Recorded in 2009, this album is available in multiple different formats, including swirled vinyl and a CD/DVD set etc. As one may be able to work out from the album title, this is a live run through of one of his most controversial albums, at least when it was first released back in 1973. His previous album, ‘Something/Anything/’ had charted well in multiple countries, and spawned some hit singles, but this saw him undertaking far more inventive paths, something which was exacerbated by his experimentation at the time with psychedelic drugs. Many Todd fans now look back on this very favourably indeed, while I have always felt there is some very strong material contained within but others which are not as good, so a rather inconsistent release.
Needless to say, this means that this album contains the same flaws and strengths as the original, but he has surrounded himself with a strong band and there is no doubt that the crowd in Akron, Ohio, had a great time. Mind you, whether they would say the same about this release would be another matter altogether. Todd has released a great many live albums over the years, both under his own name and Utopia, and I have a few different boxed sets so it can be said I am quite a fan, but what has been done with these recordings is quite unforgiveable. The production is great, as is the performance, but whoever messed with this needs to be sacked. I know that in these days of people using Spotify (I don’t) and shuffling albums (I don’t do that either), there are few of us who like to play an album from beginning to end, but surely when it comes to live albums everyone does? Whoever mutilated this album obviously does not, as what has happened is that each track fades out and then back in again, even though this is taken from a single night performance of a complete album. But worse than that, sometimes as it fades back in, we get a few seconds of the previous song again. Did no-one listen to this? Did Todd sign it off?
The end result is an album which in many ways should be a masterpiece, but instead it is an annoyance, and incredibly frustrating. To me this is a great opportunity ruined – I guess it would be okay if I played it on shuffle, but I can’t bring myself to do so. A real shame. 6/10 Kev Rowland
It took seven years for Cary to follow-up on ‘Blue Rain’, but in 2021 he returned with ‘Hourglass’. As with the previous album this is primarily a solo affair, with Cary providing the vast majority of the instruments but he does have a couple of bassists on different songs with the biggest difference being the assistance of drummer Grant Ball on many. Here we have an album which is out of time, and sounds as if it should have been released no later than 1972, and even that could be a push. This album is steeped in psychedelia, as well as bringing in some classic Mellotron and Moog sounds and comes across as Roy Harper crossed with Tyrannosaurus Rex (yes, the earlier variant).
It is dreamy, full of space, without a care as Cary sings his love songs in an era when the world was full of peace and love. It is an incredibly relaxing album, full of space within the arrangements, which can be surprisingly complex even when coming across as being simple. The more this is played the more one notices the nuances here and there from different instruments which add to the overall feeling without ever intruding into the sound. The ballads have a simplicity which feels so at odds with the rushing and hectic world we now live in, and the album moves us in both emotion and time.
It is an album which benefits from being played on headphones when one really has the time to devote to it and relax into Cary’s world from a time past. 7/10 Kev Rowland
Eternal Return is a quintet which brings together various duos/trios that have previously recorded and toured together. Within this ensemble we have Dogon, the duo of Venezuelan Miguel Noya (synthesisers) and American Paul Godwin (vocals, piano) who first met at Berklee some 40 years ago. Alongside them is bassist Australian Colin Edwin (Porcupine Tree, no-man, O.R.k.) and his frequent collaborator, Estonian guitarist Robert Jürjendal (Toyah Wilcox, Fripp’s Crafty Guitar School). To complete the line-up, we have Venezuelan drummer Miguel Toro, while they have a guest trumpeter in Damascus-born Milad Khawam and the album was recorded in Berlin.
In other words, this is a truly international band bringing together a great many influences and styles. The best way to describe this is probably progressive ambient, with links to the likes of David Sylvain (especially, one can really imagine him performing on some of these) and This Mortal Coil. It is an album which goes through many styles, with guitar and/or synth/piano often the lead instrument, yet at its heart is a strong percussive element (much more than “just” drums) while Edwin’s smooth meandering and slid basslines have an incredibly important part to play in holding it all together. It is something which can be both relaxing and luxurious and experimental and edgy, so much so that even when everything is calm and making sense there is still an edge which provides a tension. It is atmospheric, but the high use of cymbals combined with the differing backgrounds from those involved make this something which needs to have close attention paid to it or important elements will be passed by.
This definitely benefits from being played on headphones and not just in the background as it will just disappear. Fans of no-man, King Crimson, and some of the more ambient prog noodlings of Marillion may well find this intriguing. 7/10 Kev Rowland
What I have here is a recording of Joe Jackson, Todd Rundgren, and NY-based string quartet Ethel. I really was not sure what to expect from this, and I am sure the people there that night did not either, as while I thought all acts would be playing together onstage, I wasn’t aware that each would have an individual set and they would only come together for a few songs at the end. This means we start with a series of classical pieces from Ethel, which is very clever but not what I would expect at a rock concert. I played this part once and then found myself skipping the first five numbers and I would expect many others to do the same.
To be honest, I was not sure what to expect from Jackson either and thought I would probably listen to his songs and then skip smartly to the main attraction, so I was amazed at just how good this section was and how much I enjoyed it. It has made me totally rethink my opinion on Jackson, (I used to see him on Top of the Pops but don’t own any of his material), as he is a very good pianist indeed and has some fine songs. He also has a strong rapport with the audience who react strongly when they recognise one of his songs. He plays all the hits, from “Steppin’ Out” to “Different For Girls” and “Is She Really Going Out With Him?”, and the 11 songs he performs are an absolute delight. The crowd are well up for it, and on the last song they all happily shout “where?” at the correct moment, with so much force that Jackson even loses it as he chuckles.
From an all-piano set we get Todd, the wizard, the true star. He kicks off with “Love of the Common Man” on a 12-string, and after a few more numbers in that vein we get “Compassion” with him now sat at the piano. The highlight of his set is probably “Hello, It’s Me” with his delicate vocals as he gets into falsetto, accompanying himself on piano. The last of the four sections finds everyone on stage, and “While My Guitar Gently Sleeps” is a delight, with the string section rocking along, Joe on piano and Todd on electric. The finest version ever recorded is of course the one by Yellow Matter Custard but this is still mighty fine.
This available as a 2 CD and DVD set, and I am sure fans of both Jackson and Rundgren will find this a long overdue release. 7/10 Kev Rowland
To any fan of British progressive rock, keyboard player Jan Schelhaas needs little introduction given that he has played with both Caravan (twice, and with whom he is still playing) and Camel, as well as numerous other sessions. Here we have a remastered reissue of his 2018 solo album with three additional tracks. There is not much information out there about the album, so while I know Doug Boyle (guitar) and Jimmy Hastings (sax) are both involved, I cannot find any other information, so it is quite possible that the rest is undertaken by Jan, including the vocals.
It is hard to imagine that this is a recent album, as this has far more in common with the laid-back Seventies sound of sanitised rock which, although it does have some similarities with The Moody Blues at times, has little with which I would normally associate progressive rock. This is straightforward relaxing middle of the road soft rock which is gentle, never threatening, and consequently it is something which I cannot really see me often returning to as in many ways it is just too sickly sweet. That he is an excellent keyboard player and pianist is never in doubt, but this is not for me. 6/10 Kev Rowland
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