RED JASPER: 777

(ANGEL AIR RECORDS; 2016)

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Hot on the heels of the critically acclaimed THE GREAT AND SECRET SHOW – relatively speaking, anyway… before that January 2015 album, the band’s previous release was 1997’s ANAGRAMARY – comes the seventh and latest chapter of the progressively-inclined Red Jasper, called 777. Like its predecessor, the record is a gently rocking progressive affair… kinda like latter-day Genesis or early Gentle Giant, with just enough bite to keep the more hard rock-inclined among us happy (not to mention some Marillion-esque keyboard work and some very tasty guitar from time to time). 777 is sort of a sequel to the Clive Barker-inspired …SECRET SHOW, with the lyrics once again exploring the very personal religious imagery from that release; as vocalist David Clifford writes in his liner notes, “777 is described as the antithesis of 666.” The first track is called “7” and it has a definite Marillion feel, though without the harsh, powerful vocals of Derek Dick (better known as Fish) or even the smoother pop stylings of Steve Hogarth. Clifford hangs around the upper registers, sort of somewhere around Geddy Lee’s mid-period Rush stuff, while avoiding the nasally proclivities of that stalwart. “Nothing To Believe” features a galloping bass line from Jim Thornton and really cool multi-tracked and harmony riffing from guitarist Robin Harrison. The lyrics document the struggles of youth and, finally, rising above the chaos and dismay with the chorus, “That life has gone/But my life will carry on.” Bonus points to newish drummer Florin Werner for his indiscreet use of the cowbell throughout the tune. Shifting from a demented waltz to a punky, charging hard rock affair, the schizophrenic “She Waits” offers a little something for everybody, including a completely unhinged Harrison solo and more words-per-square-inch than most tunes. “Forth of Fife” could very easily be considered either an homage or a flat-out rip of the Genesis classic “Firth of Fifth.” It has so many like elements that it’s hard not to compare the two: Lloyd George’s amazing keyboard work, particularly the solo piano; a flute part that may or may not be another George keyboard creation (no mention of a flute appears anywhere in the album credits); more stellar fretwork from Harrison; a melody line that is quite reminiscent of the Genesis tune. Given all of these similarities, it wouldn’t be too difficult to consider “Forth of Fife” a musical parody of an iconic piece of progressive rock. Thankfully, the tune stands on its own, as the nods to the previous work manage to weave themselves into the songs original fabric, allowing the words and music to tell their own story, live in their own reality. The most forceful track thus far, “The Gathering” features all of the hallmarks of a great progressive number, falling somewhere between classic Yes and a more metallic Rush. The rhythm section, in particular, puts a little extra punch into their parts – Thornton’s bass moves from Chris Squire’s melodic picking style to something akin to Tony Levin’s fluid stick thumps, while Werner falls just south of the percussive overload created by Neal Peart. Even at eight-and-a-half minutes, the song never lagged and, in fact, seemed to end far sooner than I expected. Again, bonus points to the other three Jaspers, with amazing work turned in by Clifford, George and Harrison.

Red Jasper (Jon Thornton, Robin Harrison, David Clifford, Lloyd George, Florin Werner) (uncredited photo)

Red Jasper (Jon Thornton, Robin Harrison, David Clifford, Lloyd George, Florin Werner) (uncredited photo)

Reaching Out” begins with a lone, chiming guitar before developing into a really cool psuedo-’60s Folk-pop sort of affair. The addition of an “arena rock” keyboard solo (it reminds me of something Ken Hensley may have played during Uriah Heep’s heyday; David Byron called it the “Moog simplifier”), which could have rendered the song cheesy beyond repair, actually enhances the overall vibe. More late ’60s guitar highlights “Blessed With Gold,” a track that is equal parts “California Dreamin’,” Lordian (as in, Deep Purple’s Jon) keyboard bombast, Middle Eastern melodies and a certain “Arrh, matey” nautical theme. “Dragonfly” is a gauzy, pastoral number, with elegant fretwork from Harrison and keyboard washes from George. However, though Clifford’s ALICE THROUGH THE LOOKING GLASS lyrics lend a child-like charm to the tune, it’s Werner’s percussive restraint and Thornton’s rather lilting bassline that really make the song work for me. It seems as though these Jaspers got most of their hard rocking tendencies out of their systems in the first half of 777, as “Paradise Folly” continues the Fairport Convention/English Folk sound prevalent on the second half. Another beautiful guitar solo from Harrison highlights the proceedings. “October and April” is listed as a bonus track. It’s a stripped-down cover of an obscure song by an even more obscure Finnish group called the Rasmus. Clifford duets with his daughter, Soheila, with brilliant accompaniment by Red Jasper’s original guitarist, Tony Heath, on a number that kinda reminds me of a Celtic version of Bon Jovi’s “Wanted Dead or Alive.” A nice, if rather light, end to an unassuming record that sort of sneaks up on you… before you realize what’s happening, your toes are a-tappin’ and you’re having a quietly good time with one of England’s best secret weapons of progressive music.


