Excellent addition to any prog rock music collection
A legendary Heavy-Prog album if there ever was one. And a trio at that. These guys look so cool in the liner notes. Man you get Crane and Cann together and look out it’s time to cook !
“Death Walks Behind You” opens with haunting piano lines before the guitar starts to make some noise. Full sound a minute in, vocals follow. A calm with piano after 3 1/2 minutes. It kicks back in. “Vug” opens with some very impressive organ by Crane as the guitar supports. Lots of organ 2 minutes in. The guitar is more prominant after 3 minutes. They’re cooking now ! “Tomorrow Night” is a somewhat catchy tune. Nice organ solo 2 minutes in.Tasteful guitar a minute later. It ends on an experimental note. “7 Streets” opens with organ. Crane used a device to make his Hammond organ sound like church organ on this one. The drumming is excellent on this track but then so is the whole song. This along with “Nobody Else” are my favourites. Some ripping organ and guitar after 3 minutes as they trade solos. I wish all the songs were this dynamic.
Essential: a masterpiece of progressive rock music
This was the first GE album I came in contact with back then. And it was quite a shock, I must say.
Some legendary tracks are featured here, and this album will be the showcase for their great live performances. From basic pop songs in their early days, the band has now evolved into a great hard- rock style tinted with special prog flavours (keys, flute, sax).
This is a genuine oddity in the career output of Andrew Lloyd Webber, growing out of a personal/familial vignette. The piece, a set of variations on Niccolo Paganini’s “Caprice No. 24” (which had previously inspired adaptations by Franz Liszt, Johannes Brahms, Sergei Rachmaninov, and Boris Blacher, among others), came about because Andrew Lloyd Webber lost a bet with his cellist brother Julian Lloyd Webber, and was obliged to compose a work for cello and rock band for him, which was premiered in August of 1977 at a music festival, and subsequently recorded and released on an LP (later transferred to CD) by MCA. At the time, progressive rock was still hanging on to some semblance of commercial viability, and in fairness, MCA had made a fortune off of Lloyd Webber’s work on Jesus Christ Superstar, etc.