It’s months ago that I promised Leo Koperdraat(keyboard, guitar, vocals) to review the album Garden of Ghosts, which he released together with Ed van Haagen (bass and keyboards) and Frank Urbaniak (drums and lyrics). The second album of this trio, and I must admit that up to this day I have not had the chance (or, to be more honest, time) to listen to their debut, Strange Attractions. Maybe I should, given what I found on this one…
Fractal Mirror consider their music (as written on their web site) to be contemporary pop/rock with progressive rock influences. This shows in the way the songs are structured, there’s a bit more of chorus and verse structuring then on the albums I usually review, but a bit of variation in the musical diet usually doesn’t hurt. Certainly not in this case, when the progressive rock influences are coming from the corner that was once monikered symphonic rock. Or, in short, there’s a lot of keyboard work on this album. Not really a surprise, given that both Dutchmen, Koperdraat and Van Haagen play keyboards, next to the other instruments they handle.
This means that on just about all tracks, from the opening House of Wishes all the way to Stars, we are treated to layers of keyboard, synthesizer and mellotron melodies. Sometimes they simply form the main structure of the song, sometimes they are the accompaniment of the guitar. A guitar that is not always played by Leo Koperdraat by the way, on some tracks, for example Lost in the Clouds, producer and musician Brett Kull plays (slide) guitar.
So what does that mean in detail? Well, the album opens with House of Wishes, which has a an eighties synth pop feel to it, but with more intricate keyboard work. The singing of Leo Koperdraat reminds me slightly of Steve Kilby, singer of eighties Australian pop band The Church.
This is followed by the slightly more complex The Phoenix. A heavier opening is followed by more keyboard work, like on the opening track, but this track goes through different moods and tempos. Just in time for me, it becomes a bit more powerful near the end: despite the beautiful keyboard structures, the album lacks a bit of power for me.
On Lost in the Cloud, which starts in the same tempo as the first two tracks, the additional slide guitar adds a more rocky edge. This track is also the opening of the Powerless Suite, which covers four tracks from the album – dealing with social media, human communications and what would happen if we became ‘really powerless’. An interesting theme, laid down very well in the music here.
Solar Flare the second part of the suite, is largely instrumental, with the band’s friend and video artist Andre de Boer on triangle. The combination of organ (a Hammond?) and guitar work out really well here, mimicking the power of a solar flare for sure.
The Hive portrays what happens when the power goes down, taking us through the emotions of the now disconnected people. The keyboards and a quite sharp guitar part mimic the despair of the narrator having to communicate in the natural way again. That same guitar takes a lead role in the short instrumental Solar Flare Reprise.
After the suite, it is time for a short change in atmosphere and instrumentation. The Garden is build around piano and acoustic guitar, giving it a completely different feel than the rest of the album. A rather melancholic track about aging.
Orbital View builds layers of keyboard melodies again, which lead to a somewhat gloomy sound when combined with drums and guitars. Here Leo Koperdraat also sings in a slightly different way (higher pitched) than on the rest of the album.
Event Horizon is another good keyboard based track, about forgetting about the future when loosing someone. This nicely complements Legacy, which is about the feeling of parents when their children leave ‘the nest’.
Closing off the album is Stars, which is dedicated by the band to all those they have lost. A beautiful track, opening with acoustic guitar and a real choir (no mellotron this time) followed by a bass hook that keeps you wondering how to explain it. The song builds up an becomes less dependent on that bass hook later on – and provides some great instrumentals.
Based on reviews of the debut, the band has improved quite a bit – and although this album is good, I hope the announced two volume album for 2016 shows more improvement. For that I see two ways, after listening to this album. First, I hope to find slightly more emotion in the vocals (Leo is a bit lacking there, which doesn’t do justice to the nice timbre he has). Second, maybe a few more instrumental parts – the melodies and compositions are so good that sometimes the vocals could be omitted without loosing the story. A story which is otherwise well covered by the lyrics of drummer and lyricist FrankUrbaniak.
So, it took me a while get around to reviewing this album, but now it’s done. Playing it is more than worth the time of anyone who likes symphonic rock and related music. Curious to things to come, with a promise of two volumes of music next year the band suddenly have raised the bar for themselves.
If you know The Flower Kings, you also know Hasse Fröberg. A fine hard rock singer and guitarist in the 80s, the man ended up in one of the biggest progressive rock acts of the 21st century – and together with four equally skilled musicians, he even has found the time to release a new (by now the third one) album under the name Hasse Fröbergs Musical Companion.
