Trollheart

So what's the verdict? Well I'll get to that in just a moment. But first I'd like to reiterate what I said above in the actual review, and that is that I don't hear anything here that could have ended up on “The Division Bell”, other than maybe the closer. For me, this sounds more like unused material from everything from “Dark side of the moon” to “The Wall”. I find it hard to believe that in 1994, working on what was to be their final proper album, Gilmour, Wright and Mason were thinking about and writing in the style of music they had produced two decades earlier. Far from making me want to revisit “The Divison Bell”, it's more “Wish you were here” that's playing in my mind, and that album I want to listen to now. Famed as the band who put the experiment in musical experimentation, it seems unlikely they would still be stuck in that old seventies groove. But the music here mostly reflects that, to me anyway. If someone had given me this on disc, told me it was unused material from a session for an album and asked me to guess which album, I'd be going for “Wish you were here” with maybe “Dark side” as a possibility. I would never in a million years have guessed it was from the recording sessions for “The Division Bell”.

The music is really great, but with Pink Floyd really great is not good enough, and given that this is to be their final album, I think they really shortchanged the fans here. If they wanted to put out one more record before disappearing “far away, across the field”, then they should, in my opinion, have written something totally new, something that would stand to them and that would have made a fitting tribute and end to their over forty years in the music business. Pink Floyd almost single-handedly invented the idea of crossing from psychedelic to progressive rock, and for them to bring the curtain down in such a, well, uninspiring way is a real disappointment.

Of course, I had to some degree made up my mind about this album before listening to it: the idea of “a load of stuff that wasn't used now being put out” did not sit well with me, and it felt like the remaining members of Floyd were scraping the bottom of the barrel and slapping it on a disc, hoping to sell it rather than throw it out. To be fair, had they done this and then offered the album for download totally free, that might not have been so bad --- we have these tracks, we didn't think they were that good but you might like them so here you go ---- but they expect people to pay for these, and in fact there are two versions of the album, a deluxe one with two extra tracks plus bonus videos, which no doubt costs more. So to again return to “Dark side”, they're giving none away.

But I must say I do like the music. It does wander and meander, somewhat like the river in the title, and ideas seem to be half-formed, in some cases just getting going when they're over, in others more or less staggering along, kind of lost and unable to find their way back. Some of it certainly deserves the title of the ninth track, “On Noodle Street”, as it is pointless jamming and experimenting. It's almost, in some ways, like the tuneup before the show, except that this is the show! But some of the music is really good, just a pity it doesn't go anywhere. I see why Gilmour says it needs to be listened to in one sitting though.

He says this is the last Floyd album, that there'll be no more. Well that's no surprise. With the passing of Richard Wright and the Satan-skating-to-work possibility of Waters ever rejoining, another Pink Floyd album is about as likely as a new Beatles one. Which is why the news that there was a new one was initially greeted with much skepticism, then excitement, then disappointment when we learned what the “new” album consisted of. It is I feel a little harsh of Gilmour (and let's be honest: Floyd has been Gilmour for quite a while now) to end his career on this somewhat sour and commercial note. For a band who struggled to make it, then became bigger than most other bands and passed into music history, it's a sad end I feel and something of a middle finger to the fans. I thought Roger Waters was the one who had contempt for his followers?

In the end though, what I write here will not change your opinion. If you like “The endless river” then you'll like it and if you hate it you'll hate it. Me? I think it's okay; certainly has its moments but they're a little too far spaced out among the wide variety of tracks here to make any real impact on me. As an album, and purely taking it on track numbers, it's good value at eighteen tracks, though the whole thing only clocks in at a total of just over fifty-five minutes. For a double album that's pretty short, and for an album that rings down the curtain on forty-five years of music it's hardly inspiring.

It's even hard to see this as a Pink Floyd album, as much of the time it really does not sound like them. Floyd had instrumental tracks sure, but they were never what anyone would call ambient: their instrumentals had a hard, bitter edge. Think “Any colour you like”, “Marooned” or even the instrumental majority of “Shine on.” There's an anger there, a sense of frustration, of loss and of exasperation. I don't hear that here. It sounds more like Floyd have settled nicely into their retirement and are content to sit back and watch the grass grow, happy that there are no lunatics on it anymore.

This could have been so much more. But for what it is, I have to give them credit. It is very good. Mostly. But they're kind of standing on the shoulders of giants, even if those giants are their own previous albums, and you wonder what would have happened had they not had that elevation? Perhaps they might have faded away, slowly losing relevance in a world that contains too many kids now who ask “Pink who?” Still, they would have retained some of their integrity, I feel. Many people slated “The Division Bell”, but I enjoyed it, and I think it could have been the proper swan song for Floyd.

