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LONG LONG ROADThe Arthur Brown BandProto-Prog4.25 | 11 ratings |
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alainPP
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Arthur BROWN is the founder in 1968 of the hypnotic, avant-garde mega hit 'Fire' based on organ pulsations and
a hard-hitting chorus drawn from his voice with many octaves, a title which propelled and exploded the group
because they were too far ahead on his time. He is the spiritual father of DEEP PURPLE, Alice COOPER and KISS,
he is the singer of KINGDOM COME, he is the one who played in the movie 'Tommy', with ALAN PARSONS
PROJECT, Klaus SCHULZE and Bruce DICKINSON; he influenced Bob SEGER, the DOORS, Bruce SPRINGSTEEN for
his epic ballads. At 80 years old with his faithful Rik he releases on his influences folk prog, blues, psychedelic
and progressive glam hard rock an explosive and astonishing concept album on CD, LP with booklet and bonus."Gas Tanks" dark, cavernous, progressive intro in fact with Hammond organ, the bewitching voice of Magma and the flute bring back to the heavy prog of yesteryear; the organ in its firmament which flirts with the cinematic genre for a time, as on 'Phantom Of The Paradise' and it continues on "Coffin Confession" interlude arpeggio guitar and organ with the threatening, hypnotizing, theatrical voice of Arthur; the concept continues with "Going Down" a grandiloquent sequence of sax in a flamboyant riff; bluesy title, groovy swirling towards the jazzy movement, on Joe COCKER, Alice COOPER. Long crescendical rise 70's, sax, organ, souvenir atmosphere on an old SUPERTRAMP sometimes. "Once I Had Illusions (part 1)" on Jim's voice, heady, repetitive air, organ forward, vocal blues-gospel rising in a trance on the SUPERTRAMPs, brief psychedelic song charged with emotion; a bit of unhealthy DOORS at the detour for the track of the album. "I Like Games" suite with harmonica and bluesy western atmosphere, the guitar slide that suits so well, vintage atmosphere à la John Lee HOOKER then energetic crescendo on a bass drum; deep, muffled voice, crooner, before launching with a flight of seagulls the... Psychedelic "Shining Brightness", megaphone voice, vibrating organ; it screams like a good jazzy hard rock and this xylophone or vibraphone and this voice reciting a mantra; a BOF tune from the 'Twin Peaks' then the final organ making the hovering side more lively to announce "The Blues and Messing Round" typed standard blues where the guitar brings back to distant bases ranging from Albert COLLINS, BB KING, Jimi HENDRIX to Gary MOORE, in short heavy; the cascading piano and finally the Hammond for a beautiful, simple and effective vintage moment. "Long Long Road" changing register again with piano, Hammond and acoustic guitar and the romantic ballad with obvious spleen; a bit of PROCOL HARUM, MEAT LOAF and Joe COCKER on a divine voice; an anthem title. "Once I Had Illusions (part 2)" comes to conclude this opus with a blues drawing on the heavy by the guitar and the swirling voice like a will-o'-the-wisp; jerky rhythm showing one of the possible proto hard origins, a little in line with an emblematic DOORS title. "No One to Blame" and "Living in the Love" on the artbook to get you, myself not having it so no note on it. Arthur BROWN signs there an exuberant, stimulating music; it is stunning, powerful, retro-garde and innovative; it's mostly jam-packed with musical vitamins and it shows that he can release a full concept album at his slightly advanced age. Melting-pot sounds that draw from his original musical universe, old atmospheres mixed with today's sound and 40 minutes of simply enjoyable progressive travel. What surprised me in this column was to cite reference marker groups who themselves took these substrates from their musical repertoire, in short a little gem after a long, long road.
alainPP |
4/5 |
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