GEOFFREY DOWNES

Here we have the fifth studio album from keyboard player Geoff Downes (Buggles, Asia, Yes) and singer-songwriter- pianist Chris Braide (Sia, Lana Del Rey, Christina Aguilera, Beyonce, Paloma Faith, Britney Spears and Marc Almond), and as with their last release Almond again plays a cameo role on one song. . It is interesting to note that the last of these provides lead vocals on one song, with the rest of the band now credited as such, having all worked on the last album as well, Ash Soan (drums), Andy Hodge (bass) and Dave Bainbridge (guitars). The vocals throughout this album are wonderful, as are the performances, but sadly the same cannot be said of the material. As has been the case with much of Downes's work in the last few decades, there are times when the songs are truly wonderful and plenty of others when they are so middle of the road one wonders why we cannot hear the bumps of the cats' eyes.

When they get it right, and allow themselves to up the pace and style, as on 'Will To Power', then DBA are a joy to behold. Geoff provides the background, the rhythm section lock in while Dave is given the opportunity to show us what he can do, and then over the top Chris shows what a great singer he is. It is a song of sections which gradually builds and becomes a belter which would have not sounded out of place on a late Eighties Asia release. The problem is that this stands out so much among most of the album, and one realises that overall the artwork is superior to what is contained within then Houston we have a problem. Let us hope they can come up with a more positive direction on the next one but given Yes are now on tour one wonders if/when that is going to happen.

As can be surmised from the title, here we have the fourth album from DBA (the last few albums have been using this instead of the longer Downes Braide Association), the band put together by keyboard player Geoff Downes (Buggles, Asia, Yes) and singer-songwriter-pianist Chris Braide (Sia, Lana Del Rey, Christina Aguilera, Beyonce, Paloma Faith, Britney Spears and Marc Almond). It is interesting to note that the last of these provides lead vocals on one song, with David Longdon singing on two, with the band being completed by Ash Soen (drums), Andy Hodge (bass) and Dave Bainbridge (guitars). I have been a fan of Dave for some 30 years, and here he has been allowed to not only provide some wonderful acoustic moments but also far heavier driving guitar than I have come across from him previously.

There is no doubt that Downes is a wonderful keyboard player who has had major impact on the music scene over the years, but he has also been involved with some releases that are best described as sub-par. However, there is something about his relationship with Braide which means their albums together have been consistently melodic and thoroughly enjoyable. While there is nothing incredibly dramatic about them, and they are solid middle of the road prog, they are still always a delight and that is very much the case here. The vocals are wonderful, and even though this is a group put together by two keyboard players they are never too over the top in their performances and this really does feel like a band as opposed to a project. The use of poet Barney Ashton Bullock to provide some narration is also a nice touch, adding some additional gravitas which assists in removing some of the sweetness.

The overall result is a release which any proghead will sit and enjoy on first hearing, and it just gets better with time.

'Six Degrees of Separation' is the concept that on average, all people are six or fewer social connections away from each other. This album is a perfect demonstration of that fact, providing a direct link between the co-writers of one of the greatest prog tracks of all time, Jon Anderson & Steve Howe's Close to the Edge ("My eyes convinced, eclipsed with the younger moon attained with love, it changed as almost strained amidst clear manna from above"), with the writer of one of the worst songs of all time, Nicki Minaj's Anaconda ("This dude named Michael used to ride motorcycles, **** bigger than a tower I aint talking 'bout Eiffel's"). Eurgh.

Here then, is the fourth album of a collaboration between Geoff Downes (Asia, The Buggles, and as part of the Yes lineup on 1980's Drama and from 2006 onwards), and Chris Braide; pianist and award winning producer, most often collaborating with Sia and David Guetta, but writing and producing for many artists including the aforementioned Minaj. So that's just three degrees of separation (Howe-Downes-Braide-Minaj), in six you can link Steve Howe with Miss Scandinavia 2001, via popular video game franchise Angry Birds and Formula One driver Kimi Raikkonen. I digress.

Fortunately, the Downes-Braide Association is a chance for Mr Braide to show he has as much to offer the prog world as he does the more commercialised world. I'll state here that this is the first of their collaboration albums I've listened to so can't compare it to earlier ones.

