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Systems Theory: Soundtracks For Imaginary Movies
Release Date: 2004
Genre: Progressive/ Avant Garde
Availability: Online at www.systemstheory.net
The Debut album from Systems Theory , "Soundtracks For Imaginary Movies" is a musical journey to unlock your imagination and allow it to soar. Systems Theory have been around for a few years now. The 3 member project are spread across two continents and I really don't know if the band have ever properly met or worked together in the same room. What I do know is this music works for me. Lush, ambient soundscapes like that of Robert Rich or Steve Roach giving way to Psychedelic weirdness with an air of Middle Eastern influences like that of Korai Orom, Hidria Spacefolk, and to a lesser extent, Ukrainian band, Ole Lukkoye, then it turns somewhat to a dark, barren and mournful sound, like the music of Canada's Godspeed You Black Emperor.
Although these influences are there, the band do not seek to merely clone or copy a somewhat stagnant style. This is refreshingly original and challenging music that will appeal to fans of the aforementioned bands and artists.
The Instrumentation used is as diverse as the music on this album. Aside from the usual suspects; guitar, keyboards, percussion and bass, there is also a great use of violin, viola, mandolin, tympani, hammond organ, loops, samples and other forms of gadgetry to keep the listener guessing at every turn in this album.
Soundtracks For Imaginary Movies is definitely one of the best
independent
releases I have heard in 2005. Systems Theory are poised to do great
things,
and hopefully this will be opening bars of their own amazing journey.
Artist: Manning
Title: A Matter Of Life And Death
Running time: 54:00
Released: October, 2004
Availability: Online at www.progrockrecords.com
and www.guymanning.com
Personnel: Guy Manning: Vocals, Keyboards, 6 & 12 string
Acoustic
Guitars, Electric Guitars, Bass, Mandolin, Drums and Percussion.
Laura Fowles: Sax and Vocals
Gareth Harwood: Electric Guitars and Vocals
Rick Ashton: Bass and Vocals
With special guests: Andy Tillison ( Moog and Keyboards) , Ian
Fairbairn
( Fiddle), Neil Harris ( Piano), Tim Moon (Cello) and John Tipping
(Drums)
A Matter Of Life And Death is a testament to the human condition. How many times have we said to ourselves, " I still have time to do this or that." The fact is, we're all running out of time......
A scene.... Autumn leaves rustling about on a bright and breezy morning.....
The new Manning album is a haunting story of "Abel Mann." When we last saw Abel, it was on Guy's first album, "Tall Stories For Small Children." Here is the rest of his story. Writing his memoirs, Abel has found that throughout his life, he has isolated himself from those who love him and shut himself off to the rest of the world, except those aspects which can fill his need for success.
Abel has paid a high price for his success, and he is now reflecting on his life through his writings and doesn't care for what he sees.
And the plot thickens.......
A Matter Of Life And Death is indeed one of those rare gems in the Prog world that demands a listen. Manning's song-writing, production and arranging abilities grow stronger with each passing album, and the compositions and themes become more and more complex. It's an album of transition, not only a new label for Manning, but also this is probably the first album in a long time that Guy has melded acoustic and electric based songs with such cohesion that it hearkens back to the Al Stewart classic, Modern Times. Guy has shed the "epic tracks" for this album, they are not needed as the whole album is an epic unto itself.
Guy allowed me to hear some of the early demos of this album as he was working on them. It was truly amazing to hear each song grow in stature and complexity. Guy's ability to know "Just where to place something" is truly amazing. It was an honor and privilege to see this album grow into the brilliant piece of work that it is now.
Those of you who discovered Manning through the Tangent are indeed in for a very special listen. As this album will truly highlight Guy's ability far beyond his work on the Tangent records. Guy isn't content with giving you a piece of music and allowing you to get comfortable with it, he is always moving into new things. Manning is a true Progressive artist.
Something must be said of the fabulous artwork that is found throughout the album. Soviet artist, Ed Unitsky of Tangent fame has created some of the best "Progressive Rock" artwork since the heyday of Hipgnosis, Roger Dean and Paul Whitehead. A lovely package, both musically and visually striking.
Manning is a troubadour for the 21st century. He carries on where
the
classic era of singer/songwriter material in a Progressive Rock format
left off. Fans of Al Stewart, Sandy Denny, David Cousins, Roy Harper,
Bruce
Cockburn and a few others will certainly make this release a Matter Of
Life And Death to add to their collections.
Band: Trettioariga Kriget
Album: Eldan Av Ar
Released: 2004
Availability: www.trettioarigakriget.com
Have you ever wondered where bands like Anekdoten, Anglagard,
Sinkadus,
Landberk and a few others drew major influence from?
One of the great things about going to a Progressive Rock
festival
is to see a band you've never heard of, and proceed to get blown away
by
their music. Such was the case with me and Sweden's Trettioariga
Kriget.
Trettioariga Kriget's latest album, entitled "Elden Av Ar" is
indeed one of the top 5 purchases for me at Progday X, and at least in
a slot
in the top 10 of 2004. Formed in the 1970, Trettioariga Kriget (
Translated
means Thirty Years War) were one of the first Progressive Rock
bands
from Sweden. Their latest album carries on a history of stunning
music, incredible musicianship and wonderful vocal talents (in Swedish
of course). Their music will definitely appeal to those Progressive
Rock
fans who like their prog with a lot of thunder. However, Trettioariga
Kriget
aren't one dimensional, as they can go from scorching heavy hitting
rock
to beautiful, melodic ballads, often in the same song.
I would highly recommend the Elden Av Ar over the other two I bought. BUT that is not to say the other two aren't as good. Most of the material at Progday was from the new album and the first album and they left the Progday audience begging for more! No, the new album will definitely give you a great introduction to a band who have been sorely overlooked in many Progressive Rock circles over the last 30 odd years.
You won't hear about the "Thirty Years War" on CNN, but
Trettioariga
Kriget conquered the Progday audience, and my listening room with this
album.
At this writing, I have just received the re-issued Krissang album from 1975. This album just confirms what I already knew about this band. They can do NO WRONG!
For more information, please see www.trettioarigakriget.com
What do you get if you mix King Crimson with Godspeed You Black
Emperor!? Simply put, you get Larval. Larval are a Detroit based band
whose latest album, titled Obedience has found it's way into my CD
player and simply will not come out.
This is Larval's fourth album, and the first on the great Cuneiform
label. They are essentially a nine piece band, ranging from
Guitar
and
Piano, to Vibraphone, Cello, Harp, Violin and Saxophone.
