Category Archives: Republic of Letters

Ultravox’s Rage In Eden, Revisited

Rage In Eden

In this post, Tad and Brad are joined by Kevin, as we assess the brilliance of Ultravox’s 1981 masterpiece, Rage in Eden.  By the way, Tad usually does these intros, so forgive me (Brad!) for making a mess of it.

Brad: Tad and Kevin, so very glad to be doing this review with you.  I have a feeling this will be a long one.  It was, I must admit, Kevin who really introduced me to Ultravox in the fall of 1986, our freshmen year at Notre Dame. I had, of course, heard of “Vienna” as a single, but I knew very little about the band.  

After telling him how much I loved progressive rock (especially Genesis, Kansas, and Yes), Kevin introduced me to Vienna (the album), Rage in Eden, Quartet, and Lament.  I must reveal–I feel deeply in love with all of them, but especially with Rage in Eden and Lament.  

At the time, Kevin mentioned to me that he loved the lyrics so much he hoped, one day, to write an entire book about “The Thin Wall.”  This notion, of course, caught my attention.

But, I must also admit that my love of Ultravox has been deeply personal, too.  I was a huge fan of Quartet, and I was listening to it when my wife and I drove to the hospital to deliver our fifth child way back in 2007.  She (our baby) died in childbirth, and I still can’t listen to that album.  I tried again, recently, and it only brought up terrible memories.  In a weird way, I say this as a compliment to Ultravox, as the music means everything to me.

Relatively recently, though, Steven Wilson has remixed and remastered Midge Ure-era Ultravox: Vienna; Rage in Eden; and Quartet.

Tad and Kevin, what do you guys think of Rage in Eden

Tad: Brad, I am looking forward to discussing this classic album with you and Kevin! I had just begun my junior year in college when it was released, and I still remember my jaw dropping when I first heard the urgent synth beat to “The Voice” fading in to full volume. 

By fall of 1981, I was totally immersed in British new wave music, and I loved artists like Thomas Dolby, Gary Numan, The Human League, Depeche Mode, ABC, Howard Jones… well, I could go on forever! Anyway, to my ears there was something that immediately set Ultravox apart, and Rage In Eden became an album that transcended its moment in pop history. I think what struck me the most was the warmth of their music, which arose from three elements: Midge Ure’s powerful baritone vocals, Warren Cann’s excellent drums, and Billy Currie’s violin. 

Other synthpop artists, like Gary Numan or Orchestral Manoeuvres In The Dark, could come up with killer hooks, but they also sounded cold and brittle. Ultravox had awesome synth lines that cracked and boomed, but underneath them was a human presence that lent their music accessibility.

Okay, I’ll stop for now and give Kevin a chance to jump in!

Kevin: Thanks Tad.  So glad to be a part of this discussion. I came a bit later to this Ultravox album.  I was intrigued by the Ultravox when I first caught the video for “Vienna” probably around 1982 or so. Not long after seeing it I found a copy of the album at Hogwild Records in San Antonio.  I was completely taken with the sound.  And shortly after that a musician friend suggested Rage in Eden.  Upon hearing Rage In Eden again today I had the same uncanny sense about it that I was so drawn to so many years ago. 

On the one hand, they are unmistakably a part of the early 1980’s oeuvre.  The synth sounds by themselves place them among the artists you mention, Tad. And I would agree that unlike Numan and OMD, Ultravox had a warmth and a power that was much more appealing. And Midge Ure’s theatrical way of writing really sets their music apart. The textures and the lyrics are very much about establishing a sense of place and story. It’s as if you’ve stepped into the pages of a novel and UV is providing the soundtrack. And his stories and vocal delivery are so compelling that even after so many years the music is remarkably fresh and engaging.

Another thing that struck me when listening to Rage in Eden again, was the guitar work.  The synths are clearly present throughout the mix, but it’s Ure’s guitar that really sets them apart from the schtick of the typical keyboard band. It’s the great blending of his angular phrasing and the sharp tone that shape the overall sonic impression. No doubt he and Edge (U2) were listening to each other, but Alex Lifeson and Geddy Lee of Rush were too. Ultravox was breaking new ground.

