The organ is the strongest instrument on Still Life, dominating large sections of most of the tracks. Interestingly, the opening track, Pilgrims, is lyrically of a piece with the closing epic, Childhood Faith In Childhood’s End. While the latter takes its theme most obviously from the Arthur C. Clarke novel to which its title refers, the former, with lyrics such as ‘The time has come, the tide has almost run / and drained the deep: I rise from lifelong sleep’ does as well. Pilgrims ends beautifully without a resolution and the title track picks up with a gentle vocal backed by simple organ chords which are maintained until the third verse when the rock and roll kicks in. Lyrically Still Life extends a metaphor of marriage to encompass death, decay, and despair. I guess it’s a little late to suggest that Hammill’s poetry is not of the light and fluffy variety. (Here’s a live version from 2011.)

vdgg-slThat said, but this album has a much greater pop sensibility than its predecessors. It helps that two of the five songs clock in at less than 8 minutes and two more at less than ten. Yes, I’m stretching the definition of ‘pop’, I know.

La Rossa is the most distinctly metal song on the album, though the musical styling seems very much at odds with the lyrical content (yeah, I know, what else is new) in which the narrator tries to harness his desire for an object, but knows he must succumb.

My Room (Waiting For Wonderland) opens side two with soprano sax, drums, and vocals. However, the gentleness of the delivery belies the harshness of the lyrics which describe (perhaps, as always with this band) a person succumbing to depression, loneliness, and anxiety. Possibly the most cohesively beautiful thing they’ve done to date.

 

 

Really, I’m still trying to get my head around this one. On the one hand, four years makes a huge difference. On the other hand, there were four Peter Hammill albums in between Pawn Hearts and this one, all of which featured most if not all of the other members of VDGG.

vdgg-gOn first listen, the four tracks that make up Godbluff are a bit less varied than those on Pawn Hearts (not hard, given the multiple sources of side two and the extensive recording process). It seemed to be all hard all the time, sort of like ConstruKction of Light/Power To Believe-era Crimson. The dynamics are mostly set to full on. This might have to do with it being the first VDGG album without an outside producer.

The Undercover Man opens quietly, but Hammill leans on the sing/scream dynamic he used to some effect in songs like Man-Erg. His falsetto is still in good form.

Scorched Earth is more full on and Arrow falls squarely into heavy metal territory. Yup, some serious heavy metal saxophone.

And then The Sleepwalkers, the album’s original closing track, has multiple sections including one with this weird fairground organ thingy going on. It’s the piece with the most interesting range of stuff going on. Give the subject matter, well…

The bonus tracks are live versions of Foresaken Garden and A Louse Is Not A Home from Hammill’s 1974 album The Silent Corner and the Empty Stage. The recording isn’t very good – a fair amount of feedback mars the listening experience.

I should write something about the truck murder of four young Israeli soldiers by a Palestinian to provide balance of some sort to my recent pro-Palestinian posts. There’s not much to say. The attack was despicable as was the praise heaped on the attacker by Hamas.

A couple of days I started taking some notes towards a discussion of the fascism coming to roost in the US. This was before the latest reports of Trump’s Manchurian nature, coming in the form of possible compromising photographs of Trump with prostitutes in a Moscow hotel. It hasn’t mattered in months how much he’s said and done that positively disgusts most of America. For all her faults, and all the sleaze of her presidential campaign, Hilary Clinton is 100 times the president Trump could ever hope to be, but for a few nasty issues.

An essay I read a couple of years ago asserted that no Republican president since Eisenhower had taken office without the shadow of treason. Nixon subverted the peace talks in Vietnam; Reagan made deals with Iran that subverted negotiations to release the US hostages; George W. Bush rode in on Sandra Day O’Connor’s vote to shut down the Florida recount. (Poppy Bush seems to have defeated Michael Dukakis fair and square. The two justices he put on the Supreme Court, David Souter and Clarence Thomas, voted on opposite sides of Bush v. Gore.) Of course I can’t find the reference now.

(On Nixon: he lost by a hair in 1960, won by a hair in ’68 and only because RFK was assassinated and Humphrey wasn’t up to the task, and committed treasonous acts to win in ’72. Only for those did he and his administration pay. The text in the sidebar doesn’t even come into play, nor does it acknowledge some of the good Nixon did, such as signing the bill to create the soon to be gutted Environmental Protection Agency.)

We seem to have forgotten in the last two months about the highly questionable razor thin margins by which Trump supposedly won key battleground states. Were the actions of election officials treasonable? Possibly. Were the goons challenging every effort at a recount in Michigan. (This is another case of having read an article on the subject and now finding only articles on the challenges to Jill Stein’s recount efforts. My Google-fu has never been great. I gotta start bookmarking those articles.)