An album with a slightly uninspired title (HFMC), but after listening to it on and off for 6 weeks, I can only conclude that the inspiration has instead gone into the music. Music that is introduced by a ticking clock on Seconds, which is soon replaced by a short keyboard piece by Kjell Haraldsson that flows seamlessly into the whirling keyboard and guitar opening of Can’t Stop the Clock. This is the first real song on the album and it starts full of energy, reminding of Images & Words era Dream Theater and 2015 Franck Carducci at the same time. This track is varied in style, as well as in tempo and key (which the band already announced on their web site when it was released as a preview video. It contains metal and hard rock, but also mellower parts – in short, it rocks.
Less varied, and totally different is the the follow up Everything Can Change, which has a jazzy feel to it in various places, when the piano is the lead instrument, but in other places it also feels like a 60s rock song with synths and guitar added to make it more complex. On this one, Hasse Fröberg’s slightly hoarse voice really works very well.
With Pages, we move into longer songs, over 10 minutes. The opening is a quick crescendo of guitar and keyboards, followed by a more melodic keyboard piece. In a way, the music reminds of Yes, and later on also Genesis, but never too strongly. The vocals of Hasse remind me of a more emotional version of Grobschnitt’s Wildschwein. The highlight of this song is a guitar solo by Anton Linsjö, which I put in my review notes as “it’s not Gilmour, it’s not Stolt, it’s that guy from HFMC’. After this solo, a well done vocal part (with piano and acoustic guitar) leads into an outro that is as bombastic as the intro. Circle closed.
With Genius, a more ballad like track, the listener gets some rest before moving into the net long track, In the Warmth of the Evening. A varied track, like Can’t Stop the Clock, but 4 minutes longer and without the strong metal influences – although in the second half the keys become really bombastic, before a closing guitar solo with a lot of feeling in it – like some great blues guitarists also could, but here no blues is involved.
On Something Worth Dying For, the band moves slightly into Hasse’s past as a hard rock musician. This one has guitar leads, and riffs accompanied by a strong drum work (lots of cymbals too) by drummer Ola Strandberg, and matching bass work by Thomas Thomsson.
The last track of the album Someone Else’s Fault brings us back to the world of symphonic rock, with vocal choirs and keyboards that remind of Yes and Genesis. But when Hasse sings alone, over a dancing keyboard tune, it becomes almost soulful, something Jon Anderson never did. Half way, the music changes into bluesy hard rock, with yet another very well executed guitar solo – before going back to symphonic land at the end. I put the words ‘soulful‘, ‘bluesy hardrock‘ and ‘Yes’ in my review notes – only to find out later that apparently Hasse Fröberg described this track as a mix between Yes, Stevie Wonder and AC/DC. Well – I guess he got that more or less right.
After this, all that remains is the ticking of a clock, on Minutes, which makes the album go full circle. And full circle it may go – as some other albums that I reviewed, I have no problem putting this one on repeat. In the second half of 2015, the band will be playing gigs in various countries, and I already spotted my chance to see them in The Netherlands. Get your chance as well, or just get the album, or do both… you catch my drift.
The past 6 months I’ve bought about as much music on vinyl (LP if you will) as I bought on CD and/or as digital download. That was a bold move, but it feels good to hold these large covers again, have a readable sized lyrics sheet and force yourself to listen to music because every 20 minutes you have to flip a record. Nostalgia perhaps, but it works for me – even if new vinyl is more expensive than the same album on CD in many cases (which is somewhat covered by the fact that the vinyl often comes with a CD included, or a download link).
For books, I took the opposite root a few years ago, when I bought an Amazon Kindle – which was later (after my son stepped on the screen) replaced by a Kobo reader and some Kindle-to-ePub conversion software. Instead of further filling the living room and the study with books, I filled my laptop and my e-reader with e-books. That seems to slowly come to a halt now, thanks to our dear elected politicians in The Hague and Brussels, and the officials of which they are the marionettes. What happened? Well, since January 1st, just like for digital music and other ‘e-services’, VAT in the EU is calculated based on the country of the buyer instead of the seller. That means the eBooks I used to buy in the US or UK are now charged with 21% VAT instead of the much lower US or UK rates. So far so good, if the e-books I bought had been available in The Netherlands I would’ve had to pay that too – but Amazon (my preferred supplier of 20 years) had no Dutch web site so that was no issue.