Brad: I’m in full agreement with you both.  I love the music on Rage in Eden and I also think it’s angular, but I must admit, it’s the lyrics that do the most for me.  Take the lyrics to the title track:

We sit and watch these lifeless forms
Stark and petrified
The high suspense of an empty stage drawing in clutching to its breast
With murmured words we sigh and focus on the main facade

Beyond the hard reluctant windows
News from magazines
We wrote their names on books we’d borrowed as if to bring us closer still
And threw it all away to focus on the main facade
Rage in Eden jigsaw sequence
But no-one could see the end

And they were the new gods
And they shone on high
Their heavy perfume on the night sucked them down in red tide
All is through the looking glass focus on the main facade
Rage in Eden jigsaw sequence
But no-one could see the end

Disciples of the new way
Portraits in the new sand
See when they run their longest mile holding caps in wet hands
Eyes upon them try to focus on the main facade
Rage in Eden jigsaw sequence
But no-one could see the end

These lyrics are simply astounding.  As many times as I’ve listened to this album since 1986, they continue to grab me, wrestle with me, and turn me into something pathetically receptive.

Or, even better, the lyrics for “The Thin Wall,” here with Bovine Grace!

The sound is on the visions move
The image dance starts once again
They shuffle with a bovine grace and glide in syncopation
Just living lines from books we’ve read
With atmospheres of days gone by
With paper smiles
The screenplay calls a message for the nation

And those who sneer will fade and die
And those who laugh will surely fall
And those who know will always feel their backs against the thin wall
The thin wall
Thin wall

Grey men who speak of victory
Shed light upon their stolen life
They drive by night and act as if they’re moved by unheard music
To step in time and play the part
With velvet voices smooth and cold
Their power games a game no more
And long the chance to use it

And those who dance will spin and turn
And those who wait will wait no more
And those talk will hear the word
And those who sneer will fade and die
And those who laugh will surely fall
And those who know will always feel their backs against the thin wall
The thin wall
Thin wall
The thin wall 

And those who dance
The thin wall
And those who talk
The thin wall
And those who sneer
The thin wall
And those who laugh
The thin wall
And those who know
The thin wall
And those who dance
The thin wall
And those who wait
The thin wall
And those who talk

Again, simply astounding.  Words that actually mean something.  Or, again, “Accent on Youth”:

What is this phase that I am going through
O these precious years
Please take my hand and let me breathe again
Young depressive tears

We stumble blindly chasing something new and something sinful
You take my time you live my life for me
What have I done to rate this penalty
You suck me dry
My body cries
We stumble blindly chasing instant thrills and lasting memories

Accent on youth
Attention 
Ascends on you

I scream with frustration and lost control
Open for the blows
My hands fall limp and hang down by my side
Take my soul and go
We stumble blindly chasing dancing lights and others’ wishes

Just let me close my eyes and slip away
Dream a dream alone
You give me just enough rope for the task
Let this man alone
We stumble blindly chasing silhouettes and vacant faces
So well rehearsed our moves once so graceful turn against us

We stalk dark passages, we’re looking for that sweet surrender
Just let me close my eyes and slip away
Dream a dream alone
You give me just enough rope for the task

Let this man alone
We stumble blindly chasing silhouettes and vacant faces
So well rehearsed our moves once so graceful turn against us
We stalk dark passages, we’re looking for that sweet surrender

After thirty-plus years of listening to these words, they still mean everything to me.  If I had to find a comparison, I would say that, at the time, only The Fixx were writing lyrics as beautifully wrought and perfectly written for the angular music they were producing.

Tad: Kevin, now that you point it out, of course Ure must have been influenced by The Edge in his guitar style! His choppy, rhythmic lines are very similar to The Edge’s, yet still original. And his solos are so good – flowing and ascending inexorably to a satisfying conclusion. His solo on “Death in the Afternoon” is breathtaking.

Brad, thank you for sharing the lyrics to these songs. As many times as I’ve listened to this album, I’ve never delved into them very far. To me, they always conjured an overall atmosphere of drive and energy, while sounding somewhat claustrophobic (and I mean that in a good way).

I love the way Rage In Eden is sequenced – for example, after the slow dirge of the title track, “Death in the Afternoon” bursts out with incredible energy. The music of that track is paradoxically life-affirming, given its title. And how about the transition from the album’s longest song, “The Stranger Within” to “Accent on Youth”? The former song is one long, relentless groove with subtle synth accents in the background that hypnotically lulls the listener into a relaxed state, until the rapid beat of “Accent on Youth” ups the energy again with a beautiful melody sung with pure joy by Ure. That transition might be my favorite moment of the album. 