BILL NELSON: GETTING ACROSS THE HOLY GHOST

(COCTEAU DISCS/ESOTERIC RECORDINGS/CHERRY RED RECORDS/PORTRAIT RECORDS; reissue 2013, original release 1986)

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I fell in love with Bill Nelson, his songwriting, his voice and his guitar playing in 1977, with LIVE! IN THE AIR AGE, the fantastic live release from his then-current band, Be Bop Deluxe. In the early ’80s, I rediscovered Bill through a pair of commissioned works for the stage – DAS KABINETT (THE CABINET OF DOCTOR CALIGARI) and LA BELLE ET LA BETE (BEAUTY AND THE BEAST), both for the Yorkshire Actors Company – and 1982’s THE LOVE THAT WHIRLS (DIARY OF A THINKING HEART); the second commissioned piece was released as a bonus record with THE LOVE THAT WHIRLS… and stands in stark contrast to the album proper’s poppy New Romanticism. I eventually discovered Nelson’s Red Noise project during a trip to the used record bins at a local shop; I initially passed on those releases as virtually every review I read at the time called it – and I’m paraphrasing here – “A disappointing attempt at electronic dance music.” Anyway, after Red Noise, finding a new Bill Nelson record in the hinterlands of Illinois became an effort in futility; now, nearly thirty years after Red Noise, comes the expanded edition of one of the man’s most well-received records, GETTING ACROSS THE HOLY GHOST (called ON A BLUE WING in North America and Australia). The new edition features a remaster of the original ten-song UK version of the record, as well as a second disc featuring the two EPs culled from the same recording sessions: WILDEST DREAMS and LIVING FOR THE SPANGLED MOMENT.

Bill Nelson (photo credit: SHEILA ROCK)

Bill Nelson (photo credit: SHEILA ROCK)

There seems to be a vague theme running through …HOLY GHOST… , a theme that reminds me of Sunday mornings in a small country town or village. “Suvasini” is a short, introductory ambient piece with a nice jazzy guitar running throughout; it leads into “Contemplation,” which features a snaky kind of guitar, some mid-’80s poppy keyboards and a slinky bass line (courtesy of Iain Denby). Bill’s voice has always been sort of an acquired taste; here, he straddles the stylistic line that falls somewhere between David Bowie and Bryan Ferry. The song itself is very poetic and lyrically dense (as in, a lot of words). The only part I find objectionable is a sax part that tends to ruin the feel of the whole track. “Theology” is closer to the esoteric near-rock of some of Be Bop Deluxe’s more experimental stuff. The number rather reminds me of solo John Foxx or, maybe, a type of Enoesque Ambient rock. Preston Heyman adds an industrial (as in, machinery) percussion thing that is very cool. There’s more of that industrial sound happening on “Wildest Dreams,” a happy kinda tune that also tosses marimba into the percussion mix. You know, I really like Nelson’s more experimental pop stuff but, I gotta say… I really miss his exceptional guitar playing on some of this material; 1980’s style keyboards just don’t do it for me, though there is a great violin solo from Peter Greeves. “Lost In Your Mystery” could have been an outtake from Bowie’s LET’S DANCE sessions. The music has a very Asiatic (in reference to the Continent, not the band) and pre-programmed (it all sounds synthesized) texture and feel; it’s a very laid back song with an equally laid back vocal from Bill.

In its original form, you could listen to those first five songs before being forced to flip the record over to hear the rest of the music. That’s the way I’ve chosen to review the first disc of this reissue, picking up here with the music on Side Two. “Rise Like a Fountain” comes across as an Adrian Belew/King Crimson kind of thing… if Crimson were an ambient band. Iain Denby chimes in with a great (fretless?) bass part, plus… there’s an actual guitar solo (short though it is). There’s an unfortunate BEVERLY HILLS COP/Harold Faltermeyer synth vibe (sorry, folks… great movie, horrible theme song) happening on “Age of Reason.” Nelson’s vocals are pretty good but, I’m not sure they actually save this thing, especially once the Clarence Clemons-like sax bleats (provided by William Gregory and Dick Morrisey) come in. Simply stated, the tune comes off as nothing more than dance music for left-footed mathletes. “The Hidden Flame” continues the dance floor goofiness, though some nifty processed piano and some funky lead guitar somewhat negate the damage. As always, Bill’s vocals are a highlight, as is the stinging guitar solo toward the end. “Because of You” is up next. Now, this is more like it: Great guitar, great lyrics (“Nailed to the cross of love/Because of you”), funky bass; this number could easily have worked as a Power Station song. The album ends with “Pansophia,” a very short (less than a minute) nylon-string guitar solo laced with minimal processed piano and ambient noises. So, in the harsh reflective light of nearly three decades, the first half of GETTING THE HOLY GHOST ACROSS fares much better than the second half, though there’s enough meat on the bones to enjoy this rather dated blast from the past, mostly because… well… Bill Nelson!