Together,
they create a dense and apocalyptic type of music, menacing and
hypnotic, yet somehow relaxing. Thoughtful, well structured
pieces
almost classical in nature, rock with an intensity not found on many
albums of this type.
For those of you with a penchant for the Avant side of Progressive
Rock, this album is sure to please. Not only are the influences of
Crim
and GYBE apparent, but also a tinge of Univers Zero can be heard in
several spots of the album.
I've heard some people say they have seen this band and was
unimpressed
with their music. Perhaps the previous albums do not measure up to
this
one. However, I will be seeing Larval here in Asheville, NC. October
7,
so I may or may not come away with the same feeling. At any rate,
Obedience is a fine addition to my collection, and I am sure it will
make it's way into your collection as well!
A sound sample from Obedience can be heard by clicking here:
http://cuneiformrecords.com/bandshtml/larval.html
Then, take a lesson in Obedience and pick up the album....
Blow Up Hollywood's brilliant first album dealt with death and what
awaits us on the other side. The new album, entitled "Fake" offers
us a
glimpse of life- through the eyes of a dying relationship. A
relationship that both parties know is finished, yet neither wish to
let go of. The band have managed to do that which seldom happens;
release a second album with the same level of emotion and precision
as
the first, while bringing a different aspect to the listener.
Musically, this album spotlights a maturity in arrangements that were
fledgling ideas on the first album. The line-up is the same and as
before offers no indication to the band members or equipment.
If this brief overview of the new album sounds like Blow Up
Hollywood
have gone soft, think again. Like the brilliant first album,
this
album carries the same stark imagery that impressed me, and many a
listener two years ago.
For the Blow Up Hollywood novice, I would have to say this album
will
definitely suit fans of "Stupid Dream" era Porcupine Tree and Pineapple
Thief. Be warned however, you won't be listening to a watered down
clone of these two fine groups, rather a new band whose unique sound
should find a way to your heart and mind.
As before, take the trip with Blow Up Hollywood. Fake is very
real............
Melting Euphoria remain one of my favorite American groups.
Imagine my
interest when I found that members of the disbanded Melting Euphoria
reformed to call themselves Fireclan. The debut album, called Sunrise
To Sunset is a wonderful, mostly electronic work reminding one of the
melodic atmosphere of Melting Euphoria, but without most of the
psychedelics.
It should be noted that Gong founder, Daevid Allen is on this
album
and has more than a few co-writing credits for the album. The album
is
very much in the vein of Ozric side project, Nodens Ictus, but goes
deeper into the Electronic world of Andy Pickford, Synaesthesia, Early
80's Tangerine Dream and Valley Forge, also interlaced with mid
70's
era Pink Floyd. The music is what you would expect from a former
Psych
band, spacey melodic pieces with a great amount of atmosphere and depth
behind them.
It's difficult to say whether you would like this album if
you
are a
Melting Euphoria fan, as this is definitely a different music
altogether. But if you like Melting Euphoria with a dash of Electronic
Music, pick this one up. Fireclan will definitely entertain from
Sunrise To Sunset.
Words, such an ineffective way to convey one's thoughts and
dreams. If one
could get "inside" an artist's head to clearly visualize the dream
to make
music, surely Australia's "Where Echoes End" would provide a fitting
soundtrack to that end.
In this 1997 album, titled "By The Pricking Of My Thumb" lurks a
creativity
eons old. Primal, surreal, disturbing and even haunting are just a
few adjectives that come to
mind. Yet with all these basic feelings, the music is very hi-tech.
An almost
overuse of recorded samples played just under the music depicts man's
violent world.
Reading or indeed writing about this album cannot fully prepare the
listener
for the journey this piece calls you to take. The imagery of the album
is
startling, with only samples guiding the listener through the music.
It
almost seems like a futuristic time capsule, a testament to man's
eventual
downfall.
The use of recorded samples can get unnerving with the first few
listens.
However, the samples MUST be heard AND understood in conjunction with
the music to fully appreciate the groundbreaking nature of this album.
I find it very hard to classify this recording. Indeed, elements of
Godspeed
You Black Emperor, Dead Can Dance, Deep Purple, Synaesthesia and a
few
others come to mind. A virtual hybrid of every aspect of music, a
myriad
of
influences which seem disjointed, but fit together quite well.
If fans of Godspeed You Black Emperor! think GYBE's music is very
dark,
then
"Where Echoes End" is beyond black. This is one of the best pieces
of
abstract music I have ever heard.
By The Pricking Of My Thumb is indeed a fitting soundtrack to Man's
dominion
over the planet. History is summed up in 72 minutes. You won't find
a better documentary
anywhere.......
This album is relentless, moving from spacey, almost ambient
passages
to dark
and powerful improv fusion. There are no immediate reminders
of influences or
styles, the band seemed to have come into their own on this
one.
Highly
complex arrangements, masterful playing and wonderful variety
throughout
the album make this one of my "Best of 2002" releases.
The instrumentation of this album is the basic Guitar, Bass,
Drums
and Keyboards.
There is also a listing of "Devices," not sure what that would
consist of, but it
definitely works for me!
To anyone that has the first album, get ready. This one will leave
you
with
your speakers in shambles! For those who have not yet experienced
the
power of Nebelnest, get both!
South Jersey's own Donnamatrix has a new album. Have you heard it?
Probably not.
Donnamatrix's Cool Lynx is an album of great promise. The band have
matured to a point where it truly is a tragedy they aren't yet on a
label. Cool
Lynx is a new direction for the band, as it takes on an element of
Psychedelic fusion in the vein of Mushroom, or even some aspects of
Ozric
Tentacles.
The stellar performances of Nathan Mahl founder/Camel keys man Guy
LeBlanc and legendary Sax man Elton Dean and guitarist Mark Hewins
gives the
album much more depth than previous 'Matrix albums, though the core
of the group
is still as powerful as ever.
Virtuosity is the theme of this album, intense playing and great
compositions make this album a real treat to listen to. If I had any
complaint about this album, it would be the length. It's much too
short,
but
with the forthcoming album on it's way, I hope I won't have to wait
too
long!
Donna Rapp, the sultry voice of the band turns in another engaging
vocal
performance. She is rapidly becoming a favorite of mine, a great and
original voice with a wonderful style!
In closing, I find the latest Donnamatrix offering possibly the best
yet.