However, I can’t pick a favorite song, because each one hinges on the next to create an organic whole. I think Conny Plank deserves a lot of credit for the frankly beautiful sound of this album. There is a depth to the soundstage that reveals new and delightful details in the mix. At times it is a massive wall of sound (“The Voice”), and at other times it is a wide-open space, (“Your Name Has Slipped My Mind Again”).

One last point I’d like to make – the album art is some of my all-time favorite. Peter Saville, who also worked with New Order and Factory records, came up with a gorgeous art deco style for Rage In Eden that complements the music perfectly. (See above) It looks sleek, modern, ancient, and classical all at the same time. Due to legal issues, his artwork that graced the 1981 vinyl version wasn’t used on a couple of reissues, but Chrysalis has recently reissued a 5 CD/DVD version that has the original art. 

Brad: Tad, you’re most welcome!  Good lyrics mean everything to me.  So glad to know there are good writers out there.  Ultravox is definitely among the best when it comes to words and lyrics.  If, as Kevin said, the guitar is angular, so are the words and images the band presents.

And,Tad,  I agree with you regarding the organic whole.  Every song relies on every other song.  A definite completeness to Rage in Eden.

Kevin, I hadn’t thought about The Edge getting his sound, in part, from Ultravox.  But, as you pointed out, we do know that Rush was influenced by Ultravox.  You can really hear it on “Vital Signs” on Moving Pictures and really all of Signals.

Kevin: I don’t doubt their influence on other bands and songwriters of the time. Ure didn’t invent the chopped chord technique—reggae and ska were everywhere in the English scene—but he brought into it his own colors within the context of the atmospheric keyboard parts.  That blend IS the UV sound.  And he was also working more with minor chords and almost jazzy voicings.  That along with the mostly dry engineering, creates a sort of cubist tapestry.

Which is what makes the final track so striking.  “Your Name Has Slipped My Mind Again” is drenched in reverb, echo, and sustain.  It’s like a freeze frame at the end of an intense film but the credits don’t flow.  Instead, it continues for four-and-a-half  minutes frozen in time. None of the parts are synced until the refrain is sung. And then all you can recall of the lyric is the title line and the passionate “oh ohs.”  

Which brings me back to the dramatic nature of the writing. He places you in a narrative that leaves you wondering, yet there is a clarity to the storyline.  It’s not all smoke and mirrors—or Duran Duran-y drama for drama’s sake.  As it concludes you have the distinct feeling that you’ve arrived somewhere with the narrator: somewhere quite mysterious, yet beautiful.

And this cinematic sensibility (which begins with the arrival of Midge Ure on Vienna (1980)) has Ultravox creating great art and continuing the development of progressive rock.  They pick up where Yes’s Drama (1980) leaves off and take the genre somewhere utterly new.  Though at the time of the release of Rage in Eden Chris Squire and the boys were working on their own new band, Cinema, (which eventually drew in Jon Anderson and morphed into Yes’s 90125) theirs was more of radio-friendly rock. Concurrently Genesis was heading into similar territory with Abacab and Genesis (1983). Ultravox, along with a handful of other like-minded groups, were much more the avant garde creativists and the real inheritors of the progressive rock aesthetic. Less than five years after the release of Ultravox’s Lament, Talk Talk would release their post-rock masterpiece Spirit of Eden.

Which reminds me—I’m glad that you focused in on the lyrics, Brad.  Because there is something so compelling about Ure’s writing and the way he brings his sensibilities to each subject. There is a unique sense of place for each individual track on Rage in Eden. If you examine the tracks carefully in sequence you’ll notice that each one has either a slightly or sometimes greatly differing cadence.  Which leads to another striking element on the album—the variety in the groove.  Even though three of the tracks share a close tempo it’s never in sequence and the other six tunes are quite varied.  

It’s interesting, Tad, that you mentioned the transition between “The Stranger Within” and “Accent on Youth.” Rage in Eden really shines in those transitions—like scene changes. 

