LEADER OF THE STARRY SKIES: A TRIBUTE TO TIM SMITH, SONGBOOK 1

I'll come right out and say it, and prepare for the flak. The Cardiacs are a band I'm excited to continue to delve into, but I still have an elementary, basic understanding of who they are and what exactly they do. But here I am, delving into their music, specifically in tribute to their frontman, Tim Smith. As slowly as I've delved into this iconic group, it's not like I'm delving any slower than with most any other band or artist haha. Even more timely, 10 years after this album's release, Smith has unfortunately passed away, in 2020, at 59.

The album opens with "Savour" as performed by Smith's Cardiacs bandmate William D. Drake, a sort of psychedelic, even Baroque number. This is certainly grand. Next is Ultrasound's performance of Big Ship" , a big sound, fit for a Britpop band, actually. Super quirk, with horns and interesting synths. And this track in and of itself makes sense of specifically Andy Partridge's later feature [You'll see, too, though, that Partridge's feature makes less sense than what I'm making it out to be here...]. Then we have Psychedelic band Oceansize's take on "Fear", which is such a great song. Grandiose and memorable.

"Let Alone My Plastic Doll", here performed by another fellow Cardiac, Mark Cawthra, is another big song. Next is the rhythmically alluring "Day Is Gone" as performed by The Trudy, a female-fronted Post-Punk group founded(?) by The Cardiacs' drummer Peter Tagg. This is starkly juxtaposed by the soft, balladic "Founding" performed by Stars in Battledress. My mind honestly immediately goes to early GG, like something penned by the great Kerry Minnear. Another stark juxtaposing is the wild, if not unhinged (if not Zappa-esque, though innately Bri'ish) "WIll Bleed Amen" as performed by Max Tundra and Sarah Measures (the latter apparently of The Monsoon Bassoon). So fun. Definitely going to be checking Tundra out.

Then we have the much more minimal (not a difficult task) and ethereal "Shaping the River", performed by Julianne Regan. Then we have the seemingly great-purposefully RIO Knifeworld (though identified generally as Crossover Prog here) performing the ever-quirky "The Stench of Honey"! Next is the at first very very minimal "A Little Man and a House", performed by The Magic Numbers, it then shifts to a very... highlands-like lilting waltz. One of my least favorites. Then Mikrokosmos covered "Is This the Life", a large, noisy number with scurrying and buzzing synths. Sort of Industrial?

Next is "March" as performed by North Sea Radio Orchestra, a modern Chamber band. Quirky, but classically poised, of course. Then is the Andy Partridge feature on Robert White's rendition of "Lilly White's Party". Am I an idiot? I can't find out who White is or what he's known for... This'n's super minimal, creeping yet optimistic. Not at all the type of song that I expected from Partridge. Very seldom do we hear this sort of quietness from him... Interesting. The creep really is the draw to the song. Relatively static and yet offering much in texture.

Then it's "Wind and Rains is Cold", performed by Rose Kemp Vs Rarg... Interesting... No clue... This song is industrial as well. Very electronic-forward. Almost reminds me of PC Music or the harshest of Hyperpop (like Sophie).... What the hell... Is someone in my house?! haha. Anyways, Sophie is better. Listen to her haha. More minimal Gothic Rock representation [I just realized I didn't mention the other artist that fits this bill, though I don't feel like going back and figuring that out... Sorry?] is in the form of Katherine Blake's "Up in Annie's Room"... Not sure what to say on it.

Next we have "Stoneage Dinosaurs" [Why is that a single word?...] as performed by probably the most recognizable name of the whole lot, Steven Wilson. Super minimal as well. It was pretty anyways... And finally "Home of Fadeless Splendour" was performed by The Scaramanga Six, an Art-Alternative... Rockabilly band?! haha. Huge song! Pretty great track to end it all off, really. To sum it up, the strengths of this tribute can be found largely in the front half.