But I suppose the important thing for Gilmour and Mason is that “The Endless River” will supply them with an endless amount of retirement money, and serve to finance their solo careers, or whatever they choose to do in a post-Floyd world. I don't begrudge them their retirement, I just wish they could have bowed out more gracefully, instead of kow-towing to the corporate shills and leaving us with a rather unsettling line from “Dark side” to perhaps encompass their feelings towards their fans as they wave goodbye from the tinted windows of their private jet:

“I'm all right Jack, keep your hands off my stack!”

Bon voyage, boys. May the endless river help you to forget when you used to swim against the tide, and not go with the flow.

What would Syd think of it all, I wonder? Or, to paraphrase another progressive rock icon, Van der Graaf Generator, whatever would Roger have said?

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Moss

Spot f'ing on.

Trollheart

Thank you my friend.

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Trollheart

For the first time since I began this countdown we come across an album that not only have I heard, but that I have previously reviewed. It got my seal of approval but there is no point in my writing a second review of it and so as we reach number

may I direct you to the full review here http://www.musicbanter.com/members-j...72652[img] of

All is one --- Orphaned Land
and without hesitation award it a very high 9.3/10

Which then brings us rather quickly to the next album in the chart, standing at number

Back to South America we go, where the burgeoning prog rock scene appears to be doing quite nicely thank you. These guys have been in existence since 2000, being an offshoot of other projects and bands in the area, and have released four albums over that period, with this being their latest.

Tawa Sarira --- Jinetes Negros
Like most people I reasoned their band name meant black something, but I didn't know what jinetes was. Now I find it's riders, so these are the Black Riders. Apparently they're usually a prog metal band, rather like Orphaned Land above, but on this album they seem to have eschewed any metal trappings and come across as much more a progressive rock band with heavy leanings in the direction of seventies prog like Yes, Camel and ELP.
The opener is an intro, replete with deep bass voices and higher register ones accompanied by a nice soft acoustic guitar with some rising synth in the background. It's short, less than a minute and a half, yet even in this tiny snippet you can hear the exceptional vocal harmonies that will go on to characterise this album. Upbeat violin and flute then open “Juez de los malos” with squealing synth coming in to take the tune before the single vocal of lead singer Marcello Ezcurra enters the fray, and though he speaks in his native language (is it Spanish? I think it is) and I have no idea what he's saying it really doesn't matter as his voice is sweet and clear and seem full of passion. I even find myself singing along, although I don't know the words or understand the language. A good start, especially for an album not sung in English. Nice line in vibraphone or marimba or something starting off “Corzon y naranjas” (Heart and soul?) before a heavy guitar from Eduardo Penney reminds us these guys are usually a metal band, but this is offset by a sort of jig on flute.

The vocal is harder, almost angry though not quite, but definitely not as relaxed as it was on the previous track. Some really nice sprinkly piano then from Octavio Stampalia, who is apparently well known and respected in the Argentinian prog rock scene. Some fairly frantic drumwork from Ricardo Penney (brother to Eduardo?) then Stampalia emulates the flute's jig but on synth, if indeed the flute was not also synthesised. A fast piano solo followed by some fanfare synth opens “Cancion des oceanas” --- which I'm pretty sure means “song of the ocean” --- and it's a slightly mid-paced to fast song with some really nice vocal harmonies, quite long in comparison to those which have gone before: this clocks in at just over six minutes, definitely one of the longer tracks on the album. Ezcurra manages to sound quite Gabrielesque at times here, whether that's intentional or not I don't know.

Really slick guitar solo from Eduardo while bells toll out counterpointing the melody, and in ways the song really reminds me of “White mountain” from Genesis's early “Trespass” album. It ends dramatically on string synthesiser and pulls us into a quiet piano intro to “Suene tu milagro”, on which Ezcurra sings like an angel backed only by the piano of Stampalia. Some violin then comes in, and cello too, this being presumably the first ballad on the album. A big powerful roll on the drums then gives it a sort of cinematic feel, as if you're listening to something out of “Les Miserables” perhaps. Dropping back to bare piano halfway, Stampalia is then aided by some guitar and a loud vocal harmony before he and Ezcurra take the song towards its conclusion.