Now that this has changed however, I found out that there are more (and equally annoying rules and regulations in place) that hinder me. Apparently, due to copyright protection, I cannot order e-books from the UK, although I can from the US. What bothers me more actually is that the new prices reflect very clearly that I do not only have to pay Dutch VAT now, but also a bunch of other taxes and surcharges. I complained about the price difference at Amazon, but even the friendly lady working there, who called me less than an hour later, could not explain all of that.
Just to show what I mean – here’s what happened. I wanted to buy the book Rocking the Classics by Edward Macan. An English book, so I went to Amazon UK. Nice, the e-book would cost me 10 pounds. However, after logging in, I got the message it could not be ordered outside the UK, so I had to go to Amazon.nl, the Dutch site.
Amazon UK, without taxes
Amazon UK, cannot buy from outside UK
On Amazon.nl, the book was on offer for almost 54 euros, over 4 times as much as the UK price. Our local VAT is 21%, so what explains the other 279% price raise? I have no idea, and I’m not sure I’m even willing to investigate this. Then the lady from Amazon Netherlands called and explained that VAT and other charges apply, and that these become visible after logging in and entering a Dutch address on Amazon.com.
Dutch site – EUR 53,96 (four times as much as in the UK)
So, I went to Amazon.com, the US site and indeed (after removing some cookies) I found that the same e-book costs 19 dollars there. Then I logged in and suddenly the price because 60 dollars, roughly 53 euro indeed. With VAT applied, I could’ve understood 25 or 26 dollars, but this is double that.
Amazon US: 19 dollars is a bit more than 10 pounds, but UK doesn’t apply VAT to books, so that’s understandable
Amazon.com price for EU countries is 60 dollars – 21% VAT I can understand, but what is the rest about?
So, what did I do? I found out that VAT on e-books in the EU is higher than on real books, because European law considers them electronic services instead of books. A lobby is ongoing to change that by 2020, but I still have no clue what the other additional charges are. For now, I decided to take the same route as with music and move away from digital if I can or at least if the price gets too high. I ordered the hardcover edition of the book, which cost me 38 pounds in the Amazon UK store, but at least I can be reasonably sure that the additional money is not going to inexplicable surcharges (at least that is what I tell myself now).
Often, I feel a an urge to leave Europe behind and move to Canada, New Zealand or South Africa, and on days like this that urge gets even stronger. Unfortunately, I have no guarantee that things are better in these places…
Closing note: Amazon Netherlands will, based on this, consider adding more explicit information about taxes and charges on their web site. Let’s hope they go beyond considering it.
Today I received an e-mail from Guigo Barros, a man from Brazil who despite the distance and the infrequent contact we have, I consider a friend for life. He is the one who asked me, around 8 years ago, to join the admin team at ProgArchives.com. We served on that team together four over four years – a time I won’t easily forget. The admins we worked with were all great people, as were the site collaborators. A lot of these people are still around there – Prog is a sticky business….
In Guigo’s e-mail was the above photo of (from right to left) Guigo himself, Martin Horst (a German site collab) and myself. We met one evening in Februari 2008 – in Paris, where Martin lived, and where Guigo was visiting, on vacation with his wonderful wife Ana.
We talked about music – obscure bands, well known bands, Zeuhl, symphonic, jazz rock… I was taking notes that led in the end to me picking up the unsigned bands section of ProgArchives later, and this site, Angelo’s Rock Orphanage last year. Always on the lookout for new, unknown gems…
One more memory from that trip is how I wrote my review for Van Der Graaf Generator’s album Trisector. The afternoon before meeting these wonderful people, I just sat down in a small park near the Sacre Coeur, put my headphones on and wrote that review, in the early February sun.
Guigo and Martin were just two of the good friends and musical contacts I made along the way, I’ll be posting more of these short ‘encounter stories’ here over time.
Imagine an album being recorded in 1985, and being released only 25 years later, in 2010. Sounds crazy? Well, this is exactly what happened with BunChakeze album Whose Dream?. The four people involved were Odin of London members Colin Tench (guitar, synthesizer and vocals), Gary Derrick (bass), Cliff Deighton (drums) and Joey Lugassy (vocals). The former three founded the band, helped build a studio in exchange for recording time and then hired the Lugassy to fill in the role of the until then missing vocalist. Studio owner Alex Foulcer fulfilled a guest role on piano.