Indeed they are a long way from their brilliant Cyberia album of a
few years
ago. This album offers no look back at history of the band, rather
a bold
new step forward which I hope will continue and bring this highly
talented
and creative group the recognition they deserve.
Cool Lynx will appeal to many Progressive Rock fans with a penchant
for a
more darker listening experience. Email Earl for a copy and let the
Cool
sounds of Cool Lynx come scratching at your ears.
It's so hard to write about a band that doesn't stay in one place
from one
album to the next. Crim's latest offering , "The Power To
Believe"
is an
excellent album, and arguably the best album since Discipline. The
current
line up of Crim is Robert Fripp, Adrian Belew, Trey Gunn and Pat
Mastelotto.
The album opens quietly with a synthesized Belew vocal before
storming
into
The Power To Believe. A very heavy album with great guitar work
and
precision drumming. The guitar interplay between Fripp and Belew,
together
with Trey Gunn's bass and sound effects as well as Mastelotto's
thunderous
drum work lead you into what will be a thoroughly enjoyable listen.
Since I
do not have any albums that are between ConstruKction Of Light and
this
one, I can only draw comparisons to ConstruKction, which, in my mind
are almost
non existent at the moment.
The album that does come to mind is Three Of A Perfect Pair, one of
my
favorite "recent" Crim albums. Belew sounds great and his songwriting
abilities always amaze me.
What else to say, if you like the later Crim, you will truly be
impressed
with this album. If you are new to Crimson's later albums (read post
70's),
then this will be a great place to start!
With over a 30 year legacy, King Crimson continues to defy
categorization
and genre, while Fripp continues to assemble the finest musicians
around
him. This line up isn't new, but it is certainly re-vitalized.
The Power To Believe will be in stores March 7. Be sure to
pick
it up and
allow it to make you believe there is STILL great music out there.
The album has a desolate, isolated feel to it, kindred in
sorts
to
an early Tangerine Dream album. Suspension And Displacement harkens
back to a time when experimental music was at once bold and
disturbing.
The use of sampling on track 4, "Consider Figure 3" is a very
interesting piece. Discussing the removal of parts of the human body
in a classroom environment, the sampling is paired with a minimalist
soundtrack, adding to the urgency of the spoken word. It then takes
off with a beautifully executed acoustic guitar over keyboards piece
which reminds me of the classic Pink Floyd tune "Welcome To The
Machine."
Up until this record, I have known Djam Karet as a great
Prog/Fusion/Instrumental band. This album offers the listener a
different take on this extremely talented group of musicians. I know
at least some of you have your own favorite album by this band, and
while this album may not be the one to enter the realm of Djam Karet
with, it is certainly my favorite album thus far.
Porcupine Tree are an oddity. From the humble beginnings of frontman
Steven Wilson where he played everything on the first cassette
releases.
Porcupine
Tree have emerged as one of the more commercially successful
progressive
groups.
Stars Die, the latest release from the band is a comprehensive 2CD
set
that
looks into the world of Porcupine Tree and their tenure with Delerium
Records. Spanning four albums and 2 EP's, the set is geared for the
PT
novice, but also has a few nice surprises for the long term "Tree
Freak."
The set opens with the classic "Radioactive Toy." A long time
concert
favorite, the track is the most enduring from their debut Delerium
release
"On The Sunday Of Life." Other "Sunday Of Life" tracks featured
here is the
beautiful "Nine Cats," "And The Swallows Dance Above The Sun" and "The
Nostalgia Factory."
Voyage 34, the 30:04 opus about an LSD trip gone bad is up next,
though
only the 12 minute phase one. The complete Voyage 34 was
re-released
in 2001
as Voyage 34- "The Complete Trip" which clocks in a little over 63
minutes. It
is interesting to note that Voyage 34 charted well (number 19) in the
UK
Indie charts when it was first released in 1992.
The extended version of "Synesthesia" from the brilliant Up The
Downstair
album is up next. One of my favorite PT tracks, the song is about war,
death
and what awaits us on the other side.
Moving through the rest of the album, "Phantoms," "Men Of Wood,"
"Colourflow In Mind" and "Fuse The Sky" are just a few of the
Internet Only tracks that
are released here for the first time. While "The Sound
Of No-One
Listening" is on the vinyl version of Signify.
The packaging is first rate, donning the original "Stars Die" EP
cover
from
1994. The package comes complete with a 40 page color booklet with
pictures and commentary from the band members.
It's no secret that Porcupine Tree are one of my personal favorites
of the
day. Seeing them at NEARfest 2001, and the stellar performance they
gave,
as well as making and distributing T-shirts in honor of their
performance
made
it a trip to remember for many years to come.
If you are still unfamiliar with Porcupine Tree's back catalog, I
strongly
suggest you pick this up, plant it in your player for a few days, then
watch
as your PT collection begins to grow.
Chris Robinson: A Crowe that took flight
Former Black Crowes frontman Chris Robinson took the stage
last
night at
The Orange Peel in Asheville, NC. with his new band New Earth Mud.
A long time Black Crowes fan, going to see Chris was a no brainer
for
me.
What I expected was a Black Crowes like show, what I got was so much
more.
Chris' new album, simply titled New Earth Mud is a departure from
the
typical Black Crowes sound. It's a gentle, bluesy, diversified album
that
features many moods and great instrumentation- complete with Hammond
Organ.
Chris seemed very calm at the show, having seen the Crowes many
times,
Chris
used to dance all over the stage for the entire show. this time, Chris
was
content to play acoustic and electric guitar, he is also looking a
lot like
70's era George Harrison these days too!
Chris and his band stormed through the entire new album, many improv
jams,
and 4 great cover versions of rock classics. Among the covers were
Clapton's
Blues Power, Dylan's Sad Eyed Lady Of The Lowlands, Fairport
Convention's
Sloth and a smoking version of Rock Me Baby.
At one point in the show, I really thought I was listening to an
improv
Soft
Machine show, this is no joke folks. Chris has moved far beyond the
rollicking sounds of The Crowes, and this tour and album needs to be
seen
and heard.
I know nothing of Bacamarte, apparently a very well known
progressive
band
from South America, but this album leads me to believe there is a world
of
great music hiding just under the surface of this multi talented
artist.
Mario is joined on this album by Roberio Molinari who handles what
seems
to
be all of the percussives on the album. Mario Neto plays Guitar,
Flute,
Piano, Viola, Bass Guitar and some of the Drum work.