Love Among the Ruins - opens with narration from poet Barney Ashton Bullock before an acoustic start and the first example of Braide's vocals. There's actually something very "Yes" about his style, so not difficult to see what drew Downes to him. The track is given something extra by the soaring electric guitar of Dave Bainbridge, best known for work with Celtic prog band Iona but also now part of the Strawbs lineup. This track, as the title suggests, is a love ballad, not too proggy, but made to feel so by that guitar. (4/5*)

King of the Sunset - David Longdon of Big Big Train joins in on vocals and things get a bit more proggy and darker, but again Bainbridge's swirling guitar is the highlight of the track. It fades out with two minutes to go and gives way to an instrumental interplay between mandolin and guitar which just gives it that little bit more 'prog' (4/5*)

Your Heart Will Find a Way - Perhaps the track designed to be released as a single (it was) to encourage people in, an upbeat anthem with a catchy chorus. Base your opinion of whether or not you'd like this track on your opinion of Owner of a Lonely Heart. An earworm. (3/5*)

Holding the Heavens - Wait a minute, is this Genesis? A 12-string into that's about as classic-prog as it gets, before breaking into another upbeat but calmer track, mainly with Braide's vocals but Longdon returning for the harmonies. It's the sort of song that can put a smile on your face, while not a prog classic, it's simply 'nice'. (3.5/5*) Beachcombers ? Bullock returns with some more poetry dotted amongst a very Anderson/Howe-esque vocal harmony and delicate piano from Downes (3.5/5*)

Warm Summer Sun - My personal favourite, a harmonic duet between Braide and Marc Almond over a melodic piano and string ensemble. I actually got goosebumps the first time round. (4/5*)

Today - Unfortunately I think we actually go from best to worst. This is a track that reminds you of the most lovey- dovey of Beatles numbers, even briefly ripping off the na-na-na-na's of Hey Jude. Suffering through four and a half minutes brings you to another bit of poetry, followed by a great Bainbridge guitar solo, so it's a massive shame I'm bored of the track by its best point. (2/5*)

Hymn to Darkness - Braide's vocals at their best, over haunting mandolin. Almost feels like they could have done a lot more with this, but perhaps that's what makes it half decent (3/5*)

She'll Be Riding Horses - Earworm number two that could have been released by any of the thousands of feel-good power pop bands of the late 90s. Not prog but a guilty pleasure. (2.5/5*)

Late Summer - Downes apparently loves his church music, and this is probably the closest to it. Choral choir and piano melody, and lyrics tinged with loss and sadness. Not much more to it but it does grab you (3/5*)

Remembrance/Epilogue - Many of the best bits of the album combine here; a lot of spoken word from Ashton Bullock, the return of the mandolin melody, and more of Braide's very good vocals, all built on a three chord piano melody which is excellent in its total simplicity. That all works together very well. However, it doesn't develop anywhere, and you get the sense it could have been cut to five or six minutes. Instead we get nearly twelve, and by the end you've got bored of what was a very well put together composition. (3.5/5*)

All in all, very much a mixed bag, but at least its more Yes than Nicki Minaj. I'd definitely recommend giving it a listen, as there's enough variation about it to suggest that there's something for most people. Interestingly though, I'd say the two best personnel on the album are actually not those in the name of the band, but actually guitarist Bainbridge and the poet Bullock. But this is possibly doing a disservice to the 'behind the scenes' composing and producing of Downes and Braide. Definitely worth giving it a go.

Wow! This is the most Yes-sounding album of all Downes Bride Association, surely the involvement of Mr Downes in the recording of the new album has something to do with it!. Now, Halcyon dreams is very uplifting, with more space for instrumental breaks than in their previous efforts and very progressive as well. The songs are well constructed and are very catchy, I bet you will be returning to it for sure.

My favourite tracks are King of the sunset and Love will find a way, the most proggy ones (actually Remembrance is a bit of a let down since half of the song is narrated and the chorus overly repeated). Recommended to al fans of DBA, Yes and Asia. 3.5 stars!

Since their debut album came out in 2012, which has since been followed by two more, fans have been requesting that Geoffrey Downes and Chris Braide actually perform some gigs to support them. However, both are incredibly busy with Downes recording and touring with both Asia and Yes, while Braide is an in-demand songwriter and producer. In September 2018 they finally made it to a stage at Trading Boundaries in East Sussex, and the set has now been released as a double CD, DVD and vinyl. They are admirably supported throughout by Andy Hodge (bass) and David Colquhoun (guitar), but sadly there is no "real" drummer which is always going to be a deficit to my mind. The set is mostly taken from their previous two albums together, along with a few hits along the way.