“Shawarma” then is driven on heavy cello and wailing guitar with some Spanish guitar added, a sort of ominous feel to the pizzicato strings that run through the song. Some quite metal guitar breaks in about the midway point as the intensity of the song increases, while “Amada Inmortal” has a nice mix of jazz, funk and some traditional Argentinian sounds while still retaining its proggy edge, and “El retorno eternal” has a lot of eighties Genesis in it, also utilising those excellent group harmonies. Some piano in there too that puts me in mind of The Divine Comedy and the odd nod to 10cc as well. “Esas trampas” has that pizzicato strings effect again, with a really nice vocal from Marcelo Ezcurra but quickly picks up in power and intensity under the heavy guitar of Eduardo and the pounding drumming of his brother. If he is his brother. The vocal, too, gets stronger and more forceful.

“Las cuatro verdades” (the four truths) has a very Kamelot/Arena feeling to it with a gothic overlay and some really nice orchestral overtones and some hard guitar, frantic keyboard; seems like it may be the first instrumental on the album. Slowing down with some nice piano, acoustic guitar and flute it heads past the halfway mark before stabbing orchestral synth takes it back up tempowise and it ends on a big choral vocal and synth blast. “Purgatoria” (anyone?) starts off with a heartbeat bass then turns into a nice mid-paced keys-driven half-ballad with jingly guitar and really sumptuous violin.

We're almost there then with “A los ojos bello” (those beautiful eyes?) with a powerful, dramatic, cinematic start using raging violin and heavy percussion plus snarling guitar. Another seven-minuter, the vocal is harsh and uncompromising, lending the song something of a Led Zep feel with organ pulled direct from the best of Purple and choral vocals that Jim Steinman would kill for. It really builds up to what is pretty much a last salvo from the band in a massive concerto of music, vocals and choir. Really very special and would have been a great closer, but they bookend the album with the outro to go with the intro, and it's basically a slower reprise of that opener, with deep bassy voices accompanied by the higher register ones that fades out as a sort of final prayer and brings the curtain down really well.

TRACKLISTING
1. Tawa saira intro
2. Juez de los malos
3. Corazon y naranjas
4. Cancion del oceano
5. Suene tu milagro
6. Shawarma
7. Amada inmortal
8. Luna de India
9. El eterno retorno
10. Esas trampas
11. Las cuatro verdades
12. El velo
13. Purgatorio
14. A los ojos bello
15. Taw Saira outro

Now I must admit I got a little turned around here near the end of the album. With the songs not being in English, it's hard to tell which one you're listening to if you don't keep a close eye on the running order, and somewhere along the way “El velo” became “Purgatorio” and on from there, and I actually missed out talking about “A los ojos bello”, but in the end it doesn't matter that much because this is an album with no bad tracks. Not one.

For a band who are usually prog metal this is a surprisingly mellow release, though it does have its tougher moments where Jientes Negros remind us of their roots. But whether it's prog metal or prog rock that you're into, or indeed both, this album will satisfy your cravings and leave you wanting more. I would have to say, based on this album at least, that Argentinian progressive rock is looking better each time I check into it.

A solid 8.5/10

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Trollheart

As part of Urban's “Bowie Week in Journal Land” (and thanks to the multi-talented Plankton for the logo!) I wanted to look at one of his albums but realise I have reviewed a few over the years, from “Ziggy Stardust” for my “Seventies Week” about two years ago to “The next day” when it came out, and also “Heathen” and “Low”, so I've chosen this one, from the eighties (what a surprise!) when he had a sort of resurgence of commercial success with hits like “Ashes to ashes”, “Fashion”, “Let's dance” and “China girl” over the course of four albums, before slipping somewhat into obscurity as he began projects like Tin Machine and kind of disappeared from the scene for a long time. Arguably the most successful of that eighties quartet was “Let's dance”, which would not be released until three years later, with its three hit singles and powerful videos for those, but this was the first of his albums to return him to the top spot in the chart and remind people he was still a force to be reckoned with.

Scary monsters (and super creeps) --- David Bowie --- 1980 (RCA)

Strangely enough, “It's not a game (Part 1)” has some Japanese bird singing in her native language as the album kicks off, but Bowie soon comes in with his inimitable vocal and the song is a mid-paced hard rocker whose melody owes rather a lot to Robert Palmer's “Addicted to love”, with Robert Fripp racking out the riffs on the guitar. Seems Mick Ronson is long gone at this point, which is something of a shock to me, who is not overly familiar with Bowie's history or his band. Still, you couldn't get a better replacement than the King Crimson legend, and though he's only one some tracks he really makes his presence felt. I have of course no idea what the Japanese lady --- whose name is, according to Wiki, Michi Horata, but it means about as much to me as it probably does to you --- is singing, but it kind of doesn't matter. I think Bowie is singing the translation anyway. The song ends with Bowie shouting angrily “Shut up!” and we're into a song I do know.

