CROSSOVER PROG

(A month later) I've waited another month before publishing this review, hoping that this was a late-bloomer and that something would click in the meantime but no. I first thought of giving it 4 stars but I even drop my rating to 3 stars, a good album, that's all it is. Force is to admit that I have enjoyed this album much less than others BBT albums.

English Electric Part Two (2013) was released on March 4th and it's the second and final chapter of Big Big Train's English Electric history.

English Electric was a British industrial manufacturer and here the band tries to capture the history of the people's point of view. Last year they released the first part, and it's the best album of 2012 for me (you can read my review progarchives.com/Review.asp?id=830915). When they were about to release this new album I asked myself: 'is it possible for Big Big Train to top themselves?'

I can't say that English Electric Part Two (2013) is better than its predecessor, but what I can say for sure is that the second part is so close that I almost can't see the difference. In fact, since The Difference Machine (2007), passing through The Underfall Yard (2009), Far Skies Deep Time (2010) and the two parts of English Electric, Big Big Train just can't record a downhill record.

Big Big Train's music could be described by me with two words: evocative and emotional. Evocative because even for someone like me that has never been to England, you can be transported to someplace else, some place within these songs. And emotional because their music is like every good Prog should be, charged with deep feelings and full of heart.

English Electric Part Two (2013) starts with the long 'East Coast Racer' and it's almost 16 minutes. One thing I missed on the first part of the history was a long song, here it is. 'Swan Hunter' shows why David Longdon is the best vocalist on today's music, while 'Worked Out' transports us inside the song. The band's music is so alive and full of details. Harps, brass, violins, cellos, violas, flutes and many other countless instruments and sounds fill our musical world while listening the album.

'Leopards' is almost a solo effort by David Longdon that wrote and played almost everything here. The track has a different and interesting approach to their music. 'Keeper Of Abbeys' has a wonderful violin solo by Rachel Hall and 'The Permanent Way' keeps with the BBT's high standard quality. 'Curator Of Butterflies' closes the album on a high note, melancholic and beautiful.

Greg Spawton has to be mentioned cause he isn't just a fantastic bass player, but a great musician and an amazing writer. Andy Poole did a wonderful job when it comes to the producer role and David Longdon is one of the best voices around. To tie everything together the band uses more synthesizers, delivered by the new member Danny Manners and as usual Nick D'Virgilio drums are always on the spot and clever.

Do I sound like a fan? I have no problem to confess that. I am. And English Electric Part Two (2013) is one of the best albums of 2013 so far, believe me.

Oh and by the way, according to the booklet of the CD, Station Masters will be the next chapter. Can't wait!

(Originally posted on progshine.net)

Luckily what the picture on the album front seems to promise is not maintained. When Peter's guitar is left free the music can be as good as what Howe was doing in Yes, but some parts are just too cheesy, and it's a pity because everything happens inside the same song: good guitar riffs, pieces of songs which could feature on Going For The One and boring unexpressive melodic parts that it would have been beteer be left to ABBA or other pop bands. Not that I dislike Abba when I voluntarily listen to that kind of music, but when I listen to supposed prog, this is not what I expect.

Out of Yes and (not very) commercial Pop, it's interesting how good Sidney Foxx sounds when she can sing what is probably her natural genre, the soft jazz-blues of Someone Who Cares, while she sounds almost inexpressive on other tracks. Not her fault for sure. She sounds good also on "For A Lifetime", it's the song that's so cheesy that I don't think I've ever listened to its entirety without skipping it. Imagine if it has an excellent final that I have missed... "Hear My Voice On The Radio" is not better. It's like Aniie Haslam's solo works, the kind of things which has caused the Renaissance's voice to be rejected from PA.

But there's also a 12 minutes track which starts like Wakeman and Squire are playing. It's still a kind of radio-friendly melodic song, not helped by the vocals. Sydney is an excellent vocalist, but singing those things is not her pot. Unfortunately the song looses quickly its progressive potential. We are in the same situation of the first two tracks: good moments, sometimes excellent, jeopardized by trivial and cheesy melodies. Again, it's not Sydney's fault if what they write for her is so bad. The instrumental parts are so good,sometimes, that's really a pity. The influence of Genesis, other than the obvious YES appears clearly in the second half of this song, probably brought in by the guest appearance of Phil Collins. A missed opportunity for a masterpiece totally ruined by the sung parts.