Are partisan gerrymandering and the implementation of onerous voter ID laws treasonous? Probably not. Are they (small-d) democratic? Absolutely not. And the fact that many states are gerrymandered now to the point that ten times more votes are needed to elect a Democrat than to elect a Republican now pretty much guarantees Republican majorities in those legislatures and in the federal government. I fear for our ability to recover the country from that imbalance.The allegations of Russian involvement in the election certainly point to treasonous offences on the part of the Republican party. James Comey sitting on this information but releasing that idiotic non-report regarding (again) Secretary Clinton’s emails days before the election certainly points to a misdeed if not an actual crime.

And I would mind the state of affairs less if Republicans behaved honourably. If they took legislative proposals and debated them on their merits. If they worked with the executive branch in good faith. For the last eight years they’ve taken the position that thwarting the president and the needs of the people, as long as it kept some other group happy (insurance companies, bankers, oil companies, racist constituents, for example) was fine. And it’s not as though left-wing legislators were acting that far to the left. It’s become astoundingly rare for any legislation that benefits the working class to make any headway at the federal level. This page is in support of a petition to challenge federal corruption, but the study it quotes finds that public opinion has little to no effect on what actually gets passed into law. Not surprising, but terribly troubling.

Last night I saw Watch on the Rhine with Bette Davis and Paul Lukas from 1943. It’s an interesting counterpoint to Casablanca in which an American woman and her German husband and their three children return to the woman’s home in Virginia in 1940 to connect with family members. The husband fought against Franco in Spain and had been fighting against Hitler’s forces in Germany and Austria trying to keep the resistance alive. The conflict involves a dissolute Romanian count who hangs out at the German embassy and tries to blackmail our hero. While it covers similar ground, Watch on the Rhine lacks Casablanca‘s emotional growth and romantic punch. And the acting (or perhaps the direction) isn’t as good, though Lukas won best actor at the Oscars that year for his role. That said, its clarion call to get on the right side of the battle and to keep fighting is unmistakeable.

I’m not sure I have a point right now, and if I do, it’s that the times ahead are going to get worse before they get better and I’m confounded if I know how we’re going to get out the other end with any kind of national soul intact. And the battle lines are being drawn.

Another member of Music Obscurica posted a bit about this, and was primarily glad because he could share this fine version of the magnum opus, A Plague of Lighthouse Keepers.

Pawn Hearts is a proper entry in the prog rock canon, with a track that takes up all of one side, (viz. Yes’ Relayer and Close To The Edge; Genesis’ Foxtrot – yeah, the 99-second Horizons doesn’t count).

With this album they venture into serious free jazz territory. Not that Jaxon’s saxophones weren’t already doing that work on the previous two albums. What VDGG do really well is to rope that improvisation into the service of Hammill’s intense lyrics.

Side 1 comprises two tracks, Lemmings and Man-Erg. While Hammill’s themes often include internal battles writ large, Lemmings takes on the state of humankind in the face of expanding war: Death offers no hope, we must grope for the unknown answer / Unite our blood, abate the flood, avert the disaster .

Man-Erg opens with contrasting verses that open ‘The killer lives inside of me’ and ‘Angels live inside me’ and he works from there with music of appropriate fierceness.

vdgg-phAnd then there’s side 2. A ten-part medley that on a certain level brings Genesis’ Supper’s Ready to mind, but possibly a little more scattershot. The lyrics still speak to the human position in the face of the disasters of modernity:I can see the lemmings coming, but I know I’m just a man / Do I join or do I founder? Which can is the best I may?

 

 

vdgg-h2hwThe opener, Killer seems to be about both sharks and love, is to be the most straight up rocker of the album, and has a really nice piano break. Here’s a slightly distorted 1972 version from French TV. And here’s a very clean live version from 2005. Crazy double saxophone playing! This is the first indication of what I’ve missed not having gotten into them earlier. I really wish I’d been at that show.
Fripp shows up on The Emperor In His War Room, though his playing isn’t that distinctive. (Was it so on early KC? Good question – the style we’re all familiar with may have come later.)
Lost and Pioneers in c have that great theatrical feel of contemporary dramas (think Bowie’s Cygnet Committee and Width of a Circle or Genesis’ The Knife and The Musical Box). The first, in two parts, reminds me a bit of Refugees from the previous album, but extended and generally weirder. The latter, which closed the original album is kinda sci-fi. Note the distinct lack of fade-out. The 2005 reissue on Spotify goes right into Squid/Octopus, a crazy jam recorded for the following album, Pawn Hearts. (It sort of makes sense to include it, given the shark theme of Killer.) The 2005 version closes with another version of the Emperor In His War Room, but I’m not sure what the differences are. The alternate seems a little gentler.
H To He was engineered by Robin Cable who worked on several Queen albums and produced the first two Dickies albums. (Yeah, check those out – back from the golden age of punk harmonizing.)