ECLECTIC PROG

While the lineup changed over the years, the musicians that ended up on the album included Roberto Isidoro Abal Garcia (guitar,) Tino Grandío (bass), Xurxo Pérez (Hammond organ, vocals), Xulio Ferreiro Garea (percussion) and Xosé Manuel Ferreiro Garea (drums, vocals). The album features six complex tracks that are mostly instrumental but feature a few sporadic vocal parts sung in the Galician language. While most similar to jazz fusion artists like Iceberg, N.H.U. featured a wider breadth of influences ranging from King Crimson, Frank Zappa (fusion stage), Yes and the multitude of Spanish prog artists that existed at the same time. The band suffered the same fate of many similarly minded bands of receiving good reviews from prog loving music critics but found no support in terms of distribution and marketing from the record label.

Considered one of the most demanding Spanish prog bands of the era. N.H.U. featured all the typical elements of the greater Spanish prog scene with complex time signature-rich compositions, ample use of keyboards, trippy acid rock guitars and a jazzy percussive drive which all conspired to make the band a bit eclectic. While the jazz fusion paradigm serves as the complex tapestry of instrumental interplay, the use of dramatic organ runs and echoey guitar sequences offers a major dose of psychedelia and the overly abundant use of angular time signatures adds a sense of avant-prog intrigue to the mix. The heavy use of the Hammond organ, moog and Fender Rhodes gives it a true sense of symphonic in the vein of early Genesis and the album is chock filled with a psychedelic atmospheric presence. Knotty and choppy the album may be a bit inaccessible at first as it's a bit tough to grasp onto as the rhythmic drive never remains the same for long.

Despite the heavy use of proggy time signatures and other complexities, the album is actually often on the light and breezy side sounding more like bands from the Argentinian prog scene (Invisible, Crucis, Arco Iris etc) than its Spanish contemporaries. In the end the band sounded fairly unique without jettisoning its Spanish prog connections. Given Spain's late start to the prog party most of these bands were lucky to crank out an album or two before facing financial ruin or rather turned to more commercial music to appease the record labels. In the case of N.H.U. with no record label support the band folded after one album with most of its members disappearing from the music scene along with the band itself. The exception was lead singer Emilio Can who continued a solo career as a singer-songwriter of traditional Galician folk music. This one is a forgotten gem from the Spanish prog scene that is as worthy as the better known artists such as Mezquita, Triana, Crack, Atila or Gótic.

Those effects are noticeable on the 'A Bountiful Surplus of Grace', a seven-minute progressive roller coaster reminiscent of typically quirky British jazz-rock, heavily laden with harrowing twists and turns, breathtaking accelerations and turn on a dime variations. A truly excellent salvo that settles the pace of what is to follow.

Things get quite Canterbury-ish on the extended 'A Profound Throb of Dread', a splashy experiment woven with multi-layered vocal harmonies and counterpoint, a devilish mix of Gentle Giant and Gong and a quasi-hypnotic arrangement where Rob's sultry saxophone blows hard and mighty, before switching to a e-guitar romp and a churlish bass undertow. The man is an 'Octopus' (hint), very impressive, indeed! The vocals have a definitely Daevid Allen intonation, which makes the package even that more charming and somewhat tongue in cheek, with Pedro Viera's lovely piano putting an end to the 'dread' LOL. A most accessible experimental track, in the fine tradition of the genre. No halting the zaniness on the 'An Absurd Case of Iguanas', kicking off with an extensive Barbara Thompson-like saxophone (think A Touch of Frost TV series), with a slight tropical maybe Middle Eastern feel, nonetheless. A remarkable flight, as the surly electric guitar parallels the sax, and ventures into a harder edged Hillage-era Gong mania. The seductive piano reverts to a more playful environment, Viera doing a huge job on the ivories. Wow!

How about some more? Rob just shifts it into another gear, the duelling sax and guitar team fighting off the bass/drum coalition within a languorous reptilian uncoiling, veering into a high velocity rampage of technique and passionate insanity. I could not help being impregnated by the Soft Machine mood, circa the 'Softs' album. Halfway through, the atmosphere becomes psychedelia incarnate, Rob doing his Steve Hillage personation convincingly, more Khan the band than 'You', suffused with a raw energy and a gruff delivery, the merciless sax blowing in delirium. Bloody incredible! Can this possibly continue? The final track 'A Fragile Harmony of Desires' slays the proverbial dragon, Rob doing his fabled caricature of St- George with a long story telling vocal that had me thinking The Legendary Pink Dots for a few seconds, though the bass and the flute shove this into a completely different sonic zone, the crazed orchestral backing notwithstanding. The bass clarinet makes a divine apparition within the breakneck vocal counterpoint delivery that would make the Shulmans blush with envy (but utterly proud as well, I daresay). The slithering bass chaperones the Ian East flute with perfect timing, with guest drummer Lloyd Stratford supplying the syncopation.