I must confess that Downes's versions of "Video Killed The Radio Star" works incredibly well in the more refined context, but that is a solo piece and it is when Braide is singing that the band really comes to life. I must confess to not having heard any of the DBA albums but based on this performance I am missing out. Strong vocals, great hooks, this is a commercial prog band with real presence and if they had a live drummer, they would be a force to be reckoned with. I am somewhat disappointed they included some Asia numbers, as well as the aforementioned Buggles, as although they are good covers (albeit that Braide sings higher than Wetton), they are just that, covers. These guys have released three albums together, but no songs from the first featured here, so why not include some of those and leave the Asia songs out altogether? I am old enough to remember being extremely pissed when Bruce Bruce left Samson and joined Iron Maiden, but I doubt there was any talk of Maiden now performing "Vice Versa". This is a separate band to Asia, so leave the songs to the guys who can really do them justice.

That annoyance to one side, this is a very slick release indeed, and I am sure we would be talking more about DBA if they were more visible, but as it is this is a nice set which never breaks boundaries but is pleasant all the same.

So.. the $64M is .. is this prog? Hmmm

Under the big tent theory.. I'd say sure.. its crossover.. but its at the far pop end.

Why do I write this? Well mostly because I REALLY LIKE this release. Its so very very pleasant, smooth vocals, great keys, lots of very nostalgic (Buggles/Asia/YES drama era) noises. Lush and VERY accessible..

Starting with the first "track" which is a lovely suite, you are drawn into DBA's catchy drum lines and melodically sung melodies. Overall the album has just enough time changes, chord progressions and delightful keyboards to qualify for a prog archive. Is this essential prog listening? Nope. Is it worthy of multiple listens and ownership? Absolutely!!

I look forward to hearing DBA's two other offerings to see what direction they went.

(Excuse my long, slightly out-of-focus intro!) There has been some bashing of keyboardist Geoff Downes among my prog friends. It usually goes like this: - "What good he's ever done?" - "His participation on the albums Drama and Asia. But that's just about it." That bashing raises its head for example when we're watching an Asia concert: - "He ain't no Rick Wakeman." - "He's really at the edge of his capacities on that solo." At this point I start wondering such attitude. No, he's not Rick Wakeman, why should he be? Downes has done a large part of his musical career in the super group Asia (the classic line-up consisting of Downes, Steve Howe, John Wetton and Carl Palmer). My personal relationship to Asia is rather reserved: the eponymous debut (1982) was among my earliest favourite albums as a kid, and for nostalgic reasons it's still enjoyable to listen to, but I haven't been interested to follow their AOR output much beyond that. The aforementioned Yes album Drama (1980) has been even dearer to me since my teenage years. I was too young to be shocked by the half of the classic Yes line- up being replaced by musicians from The Buggles (you know, 'Video Killed the Radio Star'). But, despite it's me who's always standing against the bashing of Downes among my friends, I really can't count him among my prog heroes. Those two albums are hardly enough to place Downes on my TopTen of keyboardists, and his solo career is totally unfamiliar to me.

It took just a short while for this music to make me feel good in a nostalgic way. It somehow seems to resonate with the early days of my prog voyage in the early eighties. No, it's not as catchy as Asia, nor as exciting or cold-sounding as Drama, but the listener somehow senses where the main composer's musical roots are. I knew nothing about Christopher Braide in advance, but he's a perfect musical partner for Downes. His voice slightly resembles both Trevor Horn and Chris Squire. Also he plays keyboards. Is the music very keyboard centred, then? Well, not so literally, because it's a band effort (featuring guitars of Dave Colquhoun and the rhythm section of Andy Hodge and Ash Shoan, plus several guests). It's full of pop sensibility, and with strong choruses it has some catchiness too. The clean sound with [mock-]orchestral aspirations is mostly in the Neo Prog territory, and to a listener who's grown up with the prog and pop music of the 70's and 80's, it's very easy to connect to. Especially the calmest tracks are rooted in the romantic, classically inspired piano style of Downes, and the edgier "rock attitude" is pretty much absent throughout the 53-minute album.

Most of the guests participate on vocals, but for example David Longdon (Big Big Train) and Tim Bowness (No-man, solo) sadly don't get the lead role. That's why there are no notable sonic differences between the nine tracks. There's one long piece (18- min. 'Skyscraper Souls') which in the end doesn't differ very much from shorter songs, but the music always functions very well, despite the length of the composition. The album contains also some narrative parts spoken by Barney Ashton Bullock, but not so much that it would become an irritating, self-poignant feature. The overall atmosphere is just a little bit melancholic. Nice, accessible, safe prog flavoured pop music with a 70's / 80's retro feel.