On the last track Banks shows that he could play both as Howe and Hackett, something that I think he doesn't need to demonstrate as I think he was one of the best rock guitarists ever. On this song, which is mainly acoustic and based on classical guitar, Sydney's voice is perfect. Between a jazz performer in a smoky club and Annie Haslam's slow songs with Renaissance, this song is the only very good one but not enough to save the album. Its second part has again something of Genesis and Renaissance. There's room for some very good guitar before returning to the initial theme.

One very good song is not enough to suggest an album that's for collectors (of Peter Banks) only.

The musical is well-composed, and performed very well. While I want to give this album a better rating, I can't help but feel a little complacent about it, though. The first nine tracks are nice, but not much else. They are well done, even beautiful. Yet, they are just kind of...there.

The final track on the album, the title track "Iceflower", is a completely different story. It represents the perfect fusion of all the elements that Tai Shan wished to include in their music. Everything comes together, and we get great keys, some awesome sax solos, flutes, and a wonderful symphonic rock atmosphere. It is one of the better tracks I've heard this year!

Like I said, this album is nice. It's pretty and done well, but nothing new or spectacular really happens. "Iceflower" is the one exception, however, as all the elements combine perfect here. Good? Yes. Essential or even great? Besides the final track, no.

Originally released in 1971, it is no surprise that this album is covered by a general veil of psychedelia, even if this expressed through the softest of approaches, quite often pop. The closest act that comes to mind is certainly The Moody Blues, where this album shares the "nostalgic" late 60's feeling to the nth degree.

Eight compositions and another five (although three are simply different takes/versions) comprise this release, the majority based on very slow tempos - actually many of them can be simply described as sophisticated pop-rock (and possibly proto-prog) ballads. The one element that stands out is Holroyd's work on the bass lines, easily the proggiest aspect of "Once Again", that otherwise does not show any sign of outright innovation. The orchestral work of Robert Godfrey on 'Galadriel' and 'Mocking Bird' is certainly worth of mention, giving these two tracks a more pompous, grandiose atmosphere with beautiful arrangements. If it wasn't for the latter I pretty much doubt that they would be remembered and hailed as fan favourites.

'She Said' is possibly the best number here (with the best guitar work), with 'Happy Old World' being possibly the weakest. Although the vocal melodies are pleasant, I get the impression that the tracks tend to drag much longer than they should have, and the experimentation/diversity is not there to sustain the duration, often leading to repetition towards the end.

All and all, a good album with its own character but not in my top list of the early 70's; nevertheless, this psych/blues feeling of nostalgia I get from "Once Again" will make me spin this a few more times in the future.

While not actually a prog album, ''Noi: I Santoni'' shows the clear tendency of this obscure band towards elaborate and artistic compositions, despite they are all delivered in very short forms.The sound of the group is led by the constant use of Hammond organ and the discreet presence of flutes and saxes.The work is characterized by a strong melodic content, somewhat close to the more accesible tracks of BLOCCO MENTALE, DELIRIUM and DALTON with a vintage-styled organ leading the way, while guitars are used carefully.Some light interplays with flute, sax and piano in evidence can also be detected.But the overall result is in fact an album full of song-structured pieces, having some minor yet delicate instrumental themes with a slight Proto-Prog color.The vocals of Mosti are certainly good, a typical Italian voice with an instant expression, and the vocal harmonies belong among the highlights of the album.

The sole release of I Santoni was not particularly succesful, still it was good enough to give the band the opportunity to tour Italy and even play abroad.Sadly they disbanded a couple of years after the release of the album.

This is some Italian Art Rock, not at its best but definitely at a very decent deegree.Melodic, emotional and sophisticated with 60's psych and proggy touches all the way.Recommended for fans of the easier side of Prog music.