Vocals are in Brazillian, Mario has an incredible voice. In some
respects,
reminiscent of some of the best Italian vocalists (PFM's Franco
Mussida
comes to mind).
This album will certainly appeal to anyone with a penchant for great
instrumentation and superb musicianship. Fusion lovers like myself
will find
a refreshing sound on the album that places it somewhere in the realm
of
Return To Forever and some of the more introspective Mahavishnu/John
McLaughlin albums. The vocal style is superb and the execution
of the
entire album is first rate, definitely an obscure gem worth tracking
down.
The next track, A Place To Hide offers up a bit of a funky kind of
beat
to
it. Rick Ashton And Jonathan MacDonald Binns offer up a great rhythm
section on this one. This is my favorite track from the album, as Guy's
emotional
lyrics bring the message home as only this man can do.
Where Do All The Madmen Go? is up next. With an almost Reggae vibe
to
it,
Guy is in complete control and very comfortable with this track.
A great
mellotron interlude is in this track, lovely execution and brilliant
ambiance. It closes out with another great guitar solo (ala All The
Young
Dudes!) and brass section.
"Stronger" is the fifth track of the album. Here is where Guy
changes
gears
and goes for more a love song. Twenty years ago, we would hear this
one on
the radio! Very much like Genesis' "More Fool Me" in feel rather than
sound.
Laura Fowles, the Saxophonist on this album is wonderful. Creating
many
moods and atmospheres with it, she is very accomplished.
What is It Worth? is a ballad. A retrospective track that
reminds
me of
some of his best work from the previous albums.
The Weaver Of Dreams seems to be the "Hit" from the album. a great
and
hopeful song. Wonderful instrumentation and a great lead in to the
epic.....
Ragged Curtains, a massive 8 part thematic piece is the masterpiece
of the
album. Starting very softly, with Guy singing to an organ
accompaniment.
The
track builds as it glides through complex arrangements and full tilt
Proggy
beats. This is Guy's finest hour! parts of this song are greatly
reminscent
to Trespass era Genesis. Whimsical keyboard lines accompanied by flute
and
acoustic guitar. this could be the Epic of the year! This track has
many
moods, moving into an atmospheric, almost Floydian piece. incredible
musicianship abounds on this album.
Guy Manning continues the fine tradition of acoustic based
progressive
rock
laid down by David Cousins, Ian Anderson, Al Stewart, Sandy Denny and
so
many others. Guy's music is at once complex, yet accessible. The music
of
Guy Manning is to be herald as a troubador for the 21st century. this
album
is Guy's masterpiece. Highly recommended.
The instrumentation on the album is acoustic guitar, electric
guitar,
piano,
synth, bass, drums, cello, violin, viola and trumpet. The lack of
member
credits indicate the album and the band are about the sum of Blow Up
Hollywood, not the individuals themselves.
Blow Up Hollywood will appeal to fans of Godspeed You Black Emperor!
and
Sigur Ros solely for the "Sonic" production of the album. There are
times
when the album reminds me of the acoustic based Pink Floyd songs, depth
and atmospherics are abundant on this album. This is not to say it's
been done
before, as it is indeed a refreshingly original piece of work.
In this age of polished productions, MTV glitter and mass marketing
campaigns and tours, it's great to see a band of such talent re kindle
a
lost art form, which is the act of listening.
Sit back and take the trip with Blow Up Hollywood, you may not want
to come
back.
With a beautiful, cascading organ note, the new Karda Estra
album,
"Constellations" unfolds itself in my listening room. Like venturing
into a
new world, the album conjures up images of great natural cathedrals,
hidden
in the depths of space. This is Karda Estra's fourth album, and
the third
one I have heard. Like the previous Eve album, Constellations draws
on the
past, the ancient past.
Drawing upon the mythological and astronomical origins of the
constellations, Karda Estra has characterised each one with music
that
seems to coincide with it's own mysteries. From the gentle to the
chaotic,
one can almost see the birth of the universe through the music.
As with the previous EVE album, Constellations is heavily rooted in
the
classical side of progressive music. Intricate passages of non-melodic
sound
give way to heavy chamber music not unlike Univers Zero. Wonderful
vocal
pieces, like that of angels adorn this finely crafted work.
The first six tracks are original compostions. Track seven, "Twice
Around
The Sun" is Richard's tribute to Steve Hackett, one of Karda Estra's
many
influences.
As with EVE, Constellations continues to define Karda Estra as one
of
the
most original artists out there at the moment. Precision
instrumentation,
beautiful compositions and superb sound should make a believer out
of the
most jaded of music lovers. Simply one of the best of 2003.
What do you get when you cross Dream Theater, Fates Warning,
Porcupine
Tree, Chroma Key and Gordian Knot? I'm not quite sure, but one thing
you don't get
is BORING music! OSI is perhaps the finest Progressive/Metal
album I have
ever heard.
The OSI website (http://www.osiband.com) states the name of this
project
comes from a failed Pentagon agency implemented just after 9-11.
The
website goes on to say; "Basically OSI, or the Office Of Strategic
Influence, was an ill-fated agency that was dreamt up by the Pentagon,
I
think, shortly after 9/11. Their purpose was basically to disseminate
information mostly abroad, and if need be, false information, to put
the
U.S. war on terrorism in a more favorable light."
That's an extremely compact background on the musical project's
Bio.
For
more, please visit their website.
Now, onto the album.
OSI is made up of members of five very well known Progressive/ Prog-
Metal
bands. Jim Matheos of Fates Warning, Kevin Moore of Chroma Key,
Mike
Portnoy of Dream Theater, with Steven Wilson of Porcupine Tree and
Sean
Malone of Gordian Knot. A curious lineup to be sure, but
knowing Portnoy's
talent with Transatlantic, Wilson's many projects and Sean Malone's
fantastic Gordian Knot albums, how could I go wrong with this one?
The album is all, and none of those style's. Basically, this is a
heavy
duty
Guitar/ Keyboard album, but even that is far too limiting to the scope
of
the music, and the talent of the musicians playing on it.
At times the album reminds the listener of Ozric Tentacles, Eno,
Radiohead,
Bowie, even Pink Floyd. All of this over a heavy guitar that would
make Tony
Iommi beg for more! There is contrast on the album as well. Beautiful
acoustic guitar pieces, poignant and well written ( and sung!) lyrics
make
this album one of the best yet from the folks at Inside Out.