And remarkably, despite it being a classic New Wave album, it’s clear that at least the final track was recorded without a click track. The tempo imperceptibly varies a great deal—as much as 7bpm faster and slower and in that ethereal space. Yet Ure’s vocal, the drum, and the keyboard are pretty tightly in sync after the intro. Which makes it likely that at least these main parts were recorded live in the studio and not overdubbed. Coming on the heels of the incredible ascending key modulations at the end of “Accent on Youth” (one of my favorite musical moments on the whole album), into the great violin solo called “The Ascent”, then the cascading piano and the revved-up glissando at its culmination and suddenly…it cuts off into an echoing gunshot.  The variability in the final track’s tempo along with the removal of the rhythmic pulse casts the listener into space—adrift—off a cliff and in descent.  It’s one of the most powerfully visual moments on the whole record. A riveting  conclusion to the whole album.

Tad: Beautiful insights, Kevin! Midge Ure himself would agree with you; he is quoted as saying, “I think ‘Rage in Eden’ was always one of my favourite albums. There’s a starkness about it, an austere, mystical distance, a coldness to it but a coldness that kind of works.”

I think with that, we can bring our celebration of Rage In Eden to a close. Even though it didn’t chart above 144 in the US, it had a huge influence on the New Wave music scene internationally. I hope our conversation has given Spirit of Cecilia readers some incentives to check out this classic work from the early 80s! 

Here is the official video for “The Thin Wall”:

Magenta’s Robert Reed and Camel’s Peter Jones join forces once again with new Cyan album‘Pictures From The Other Side.’

Alongside Luke Machin and Dan Nelson, the second Cyan album will be released on Nov 17th 2023. 
Video for “Broken Man” out now!
Keyboardist and composer Rob Reed, known for his work with Magenta, Kompendium and Sanctuary solo albums, has once again joined forced with Peter Jones, along with Luke Machin and Dan Nelson for a new Cyan album titled Pictures From The Other Side. The second album from the resurrected project is due out on the 17th of November 2023. The new album contains 6 songs, including the epic 17-minute track ‘Nosferatu’. The CD is accompanied by a DVD with a full 5.1 surround mix of the album and a live acoustic performance of songs from the previous album For King And County.
 
 Watch the video for the album’s opening track “Broken Man” here:
https://youtu.be/ndR-KT3i6Kc?si=tefp9XicW_0w3qKg 
 
Pre-order Pictures From The Other Side here:
https://tigermothhosting.co.uk/CYANCD2023/
Cyan was originally formed by Robert Reed (Magenta) when in school, back in 1983. After recording some demos at a local studio, the band went their separate ways. Years later, those demos led to the release of ‘For King And Country’ on the Dutch SI music label. It was the first of three Cyan albums released in the 1990s before the project was shelved and Rob went on to form Magenta.20 years later Rob Reed, along with a killer line-up, decided to brush off the cobwebs and successfully release a completely re-worked version of the ‘For King And Country’ album.  Cyan has since performed at the 2023 Night Of The Prog festival in Germany, and at the 2022 Summers End and Fusion festivals in the UK.
 
Rob Reed:
“I remember that the first Cyan album ‘For King And Country’ was written when I was still in school with a band I formed with some school friends. After I left school, we went our separate ways and it was several years later that I was approached by the record company. After the success of the first album, they wanted a follow-up so I wrote new material for what became ‘Pictures From The Other Side.’ It was more song-based, but included a couple of long epics. 
 
Obviously, I was influenced by the classic Prog of Genesis and Yes when writing this originally, but I was also listening to a lot of other bands of the time like It Bites, Simple Minds and Marillion. It’s been great to finally hear this material played by this line-up, it’s a completely different album. Re-written, re-recorded and re-arranged. Hopefully, I’ve brought to the album, everything I’ve learned in my career.
 
Pete Jones:
“It’s a joy to be involved in the ongoing resurrection of the Cyan canon and the vision Rob has for these new interpretations. As a vocalist, there’s so much to work with on the new album, with epics like “Broken Man,” which really let me dig deep into my inner Genesis prog vocals. The title track has some great hooks, as does the rest of the album. Tracks like the dark but beautiful “Solitary Angel,” and the vampire world of “Nosferatu,” really call for some vocal gymnastics where I can stretch myself and really go for it. Then there’s “Follow The Flow,” which is just gorgeous. As with all Rob’s stuff, it’s the feeling and emotions which are key to the whole thing. I hope I’ve managed to do my bit with the vocals.