This unexpected jewel blew me away from the very first audition, a rare feat with eccentric music like this, which only highlights how surprised fans of the afore mentioned Prog geniuses will be if they land on this head explosion. This will be released on June 28, 2024.

4.5 skull detonations

This is a concept album, a rite-of-passage story with a young character called Travla at its heart, but arguably this is autobiographical, and one gets the impression that Hackett used this to get some things off his chest. Sadly, musically this rarely lives up to the heady heights he has often climbed, and it feels somewhat boring, but then we get songs like "Enter The Ring" with its harmonies and rock stylings which makes one think we have been thrown back in time to the classic first three albums (can it really be that 2025 marks 50 years since the release of 'Spectral Mornings'?). To my mind it is the Genesis albums which have Hackett playing which are the most complete (none of this Gabriel/Collins malarkey for me), and I have always relished seeing him play live, and even though this is not exactly essential Steve is showing no signs whatsoever of slowing down. This may not be classic Hackett, but there are times when he shreds and shows no sign whatsoever of his years in the business, and the touches of brilliance are still there. It may not be his best album ever, but is a damn fine listen all the same.

"Deep" was released in 2012 and the tour that followed was recorded and released as their first live record called "Power Play". And that live record is my favourite STICK MEN release. So yes it's a little ironic that I can't give this studio record 4 stars but the live one I gave 5 stars to. A tribute to how this band brings this unbridled energy to their live shows. All of these songs just sound better on that "Power Play" record.

Four tracks stood out for me on "Deep" including the opener "Nude Ascending Staircase" which is incredible live. The bass/drum intro is great here along with the guitar throughout. "Cusp" has these repetitious drum patterns along with a guitar melody that comes and goes. "Horatio" is a powerful tune while "Concussion" does it for me with the riffs and wicked bass lines. This tune is the only one of the four not on the live "Power Play".

Right now I'd recommend "Soup" and "Prog Noir" as my favourite studio albums by them, but man that second "Midori" show from Japan with David Cross adding violin is amazing. That one and "Power Play" are my two absolute favourites by this band. Check out some of their other live records too with Mel Collins guesting, and another with Gary Husband guesting. These guests in a live setting certainly change the flavour of some of these tracks. Great band!

'Frå Fyrste Dag' tumbles in, backing vocals, symphonic sound coming from the clouds; a musical orgasm that must be digested for the voice in Norwegian; Arne's captivating keyboard does the job on a unique 70's sound, half hard, half Scandinavian. 'Ein Fix Ferdig Mann' follows, between blues and typical folk, like a melting snowman yes it is; honorable mention to Thore's fat guitar; marshmallowy air that sticks, that gets stuck in your limbo. 'Krig I Opne Landskap' continues to infuse this characteristic sound, blues tinged with a haunting gospel space, the whirring guitar leering over King Crimson while the solemn church organ drives the stake. 'Ei Gåte' continues with aggressive piano and guitar reminiscent of early Scorpions; the sound becomes more refined, the ears become more sensitive. 'Når Natta Kjem Og Tek Meg' ends this convoluted triptych with a dark female vocal, a folk-melodic nursery rhyme with a sharp violin, a bewitched Mellotron.

'Eg Vil Ha Det Eg Vil Ha' returns to the sound of Lucifer with riff, choppy vocals and hilarious rhythm, dancing folk for long, feverish nights with the Tullian flute that made them known. 'Snømann I Sol' slow plattersian with a touch of RPI and spleen crimsonian guitar, on Gary Moore; its unique, apart. Musical delirium on a raw romance ballad, between ephemeral beauty and vintage psyche madness. 'Aftenbøn Til Dauden' a melting pot piece with heavy guitar, bucolic flute, Teutonic choirs narrating the harsh working life; a baroque operetta fresco, a musical vaudeville with a typical folk break. 'Kunsten å Gjere Ingenting' as a final memory of Uriah Heep and Progressive Scorpions; the solemn reminiscence of with Steely Dan for the cool jazzy feel; the plaintive guitar break is worth its weight in nostalgia.

column on Progcensor originally.(3.5)

"Live In Boston" is the fourth live album of UK that was released in 2007. It was originally recorded in 1978 from a live show in Boston, Massachusetts in USA under the name of "Concert Classics Vol. 4". It was also re-released in Japan on the CD format in 2007 as "Live In Boston". It was subsequently been re-issued under the name of "Live In America".