For the Steven Wilson fans, shutDOWN is probably one of his best
vocal
performances ever. Sounding somewhat psychotic, Steven manages
to bring
the feeling of the recent PT album In Absentia to this track. An
incredible
piece
of work!
Sean Malone as always, turns in a stellar performance on the bass and stick.
Mike Portnoy is arguably one of the best drummers out there at the
moment.
Thunderous playing throughout. I find his style to be in the vein of
Bruford.
Matheos and Moore sharing the keyboard parts work extremely well.
Matheos
is one of the best metal guitarists I have heard in a long time. Kevin
Moore
has a great voice, and is quite suited to the overall feeling of this
album.
If you like your music with an edge, OSI is one to get. The Limited
Edition
version features a great cover of the Floyd classic "Set The Controls
For
The Heart of the Sun," and a video documentary on the album's
production.
OSI will definitely put your house on high alert with your
neighbors,
get it
and crank it up!
Beautiful World begins with a very ethnic percussive track that is
reminiscent
to his Eldorado album a few years back.
The second track, Magnificent River is a return to the wonderful
atmosphere
O'Hearn is able to create and thus carries
on for the rest of the album. Peter Maunu is once again stunning on
this album.
In order to fully appreciate where O'Hearn's music is going, one
must
know where he's been. In the 1970's,
Patrick was one of the many students of Frank Zappa. Zappa surrounded
himself with brilliance and many Jazz legends
such as George Duke, Jean-Luc Ponty, Chester Thompson and
countless
others benefitted from Zappa's genius.
In the early 80's, Patrick was a member of the group, Missing
Persons and had a radio hit "Can You Hear Me."
It's no secret that Patrick O'Hearn's music touches me very deeply,
and this album is no exception. From the first time I heard
Ancient Dreams in 1986, I knew I was listening to a man who is deeply
rooted and in tune with his own being. A musician who
can conjure ancient images, as a book opening itself to the reader.
Beautiful World will certainly rank among the classics in O'Hearn's
discography. If you are a long time fan, pick this one up
and once again be amazed. If you're new to O'Hearn's music, this
is a great place to explore his craft.
Track 1, "Holohedron" is a nod back to the early days when Ozric
were
a
little more to the ambient side of things ( tantric Obstacles,
Erpsongs),
and with their other side project, Nodens Ictus, one can see this album
is
very different from any of the previous few. At about 4:00, the all
too
familiar Ozric guitar comes in we are swept into a wash of synths,
and
percussives similar to Arborescence era.
Track 2: The Hidden Step: again with a great opening keyboard line
which
bounces from the left to right channels, This one is leaning a little
to
the "Eat Static" side of Techno, with it's driving keys and
(soundslike?)
electronic drums. A scortching track!
Track 3: Ashlandi Bol: Ozric with a simulated string section? This
is
new,
and quite nice! This track is firmly rooted in the eastern sound that
has
been explored on many albums before. Soon, the track does get a bit
tiresome with the obligatory grunts and groans and some of the music
even
sounds like it was cut out of another track from a previous album.
Track 4: Aramanu: They are persistent in trying to maintain an
ambient
precept on this album, this is an excellent spacey, droning track with
a
single keyboard line, very desolate, like a desert. this is the Ozric
I
love, heavy keyboard pulsations over the top while the flute and other
sounds are in the back, this track will look and sound great live!
Swirling
Synths and assorted bells ala Ravi Shankar, this is a future classic!
Track 5: Pixel Dream: A nice bassline opens this one before going
full
throttle over Ed's Screaming guitar. More swirls and other sounds from
the
samples are included in here as well. The sound is full, but not
overpowering. This changes at the 4:00 mark, as the funky bassline
returns
over several synths playing different things. More grunts, groans and
laughter end this track.
Track 6: Tight Spin: This is supposed to be the high point of the
album,
at
8:40 it is one of the longest tracks Ozric has done in a long time.
Somwhat
reminiscent of Wob Glass from the brilliant "Become The Other," this
track
begins with a very mobile, even danceable key/drum line before being
joined
with guitars, bass and acoustic guitar, I'll give them this, they are
trying
to broaden their music.
Track 7: Ta Khut: the final track on the album opens with a lone
flute
and
bells, with wind in the background, feels very desolate again, but
there is
something coming, you can feel it. What? A beautiful tympani/ acoustic
guitar/ flute piece at the 3:00 mark. This is beautiful! as it begins
to
change gears again at the 4:00 mark, the flute and an extended synth
note
are the only thing you can hear, until what sounds like a church organ
comes in with a cascade of synth notes showering into the abyss, this
is
most impressive.
Twas the night before Christmas, and all over the net
All the proggers were dreaming
What CD's they would get.
Spaces were made with care on the shelf,
in hope they would be filled by the world's favorite elf.
The children were nestled all snug in their beds,
While visions of Mellotrons played in OUR heads.
And Mama in her nightie, and my foot all atap,
had just realized we were listening to our son's downloaded Rap.
When out through the speakers there arose such a clatter
I sprang from the computer to see what was the matter
Away to the amplifier, I thought on a whim
opened the player and threw on some Crim.
Dark Side Of The Moon in the village, heard over the snow
reminded me of the concert so many years ago.
when, what to my wondering ears should resound,
but a miniature sleigh and eight tiny bassett hounds.
With a little old driver, so reserved and quick,
I knew in a moment it must be St. Fripp.
More rapid than Bruford, his courses they came,
and he pointed and shouted and called them by name:
"Now Tony! Now Trey!
Now, Eno and Adrian!
On, William! On, Patrick!
On, Gregory and Wetton!
From the top of the world!
To the bargain bin at the mall!
Hear Prog today! Prog today!
Prog today all!"
And then, in a twinkling, I heard on the roof
the howling and scratching of each little woof.
As I drew in my head and was turning around,
down the chimney St. Fripp came with a bound.
He was dressed all in Crimson, from his head to his foot,
and his clothes were all tarnished with ashes and soot.
A bundle of ColleKctors discs he had flung on his back,
and he looked like a peddler just opening his pack.
He spoke not a word, like he does at the shows
and filled all the wishes, that the Crim fan knows.
And laying his finger aside of his nose,
and giving a nod, up the chimney he rose.
He walked to his sleigh, to his team gave a hand,
And away they all flew like a 21st Century Schizoid Man.
But I heard him whisper, as he drove out of sight,
"A Proggy Christmas to all, and to all a good night!"