I'm not that well-versed in this album at all, but “Up the hill backwards” is one track I have heard, and again oddly it reminds me of Bucks Fizz (yeah) in the sort of slow marching melody of the verses. Bowie's vocal is either multitracked or there are backing vox supporting him all through the song, giving the singing a weird kind of full, echo effect. Strange. It's quite anthemic in a restrained kind of way, then breaks into guitar histrionics from Fripp, which are kind of worth the price of purchase on their own, even if for some mad reason you didn't like Bowie. Good, tight percussion from Dennis Davis, and the song is over too soon, taking us into the title track, which rocks along with a krautrock flavour, a touch of Eastern European in the main guitar riff in the chorus, and Bowie putting on a cockney accent which really adds to the song. Great fun; sort of puts me in mind stylistically of “Suffragette City”, not sure why...

Again, this song features some great rolling percussion from Davis that really drives it, another mad solo from Fripp and some solid acoustic guitar from producer Tony Visconti, who also adds his voice to the backing vocals. The big hit single sees us return to the days of Bowie's beginnings, with Major Tom returning to take him to number one for the first time in years as “Ashes to ashes” lays down the marker and states in no uncertain terms that the Thin White Duke is back. A great idea with some wonderful touches in the song, including a sort of murmured choir that repeat the lines Bowie sings like a bunch of acolytes praying. A very freaky video, if I remember correctly. Great strong vocal from the man, and some nice guitar synthesiser popping all over the track, creating a very otherworldly feel and really making you believe you're standing on the surface of an alien planet. Well, it makes me feel that way.

Another hit then is up with “Fashion”, another stab at krautrock and perhaps a sly dig at himself , trendsetters and sheep maybe, the way people follow whatever's “in” at the time. A drum loop at the beginning perhaps a comment on how things go out of fashion and then come back in again, and the whole stupid cycle repeats itself, like a stuck record (oh, look it up!), as Fripp batters all in sight with his guitar riffs and soundscapes. Speaking of taking digs, the next track up sneers at the new wave kids, the likes of Gary Numan maybe, Fiction Factory and A Flock of Seagulls, as Bowie watches them ape the moves he pioneered in “Teenage wildlife”. For me, the standout on the album, it's based quite heavily on the main melody to “Heroes”, but never sounds like a copy of that classic. Bowie is at his expressive best here singing, with the criminally-ignored-by-me Carlos Alomar making his presence felt in the absence of Fripp, and firing off an emotional and powerful solo, Roy Bittan doing a fine job on the piano, and the whole thing just flows so well that it really should have been a single. Mind you, it would have had to have been cut down considerably from its almost seven-minute running time. Could have been a huge hit though. Sorry, another huge hit. Love this track. Something like tubular bells or the like there near the end, with a kind of funky run on the piano and guitar too. Another superb solo from Alomar, and a fine punching drumbeat from Davis.

Hard to follow that maybe, and “Scream like a baby”, though a good track, doesn't quite cut it for me. There's nothing wrong with it necessarily, it's just that a song would have to be immense to be able to trump “Teenage wildlife”, and this one ain't got the bus fare mate. It's a hard, grinding rocker with a snarly guitar line from Alomar and some pretty frenetic synth from Andy Clark, a dark, dystopian tale of a political prisoner, set in the future. Some very new-wave keys from Clark add a surreal feel to what is already a pretty out-there song, and some sort of baritone singing from Bowie pushes it even further. The only cover on teh album then is “Kingdom come”, which sounds to me like it has the melody of Blondie's “Picture this” at the start, a very sixties/psychedelic vocal chorus , also including the line ” won't go breakin' no rocks” which makes me wonder if it was filched by Elton and Bernie for their song? Meh, it's ok but I'm not bowled over.

Pete Townsend puts in a star turn as he guests on “Because you're young”, which has a very rock feel that brings to mind the work of The Edge --- yeah well it does to me --- a punchy, mid-paced track with some really nice synth work from Clark and a nice rocklaong beat from Davis. Sort of a new wave keyboard behind the rocky guitar and Bowie, needless to say, delivers as ever a flawless performance. There's also a faint echo of Bruce Springsteen here in the vocal, I feel. The album then closes as it began, with “It's no game (Part 2)”, a less frenetic rhythm this time, a restrained but firm guitar, and no Japanese singing. More great backing vocals, almost like a choir, and a last bow for Fripp before he departs for his home planet. Calm and reserved but still angry and powerful, and a good end to a really good album.