After recording the album, the four disbanded. In 1992, they the album was remixed, but only in 2010, Colin Tench took the lead in releasing the album on CD, encouraged by Pasi Koivu, with whom he later founded Corvus Stone.
The album contains 9 tracks, which clearly show how these four men were influenced by late 1960s and early 1970s progressive rock . Music that was wanting air play and certainly of no commercial interest at the time of recording. However, times have changed again in the mean time, and this album is no misfit in the 21st century revival of progressive rock.
The opening track BunChakeze is an energetic, short instrumental with ‘swirling’ keyboards and matching guitar, to warm up for the rest of the album. Once this is done, the band slows down for the first part of title track Whose Dream? Keyboard and piano guide the fitting rock voice of Lugassy, in what sounds like a melancholic ballad until the guitar and drums come in to make it into a more powerful, almost marching track. The circle closes when we go back to the first line of the intro, which is also the last of the song, once again only accompanied by the piano: Whose dream are you dreaming?
Walk on Paradise then is a more guitar oriented track, although the synthesizer is quite present in the opening. Initially, this doesn’t feel like paradise music at all – but when the rhythm becomes more stable and prominent, the feel becomes more positive. Briefly only though, the instrumental midsection removes the happiness again – in line with the lyrics (‘I am a prisoner who lives alone, chains hanging from the walls‘). After a quite heavy guitar solo the song takes a more melodramatic turn, in music as well as lyrics, as the main character is looking for a way out.
After this, the album gets to what I think are its four best tracks, starting with Handful of Rice. The music is carried by a staccato guitar riff (by some referred to as latin or hispanic, but I don’t fully see that reference). This is haunting in a way, especially in the mid section where it is accompanied by a droning synth and metallic sounding drums. Near the end the track speeds up a bit, maybe signifying new hope? New hope that certainly belongs in the next track, Flight of the Phoenix, after all, a phoenix always rises from the ashes in which it perishes. This is a track that opens with wonderfully played acoustic guitar, accompanying a well performed vocal melody. It’s not a happy tune, matching the darkness of the lyrics. Halfway, the electric guitar comes in and the song becomes melancholic. After a nice, melodic guitar solo, the music speeds up and when the phoenix rises, the ‘Clock stops!‘ and so does the music.
After this, the band takes us to 19th century North America, with Midnight Skies, telling us about how the young United States dealt with the natives. On this track, which starts out with almost jazzy guitar and bass, the 1970s influences of the band really show. While the bass and guitar build a rhythm, the keyboards go into Genesis like patterns, and a Pink Floyd resembling guitar solo follows. All of this build up to the request to let the native Americans take back the prairies and run free under midnight skies….
With Long Distance Runner, the direction changes once again. With two vocals (both by Lugassy as far as I can tell), singing a sort of dialog, this track starts with a musical like feel. After this it speeds up gradually and a slightly staccato guitar seems to imply the runner is really running. The drums on this track are not continuous, in various places only fills and breaks are played, which really gives an unusual effect to the music. At the end, the piano comes in for a bit more. What keeps me wondering about this one is the question whether the line in the lyrics ‘A Cinderella Boy becomes a Marathon Man‘ is a reference to Rush: they have Cinderella Man and released Power Windows including Marathon while BunChakeze were recording.
And then – it is time for The Deal, yet again a track in which the 1970s influences return. There is a guitar riff underneath this whole track that is so close to something (go hear for yourself) on Pink Floyd’sThe Wall that coincidence is impossible. It’s not a rip off though, the track works perfectly by itself, and it may be the easiest one to get into on first listen. After this, all that’s left is dessert, a short instrumental reprise of Whose Dream, which is mainly a slightly folky electric guitar tune.
I got this album almost 5 years after it was released, after missing it completely in 201o – and I’m happy to have it now. It’s by no means perfect, certainly production wise a few things could be improved (hollow vocals here and there, slightly sharp drums), but given its history that is something I can live with. I really like the last four tracks (not including the far from bad Whose Dream reprise), even if they are not as original in style in 2010 or 2015 than they were in 1985 I guess. Recommended for checking out for sure – and added to the regular plays a while ago over here.