THE KARAKUK
The Donkey still lived. The dust was settling as the shock wave passed, and the trembling earth eased its shuddering. I climbed to my feet, and tried to peer through the haze. All that was left was a faint glow on the horizon, and perfect desolation. As I stood there, I felt a great pain, and looked down. My left foot was severely bleeding. I cut a tourniquet from my shirt and bandaged it as best I could. I took another strip and wrapped it around my face, to help me breath through all the thick dust. I made my way back to the donkey, climbed gingerly on, and rode off.
As I rode, I thought of just how the hell this could have happened. We had lived under the threat of nuclear destruction for more than a millennium, but the powers that be were cordial enough to fend off the horror. The relations decayed with the arrival of the "Karakuk," an alien artifact that would protect those who held it, and bring war to those who wished it.
Hours had passed since the detonation, I was delirious from the loss of blood. The last thing I remembered was seeing the sunrise...
Warm. I was warm, and a scent that I could not identify filled my nostrils, like flowers on a May morning. I opened my eyes to a place I had never seen before; an ivory room, very beautiful and ornate. I could not readily identify the decor; it seemed a mixture of the best of Greek, Roman, French, and a few other styles that seemed almost randomly placed. Sunlight flooded the room, yet there were no windows, and no visible light source. I stretched, and yawned. I moved easily, and threw the covers aside. My foot was properly looked after by someone, but I had no idea by whom. Where was I, and how did I get here? I rose from the bed and got to my feet, feeling a bit woozy, but that soon ended. I limped my way to the door, and tried the handle. It opened easily, and I made my way through the halls of this place.
The floor was heavily carpeted with what felt like finest wool, and the hall was warm and comfortable. There were no windows anywhere to be found, and there seemed no way to the outside world, yet light suffused the hallway from some impossible source. I thought it might be from the walls themselves, but save for the occasional art decoration, they were bare. They were painted in muted tones, but the light flooded them evenly with no evident source.
Coming to a large, bronze door, I knocked, but there was no answer. I nudged the door, and it opened silently. I found myself in what seemed to be a great temple. Ancient artifacts told stories about someone named "Jesus" who was supposedly the son of God, as well as tales of other characters, like Moses, Buddha, Viracocha, and other mythological figures from the past. These were all fairy tales to us since the Karakuk came to be with the people. Disease, famine, and plagues were a thing of the past, done away with by the Karakuk, or so I thought.
As I ventured further into the temple, I saw many artifacts crafted by ancient peoples, some obviously of great value. Gold gleamed from more than one graven image, and costly jewels adorned figurine after figurine. Upon the walls silk tapestries told of epic heroic deeds, while the high ceiling had stained glass windows depicting supposed saints, gods, and heroes from many a long forgotten age
At last I came upon a glowing sphere encased in glass. I stared at it in amazement, and it seemed to pulsate with movements. A ray of light would emanate from it periodically and go through a stained glass window in the ceiling. Is this the fabled Karakuk, I thought? I began to think I heard a voice speaking something I could almost make out. It was some sort of conversation though at first I couldn't say in what language it was spoken. Slowly, it was coming to me. It seemed to be saying...
Just then a voice called to me. "Come, there are many things you should learn." I was startled out of the dream state I had slipped into and turned to see a woman of such beauty as defied mortal words. "I have mended your injuries,” she said, “and you have been rested and refreshed. You are you are safe with us."
“Who are you?” I asked, and she laughed. The sound was like a gentle rain cascading upon glass.
“There are more important things you must learn this day. Come,” she said, and I followed her. She took me by the hand and guided me out of the temple.
We walked out into a garden, encased like that of a terrarium, with a huge dome as far as the eye could see. A wild profusion of the loveliest flowers I had ever seen stretched off into the distance, creating a pattern of shapes and colors unlike anything I had ever seen. The scents of the flowers combined to create a perfume beyond imagining. The wonder of the garden increased as I walked further in, and discovered that new vistas opened as you moved about, and new and lovelier scents could be smelled as you moved. I had known beautiful gardens in my life, but I had never known anything like this one.
As we walked, she told me her name was Tanaya, princess of the Four Winds tribe. Four Winds? I thought. How ironic, as the last "wind" I felt was that of the shock wave after the first bomb. In this place, that felt like it was long ago, and far away.
"You have slept a very long time," she said. “We have many things to teach you. The Elders are coming back to this place and we must prepare for them.”
“Who are the Elders?” I asked.
“The Elders are those who were here but have gone, but are now returning. We must prepare.”
Returning to my room, Tanaya pulled an ancient book off the shelf. “Do you know where this place is?” she demanded.
I opened the book as she instructed me, and I looked inside. Here were pictures of the Great Pyramid. How could it have survived the war?
“Yes,” I told her, “I know where it is. Why do you want to know?”
“It is where the Elders will return,” she replied. “The Karakuk must go to that place to complete the prophecy,” and she gently took the book from my hands. “You must rest now, we will leave in the morning to welcome the Elders home. You will guide us to this place.”
In the morning Tanaya woke me, and brought me breakfast. I ate quickly, then we gathered in a front hallway. There were a few others there, none of whom were introduced to me, and none of whom paid any great attention to me. They all mounted beautiful horses, while my poor little donkey was brought forward for me.
The journey was long on horseback, with desolation all around us. Massive sandstorms cropped up out of nowhere, slowing our progress. Volcanic activity, along with the planet's misaligned axis changed the environment of the desert to a violent, inhospitable place. It seemed almost that the earth was rearranging itself for some new phase of existence. The air was still thick with the smell of death. We ventured further east, passing crashed airplanes, helicopters, and other flying vehicles that flew no longer. Small creatures scurried away at our approach, and I watched them escape into the sand.
Soon darkness began to fall. Night came quickly in the desert, and we set up camp. I gazed out at the seemingly barren landscape. They say the desert is dead, but it seemed there was more life left here than anywhere on earth at this time. How is it the birds fly and the walking beasts continue to walk, but Man's world is no more? My answers were only days away...
The next day we arrived at the site of the Great Pyramid, only to find it encased in sand. The very top of it was the only visible section where some said an apex stone sat when it was first built. The bombs came in the early days of the war to this place to obliterate the pyramid, but they only served to fortify and protect it for the ages.
Tanaya removed the Karakuk from it's glass shroud and placed it on top of the pyramid. The sphere began rotating, growing faster, faster, faster still until it looked like a blur moving through time and space. Again, I began to hear the voices that I had heard in the temple. This time though, I realized the sounds were inside my head! The sand which held the pyramid prisoner began moving away from it's walls, revealing more and more of the grand structure as it went. The voices kept getting louder and I shook my head to try and focus over them as I asked Tanaya, "What does this mean?”