TRACKLISTING

1. It's no game (Part 1)
2. Up the hill backwards
3. Scary monsters (and super creeps)
4. Ashes to ashes
5. Fashion
6. Teenage wildlife
7. Scream like a baby
8. Kingdom come
9. Because you're young
10. It's no game (Part 2)

From the few albums of his that I have heard to date --- and sadly, they are fewer than I prefer to admit --- it seems Bowie seldom if ever misses the mark, though I do remember being very disppaointed with “Never let me down”, which is rather ironic I guess. This album kicked off a series of successes for Bowie which I suppose in one way you could see as his comeback, though in truth he had never been away. But with hit singles from this and the next three albums, he would be in the public consciousness and on the radio for the next seven years, after which he would get into some more experimental stuff and kind of vanish off the radar commerically for about, well, another twenty-seven years, when he would burst back onto the scene, proving rumours of his death had been vastly exaggerated, and showing us all once again how it was done, at the ripe old age of sixty-six.

As a first shot across the bows from the resurgent Bowie at the time, this album shows a man as ever brimming with creative ideas, energy and purpose, and certainly not content to rest on his laurels and fade into the background, counting his money and polishing his gold discs. After this period of activity, he would have a few more to add to his collection. And quite right too.

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We all love music here. We all listen to it, and discuss it. Some of us write about it. But there are a select few who make it, who can play and indeed write music. There's an untapped well of talent here, as anyone who takes a cursory look through the “Artists' Corner” subforum can attest to. In this section I'll be doing my best to highlight these musical members, to review their work and bring it to your attention, if you haven't heard it before. I see Pet_Sounds is already doing a similar thing in his journal, but as with The Batlord's comic book thing, I had this idea independent of him, whether you believe me or not. Pet_Sounds has anyway agreed that he has no problem with my also doing this. In addition, I have reviewed some of the work of people here prior to this, but now I want to bring it all under one umbrella section, which I like to call

The first album I'm going to take a look at is by someone whose previous material I have already reviewed, and been mightily impressed with. This is his third album, and the review is a long time coming, as I had, to my shame, forgotten all about it. But having been given a reminder I've listened to it and am now ready finally to review

Whale ---- Planktons Odyssey --- 2014 (Smokin Baby Records)


Note: When I reviewed this originally I mistakenly took an "unfinished" copy of the album Plankton had kindly sent me, and so some of the songs were not on it, and some of the ones I wrote of below are now removed from it. Apologies to anyone (especially the writer of the work below) who read the review. It has now been amended to reflect the proper running order and tracklisting of the album. What else can I say but "D'Oh!"?

I'm told by the man himself that this is the third in a trilogy, and indeed I did review “Krill” last year, but at that point was unaware it was one of three. The liner notes tell us that the album is a concept one, focussing on one Jonah (the one in the Bible? I'm not sure, but that has to be where the name came from) who gets swallowed by a whale and is absorbed into the creature, both transitioning to a new and perhaps better lifeform. The album looks like it veers a little from the theme in certain places, but then, what concept album doesn't?

Hard as it may be to credit, this is almost completely a one-man effort, with Plankton playing all the guitars, basses and where they occur, keyboards, and the drum track supplied by a software package called Hydrogen.

The opener is a short one, with sound effects and water sounds as “Cetacea” describes the hero, Jonah, being swallowed by the whale. Vaguely eastern-sounding guitar riffs contribute to the alien sound of this opening piece, and it takes us into “Jonah”, wherein that much harder rocky guitar that those of us who have heard his work associate Plankton with comes punching in, chugging and riffing all over the place with a steel edge. Stop-start riffs punctuate the piece, and the percussion complements them. I assume Plankton uses several guitars here, as one keeps the rhythm while the other does the solos. And what solos they are! You definitely get a sense of the panic Jonah must feel as he realises he's in the belly of the great seabeast, and unlikely to escape.

The centrepiece then comes with “Eye of the storm”, with a big growling rocking guitar that could give many of the supposedly heavier metal bands out there today quite a run for their money. Hard, punching drumbeats punctuate an angry, snarling guitar which may represent Jonah's fear and rising resentment at his situation, or even that of the whale as it tries to digest the annoying thing that has swam into its maw. There's a real sense of power and rage in the piece, one of Plankton's best to date, to rival “Screaming at an empty canvas” and “Son of soothsayer”. It ends on a sort of almost acoustic, gentler line that perhaps signifies acceptance of the situation?

The oddly titled “Wiggles” is I believe dedicated to one of Plankton's friends, and features what may be a talkbox, some odd effects and a funky guitar with squealing, screeching little synth lines. Where it fits in I don't know, but it's an intersting track with a great smooth little groove. If I'm brutally honest though, I didn't like it and it really breaks up the flow of the album. I hate to say that, as I know it means a lot to him, but I can't see why it's here. There's no problem writing a song for his friend, but it stands out here like a vegetarian shark. Sorry man, just can't get me head around this one.

