CROSSOVER PROG

There are bits of this which are truly brilliant, but others which feel way too much like "prog by numbers", and while Jean Michel Jarre and Mike Oldfield are obviously huge influences (and I admire both of them immensely), this again lacks the clarity of thought and vision to carry off what is undoubtedly a huge project. I count sixteen guests on this, with only two of them not credited with individual tracks (which presumably means they were involved with vast majority), but even with some real drummers we also end up with tracks which sound as if they were programmed and all the worse for it. There are times when this seems almost as if it is a demo, with a feeling that with more care there would be much more depth, but as it is, it is often shallow with a production which seems to have rendered everything one-dimensional and not enough bottom end. I guess I will be in the minority again, but this is certainly not for me.

Interesting that FREE's guitarist played in both bands prior to them recording an album but he left both before that happened. So I think AARDVARK decided after he left that they would be a keyboard driven band with no guitar. A four piece of vocals, bass, drums and keyboards. I love this record. It's so consistent, no weak links at all and I just really enjoy everything about it. The vocals are great as are the compositions. Proto-Prog gets mentioned a lot with this band but they were more than that in my opinion. I like how one reviewer describes their sound as sympathetic, that works for me. And the reviewer who said the keyboardist Steve Milliner would play for CARAVAN? That was Steve Miller not this guy.

How about that opener "Copper Sunset" with the dirty, distorted organ that riffs madly, so good. I should have mentioned the drummer earlier because the guy kills on the kit, so impressed. "Very Nice Of You To Call" reminds me of the 60's with the vocals and lighter sound. A mid-paced beauty and checkout the vocal melodies to end it. "Many Things To Do" is quite powerful and catchy, another vocal track. "Greencap" has processed vocals and regular vocals and the tempo shifts often. Distorted organ brings Canterbury to mind. No this isn't Steve Miller. How about a bass solo? Yes sir! Piano too during a long instrumental break.

"I Can't Stop" has a mellow intro with floating organ before suddenly kicking into gear 2 minutes in, vocals too. Catchy with piano joining in. "Outing" is quite silly vocally for the first 2 minutes then it takes a deep dive into psychedelia that is very experimental. Did you know that Dave Hitchcock is the producer here and he has produced some rather famous records but he also is involved in playing on this track probably during the experimental section that dominates this 10 minute piece.

Some recorder on "Once Upon A Hill" the only track composed by the bass player, the singer did the rest. The closer "Put That In Your Pipe" has a hard driving sound to it with a powerful intro involving the organ of course. At 4 minutes it's more compact and more impressive as a result the way these guys play. The bass player shows his stuff then an intense ending.

I feel that Proto-Prog is my least favourite sub-genre and while they have this band under Crossover here almost everyone mention Proto so if it is, I just found my favourite of that style. Regardless this is an incredible record that fits my tastes perfectly.

They are still an eight piece but have added two guest horn players who both play on the same three tracks because you cannot have enough horns as the band already has three of them. A good example of their presence on here is "Wake Up(It's 1984)". This album was actually released in 1983 by the way. If I had to pick a favourite track it would be "Pictures Of You" it's just a cool tune and clapping too. Some female vocals on this record and even a Reggae song called "Fill The Void".

I'll have more to say about these guys on my next OINGO BOINGO review but this record has been given a lot of words already on here by fans of theirs so check them words out.

I love it most of the time but would also happily defenestrate it with relish .... it really polarizes and discombobulates the listener .... maybe what Mike wanted .....

This really is a niche style of music in my opinion. I know Danny has been very successful with his musical work with The Simpsons and Tim Burton movies in particular, but also their big hit "Weird Science" from the movie of the same name made them some cash. Some mention that this is proggy New Wave music for lack of a better description and I thought maybe I'd like this based on being in my 20's when New Wave was all over the radio and I did like some of it. This not so much, although I tried.

The vocals are an acquired taste for me, the lyrics too. I feel this is for young people who like the punk mantra of do it as fast as you can for as short a time as you can and it doesn't really matter if you can play or not it's about the attitude. Okay first off these guys can play, it's more about other multiple things that bother me on every track. There are four guys playing horns and they blast us, not my thing. And it's the lead guitarist of this 8 piece band who did the horn arrangements surprisingly. They cover THE KINKS "You Really Got Me" and please give me the VAN HALEN's rendition or the original. The processed vocals on that one early turn me off right away. I was reminded of the B-52's on "Perfect System" mostly the chorus. Rough vocals on the closer "Nasty Habits" singing about what goes on behind closed doors.

I have two other albums by this band that I prefer, this is a low 3 stars.