I believe it has a lot to do with your personal listening history whether you like this album. If you don't care for pop sensibility and prefer anti-retro modern prog over Neo or Crossover Prog, maybe this music won't win you over. It's like with that Roger Dean cover: surely not among his best, but it adds to the warm breath of nostalgia.

"And you remember the jingles used to go"

The Collection is a compilation album covering the career Geoff Downes, focusing primarily on his "New Dance Orchestra" albums from the 1980's and 90's. The CD opens with the epic instrumental East West from Downes' first and best solo album The Light Program originally released in 1986. Next up is a track from Geoff's collaboration with John Wetton which sounds like a second rate Asia song. Then follows four numbers from 1992's Vox Humana, the second "New Dance Orchestra" album. One of these is a re- recorded version of The Buggles' hit Video Killed The Radio Star with Glenn Hughes on lead vocals. Three numbers are taken from Geoff's cover album Evolution, and even if I hate that album I must admit that he has chosen the least bad tracks from it; The Moody Blues' Nights In White Satin, Procul Harum's A Whiter Shade Of Pale, and Kansas' Dust In The Wind. Don't Walk Away is a song from Geoff's collaboration with Glenn Hughes, released as The Work Tapes. This one is just awful!

The "Downes solo" is a live recording taken from the Asia album Live Acoustic and The Journey Begins is taken from the Asia album Rare. The latter album is indeed very rare and it doesn't sound at all like an Asia album but is rather much more in line with Downes' solo output making its presence here very fitting. I believe that this instrumental album was initially meant to be released as a Goeff Downes solo album, but since John Payne played on it the record label insisted on releasing it as an Asia album.

Four tracks are taken from 1999's World Service, another all instrumental "New Dance Orchestra" album. Everything up to this point has been previously released and available on other albums, but the final two tracks are rarer and were new to me. One is a very short demo version of You Can Fly From Here, a song that Geoff has written prior to joining Yes in the early 80's and which were performed by Yes then and which many years later became the title track of a Yes album. Finally, there is an instrumental piano version of Video Killed The Radio Star from a Korg Sampler CD. Personally, I think this is the best version of that song and in general it is the instrumentals of this collection that stand out. But like in most cases, you should start with the source albums.

My only peeve with prog-rock critics is the common reviewing fallacy (in all spheres of music BTW) that seeks to highlight and hammer at: WHAT a musician SHOULD be creating, instead of what they ARE creating. I have always felt that premise to be quite an arrogant and misplaced entitlement, giving the writer some kind of divine perspective on something that does not belong to him in the first place. It's not his muse, nor his inspiration. It belongs uniquely to the artist. Therefore my view has always been based on the quality of the work for what it is, not what it should have been! Many long-careered artists have faced this stupid tendency, be it Jethro Tull's electronic phase (Under Wraps), Oldfield's more new age stuff or even Tangerine Dream's 90s 'fluffier' production. What do you want Thick as a Brick, ad nauseam? Tubular Bells VI? Really?

Geoff Downes is probably one of the most controversial and thus ultra-targeted musicians in prog, still slandered by the 'buggling' Video Star label, still maligned by the Asia AOR slant and unjustly reviled by many as a sell-out. Perhaps that is true in a multitude of ways but his keyboard playing has been superlative on albums such as the 2 Buggles albums, Yes' Drama and more expressly, the dazzling display on the Light Program, the New Dance Orchestra's debut work. The disc remains a sensational example of modern keyboard-driven symphonics. Hey, Geoff has laid a few poor releases, of that there is no doubt but so is life, artistic life in particular. 'You can't always get what you want' was a clever Stones lyric (a rare event IMHO) that should argue against any undue criticism. Yes, 'Electronica' is pure electro-pop, much like acts like recent Midge Ure ('Fragile'), the still urgent Depeche Mode and past wonders like The Beloved, Telex or John Foxx. Intelligent electronic pop music is still better that the slop available on the radio, no? Two great attributes crown this disc: firstly, Ann-Marie Helder is a sensational voice, famous for her work with Karnataka, Panic Room, Luna Rossa, Mostly Autumn, Steve Hackett, Fish, Dave Kilminster, Parade and Tigerdragon. She is my favorite PROG vocalist by a long shot. Secondly, Geoff really does create some stunning melodies throughout and the man has incredible talent on his keyboards.