The sleeve notes date the concert as 11 September 1978 performed at the Paradise Theatre in Boston. However, that date is wrong because it was on 11 July 1978. The track listing is also incorrect because the real name of the sixth track should be "Presto Vivace/In The Dead Of Night" instead of "In The Dead Of Night". "In The Dead Of Night" was originally a track divided into three parts "In The Dead Of Night", "By The Lord Of Day" and "Presto Vivace And Reprise". So, "Presto Vivace", which originally was the third part, was played as a bridge to the first part of the track "In The Dead Of Night". The problem with these errors is that it was probably a release without the approval of the band.

As many of us know, UK was a progressive rock super group with a very short life that was formed in the end of the classic progressive musical era. It was formed by John Wetton and Bill Bruford after the release of "Red" of King Crimson and Robert Fripp decided to suspend the activity of the band. Initially UK was formed by both musicians with Eddie Jobson and Allan Holdsworth. Jobson was the ex-keyboardist/violinist of Roxy Music. Wetton knew him from his work with Roxy Music in 1976. Bruford recruited the guitarist Holdsworth who had played with him on his solo debut studio album "Feels Good To Me". So, the four musicians released the eponymous debut studio album of UK in 1978.

After only one album the line up of the band changed drastically. Bruford and Holdsworth left and Terry Bozio entered for the group. The concerts by the first line up were bootlegged many times, especially since these gigs featured material that would be released on their second studio album. The show on this live album was broadcast on the radio and recorded in 1978 in Boston. The bootleg character is still preserved, because of the really cheap lay out of the bootleg and the mistakes in the track listing. Besides, the CD has been withdraw from the markets already, because there was a dispute between the Concert Classics and the EG Records over the rights. So, if you get a copy, you have a collector's item on your hands. Still, you can get a copy of the Japanese edition "Live In Boston" but for a highest price. "Live In Boston" has only eighth tracks. "Alaska" was originally released on their eponymous debut studio album. "Time To Kill" was also originally released on their eponymous debut studio album. "The Only Thing She Needs" was originally released on their second studio album "Danger Money". "Carrying No Cross" was also originally released on "Danger Money". "Thirty Years" was originally released on their eponymous debut studio album. "Presto Vivace" was also originally released on their eponymous debut studio album. "In The Dead Of Night" was also originally released on their eponymous debut studio album. "Caesar's Palace Blues" was originally released on "Danger Money".

So, "Live In Boston" offers a live recording of the original UK line up, between their debut album and "Danger Money". The opener "Alaska" and "Time To Kill" come in a routine version because they come from their debut. But then it follows with "The Only Thing She Needs", which should only get its final form on "Danger Money", has truly a furious Holdsworth playing. The difference is even more blatant with "Carrying No Cross". Here the entire instrumental middle section is different, again a breathtaking Holdsworth. One thing becomes clear in these two pieces. Holdsworth was responsible for the jazzy notes on their debut. Without his guitar riffs the music of UK takes on a different character. On "Thirty Years" Holdsworth is all over the place and Bruford rules. The instrumental section is brilliant. "Presto Vivace/In The Dead Of Night" was given to it a new interpretation of the original piece, which is nice. It has some extra key parts here and there, which is very nice. On "Caesar's Palace Blues" the tempo and character were later completely changed on "Danger Money". This live version has nothing to do with the furious virtuosity of the version on "Night After Night".

Conclusion: "Live In Boston" is a great live album, an extraordinary addition to any prog rock collection. Formed with their first and best line up, this is a fine piece that shows the great chemistry of an outstanding prog rock band. Songs like "Time To Kill", "In The Dead Of Night" or even the instrumental "Alaska" are really unforgettable. It completes the live picture of the short-lived, legendary formation of UK and is a real asset for all fans of this kind of music. It was really a pity that Holdsworth and Bruford left the band afterwards the live tour. This recording provides distinct clues as to how close the original line up was to completing their second album before the band split. Whatever, this is a great recording of "Concert Classics Vol. 4", but with a re-mixed and re- mastered work that makes it shine for the diehard fans. This is an expensive version but deserves the money spent on it. Probably, this is the only version you can get.

Prog is my Ferrari. Jem Godfrey (Frost*)

1. "highs and lows" (2:02) long-time favorite collaborator Cherry Pob is back and in her best CHAKA KHAN voice for this late-70s-like Pop-R&B tune. Too bad they didn't extend it into a full song. (4.5/5)

2. "reborn" (2:41) bursts out of a little funk-jazz intro into a full-on jazz/R&B vocal with multiple tracks from Cherry Pob supported by Captain Cosmic's great funk-jazz-R&B instrumentation--and then joined by the Captain himself on the vocals. Love the horn section accents. (9.25/10)

3. "purple garlic" (1:52) funk organ, drums, bass, clavinet, horn banks, with synth horns and live horns (sax) soloing over the top. A little sample of the JBs, anyone? (4.625/5)

