h e a t h e r

This is the album that really turned me onto Henry Cow, however, there is nothing else by them that I enjoy. The first four tracks are great; classical and jazz and rock instrumentation, with both quieter and louder moments, and a brassy sound. The music is complex and shifty, although still graced with some great colorful melodies. My favorite is "Half Asleep, Half Awake" which contrasts mellow piano sections with complex upbeat sections. Also, "Ruins" is very good with some dynamic moments, such as the still tension of the intro, reminding me of classical music. Some of it sounds cartoony on occasion, which I mean in a good way; they mess with speeds and come up with some interesting sounds. I also enjoy "Bittern Storm over Ulm" a lot, and "Solemn Music" is good but only a short interlude. I never listen to the last half of this disc, mostly improv that is noisy and experimental and not really my cup of tea. I listened to this disc a lot after I first bought it, and have really cooled off on Henry Cow since. Every once in a while, though, I crank up "Ruins" or "Half Asleep, Half Awake" and enjoy the complex tangle of sounds. review by Heather Mackenzie — undated —

j o e

The opening, a fully consonant E major chord, caught me off guard. I had wondered if I had put the right CD in my player. But, sure enough, the E chord soon twists into a minor E, then contorts further, until within a matter of seconds there was no doubt that I had the right CD. Greaves' noodly (obviously a prejudicial word, though I really mean that not as a put down so much as a descriptor) bass lines: stringy and elastic, scurrying here and fro. The restless pitter-pat of Chris Cutler's percussion. Woodwinds carving out sharp melodic angles or blowing fiercely in free jazz mode. Who else but Henry Cow? Unrest generally piles the composed tracks on the first side and the improvised material on the second side. Each has moments that are interesting, stretching from the tender piano opening of Greaves' "Half Asleep; Half Awake" to the electronic haze and sing-song vocals of Lindsay Cooper that grace "Linguaphonie." At the end of the day, though...I really just can't get into this. Listened to it over and over. I found a voice within me begging, pleading: "You like Zappa's Hot Rats! You like some of the Cuneiform stuff! You should like this, too, dammit! So LIKE it!!" You know you're in trouble when you hear that voice. As on Legend, the lasting impression that I just can't shake is a band eager to see how many experimental sounds they can cram into one album, regardless of creating a context for these to blossom into something that makes a lasting connection (at least for me). Another impression is a band tripping over themselves to display their erudition. "Bittern Storm acknowledges its debt to O. Rasputin's 'Got to Hurry' by The Yardbirds." If that's meant to be a joke, the geek factor is alarmingly high, yes, even for me. But if that's meant to be dead serious, then the only thing I can say is what next? Lyrics based on carvings on the stylobate of Amiens cathedral? D'oh!! Of course, many dig this one, and if you are one of them, then as I imagine Prince might say, more power 2 U (I wonder if "Gett Off" or "Little Red Corvette" contain any unacknowledged debts to the work of O. Rasputin). As for me, guess I'm still looking elsewhere. review by Joe McGlinchey — 1-4-04 —

g a r y n

This second album from the RIO pioneers drifts away from the Canterbury roots evident on their debut. Some would probably have trouble discerning side 1 from side 2, but they are entirely different worlds. I might as well say that side 1 is one of the most perfect LP sides I've ever heard, as I've found myself kneeling before it, spiritually kow-towing to the awesome (yes, Awesome!) musicianship displayed on its three tracks. How anyone can hear this music as being pure technicality and without passion is beyond me. It took a few listens, but after leaving it sit for a couple of weeks, I put it on again and was amazed... no, make that moved, not only by the composition, but by each member's approach to it. I wish "Ruins" could be playing over and over in my head, or perhaps broadcast from my head somehow, to the delight (or irritation - it doesn't matter) of those around me. It's really that good. To appreciate side two, one must understand the boundaries that the band itself had decided to cross, and the recording/editing innovation of its time. The reality is that they didn't have enough material for a second album and improvised the second half of the LP, experimenting with tape loops, overdubs and half or double speed recording. For the most part, it's eerie and ambient, and to be honest, I only spin it when I feel like a freak and need to be freaked out. Side one deserves a listen by all prog fans and yes, it may be an acquired taste that leaves neo-prog sounding banal and uninspired. review by Gary Niederhoff — 10-3-00 —