The end result is to judge for what this is and not what we the fans would wish it to be. There is a lot of good stuff interspersed with little details that suck, best exemplified by the opener 'Shine On', a sublime melody with a perfect delivery from Ann-Marie, great main melody and production but irritated by sloppy 'whoop-whoop' synth loops that make it sound like an old Madonna outtake and then the rather puerile lyrics that do kind of grate on the ears. 7

Then you have a perfect pop song like 'Forgiven', where all is pardoned due to a crushing melody, a heavenly chorus and a mesmerizing searing in the soul. This is one hell of a great song, simple, effective and memorable. 10

'Moving On' shuffles along convincingly, just a bit too accessible but Helder really uses her rich voice brilliantly, you just can't help admire her immense talent. 8

Back to utter sonic beauty with the subtle 'Rainbow's End', a truly lovely melody and a whopping lead vocal that would leave anyone shivering, the synths are breathtakingly haunting while the mechanical percussion is well- conceived. 10

'Breaking the Spell' is very close to the Beloved, a smartly played pop song with dance tendencies, very radio/club friendly. Choppy e-drums and slippery synths rule the roost. 8

Things get interesting with 'Love Is not Enough', a lover's lament at the obvious disappointment of a failed relationship, Geoff's piano glides amid the synthesized carpets, blown away by Ann-Marie's powerful and convincing vocals, full of soul, pain and despair. 9

'Jinx' is quite fun, a slight change of pace and mood that sits well within the flow, a more brooding melody and a quirky synthesized delivery that hints at New Muzik at times, echoing electronic patches , and another conclusive vocal performance from the Helder. 9

The mood shifts once again into a slight more experimental slant with the more dramatic 'Hanging by a Thread', still very commercial but sharply performed, giving the impression that this has been heard before somewhere, sometime. That wee native Indian riff is quite clever and the arrangement gets more room to develop. 8

'Remember the Day' is another top notch tune, pushed by a strong bass synth riff, colliding synth riffs, very electronic and something Madonna would have done with William Orbit in tow. Helder's voice nears a whispering pant which is extremely attractive, seductive and downright sensual. 10

The dance floor shakes with the suave onslaught of 'Dance to the Music of Time', a moody shakedown of pouting lips 'moving to a beating drum', a searing chorus punctuated by a shrill mellotron sound, clanging keys and stunning rhythmic pulses. 10

'Walking through the Fire' continues the melodic onslaught, delivering another divine melody and a masterful display of a voice that understands emotion and feeling. Simple but hypnotic, accessible but utterly pleasing. 9

The much-maligned disc ends with 'Golden Days', a Downes'led piano that thrills mightily, evoking Wakeman at his finest while Ann-Marie convinces us once again with a lovely performance. 10

Though I am a devoted and dedicated progman and have certainly the credentials to prove it, I cannot help to be swayed by wonderful melodies and then be totally seduced by a voice that makes my knees shake. It must be the stupid romantic in me, influenced by the sweet honey of unrequited love. It all started with those 'chansons de geste' I was subjected to in French school! That being said, this will do fine when I have a lightweight day in mind, maybe some cuddling or caressing with my little lady, if I am a good boy!

Am I 'Forgiven' ?

4 pop soda synths

Vox humana

Geoffrey Downes has to date released four full-length albums under the name "New Dance Orchestra". These four albums are rather different from each other. The best of the four is by far the 1986 debut The Light Program, an all-instrumental, keyboard-driven symphony in five parts. The second best New Dance Orchestra album is 1999's The World Service, likewise an all-instrumental work. 1992's Vox Humana was more of a song-based album with various guests singing lead on different tracks. This brings us to the present album, released in 2010, entitled Electronica. Comparing this to the previous three New Dance Orchestra albums, the most similar is Vox Humana in virtue of this being a song-based, vocally driven album.

The vocals on all 12 songs are handled by Anne-Marie Helder who has a fine voice. Downes himself stands for keyboards and programming. There are no other musicians involved and there are no real drums on this album and neither is there bass, guitar, or any other instruments. The songs are not poor as such, it is just that this is not the kind of music that I want Geoff Downes to make. Electronica is 100% pure electronic Pop music with absolutely nothing progressive about it. As such, it bears no relation whatsoever to Geoff's previous solo albums or to his day jobs in Yes, Asia or even The Buggles.

Best avoided!