4. "knock out" (3:11) a little Betty Davis attitude! Nice lead guitar work, Maggot Brain! (8.75/10)

5. "revolution" (1:49) son of Kool & The Gang, Gil Scot-Heron, and Chic, here's Arnaud at his most nostalgic! (4.375/5)

6. "casus belli" (3:11) very engaging smooth jazz opening that leaves you salivating for what is possible--for what might come--and then the Captain delivers a sexy Euro-African-accented narration vocal as if we're watching some Black Sexploitation film from the mid-Seventies. Cherry Pob's eerie vocalise gives a Get Out! feel to the song. Awesome! (9.25/10)

7. "sunbath" (2:07) smooth jazzy Disco-R&B of the Minnie Ripperton/Randy Crawford/Chaka Khan vein. (5/5)

8. "the Groovy show" (1:27) Expanded/jazzed up Billy Preston "Outta Space" clavinet opening turns jazz funky with horns. (4.375/5)

9. "dynamite" (3:32) funk rhythm track with great funk rhythm guitar, clavinet, saxophone and horn section. Then comes the raunchy fuzz guitar, Afro scream, flutes, and Talk Box. Also, outstanding percussion throughout this song. More like this, please! (9.5/10)

10. "rebirth" (0:40) brief but awesome synth/keyboard piece. (5/5)

11. "city child" (4:04) Arnaud's Sly Stone/Gil Scot-Heron voice reaches for some Barry White sexiness. Big Switch at 1:40 to some Chic/Jamiroquoi. Great to be back in the late 1970s! At 3:05 there is another shift into some funk jazz with clavinet and trumpet before moving back to some Sly Stone style for the finish. Awesome blend and recap of the best of the groovy years. (9.75/10)

12. "cheeba" (1:37) a little jazz funk with some Reggae flavor. Again, awesome blend. (4.5/5)

13. "butterflies" (1:38) Arnaud has that rare gift of being able to melt the legs of the listener with only two words of his uber-sexy singing voice. Here it's just Arnaud with his Fender Rhodes. (4.375/5)

14. "phoenix" (3:46) beautiful Smooth Jazz chords with fretless bass and Steve Gadd-like drum perfection. Surprisingly, this is "only" an instrumental: sometimes it surprises me that Arnaud and/or Cherry aren't don't occupy every second of every album with their AMAZING voices. (8.875/10)

Total Time 33:37

It seems a bit unfair to assign this album a "progressive rock" categorization (even Jazz-Rock Fusion), but there is no hesitation that this is a GREAT album of pop-funk-R&B-jazz fusion from a major sound magician, master of many instruments, and true and devoted student of the 1970s funk scene.

A-/five stars; a masterpiece of modern retro-Jazz-Funk/R&B. Definitely HIGHLY recommended to all lovers of the Funk!

The Power to Believe I: A Cappella reminds me of Peace: A Theme - a short vocal intro.

Level Five - This is a bit like Red, with the Satan setting on 11. Ferociously and relentlessly dark. No mercy asked or given.

Eyes Wide Open - the obligatory ballad, with Pat playing (synthetic) slit drum a la One Time, but the tune is more upbeat. Melodic and stylish.

Elektrik - After a faux-classical intro, Trey's savage tone tells John Wetton to hold his beer, while Bob and Adrian do their intertwining thing. Pat is killing it on the kit. Great music. Later, the song changes ... now Bob is telling Tony Iommi to hold his beer! There is a moment that might be the heaviest music ever recorded - all it needed was a death growl. A wild ride.

Facts of Life - It reminds me of Oyster Soup, unfortunately. Still, there are some cool moments, of course. Prozak Blues meets Helter Skelter.

The Power to Believe II - Atmospheric, with world influences somehow melding west Asian melodies and gamelan. All the sounds are gorgeous - from the synth percussion, the guitars synths, Trey's beautiful bass tone. Love it.

Dangerous Curves - the classic Crimson slow grind - from the Devil's Triangle, to Bolero, to the Talking Drum - this is the latest. Like all of these, the track starts barely audibly and builds up to cacophony. All of these are cool tracks, though Bolero is the best composition of these.

Happy With What You Have to Be Happy With - another chaotic Oyster Soup successor.

The Power to Believe III - a spooky atmospheric intro is rudely interjected by Trey's occasional brutal bass stabs. Then Pat comes in with a truly crunching backbeat. Then everything becomes even spookier and heavier as Fripp goes into eerie mode. Some spectacular rhythm section work. A soundtrack for a horror thriller?

The Power to Believe IV: Coda - A couple of minutes of Fripper(and Belewer?)tronics and a return to the initial (Peace) theme.

Four stars.