Bill Nelson (LIVING FOR THE SPANGLED MOMENT)

Bill Nelson (LIVING FOR THE SPANGLED MOMENT)

And, so, we’re on to the second disc of this collection as we ponder the question: What would a “Deluxe Edition” (or reissue of any kind, really) be without “bonus material?” That material usually manifests as a vault-clearing effort to delve into the artist’s psyche at the time of the recording of the feted release. Thankfully, the minutia that practice entails is eschewed for a more slim-lined package that includes the two EP releases associated with the 1986 album… a total of eleven tracks. Even though the sequencing here is kinda wonky, for the purposes of this review, our exploration will begin with the music from the first of these releases, LIVING FOR THE SPANGLED MOMENT. Following the first cut from the later WILDEST DREAMS record, the seven tracks from …SPANGLED MOMENT – five of which were issued as part of the original English cassette version of the …HOLY GHOST,,, record – follow in sequence. It should be noted that this release is more of a “mini-album,” clocking in at a little less than a half hour. “Heart and Soul” is another synthesized, mid-tempo dance tune, featuring sax and clarinet solos from Ian Nelson. This is probably as stuck-in-your-head catchy as you’re likely to hear from Bill Nelson. Nelson’s minimalist approach to guitar-playing is once again the touch point for the title track, which is awash in various keyboard texturing, a slinky bass part from Denby and another Morrisey sax solo; the track is… okay… just not great. Though brighter in tone, “Feast of Lanterns” comes off feeling like an extension of the main album’s “Pansophia.” This longer investigation of that tune’s themes features some backward guitar alongside some well-placed harmonic guitar swells and ambient keyboard for a little added atmosphere. The result is quite a pretty piece of music.

Bill Nelson (publicity photo)

Bill Nelson (publicity photo)

Illusions of You” has a nice band vibe, very happy and bright. Bill’s guitar is more prominent here than elsewhere, which is a welcome sound; everything seems to come together on this track… except for Ian Nelson’s sax solo, which somehow seems terribly out of place here. With an almost somber kinda Peter Gabriel feel that belies a sprightly Denby bass line and Nelson’s vibrant vocal performance, “Word For Word” is a slow-build non-ballad. A neat Spanish guitar solo gives way to one of Bill’s trademark ambient electric guitar solos. “Finks and Stooges of the Spirit,” besides having one of the greatest titles ever, is quite possibly the best tune from this period of Nelson’s career. It’s an electronic rocker, with a dense instrumental bed menacing just below vocals that border on the dispassionate (think Gary Numan). Since I’ve been a little hard on him, I must compliment Ian Nelson’s woodwinds; they are an integral part of this wall-of-sound production. Bill’s reverb-drenched solo leads into a short duet with Ian’s clarinet, which really adds to the (intentionally) disjointed feel of the number. Like the closer to Side One of the original LIVING FOR THE SPANGLED MOMENT release, “Nightbirds” closed out Side Two – and, indeed, the entire record – in similar fashion: It’s another short ambient soundscape, this time featuring Iain Denby on bass. For pure atmospheric effect, it certainly does a nice job, as it leaves the listener yearning for just a bit more.

Bill Nelson (WILDEST DREAMS)

Bill Nelson (WILDEST DREAMS)

Now, back to the top, with the “Wild Mix” of the WILDEST DREAMS’ title track. You know how I feel about remixes… don’t like ‘em. However, this one seems to have a little more of that industrial percussion that Preston Heyman brought to the original album version, as well as a more prominent bass line and… wait! Is that an extended violin solo from Peter Greeves? Okay… I may actually prefer this version to the one found on GETTING THE HOLY GHOST ACROSS. “Self Impersonation” (or, “Self Impersonisation,” as it was originally titled), which crops up after “Nightbirds,” is another ambient thing with some heavy percussion aspects (this time, by Bill himself, who plays everything on this cut) and just enough soloing and noodling throughout to remind us that Bill Nelson coulda been a big shot rock star guitarist. Up next is another version of “Wildest Dreams.” The single mix is basically the album track cut by a few seconds and featuring a more vibrant high-end (for airplay, doncha know?). It doesn’t sound too bad, removed, as it is, from the entirety of the album. “The Yo-Yo Dyne” is another keyboard and percussion piece, with a cool pipe organ thing happening. Once more, this is all Bill, all the time. The song has an odd, Reggae feel to it – not that Reggae is odd, just in this setting. A nice way to end the record, I suppose, but a tad too repetitive to be allowed to go on for five minutes. As mentioned above, this may not have been my favorite period in Bill Nelson’s career, but there is enough meat on the bone to intrigue.