There's a sort of spoken intro to “You're not to blame”, like someone (it's Plankton) impersonating a Wookie (!) and then the heavy chugging guitars are back, but this time I'm pretty amazed to hear singing! Up to now, all of Plankton's stuff has been instrumental. When I first heard this I thought Oh God! Don't tell me he can sing as well! I hate this guy! but it turns out this is his friend Tommy H who is on vocals. And he has a very strong voice too, reminds me of a mixture of Hetfield and Di'Anno, quite raw and powerful with a hint of the better punk bands in there. The song is about coming to terms with death, and apparently “You're not to blame” is very personal to Tommy, who had to watch his own father die in front of him. Heavy, as they say, stuff. Superb soloing on the guitars gives a real feeling of frustration and anxiety building to boiling point, as Tommy yells ”I don't blame you no more!” and Plankton leads us out on a scorching solo.

There's one small note of concern I'd like to voice here. This is not a criticism, just an observation. When you expect an album to be instrumental it's a little jarring to hear vocals, sort of like my recent review of "The Endless River". My own personal belief is that it breaks up the flow of the album, perhaps mars the theme it's been built on, and just really takes you by surprise. I think if I was rating this album I would deduct a point or two for the change; although the vocals are fine I did not expect them, and in retrospect even now would have preferred a fully instrumental album. Of course, it's Plankton's music and he's free to play it as he sees fit, and what do I know after all? But just personally, it's a little like the "Shoveled" track on "Krill"; doesn't quite spoil the album but sadly gives me something --- just one thing --- negative to write about it, which I would have preferred not to have done.

That is, as I say though, the only vocal track on the album, as one of the standouts hits, “Sunshine express” beginning like a mid-paced folk tune with acoustic and slide guitar (I think) trotting along nicely in a sort of blues vein. I wonder is this the dobro of which he speaks in the notes, given to him by his cousin and which proved “a birthday gift that exceeded my wildest dreams”? Yes, I see it is. Very distinctive instrument. Love the dobro. Definitely puts me in mind of the late great Rory Gallagher. Change is the theme here, he says in the notes, a change for him in his playing and a change for Jonah as he becomes one with the whale, absorbed into its essence and effecting his own kind of change on the animal.

“Gleaning the Tuesday sun” is certainly an odd title, but then when you're writing instrumentals you can call them what you like, can't you? I think this reminds me a little of “Son of soothsayer” off the previous album, but I'll have to go back and check. Bit of jazzy fusion coming in here now, as Plankton boogies along and basically just has fun with the tune. The drum pattern is interesting too, kind of sparse and minimal, leaving the guitars to take centre stage. It's a real jam, and very impressive it is too. Also one of the longer tracks, pushing the five-and-a-half minute mark. Skitching is apparently the practice of grabbing a car's bumper while on a skateboard, a la Marty McFly in “Back to the Future”, and in colder climes can also be done in the snow, presumably on skates rather than a skateboard. It also, Plankton tells us in the liner notes, occurs underwater, where smaller fish catch a ride on a larger one.

This then is the theme of the next track, “Skitch”, which has a big heavy growling guitar driving it, with a sort of echo or feedback effect making it seem very expansive and vast. A great little bassline then near the end as the guitars take a backseat, then they're roaring back for the conclusion, taking us into “Not quite the end”, an expressive, reflective song wherein the dobro makes its appearance again, and some soft keys too, sounding like a choir humming and also conjuring up a sense of cavernous space. Apparently this won first prize in an “unplugged” contest Plankton entered it for, and well deserved. He makes the dobro sound like a mandolin at times, and there's some truly lovely instrumentation here. Kind of a mixture of folk, blues and even progressive rock I feel.

And all too soon we're closing, with the striding, swaggering “Hollow city limits”, with a great resounding bass line and a much slower, not quite grinding but almost majestic rhythm, a great overall melody that brings to mind maybe Jonah exploring the innards of the whale before he realises where he is, or while he has time, waiting to be digested and absorbed. I guess it could be the only time a human has been in side a whale and maybe he wants to at lest take what he can from what w ill be the last experience of his life. It's quite a poignant track, one of my favourites now that I've heard it. Love the way the music seems to echo as if Plankton were playing in a large empty space, conjuring up the inside of the leviathan.