Tanaya replied, saying “This is the prophecy the Elders spoke of in the time before time.”
As the pyramid grew in height, we moved to a safe distance. Just then, an earth-shaking explosion came out of the Karakuk, and it began sending multi-colored beams of light out in all directions. Like a giant spider weaving it's web, it was calling it's prey.
The prey came in the form of eight large flying machines. They looked like spacecraft, but seemed to materialize from nowhere. They were fashioned as three sided objects, and converged out on the horizon and joined together. The Karakuk's light was blinding as it was pulling the vessels into the path, and I realized it was a homing beacon!
The ships landed around the pyramid, and out of the eight ships came eight creatures, such as none had ever seen before. They gathered at the base of the Great Pyramid and gave their thanks to it for returning them home.
"We left this world before the continents separated." The first one said in a loud voice.
"We are known as the Elders in your language, but we are the last of the council of Atlantis and we have returned to witness the rebirth of that beautiful land lost to the sea so long ago."
As I listened in amazement, I realized what this whole thing was about, the war, the Karakuk, everything. It was already laid out by the Atlanteans to come home when the earth had been cleansed and reformed. Were the Atlanteans and Atlantis itself is where creation sprang?
The Karakuk had not stopped its whirling. The voices in my head were shrieking so loudly that I couldn't think. I tried to form a question to ask the Atlanteans about the cycles within cycles that I was witnessing, but I collapsed to the sandy ground. Tanaya was trying to say something to me. Her eyes seemed to say that it was a warning...
I awoke with a scream. "What a dream that was!” I thought to myself. I got up and ventured outside my tent trying to make sense of the dream as I gazed upon the desert, lit only by the moonlight. Suddenly a blinding light and hot wind came in from the horizon, it was a bomb!
The Donkey still lived...........
Silently, the 9 member ensemble settled into their instruments and
found
their spot on the stage. As the film screen began flashing "HOPE,"
the band
started off with the new Yanqui: U.X.O. album. founder of GYBE!,
Efrim, sat
at the front of the stage and plucked away at the guitar as violin
and
cymbals came into the mix. The music exploded with two bass guitarists,
three electric guitarists, two drummers, violin and cello.
I can't describe the wall of sound the band generated as they
soared
through every track from Yanqui, and most of Lift Your Skinny Fists
in the
two and a half hour show.
Three movie projectors set up at the rear of the hall was the only
real
light on the stage. as the haunting images of factories, farms and
war
played on the screen. The most startling of which was a film of a B-52
dropping bombs on Vietnam, the cover of the new album is part of that
scene.
A very "unique" audience was to be found at the show last night. I
had
no
idea the show would sell out, but there were people of all ages, race,
sexual preference and so on. All had something in common last
night, they
were there to see one of the most original and groundbreaking bands
in
recent memory.
I picked up a few items at the show. An LP version of Yanqui:
U.X.O., and a
few side projects, Set Fire To Flames and A Silver Mt Zion. Both are
incredibly intense projects as well.
This was my first time seeing Godspeed You Black
Emperor!.
Many of you
who have seen the band know what I mean when I say it is unlike
anything
you
will see in a live performance. It was everything I had hope it would
be,
and nothing like I expected. If you have never seen this band, I urge
you to
go. This is beyond music, and beyond art. A very uplifting and tragic
show.
Absolutely stunning.
However..........
King Crimson opened their 2003 North American tour in Asheville at
the
Orange Peel, a night club that probably has as much history as those
who
occupied it's stage last night. Like Crimson, the venue has went
through
many changes over it's long history, several of the Motown bands of
the 60's
played in this hall.
Crim hit the stage at 10:05PM and drove straight into tracks from
The
ConstruKction Of Light and the new album, "The Power To Believe."
Playing
nothing earlier than 1999 in their main set, there were a few tracks
I
didn't recognize ( See, told you I wasn't an authority!) , but the
tracks I
did recognize were ferocious in their presentation.
Adrian Belew announced to the sold out and adoring audience, "This
is
our
first show of the tour, how's it going so far?" His question was met
with a
resounding applause!
Robert Fripp, content to sit to the right of the stage and never
looking
out
over the audience seemed fit and was almost emotionless in his playing;
a
trait I have heard is common in this man.
For me, Trey Gunn was the one to watch. Playing a Warr Fretless bass
guitar,
Trey was getting sounds of piano and organ out of this thing,
unbelievable!
Pat Mastelotto on the drumkit was at once powerful precise as he
drove
the
rhythm section in such Crim classics as ProzaKc Blues and the
ConstruKction
Of Light.
Together, the latest incarnation of Crim produced a wall of sound
that
was
powerfully intense, yet executed with the precision of a fine
craftsman.
Crim is definitely the "Musicians band."
I was pleased to see the venue sell out, I hope this sends a message
to
other progressive bands that Asheville, and The Orange Peel would
welcome
them! Several Progday alumni were there as well as Kris and Guy Ferri
of
Delicious Agony Progressive Rock Radio. It was a pleasure to meet them!
Three encores, all from 1995's Thrak album closed the show,
Dinosaur,
Vroom and another which I can't recall at this writing.
King Crimson have managed to keep going for over 30 years
without
becoming stagnant. The new album, "The Power To Believe" is in
my opinion the best
thing the band has done in a very long time.
See them if you can, The Court Of The Crimson King is STILL a great
place to
be.
Ok, only the *real* Cockburn fans would get my attempt at
plagarising
Bruce's brilliant Breakfast In New Orleans, Dinner in Timbuktu album
title.
Canadian singer songwriter Bruce Cockburn rolled into the
Orange
Peel
last night here in Asheville, NC. Touring for his 23rd studio album,
"You've Never Seen Everything," Bruce continues his long standing
career with thought provoking lyrics and excellent musicianship.
Drawing on his discography, Cockburn and his band soared through
renditions of such classics as Lord of the Starfields, Lovers In A
Dangerous Time, To Raise The Morning Star, World Of Wonders, Last Night
Of The World and Mighty Trucks Of Midnight.
Aside from the few hits, Bruce's set consisted of some his most
political songs to date from the new album. All Our Dark Tomorrows,
Trickle Down, Wait No More, You've Never Seen Everything and Open were
just a few of the tracks Cockburn unveiled to a capacity
audience.