We’ve now got a few gigs under our belt, including the recent fabulous time we all had at Night Of The Prog in Loreley. That was a real highlight of the year for me. The live band is sounding really great, with Luke, Dan, Jiffy and the man himself Rob Reed all at the top of their game. As well as doing the vocals, I play sax and whistles, and rhythm guitar which Rob asked me to do in a moment of madness. Ha-ha. All being well, we’ve got some rather special shows in the pipeline for next year. So I’m looking forward to the album coming out, and taking it to the stage!”
 
CD tracklisting:
1- Broken Man
2- Pictures From The Other Side
3- Solitary Angel
4- Follow The Flow
5- Tomorrow’s Here Today
6- Nosferatu 

DVD consists of:
Full album in Dolby Digital and dts 5.1 surround
Promo videos
The Quiet Room session (live acoustic performance)
1- I Defy The Sun
2- Don’t Turn Away
3- Call Me
4- Man Amongst Men/The Sorceror
5- Snowbound
6- For King And Country Pre-order ‘Pictures From The Other Side’ here:
https://tigermothhosting.co.uk/CYANCD2023/
Cyan is:Robert Reed
(Magenta / Kompendium / Sanctuary / Chimpan A)

Peter Jones
(Tiger Moth Tales / Camel / Francis Dunnery’s It Bites)

Dan Nelson
(Godsticks / Magenta)

Luke Machin
(Maschine / The Tangent / Karnataka / Francis Dunnery’s It Bites)
Magenta/CYAN/TigerMothTales Website
https://www.tigermothshop.co.uk/

RE :Israel’s Challenge in Responding to a Brutal Surprise Attack

By David Petraeus and Andrew Roberts

Oct. 12, 2023 1:00 pm ET

“The U.S. may now be less interested in Islamist extremists than in China and Russia, but that does not mean the Islamist extremists have lost interest in us. Their lust for blood is undiminished. As soon as they have an opening, they will strike. “

ABSOLUTELY TRUE. THIS IS TRULY THE LONG WAR and the CLASH OF CIVILIZATIONS.   
Putin will die, sooner or later, and become a footnote in history.  Russia will recede into the sick man of Europe that it is.
But HAMAS hopes to become MARYTRS for the ages -and who knows they might be.   Like a poisonous weed, it will be difficult to extirpate them entirely.   
 Remember the enemy is within -PALESTINIANS have emigrated all over the world.
All we can hope to do is cull the herd periodically IMHO.
But I would place my money on the Jews -they are smart, brave, rich, and united. They have many many friends and admirers. 
ISRAEL HAS ENDURED AND WILL ENDURE.
 So many Empires oppressed the Jews and they are all in the trash bin of history now.
WHY?   
Because MONEY and POWER are not enough and because WISDOM is superior to terror and GOOD WILL TRIUMPH OVER EVIL.   
HAMAS IS EVIL.
PRAISE THE LORD and pass the ammunition. 
We are going to need plenty of both if we (Western Civilization) are going to survive this century.    If we are wise we will have plenty of both.   
JUSTICE WITH COURAGE as a Jew taught me IS WORTH TEN THOUSAND MEN.
great article.  INFORMATIVE, SOBER and WISE!  

RICHARD K. MUNRO Oct 12 2023

ON SHAKESPEARE

(MATTHEW ARNOLD)

MATTHEW ARNOLD

“Others abide our question. Thou art free.

We ask and ask—Thou smilest and art still,

Out-topping knowledge. For the loftiest hill,

Who to the stars uncrowns his majesty,

Planting his steadfast footsteps in the sea,

Making the heaven of heavens his dwelling-place,

Spares but the cloudy border of his base

To the foil’d searching of mortality;

And thou, who didst the stars and sunbeams know,

Self-school’d, self-scann’d, self-honour’d, self-secure,

Didst tread on earth unguess’d at.—Better so!

All pains the immortal spirit must endure,

All weakness which impairs, all griefs which bow,

Find their sole speech in that victorious brow.”

Shakespeare, Matthew Arnold

On the estranged friend who calls or writes not

By Richard K. Munro

TRUE FRIENDS NEVER PART ALL TOGETHER

We try to stay connected with friends. You hear an old friend with whom you have fallen out of close contact is seriously ill. You write to him and give him your phone numbers and email and tell him to call or write any time. You offer up a prayer for him and his family. But the rest is silence. Only God knows the reason.

Of course, it is sad to realize I cannot connect with some good friends except via prayer because they are dead.