Having spoken to the creator though, I find I am completely wrong in my assumption above. This is, in fact, where the newly-created organism that is now known as "Jonah" --- whether it's a melding of whale and human (?) or something else I don't know --- arrives at the enigmatic Hollow City, which he will apparently be exploring in the next few albums (hooray! More albums!) so so much for my interpretation! Either way though, it's a powerful end to a very powerful album, and bringing to a close the trilogy of transformation and transcendence that he began in “The Dream”, which I now have to listen to as a matter of urgency.

TRACKLISTING
1. Cetacea
2. Jonah
3. Eye of the storm
4. Wiggles
5. You're not to blame
6. Sunshine express
7. Gleaning the Tuesday sun
8. Skitch
9. Not quite the end
10. Hollow City limits

And so we have another fine, fine album from this guitar virtuoso who will surely sweep the award in this category in the MB 2014 Awards, and if he doesn't then there's no justice in the world. A four or five-piece band could scarcely put together such an album, and as you all know, I've waxed poetic more than once on how hard it can be to review an instrumental album, even listen to one without getting bored. But that never even entered into this here. This album keeps the interest all the way through, and the only disappointment is when it ends. If you've heard it (and you should) you may find yourself rethinking your album of the year.

Yeah, there's no doubt that Plankton can stand up there with many of the big boys, and in fact if the world is anyway fair he should be joining them. Whether that happens or not though, this album stands, once again, as a testament to one man's talent and creative prowess, and to his determination to share this music with the world, by which we are all a little richer.

No, I will not say I had a whale of a time! I have some pride, you know. But this is certainly a beast of an album, and one you need to acquaint yourself with. Now, where's that tape of whale song I've been meaning to listen to?

(Note: although I have stopped the practice of illustrating my reviews with YouTubes, Plankton asked me to include a few, so they're above. They will at any rate give you an idea of what you can expect once you put on this powerhouse of an album).

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Key

^I've known Plank for a while, and he's been nothing but amazing with guitar. I've always been impressed with his work, and i'm happy to see it's getting some attention here.

Plankton

Another great review Trollheart!

I'm not sure if I had informed you of the updated version of Whale, but in case anyone does pursue listening to it and are confused as to why the track listing is different, you had grabbed the zip file of it before I had rearranged it, where I added three new tracks (Eye Of The Storm, Wiggles, and Hollow City Limits) and taking 1.5 of them away (Sunshine Express with out the All Aboard portion, and I pulled Call Me Plank for some reworking, and saving it for the next album). So, in essence you have reviewed a rare collectors edition (lol) of it. Here is the updated track listing, and tunes (my apologies for the confusion):

Whale - Planktons Odyssey

I really do appreciate you taking the time to do this though, as we are all aware of just how loaded your plate is pretty much 24-7. I'm very humbled when I come to this site and see my stuff under the spotlight, and it really makes it worth while to keep making music and putting it out there for free. On another note, I'm almost ready to release a "Covers" album where I'm singing on 3 of the 8 tracks. Do I sing well? I couldn't really say, but I'll certainly make it available here when I'm finished mixing everything.

Thanks again Trollheart, you really make this place quite interesting, and it's people like you that keep the fire burning.

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Plankton

Thank you so very much Ki. It's nice to know there's at least a few people out there listening.

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Trollheart

Continuing and expanding on the section I ran during Metal Month II, this is where I take recommendations from members as to albums I should listen to. Anyone is welcome to suggest an album or albums, but do remember that there are certain genres I'm not interested in, so no jazz, punk, grindcore or hip-hop please. Most of the other genres are acceptable, but as ever, this will be my choice and I may not decide to listen to the album you suggest. I guess it's up to you to convince me I should.

First up is this one, selected by Urban, who seems to think I don't listen to enough Country music. He's right. I don't. But I do like a lot of it, and this album, and this artiste, was so influential upon so many genres outside of Country that it's probably about time I gave it a listen.

Grievous angel --- Gram Parsons --- 1974 (Reprise)
Suggested by Urban Hat€monger

Released one year after his death, this is in fact only the second solo album by Gram Parsons --- technically he would only have had one, as this is pulled together from recordings and songs he wrote prior to his death in 1973. It was released with barely a whisper the year after, but has since gone on to be recognised as a hugely important album in Country, Folk and rock music. For those of you who are hearing the name and trying to remember where you heard it, well if you ever listened to The Byrds or or The Flying Burrito Brothers, he was in both bands.

The album opens with that old staple of Country music, the whining steel guitar, then vocal harmonies make a very lush sound as “Return of the grievous angel” takes us in, a very full and rich sound in the singing. If you think you recognise the female vocal there, you probably do, as it's Country superstar, Emmylou Harris, who worked a lot with Parsons. It's a laidback track, with some nice guitar, some fine piano from Glen Hardin and some cool fiddle from Byron Berline, with The Eagles' Bernie Leadon adding acoustic guitar to proceedings.

