IN THE LAND OF GREY AND PINK

People surprise me when it comes to progressive rock. It is not unusual to find among the highest-rated albums (and in this case and at the time of this writing, the number one album in its subgenre) albums that consist of pretty much pop music, such that I would hesitate to consider them progressive rock records at all. In Absentia is like that- the highest-rated Porcupine Tree album as of today is in fact largely a pop album- it is hardly progressive rock at all. Both In Absentia and the Caravan album under evaluation here bear some progressive elements, but the Porcupine Tree album has amazing melodies, chord progressions, and instrumental passages- in other words, it is exceptional pop-rock music. In the Land of Grey and Pink, on the other hand, is a frivolous group of semi-psychedelic songs bolstered by extended soloing. Generally, the music is pleasant, but it never once moves beyond that. The first half of this album consists of four whimsical pop tunes, while the second half is essentially a 23-minute jam.

"Golf Girl" A simplistic chord progression and a bouncy rhythm supports flat and uninspired singing. The sputtering brass is goofy, but at least the flute and Mellotron solos are not.

"Winter Wine" Initially a sweet folksy tune, this becomes light rock in the vein of Camel, even using fantastical lyrics. The highlight is the excellent keyboard soloing, which, even if simple, has a great tone.

"Love to Love You (and Tonight Pigs Will Fly)" Here is a happy, cheerful tune, but a plain and undemanding one, like early material from The Who or The Beatles. It is pleasant and fun, but that's about all I can really say for it (although it does maintain a 7/4 time signature).

"In the Land of Grey and Pink" Quirky lyrics expressed through plain singing sit on top of acoustic guitar, bass and drums. This is perhaps the most complex of the four shorter songs in terms of composition. It also includes a wonderful keyboard solo similar to the one featured on "Winter Wine."

"Nine Feet Underground" Beginning immediately, this extended and multi-part jam (it isn't an epic piece) starts with enjoyable jazz- great bass playing and creative keyboard business. Vocally, it's better and more enthusiastic than anything else on the album, but for the most part, "Nine Feet Underground" is merely a string of jam sessions of varying chord progressions and timbres.