My name is Devin North. I’m a bass player and a music student at the University of Texas. I’m passionate about progressive rock music and play in the prog band The Aaron Clift Experiment. I started this blog to review prog albums and hopefully expose people to prog artists they wouldn’t otherwise come across. I select the albums that I review myself, but I will happily review any requested album.
Month: July 2015
Red by King Crimson
Album – Red
Group – King Crimson
Year – 1974
Genre – Eclectic Prog/Progressive Rock
Country – UK
Overview:
Okay, everyone in the prog world knows how big of deal King Crimson is and that their seventh album, Red, is a classic of the genre, but even in the context of a band that completely reinvents itself every few years, this a is a very unique album. The album cover perfectly sums it up: this is a dark album, and one put together, for the only time in the band’s history, by a trio. The fact that the band only consisted of Robert Fripp (guitar/mellotron), John Wetton (bass/vocals) and Bill Bruford (drums/percussion) meant that there is a LOT more Fripp on this album than any other by the band. Of course there were other musicians (inclding Crims David Cross on Violin and Mel Collins on sax), but it can’t be overstated how much more of Fripp’s guitar is present on this album. There are layers upon layers of it with tones from the prettiest clean to the raunchiest distortion. It’s also worth mentioning that this album has way more rock in it than other Crimson records, but it still does it with classic KC sophistication and dynamics (something missing on most rock records).
Songs:
Red, the instrumental title track, opens the album with aggresively crunchy guitars and bass pummeling octatonic scales in 5/8. There is no question that the record you just put on is progressive rock. This track is unusual for instrumentals due to its lack of melody. Even more unusual is that, despite this, the song is actually very good, catchy, and somehow not boring. I can’t quite tell you why Red works so well, because it’s just something you have to hear for yourself. it’s no surprise that this is one of the few “early” Crimson tracks to be played live often. Even the absolutely appalling distorted bass tone in the middle section somehow blends perfectly with the cello. The 7/8 section of the song also highlights a stupidly cool cymbal that Bill Bruford pulled out of a trash can.
Fallen Angel pulls back the aggression somewhat from the first track and introduces Fripp’s acoustic guitar, a staple of the first few albums, and Wetton’s rich baritone voice. This is a pretty ballad, but don’t think that means soft and boring. Powerful crescendos and Fripp’s layers of guitar give this piece character and bravado.
One More Red Nightmare kicks of with some heavy whole tone lines punctuated by Bruford’s creative drum fills (and that trash cymbal! why can a cymbal from a garbage can sound cool?!). After the whole tone comes a surprisingly groovy verse, some more whole tone, another verse, and an open jam section which is also pretty groovy. wah guitars, a clap track and a sax solo? a bit odd for prog, but still very nice. This whole piece is a massive highlight for Bruford’s ability as a drummer.
Providence. This is the only mistep on the album, a live jam that would have been well suited for Starless and Bible Black, but is completely out of place here.
Starless, the last track, is the masterpiece of the album. Gentle guitar melodies and mellotron set the stage for a gorgeous vocal performance by Wetton in almost pop-ballad style, but everything changes when the band drops to leave Fripp and Wetton quietly playing in 13/8, building slowly with Bruford’s clever percussion. The tension created by Fripp in this section is tangible. I’m not a fan of distorted bass, but Wetton pushes his P bass perfectly in this section for a brilliant dynamic effect. This builds for minutes until the band finally lets loose in the finest moment of the album. Wetton, Fripp, Bruford and Collins all shine here.
It’s unfortunate that this album is about one song too short at under 40 minutes (8 of which re taken up by the forgettable Providence).
Sonic Quality:
The tone choices on this album are adventurous, but for the most part they work. Fripp’s Les Paul and Wetton’s P bass work well together, despite both of them having sometimes ugly distortion. Bruford’s drum tone is very dry, but works for this record. I still love his trash cymbal. There are a lot of risks taken here, but the mix is very good, as is the resultant album.
Rating – 8/10
Standout Tracks – Starless, Red
2112 by Rush
Album – 2112
Group – Rush
Year – 1976
Genre – Progressive Rock/Classic Rock
Country – Canada
It took me a little while to decide what album to review first. There are so many varieties of progressive rock and so many truly brilliant groups and albums, but I ultimately decided to go with the album that really got me into progressive rock: Rush’s 2112.
Overview:
2112 is often used as a gateway record to get bands into prog due to its balance of both prog and classic rock qualities. despite the length of its title track, it’s an accessible record with enough edge and anti-authoritarianism for angsty teenagers to get behind, yet enough complexity and creativity for the appropriately snobby progger to enjoy.
Songs:
The album opens with its most well-known track: the 20 minute 2112, a suite divided into seven sections depicting the story of a man in a dystopian future who discovers a guitar and with it the lost art of the world that came before him. The story is loosely based on Ayn Rand’s Anthem. Some prog fans criticize this piece for its lack of musical complexity, but I personally praise it for just that: not being too over-the-top. There is enough complexity to keep things interesting, but not so much that it’s a fatiguing listen. All three musicians are playing at the top of their game, and the melodic hooks are quite catchy. The story is simple enough to figure out just by listening, which is important for long story based suites and something that even some of the best prog suites (i.e. Thick as a Brick) don’t get quite right. This is easily the best track on the album and possibly the best track in Rush’s catalog.
Side two of the record divides fans as well. Some find the other five tracks simple and boring, while other, like myself, enjoy hearing Rush condense their writing into short, catchy singles. A Passage to Bangkok is pretty universally loved with its silly oriental cowbells and odd time signature guitar solo, but the other songs usually get more of a mixed review.
I’m a big fan of track three, the Twilight Zone; the song structure is abnormal and dynamics are profound (occasionally Rush, as with many other rock bands, just cranks to 11 and forgets about dynamics) and their are subtleties that really add to the atmosphere, like Geddy’s whisper vocal track and Alex’s high pinch-harmonic entrance to his guitar solo.
Track four, Lessons, might be the weakest track on the album, but that’s not to say it isn’t good. It’s an odd track in that Alex Lifeson wrote the lyrics, and you can feel his presence in the music writing more than the other songs. The guitar textures are nice and it functions as nice hard rock number. Maybe if I weren’t used to Geddy Lee’s screeching high voice it would bother me, but I am used to it so such is not the case.
Tears is another song that divides people. Some think it’s a pretty little soft number while others find it boring and throwaway. I’m of the former camp, but when I was 16 I agreed with the latter. The incorporation of mellotron is nice, and it really brings in some more progressive rock elements. It’s also the first of two tracks on the album Lee contributed lyrics to, and this is apparent with his emotional delivery of the vocals.
The last track is another rocker number, this one called Something for Nothing. For me, this is the second strongest track on the album after the title track. It’s textbook classic Rush, so maybe not the proggiest thing, but the musicians are all in top form and Geddy’s vocal delivery is inspired on this one, possibly because he penned the lyrics on this one too. I don’t know quite why I love this track, but there’s something very nostalgically ’70s rock about when the distorted guitar comes in that makes the hairs of my neck stand up.
Sonic Quality:
As far as classic rock mixing goes, I can’t think of a better example than this album. The guitars are powerful without being harsh (doubling electric lines with acoustic guitar helps with that). The guitar sound is very vintage and the best tone Alex ever had for rock stuff. A Gibson ES335 and A Gibson Les Paul through a Fender. Geddy’s bass isn’t always extremely gnarly, which is nice. Neil’s drums sound tight and full. I recommend the deluxe edition of this album for the best sound.
Rating – 10/10
Standout Tracks – 2112, Something for Nothing
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