There is nothing bluesy about this album at all. It really is a one-off in their discography of three long experimental tracks that has more to do with Krautrock than anything else. Maybe that's why the Brain label in Germany signed them here. Brain was a hotbed of some of the best Krautrock bands out there back at this time. The music is dark and not very melodic most of the time. Experimental all the way especially the guitar, but the bass player uses a bow on his bass and man does he get some ugly sounds out of that. Priceless stuff.

We get the side long opener "Penumbra" which is a great example of what this album is all about. The bowed bass, high pitched guitar theatrics, it's dark and experimental and vocals come and go, mostly go. Oh that bowed bass is distorted at times. Nasty. "Telegram(Nature's Mischief)" is the 12 minute opener on side two and after a brief spacey start that squeeling guitar takes over as the vocals sing in a determined but odd way. Man this is different. A gong signals a change and there's few of those as this plays out. The guitar lights it up late but mostly we get this annoying high pitched sound. Harmonies too from the Relf's after 5 1/2 minutes then a calm and some repetitive stuff.

The closer is the 11 minute "For Against" which for the most part is a drum solo starting around 3 minutes in. So there's that. This is one of those albums that their fans would have dismissed after what they had created before with the previous three records. For me this would have been the album to bring in a different fan base if they had kept going and in this style of music but this truly is a one-off for them, and being so experimental not a popular one either. My Krautrock membership won't allow me to go lower than 4 stars here despite not really having that enjoyment factor I demand out of a 4 star record if you know what I mean. This was a talented band and I can't just say they were out to lunch here, or were they?

This album, like the previous one, is highly accessible, but has plenty of cross-over prog aspects such as tempo changes, instrumental shifts, and different sounds and moods. There is plenty of variety to keep it interesting over repeated listening. That being said, some may tend to say this is more on the soft rock & pop side, and this is arguably so. But be thinking in terms of later years Moody Blues, Alan Parsons Project, early Beatles, some solo David Gilmour, Pink Floyd, pre pop ELO, early Supertramp, Blackfield, and others in this vein. There are more influences that are not coming readily to mind, but you should get the idea. The outstanding achievement is that while you will catch glimpses of these influences, this is no knockoff band. FoF has a definitive and unique sound. The conclusion is that, if this is somewhat more pop than prog oriented, it is highly elevated, sophisticated, and has a musical integrity and degree of complexity that doesn't insult your ears or intelligence. One can only hope this album gets the exposure it surely deserves!

So, some thoughts on the tracks...

8mm: FoF have a knack for starting their albums with a great opening track and this one is no exception. Here we have the title track and what a way to start! This is nearly a perfect song. Starts with pensive piano over projector sounds. Anyone with a little age on them like me remembers these noises and it creates an uneasy DeJa'Vu and a sense of loss for days gone by. Full instrumentation quickly follows with the opening lyrics soon following perfectly encapsulating these feelings. About 2:15 the tempo changes and there is an instrumental escalation that captures the sense of emptiness and frustration that comes from being able to recollect the past but not bring it back, and then to conclude, it returns to the lovely opening melody and lyrics, and fades out. Prog oriented enough for me. I'll say it again, a nearly perfect song. Hard to believe, but there is better yet to come. (10/10)

Collateral Damage: Okay, another nearly perfect song, albeit in this case more on the pop side of things. Starts once again with a tinkling of the piano and then full instrumentation following, nice acoustic oriented guitar work building up to electric guitar with some pleasant, restrained soloing. The catchy lyrics and hooks drive the earworms in deep. If you don't want to sing along with the chorus after a listen or two there must be something wrong with you. Perhaps a tiny bit repetitive, but it's just so good that you won't care. (10/10)

Overture to Flame: The shortest track, and the only instrumental, and it is way too short. Starts with a striking guitar riff over light synth wash, drums enter to up the beat, and then a synth rhythm follows that raises up the Alan Parsons vibe in a big way. If you like the old APP instrumental tracks, you will love this. It is unfortunate because it is so good, that instead of exploring this instrumental line more fully, it drops off quickly to fade into the next track. It is an overture after all, the warmup and lead in for what is to follow. We'll lean this one to the prog side. (9/10 Docking a point because it is too short!)