Cockburn's ability to meld folk, jazz, world music and several
ethnic
sounds with poignant and sometimes heart wrenching lyrics continue
to
keep this man at the forefront of the singer songwriter genre.
Bruce was backed by a full band last night. A surprise for me as the
last time I saw him ( 1992) he was performing a solo acoustic show.
The
band lineup was Bass, Drums and Keyboards, with Bruce on Acoustic and
Electric Guitars and Dobro. I don't recall their names, but the lady
playing keyboards, complete with a Hammond, was brilliant!
Bruce Cockburn's cutting lyrics about the Socio/Political state of
the
world continues in the tradition of troubadors past. Yet, this
man
definitely has his own unique way of telling a story. If you
get a
chance to see him, by all means go. You've Never Seen
Everything...
Til you see Bruce Cockburn.
The Victor Wooten Band played to a capacity audience at
the Orange
Peel In Asheville, NC last night. Victor, and his two brothers, Reggie
on guitar and Joseph on Keyboards laid down a great blend of smooth
jazz, driving funk, and fiery fusion. With Victor and guest bassists,
Anthony Wellington and "Divinity" going all out made it a night of
the
"Lords Of The Low Frequencies." The band settled into their set with
such Wooten classics as "What'd He Say?" "Nobody Knows My Name,"
and
"Hormones in The Headphones." They were joined onstage by Flecktones
Percussionist ( And another Wooten Brother) "Future Man." Future Man
ripped through a Drum solo that was extremely powerful.
Joseph also had a Theremin and was making fine use of
it.
Performing
the Sly And The Family Stone classic, Dance To The Music, the Theremin
was howling and whistling all through the song. Guitarist Reggie Wooten
went through a great set of Hendrix induced jams before breaking into
the Star Spangled Banner and Purple Haze.
A Victor Wooten show is very challenging to see. Don't expect just
"One
type" of music. Victor runs the gamut between Sly and The Family Stone,
Jazz, Fusion and even a few Rap tracks. The almost three hour show
left
me and my daughter ( Stephanie, our first concert since
NEARfest
2001.) very charged up!
Victor Wooten is definitely one of the best bassists out there at
the
moment. he surrounds himself with impeccable talent in the form of
his
brothers and a drummer ( Whose name excapes me) who is the incarnate
of
Billy Cobham in his younger days!
Opening for Victor was a solo acoustic guitarist who goes by the
name
of "Kaki." This girl is fresh out of the Michael Hedges school of
guitar. Fred and I were quite impressed with her music, and her
technical knowledge of the instrument.
I picked up two more Victor Wooten CD's to add to my
collection.
One
is Victor Wooten and Steve Bailey: Bass Extremes: Just Add Water and
the other is Scot Henderson, Steve Smith and Victor Wooten: Vital
Techtones. Both are excellent representations of Victor's extraordinary
power and prowess of his instrument and are highly recommended.
Most of the material came from the latest "Personae" album, although
I did
recognize a few of the older tracks like Temporal Analogues Of
Paradise,
Abstract Logic and others. Jonas played a six string acoustic bass
all night
and was incredible. As the band glided effortlessly thru many improv
jam
fests, the small but adoring crowd were amazed with the precision
of the
group. I found it funny that before the show, Jonas was sitting
outside of
the venue on a park bench and people were just walking up to him
thanking
him for coming back to Asheville.
Opening for the Jonas Hellborg Trio was a wonderful fusion
band
from
Atlanta called "Basement." Basement is a trio as well, but play
in a more
jazz oriented format, although Chris and I were definitely hearing
an Ozric
groove in many of their improvs. I bought Basement's debut album titled
Doorways. Basement is a band to look out for, I think they will do
very
well! Check Basement out at http://basementmusic.net
Asheville is beginning to get some very fine artists coming in, and
venues
like Stella Blue are the perfect place to see them. I spoke with the
owner
of the club and he said he will book Ozric Tentacles if they do another
US
tour.
Michael Manring played over 3 hours to 40 people last night at The
Grey
Eagle in Asheville, NC. The Grey Eagle is one of the top 10 rooms in
the
country to play in because the acoustics are as close to perfect as
you
could get in a room this size. ( Michael said this himself) Manring,
along
with acoustic guitarist Ken Bonfield ( who at times sounded like
Michael
Hedges reincarnated!) made a very interesting brand of jazz/fusion
for
acoustic guitar and electric bass.
Alternating between Manring's and Bonfield's solo projects, it
was
difficult in the first half to distinguish which work's were which.
In the
second half however, there was no trouble as Michael played a fiercely
intense solo bass performance to the small but adoring audience. I
picked
up, and am listening to Manring's 1998 release "The Book Of Flame."
This
album is reminiscent of his Windham Hill work, but with a full ensemble
playing a very smooth Jazz oriented music. For those of you who are
planning
to see Manring at NEARfest, his performance with Scott McGill and Vic
Stevens will be of a much more intense brand of fusion than the cool
sounds
emanating from the venue last night.
I spoke with Michael before the show about NEARfest, Michael Hedges,
Progday, among other things. I found him to be very friendly and
personable.
I urge everyone to see Manring, an extremely talented bassist.
I was run over by the truth one day.
Ever since the accident I've walked this way
So stick my legs in plaster
Tell me lies about Vietnam.
Heard the alarm clock screaming with pain,
Couldn't find myself so I went back to sleep again
So fill my ears with silver
Stick my legs in plaster
Tell me lies about Vietnam.
Every time I shut my eyes all I see is flames
Made a marble phone book and I carved all the names
So coat my eyes with butter
Fill my ears with silver
Stick my legs in plaster
Tell me lies about Vietnam.
I smell something burning, hope it's just my brains.
They're only dropping peppermints and daisy-chains
So stuff my nose with garlic
Coat my eyes with butter
Fill my ears with silver
Stick my legs in plaster
Tell me lies about Vietnam.
Where were you at the time of the crime?
Down by the Cenotaph* drinking slime
So chain my tongue with whisky
Stuff my nose with garlic
Coat my eyes with butter
Fill my ears with silver
Stick my legs in plaster
Tell me lies about Vietnam.
You put your bombers in, you put your conscience out,
You take the human being and you twist it all about
So scrub my skin with women,
Chain my tongue with whisky
Stuff my nose with garlic
Coat my eyes with butter
Fill my ears with silver
Stick my legs in plaster
Tell me lies about Vietnam.
Adrian Mitchell