Things slow down more then for “Hearts on fire”, a relaxed ballad with another nice piano line winding through the song, Good understated guitar solo, then the tempo ups several notches adn you can see where the crossover with rock and roll happens with Tom T. Hall's “I can't dance”, some fine electric guitar and honky-tonk piano driving the tune. I have to say that I'd like to hear Emmylou more; she's really relegated to the status of a backing singer here so far. And she's not on “Brass buttons” at all, as we drop back down into the realms of ballads, though with a certain sense of mid-pace about it. Reminds me a little of the early work of The Eagles, and I can hear very nascent Fogelberg here. Oddly, this is the best I've heard Parsons sing. I wonder if, after all, Emmylou's backing is having a detrimental effect on his singing? Favourite track so far for sure.

The longest track then is the reflective “$1000 wedding”, with a slow, mournful steel guitar and trickling piano, with Harris's vocal only joining Parsons on the chorus, which works better I think than it has up to now. Interesting imagery, as he turns the occasion of a wedding into a funeral, presumably when the bride fails to show. The next track is live, which I never like on an album, but it's certainly full of energy as “Medley live from Northern Quebec” gives us first The Louvin Brothers' “Cash on the barrelhead”, which flies along in true down-home style, to appreciative cheers from the crowd and then slides into his own composition “Hickory wind”, slowing everything down with steel guitar and piano (and what sounds like someone dropping a glass --- darn hillbillies, huh?) and features a truly lovely duet with Emmylou.

Things stay slow then for the classic “Love hurts”, which if you're a rock fan you may have heard Nazareth cover, if not then maybe The Everly Brothers or even Cher; it's been covered many times by many different artistes in many different genres. A great song, played with great passion here by Parsons, superb pedal steel adding real pathos to what is already a sad song, and a very restrained backing vocal from Emmylou. Time to kick it up a notch then for “Ooh Las Vegas”, with a real mixture of rockabilly and bluegrass and a perfect marriage of Parsons and Harris. Great guitar solo from James Burton, and this takes us to the closer, “In my hour of darkness”, the only track on which Emmylou has a writing credit with Parsons.

Beautiful harmony vocal between the two, lush piano and pedal steel, with Byron Berline returning to add some magic on the fiddle. Backing vocals come also from guest star Linda Ronstadt, and it's a really great way to end an album that's just over half an hour long but packs so much into the nine songs here that it really doesn't need to be any longer, though you kind of wish it was.

TRACKLISTING

1. Return of the grievous angel
2. Hearts on fire
3. I can't dance
4. Brass buttons
5. $1000 wedding
6. Medley live from Northern Quebec: “Cash on the barrelhead/Hickory wind”
7. Love hurts
8. Ooh Las Vegas
9. In my hour of darkness

The tragedy about this album is that shortly after having completed it, Gram Parson drove to Joshua Tree in California, one of his favourite places, and there overdosed, resulting in his death at the ridiculously young age of twenty-six. What a waste. Imagine what he could have achieved if he had lived longer. But that's Country music for you, and rock'n'roll: live fast, die young. Guess it's never likely to change.

Even after his death, however, Parsons continued to make headlines and create controversy. His body, ready to be shipped back to Louisiana at the order of his stepfather and against Parsons's own final request, was stolen from the airport by his friends, who took it to Joshua Tree where, as he had stated, he wished to be cremated. Unable to properly cremate the body however they instead created a huge fireball, which had the police on their tails. In the end, the stepfather won as the body (or what was left of it) was returned to Louisiana, where according to some accounts, Bob Parsons collected a handsome legacy.

But Gram Parsons will always be remembered for his music, and for his influence on genres outside of Country, for his attempts, mostly successful, to cross genres and bring his sound to the worlds of rock, folk, r&B and others. A true multidenominational artiste, and a sad loss to the world of music, Gram Parsons lives on in his music long after his ashes have been interred where he did not wish them to be. People however still visit the makeshift shrine that has been set up in Joshua Tree, so in many ways, he rests there too.

I certainly enjoyed this album. I had not heard Gram Parsons's work before but I heard the beginnings of what I guess you might call modern Country music there, something the likes of The Eagles and Kenny Rogers would expand upon and make popular through a crossover that Gram probably would have approved of, through rock and into pop music. Gram was credited for coining the term “Cosmic American Music”, and it certainly fits: a star in the firmament not only of Country music, but of most other genres too, a man many musicians owe a great debt to, Parsons will not be forgotten. I give this album a solid

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