Flame: So here we roll into the longest track of the album, and arguably one of the less pop and somewhat more prog like ones. According to their web site, this is the first cover that they have ever done, and they chose a good one. I looked for the original to compare them, but couldn't find it, so I'll venture to say that it is a bit obscure. In any event FoF seems to have made it their own with their signature way of constructing songs. This one starts slowly with nice acoustic guitar, almost with a hint of a Spanish melody, slowly builds and then ballad type lyrics and vocals enter around 1:45. The music drops back to acoustic guitar and slowly builds up again. The arrangement is very nice with some upfront bass and enjoyable drum fills steadily moving things along. About the 6:00 minute mark the beat picks up out of ballad mode and starts to take flight, the intensity builds to its outro fade out. Another great track. (9.5/10)

Jump This Wall: This was the one that was a grower for me. It's curious that this was the case really, as it is a very good track, musically interesting and upbeat, with even a touch of brass laced throughout. The male and female vocals add an extra dimension, and the lyrical content is timely, touching on 'being locked up in a lock down', seemingly alluding to the contradiction of having freedom to move and at the same time dealing with so much isolation at the same time. All good and well. Here though, was my problem, the 'I'm having a ball trying to jump this wall' chorus which is prominent throughout the song didn't really work for me. Although a catchy rhyme, it just seemed clunky and awkward. It even annoyed me a bit. But after a few listens to the album, what lyric kept popping into my head? Yeah, this one. Go figure. So, it's a grower. My lowest rated song for this album, but still very good all in all. (8.5/10)

Don't Lose Your Spirit: This is a big one for this collection and for FoF in general, starting with a great instrumental intro for the first 2:30 that slowly keeps building in intensity, pretty rocking for this band! Then suddenly, a big tempo change but still with a strong beat, and vocals enter. The blend of male and female singing makes this full and rich sounding. Another chorus here that you can take home. Last minute ends with yet another contrast, a quiet contemplative tone with a slow brooding vocal fade out finish. These guys are just so good at what they do. Yes, another near perfect tune! (10/10)

Funerals: This is my number one track here, and may in fact be the actual perfect song in this offering. This one checks all the boxes for me. While still cross-over and immediately accessible, this has definite prog roots with some nice shifts and variations, but it's long enough to develop the themes and sections to satisfaction. Starts with a slow tempo, and just slightly eerie tone. The vocal carries the feeling further, with guitar coming in to further enhancing the eerie flavor. A little further and the synth enters just building things up more. At about 3:45, there is a big tempo change and the mood shifts to a more happy feeling but with an organ underneath keeping the slightest hint of the eeriness, and then a memorable acoustic guitar lead over the top. Very nice! Drops back to bring the vocal full cycle with the opening flavor but just a bit more lifted up in intensity. Lyrics in this song shine. On the one hand you can relate to the idea of unrequited attraction, but on the other hand there is just a bit of creepiness given the context. Leaves you wondering. A great song! (10+/10)

Silently Raging: Starts with a light synth roll and percussion, while spoken word vocal touches on the growing loss of privacy by facial recognition, followed by a female lead vocal with male backing, so there is a different and warm feel to this. There is a bit of edge that picks up the anxiety of the brave new world we are all facing. Some nice lead guitar in this one to good effect, but always in control, never unrestrained. This is followed by a second spoken word section that this time touches on trying to allay any concerns of our being monitored by the powers that be. Timely stuff, and another strong track. (9/10)

Instillers: Starts with a sort of Genesis atmosphere, with synths similar to their Duke era sound, but quickly grows into a big up tempo arrangement. Big guitars, bass, synths, and drum propulsion. Every instrument is sounding distinct and powerful here, well mixed. Lyrics regarding the madness of mankind's course and poor interactions with one another sets the tone. The musical arrangement is intense, at least as intense as it gets on this album, and the ultimately positive message works well with it. (9.5/10)

A New Home: This is a beautiful duet in a mid pace ballad with just a bit of a jazzy vibe. This band makes these songs seem so easy to make. They sound so simple, yet there is a delicious subtle complexity and sophistication in the musical arrangements that is undeniable. It is just another example of how it so easy to be absorbed right into the FoF musical universe and just get lost in it. The lyrical theme centers around the plight of refugees. The predominant essence of the music is a mournful, longing overtone that has a sense of despair, yet it has enough uplift in it to also carry a ray of hope. Just so well done. Another very strong song for sure! (9.5/10)

Life is Like the Weather: The slowest, simplest, and most stripped down offering on this album. This one raises the ghost of early Beatles type ballads. It is also short like a 1960's single should be, catchy, warm and immediately likeable. A most classy and elegant closer. These folks sure know how to transform their sound in a myriad of ways and do it so well! (9.5/10)

In conclusion, this album is extremely high quality in most every way. Don't miss out on it! It's truly dumbfounding that it hasn't received more exposure. In my book, there are four nearly perfect (10 pt) tracks, another four (9.5 pts) that are just shy of this mark, and the remaining three receiving high marks as well. The production is extremely high quality, clear and vibrant, with every instrument easy to pick out and follow. Nothing muddy here at all. The arrangements are superlative, a combination of top tier song writing along with prime musicianship that extolls the talent of these artists. Everything here works together in a logical cohesive way, yet each song is strong enough to stand alone. The songs channel various emotions through both the lyrics and the melodies, creating a most refreshing experience, one that you will want to come back to frequently. This is definitely a five star effort in the cross-over prog category, highly recommended, and absolutely essential if you are into the accessible end of the prog wheel house!