April has come and gone already, so here’s another overview of the top 10 posts of the past 30 days. I’m happy to see Kristoffer Gildenlöw‘s new single Pass the Torch, released last week at the top – after only 5 days of publishing the review. Als interesting is the appearance of an older review, of Franck Carducci’s Torn Apart at the top of the list, right behind the brilliant album A Spark in the Aether by The Tangent – and just above the rest of last months reviews.
One thing to note: somehow, the gig review of Gentle Storm on March 26th has received the largest amount of views on my blog (over 600), most of which in it’s first week. No idea how that spread so fast, and it’s still in the top 10 of the past 30 days.
Once upon a time, there was a man called Kristoffer Gildenlöw, a musician. This man Kristoffer got caught by the cuteness of baby elephants, which is perfectly understandable if you know how cute these can be. He also noticed that baby elephants and their cuteness may not be available to future generations, if we continue to allow their habitat to be destroyed and their parents being hunted down and shot just for the ivory of their tusks.
That is why in December 2014, Kristoffer and some of his friends and partners organised a campaign to raise money the David Sheldrick Wildlife Trust. The campaign raised €3000, to be spent on care for orphaned.
As a follow up to that, on May 1st 2015, Kristoffer releases a single called Pass the Torch, to once again raise money to save and protect elephants. On this single, he is accompanied by a large group of Dutch, Swedish and English fellow musicians, who agreed to the cause and to submitting all profits made from the sales of the single to the wildlife trust.
The single itself is a 5 minute piece of somewhat surprising music. Kristoffer has a background in metal and progressive rock, but the opening of the track reminds somewhat of circus music, mixed with the jazzy piano of Paolo Conté (for those who know his 80s hit ‘Max’). After the intro, the song gets more of a somewhat jazzy rock feel, with the continued presence of Kristoffer’s organ and bass playing. This gradually develops into a multi vocal, slightly rock musical like piece.
Halfway, a short narration might have a familiar ring to it for Genesis fans (“It’s one o’ clock…”), after which female vocals and the accompanying music take us to what could be a fifties music performance, before the circus like music returns, this time including a youth choir in the background.
Musically, there are some more surprises to be found, but I don’t want to spoil the fun of discovery by doing a second by second description. Rest assured that it will be fun to listen to, and to discover the organ, the bass, the singing saw, the copper section, the cello and so on. Not exactly a hit parade song, rather a full blown mini musical about being more respectful to Mother Earth. This of course goes back to what I described in the introduction to this little review – killing animals for fun and financial gain only, and cutting down forests is not exactly the way to preserve the planet. As Kristoffer puts it in the lyrics:
“We need a way that we can show our brilliance.
To pass the torch as human race
Set an example for a brighter future, or we will stand for a big disgrace. ”
A great single, for an important cause. I’d suggest anyone interested in good music and the well being of our planet head over to Kristoffer’s web site (or CDBaby) and get this single in exchange for a donation of €1 or more. Kristoffer is also releasing an album in January 2016 (follow up to 2010’s RUST), which will not contain this single, there you have another reason to get it.
Line up
Kristoffer Gildenlöw – piano, electric piano, organ, bass, guitar, vocals
Those who know Steve Hackett‘s work also know the center piece of his 1979 master piece Spectral Mornings. On April 27th, so yesterday, a charity EP was released which contains four different versions of that track.
The first version is a re-recording of the track, with vocals (male and female) of the song, the second a piano version of the same. After these, a new rendition of the original follows, and the EP is closed with the classic mix, which stays closest to the original from 1979. Each of the four has its own merits, but played after one another they resemble a long, very enjoyable version of Spectral Mornings.
The EP is sold through Cherry Red Records, and as said, it’s a charity EP: all proceeds will go to Parkinsons Society UK, who are funding research into preventing and curing Parkinson’s Disease.
“Are you sitting comfortably? Then I’ll begin… This is a cautionary tale, and it concerns a man, a gifted man, living on an island made out of musical instruments….”
That could be the beginning of an album review for Tiger Moth Tales‘ album Cocoon, crafter by multi-instrumentalist Peter Jones. To be honest, it is the beginning of such a review now. As I write this review, I have heard the album quite a few times, but during the final listen before writing this, the hairs on my arms still stood upright during the closing track. That must mean something, so let’s have a look at what Cocoon is, and what it has to offer…
As said, this is an album by the English multi-instrumentalist Peter Jones. A blind musician at that, one who has to rely fully on his ears, and what that means clearly shows on this album, on which he sings, and plays keyboards, talkbox, guitar, saxophone, whistles, sarod, zither, melodica, bells and percussion. The drums are programmed and Mark Wardle plays flugelhorn, but everything else is done by this one man, who als wrote all music and lyrics. I mentioned before that one man bands are quite common these days (in my review for Steam Theory), and here’s another one that proves that this can actually work well when focus is on releasing an album.