In fact Mermaid Kiss are like no other band you've met in the Progressive Rock field and basically ''The Mermaid Kiss album'' is an Art Pop album with minor prog sensibilities.The songs are strongly based on the beautiful and ethereal vocals of Downing and the rather minimilastic background instrumental music, which stylistically differs from track to track.However there is a light Neo Prog atmosphere throughout the release, much in the vein of TRACY HITCHINGS or KARNATAKA, but the major influence here seems to be KATE BUSH and here intense, lyrical style.The short pieces on this album have a very deep atmosphere with a strong emotional and melodic content.Guitars and bass are used sporadically and most of the music is driven by soaring synths and light piano passages along with the (rather programmed) drums.Very mellow and relaxing stuff indeed, but the incredible vocals of Downing are a unique experience alone.Additionally most of these pieces have a slightly orchestral mood and a ballad-esque atmosphere, but more in an artistic way, very far from syrupy and dull approaches.

For the die-hard Classic Prog fan, who starves for some technical performances, ''The Mermaid Kiss Album'' is propably not a great choice.However, if your heart still beats for some emotional, sensitive and rewarding Art Pop/Rock, this album is definitely a winner.Recommended.

The sound is the same as on Hacketts latest solo album, although that album is different in style, more thematic, like a journey were you go through varying sounds , moods , dynamic levels. Squackett is more straight and uniform and has nine individual songs. Rock with lots of ambiance,a touch of new-age which I can really appreciate when it sounds right.

The drum sound is the same as in Hacketts last three or four solo albums. To me it is still a problem. It's kept in the background, a bit too lacking in definition and presence . Basic half-tempo grooves are used over-extensively , as in Hacketts last solo album.

The singing is mostly harmonic, consisting of several layered parts. Sometimes it's nice, but it's overused, making the singing expression impersonal. The sound in general has a softness to it even in more intense parts , and sharper more punchy sound could have invoked stronger impressions.

1. A Life Within a Day

A riff with orchestral strings in middle-eastern style, with a straight half-tempo drum groove, and singing by Hackett. I recognize the riff from a Hackett tune but can't remember it. This part is nothing special - until! Out of the blue comes a great fast section with a cool guitar melody. It feels like something classic. Then some crazy soloing and fast drumming. Then it goes back to the main riff again. Superb middle section , although it doesn't connect very much with the middle eastern groove.

2. Tall Ships

Pretty great song! The verse is mainly a simple slow and heavy rock groove with a touch of blues and funk. There is a prominent 16th note driven bass groove with a very enjoyable bass sound. The chorus enters after while and adds a grand new-agey character with synth pads and harmonic vocals singing long notes. A great chorus which I never get tired of. Best song on the album.

3. Divided Self

Easygoing song with a strong 80's Yes character. Particularly the chorus with the harmonic vocals and its phrasing. The sitar guitar solo seems like Hackett is trying to sound like Steve Howe. Anyway, it's an okay track and the ending is funny in Hackett-humourous way with theatre organ and whistling.

4. Aliens

Mellow new-agey pop-rock song with a repetitive main theme and pretty weak sections in between. The vocals are harmonically layered all the way - too much, too robotic.

5. Sea of Smiles

Dull song with a catchy chorus made dull by harmonic vocals , and the sound is very soft and muffled, no edge.

6. The Summer Backwards

This is lacking in creativity and instantly reminds me of "Serpentine Song" from To Watch the Storms, which in turn is inspired by "I Talk to the Wind".

7. Storm Chaser

Similar style as Tall Ships. A nice song, despite that it uses a heavy slow rock groove like in so many songs by Hackett. The main rock groove constitutes most of the song, but the recurrent refrain "Storm Chaser" sung by harmonic vocals adds a nice grand character , a bit Enya-like.

8. Can't Stop the Rain

Bad mellow pop song, Squire singing with added autotune as a deliberate effect. Too unserious. The ending brings in an ascending chord sequence designed to become a nice transition to the next song which also introduces an ascending chord sequence.

9. Perfect Love Song

Atmospheric chill-newage rock characterized by orchestral strings in a chord movement. I like the guitar riff somewhat, but the repeated chorus "Perfect Love Song" becomes repetitive. It doesn't hold for many listens.