Label: Air Mail Archive (Japan), AIRAC-1108
Style: Rock, Art Rock
Country: London, England
Time: 43:42
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb
Charts: U.S. #96, CAN #96.
This album seems to come at an appropriate moment, at a time when our eyes are on the heavens, awaiting the arrival of the comet Kohoutek on its journey round the sun. A unique form of skywriting indeed, and it couldn't have been more apt. The album takes planetary/evolutionary theme, the overall concept being one of genesis; that's not as heavy as it sounds, though there are passages of foreboding and coldness, as each track reaches for a mood relative to its title. Generally, it's hard, grinding rock, driven home with finality and conviction: they're a band who feel committed to getting that solid backbeat across, and setting bodies in motion. It's a meaty sound, very compact - concentrated even, like hard tack. There's a lot to chew on. Dylan's "Father Of Day, Father Of Night", the first track, sets the scene and is the tour de-force of the record. Mann, believing Dylan to have wasted the song on "New Morning”, has realised the disguised potential of' this number and vividly underlined its hymnal qualities. It begins with a spatial choir, floating in a void, and from that small seed grows a stately production with a beautiful organ tone and powerful guitar from Mick Rogers. Rogers plays with great clarity and feeling throughout, in taut, pent-up fashion, communicating tension. However, having seen him play live, one feels he's been recorded beneath his full capabilities. He'll be giving a lot more in future no doubt, even though one can say his performance on these particular tracks encompasses all that's desired. "In the Beginning, Darkness" is linked with "Sunfire" where strident guitar breaks leap out and Moog synthesiser is introduced. Mann always using it sparingly and to maximum effect. Nothing gets out of hand. "Pluto the Dog" is a strange, loping instrumental, the lead taken by Moog and percussive organ, and with a barking dog effect that sounds suspiciously like a human imitation. Rather abstruse, but it's the odd track out. Side two is hot and bubbling in the title track, Moog and guitar stirring the cauldron, but is contrasted against the icy impact of "Saturn, Lord of the Ring" and its memorable melody line. And as one might think; "Mercury, the Winged Messenger" is played with celerity, guitar and organ duetting in stabbing bursts of energy. The trip ends on "Earth", which is in two parts. It's probably the most vital, integrated album they've produced to date.
(Melody Maker - December 29, 1973)
This album seems to come at an appropriate moment, at a time when our eyes are on the heavens, awaiting the arrival of the comet Kohoutek on its journey round the sun. A unique form of skywriting indeed, and it couldn't have been more apt. The album takes planetary/evolutionary theme, the overall concept being one of genesis; that's not as heavy as it sounds, though there are passages of foreboding and coldness, as each track reaches for a mood relative to its title. Generally, it's hard, grinding rock, driven home with finality and conviction: they're a band who feel committed to getting that solid backbeat across, and setting bodies in motion. It's a meaty sound, very compact - concentrated even, like hard tack. There's a lot to chew on. Dylan's "Father Of Day, Father Of Night", the first track, sets the scene and is the tour de-force of the record. Mann, believing Dylan to have wasted the song on "New Morning”, has realised the disguised potential of' this number and vividly underlined its hymnal qualities. It begins with a spatial choir, floating in a void, and from that small seed grows a stately production with a beautiful organ tone and powerful guitar from Mick Rogers. Rogers plays with great clarity and feeling throughout, in taut, pent-up fashion, communicating tension. However, having seen him play live, one feels he's been recorded beneath his full capabilities. He'll be giving a lot more in future no doubt, even though one can say his performance on these particular tracks encompasses all that's desired. "In the Beginning, Darkness" is linked with "Sunfire" where strident guitar breaks leap out and Moog synthesiser is introduced. Mann always using it sparingly and to maximum effect. Nothing gets out of hand. "Pluto the Dog" is a strange, loping instrumental, the lead taken by Moog and percussive organ, and with a barking dog effect that sounds suspiciously like a human imitation. Rather abstruse, but it's the odd track out. Side two is hot and bubbling in the title track, Moog and guitar stirring the cauldron, but is contrasted against the icy impact of "Saturn, Lord of the Ring" and its memorable melody line. And as one might think; "Mercury, the Winged Messenger" is played with celerity, guitar and organ duetting in stabbing bursts of energy. The trip ends on "Earth", which is in two parts. It's probably the most vital, integrated album they've produced to date.
(Melody Maker - December 29, 1973)
01. Father of Day, Father of Night (09:54)
02. In the Beginning, Darkness (05:21)
03. Pluto the Dog (02:47)
04. Solar Fire (05:15)
05. Saturn, Lord of the Ring - Mercury the Winged Messenger (06:32)
06. Earth, the Circle Part 2 (03:21)
07. Earth, the Circle Part 1 (03:57)
08. Joybringer (03:24)
09. Father of Day, Father of Night (edited Version) (03:06)
No comments:
Post a Comment