7. The Quasi Effect for the BOF Miami Vice for example, fruity, well-crafted and consensual sweetened theme 8. The 11th Hour well from the looks of it we are in full matching mole for some fruity jazzy psyche; here again the guitar solo is highlighted between two space synths from Flash Gordon, very new wave synths 9. Between Two Worlds with the atmosphere that sinks into the 70s psyche genre; vocal which can recall the Archangel, air well perched 10. Distant Thunder continues with a synth from the time of special effects... spatial, hard to write that, kitsch time! The flowing marshmallow solo 11. Dark Money very 80's again with Joe who enjoys playing a tune that I would have liked to hear on the BOCs of yesteryear 12. For All to See variation in the tormented Eric Serra style where the bass shows that it can be primordial and that we too often forget; the enjoyable, dazzling guitar solo 13. Beyond Reason again a keyboard base and a percussion forward, the guest must be a drummer!

2 bonuses on CD on 2 flagship tracks featuring Billy on a light piano with I Saw the Light and on I'm Not in Love the flute for the finale of an album to be taken for what it is, a great reunion of musicians who come here to just have fun without trying to make a hit; They understand that prog is very outdated these days!

Initiation, the sixth album within Todd Rundgren's studio discography is much like any other record he has made, featuring lots of music crafted with the intent of adding as much space to a vinyl as possible. This time, though, instead of putting a lot of filler onto one record, he decided to strip things back a bit, and only add 7 full-on tracks. 6 tracks with more normal lengths that showcase his more prog pop rock sides, similar in vein to bands like Supertramp and ELO, and 1 massive 30+ minute electronic epic on the second side.

Right off the bat I already liked this a lot more than A Wizard / A True Star, since now I find there are less mediocre tracks here to sit through to get to some of the more better stuff. In fact, this record only really has one bad track on here, being Born to Synthesize. I will get to that later, but most of the tracks here are a lot more dedicated, and may even rival some stuff off of his Utopia project.

My favorite tracks are more on the first side, with my particular favorite being Eastern Intrigue and The Death of Rock and Roll, being these very fun progressive pop-like tracks that combine the prog with elements of more commercial genres (The Death of Rock and Roll being classic rock n' roll, and Eastern Intrigue having elements of soul and funk). I also really dig the epic of A Treatise on Cosmic Fire, which I think gets very close to being my favorite Todd Rundgren epic, aside from The Ikon of course. It feels like proto-80s prog electronic music, where I can hear stuff that can be related to some 80s Tangerine Dream albums, and funnily enough with the second movement, III - The Fire of Spirit - Or Electric Fire, Frank Zappa's album of Francesco Zappa. I guess Todd is certainly a man who tries to be quite innovative with his works, and it all does work out very well in my opinion.

Though I won't say this album is a masterpiece. For one, Born to Synthesize feels like one of the biggest missed potentials on this record. It is merely Todd singing with a filter on. That's it. I don't mind Todd's singing; I think as a vocalist he is pretty good, but I don't wanna hear a 3 minute 'song' of just his voice through some crappy wobbly effect. If the track had some synths in the back, it probably still wouldn't be my favorite but I wouldn't mind hearing it, and it could be a nice song that could tease a bit of Cosmic Fire, kind of like how the beginning of A New Career in a New Town by David Bowie teases a bit of the more ambient side off of Low. Unfortunately, the track doesn't do that and all we get is a very mediocre song.

Also, like all the other Rundgren albums I have heard, this album drags a lot. This is kind of a problem I see with the albums I have heard from him, especially when it comes to his epics. I do enjoy his more long, proggy stuff, but a lot of times it feels like he doesn't quite know when to stop until he realizes he is recording an album and not performing a live jam session. At least on here it is a bit more understandable as it is more electronic based than rock, and I have become a bit more used to the long winded epics thanks to bands like The Flower Kings, Echolyn, and Moon Safari, so I can get quite used to Cosmic Fire quite quickly, but still sometimes I wonder if, for its time, 38 minutes verges on the line of fun proggy goodness, or overly pretentious musicianship. Not quite sure still, but it does make things rather overbearing.

Still, I did very much enjoy this record. I am certainly willing to check more of Todd's music out, and maybe a bit more Utopia albums too. If you like a mix of pop, prog, and electronic in your life, check no further than here as it is a very good offering of just that.

Best tracks: The Death of Rock and Roll, Eastern Intrigue, A Treatise on Cosmic Fire

Worst track: Born to Synthesize