fly (4:03) classical piano bar 11. Bracknell Ballad (4:10) warm up of all instruments 12. Stopes Change (3:25) drums plus

In my opinion, this collection of songs, both the original and the 1995 re-issue, are only worthy of recommending to Canterbury Scene completionists or fans of either of the two musicians on the billing.