So… Cocoon, I reckon the best way to describe this album is by calling it a trip into the world of Peter Jones, fan of Steve Hackett, Genesis, Big Big Train, Frost*, Haken and many more. A fan of the kind that writes and plays his own music almost in tribute to his favourites – his own Four Seasons if you will (short tracks named after the seasons interleave the songs on this album).
That shows in many ways on this very versatile album, that echoes both the sounds of the 70s and modern rock. The opening Overture is not so much an overture of the music on the album, as an overture of the instruments the man can play and who his inspirations are. There is a dark keyboard melody in there, followed by a saxophone solo and then wild keyboard work that (on slightly less modern instruments) might not have been out of place in the heyday of Yes and ELP.
The follow up The Isle of Witches, on which the intro to this review is based, starts with a narrative and is the followed by dark music – telling the tale of a war between witches and wizards over an island. A song that has organ pieces, vocal effects, and even a metallic mid section (somehow reminded me of something on the very first Ayreon album). A track that requires listening – not suited as background music nor as a lullaby – unless you want to provoke nightmares.
Tigers in the Butter is a 14 minute track that has every aspect of a 1970s epic in it – it consists of different musical movements, one rocky another based on a piano melody and yet another having an eastern feel to it. The lyrics are slightly absurd, but at the same time thought provoking (we live our live in fantasy), and sung in a style that has aspects of what Peter Gabriel and John Wetton did in their younger years. Another listener, that is followed by a great instrumental, The First Lament. Great for those who love guitar, and especially guitar in (at least to my ears) the style of Gary Moore‘s Parisienne Walkways or The Messiah Will Come Again. Peter has a knack for keyboards, but the guitar is a very close second, if not equal. The additional touch of the flute in the beginning makes it into a Tiger Moth Tale yet again.
And then… the fun really kicks in with The Merry Vicar, a happy track with folk and musical influences in the versus, but with a fitting, more rock oriented keyboard and piano mid section. The lyrics about a vicar using music and absurdism to spread the word of God are brought in an equally absurd way as the vicar would himself. To me, this clearly gets the message across that it’s only too human to take everything so serious.
With the vicar gone, A visit to Chigwick is our next stop, and it’s all about childhood memories. Chigwick doesn’t exist – except in the singer’s head, as he sings (even though the name resembles that of Chiswick in London ). In reality, the town is based on English children’s TV shows Trumpton, Camberwick Green and Chigley – the name being a combination of the latter two [Added this explanation after Peter explained it]. The song starts out folky. It even reminds me briefly of Dirty Old Town, if it weren’t a folk traditional song but a modern composition. The keyboard, guitar and bass work on this track are brilliant, and the build up from folk to full instrumental rock is absolutely wonderful (and yes, there is a melodica on this one…, and it fits too). It’s almost a pity it only lasts for just under 9 minutes. Almost, not quite though, because there is that one closing track remaining that made the hair on my arms stand up, some 800 words ago, remember? That track is called Don’t let go, Feels alright. If we talk about emotion and build up in a song, this one has it all. Starting with a musical box, it quickly moves to a piano piece on which Peter sings in a wonderful emotional voice, accompanied by strings where needed. Later on drums and more layered, choral vocals are added, but only after two superb instrumental sections, with saxophone, guitar and keyboard solos that make you wonder whether this is really a single man playing…
Looking at Peter Jones’ bio on his web site, he is no stranger to the music business – having been appeared on a BBC program at age 8, and being a performing artist in the duo 2 to Go (playing clubs and corporate events). However, what he does on this album is in a completely different league, and it is a shame this album is drowning in the attention paid to the new works of old names. Tiger Moth Tales should be, has to become, a known name at some point, but for the time being this album has every aspect in place of a cult classic.
And just to raise the hairs on my arm again, I include a video here, of Peter’s rendition of the Genesis classic More Fool Me (also to make up for not having posted a Track-of-the-Day for almost two weeks). Tiger Moth Tales and Peter Jones, two names to keep in mind.
Grey skies, feeling empty
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