TIMECODE

It is ironic that Moraz is by far best known for his brief time with Yes, which resulted in one classic album ("Relayer"), and part of one live album ("Yesshows"). Prior to that he replaced Keith Emerson in the Nice, who then became known as Refugee. In more recent times, he has also been a part time member of the Moody Blues. Along the way, he has produced a succession of solo albums, "Timecode" being a 1984 release, while he was with said Moodies.

With Moraz enviable heritage, it is difficult to see what he was trying to achieve here, or indeed to offer any words of encouragement. Let's be clear, this album is as prog as Abba, in fact the comparison with that group is quite appropriate. This is an album of pop songs with a dance beat. While Moraz takes on virtually all the instrumental duties himself, the track are dominated by the vocals of John McBurnie, Kitty Bruce, and John Avila. Moraz chants from time to time, but there's little in the way of keyboard solos. By the time we get to track 4, "Life in the underworld", were listening to pure Europop, this particular track would fit right in on a Bucks Fizz b-side.

The only track to offer any redemption, is "Black brains of positronic Africa", an entirely instrumental track which finally sees Moraz taking centre stage. It still has that pop beat, but there are definite jazz noodlings, and at least we get to hear Moraz upfront. From there on in, its more of the same average pop songs.

I guess we all have our off days, but Moraz quality control went haywire here, avoid.

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