No more contact is possible this side of paradise.

Classmates I knew in school are dead.

Some died in their 20’s, in their 30’s , in their 40’s some in their 50’s.

My next-door neighbor -a close acquaintance of 20 years but I considered him a friend. He was a really nice guy. He was only 62 younger than I. We are going to his funeral next week.

Three of my really close friends were killed in car accidents by drunk drivers. Two of them were killed within walking distance of my house. I don’t even like to drive that way anymore because that corner has bad associations.

Yes, who can know? Perhaps that person who doesn’t communicate is depressed or embarrassed or just doesn’t care. SCIRE NEFAS ..it is forbidden to know all. Not all can be known.

It is sad of course to be rejected by people but relationships are a two- way street.

Corresponding is difficult but picking up the phone is easy but it is also intimate. Some people don’t want to open up or give answers. So all you can do is be prepared to accept their phone call IF they call. I know someone I cannot call any longer because it is painful. The last four or five times I called that person just BANG hung up on me. So I will never call again. That was almost ten years ago.

All one can do is do the right and humane thing. Then offer up a prayer for our friend of yesteryear.

Many of the men I knew in school and in the Marines are gone -dead.

In 1976 a Sea Knight Helicopter crashed in Quantico and 23 Marines were killed. I didn’t see the crash but I saw the bird take off. The weather was turning bad so our Company Commander said -people grumbled- we would walk back to camp over 20 miles. We arrived when it was almost dark dirty and hungry. But that’s when we found out that one of the previous birds went down.

When on liberty on the USS Trenton there was a collusion and dozens of Marines were killed. I could have been on either one of those trips.

But when the door is closed, when the mail doesn’t arrive, when the phone doesn’t ring when the email box is empty all one can do is pray.

Some people are friends when it is convenient or useful or when they’re coworkers.

Some people are just ships passing in the night. Some signal and some go quietly by.

If one has a single true friend or a single loved one for any period of time one should be grateful. I think I have been luckier than most though less fortunate perhaps than many others.

But I am not jealous.

I am just grateful for the love and close relationships I have known.

And I am thankful for the great classics -the Bible, Shakespeare, Dante, Horace, Cervantes. In my retirement I have plenty of sun, plenty of quiet, baseball on the radio, plenty of music and plenty of books. I have enough money to be generous to our grandchildren -we are blessed to have them- and visit them from time to time. I don’t have the resources or the stamina to travel all over the world but I am very grateful that from 1961-2005 in particular I had the chance to visit many states and provinces and many countries in South America, the Caribbean ,and Western Europe. Next week I will have a chance to visit -again-Washington DC a city which I have visited dozens of times. I spent a year at the University of Virginia so I have seen most of the principal sights. But mostly I will enjoy seeing friends and remembering friends and loved ones. As Thomas Moore sang in the Meeting of the Waters.

Yet it was not that nature had shed o’er the scene
Her purest of crystal and brightest of green;
‘Twas not her soft magic of streamlet or hill,
Oh! no, — it was something more exquisite still.

‘Twas that friends, the beloved of my bosom, were near,
Who made every dear scene of enchantment more dear,
And who felt how the best charms of nature improve,
When we see them reflected from looks that we love.

Many years ago at the old 1407 Club Club in New York City (now long gone) my father and I met the tenor James McCracken. He had just released an album of Scottish and Irish songs -The Meeting of the Waters. He had finished his dinner and generously offered that we finish our coffee with him. My father, in particular, knew his work very well and had seen him perform at the Metropolitan Opera. But we talked about why he made his Scottish-Irish album and he said he had listened to McCormack, Frank Paterson and Kenneth McKellar his entire life and he loved the traditional and popular songs. He said it was important, he believed to cross over from classical to popular music. It was a nice moment. He loved being with genuine fans of his music We loved spending some time with him. From then on when I hear this song I remember my father and James McCracken. But also Thomas Moore and the sentiment of his poem.

THE MEETING OF THE WATERS (IRISH SONG)

My father had been a fine athlete in Scotland (winning a medal for best goalie in the city of Glasgow for his level youth team). But in America, he working at several jobs -almost full-time year-round – from his 12th birthday. So he had no time for sports. He turned ALL of his money to his mother and she would give him 25 cents for the subway and a Saturday movie


My father played on a legendary and ill-starred Football (soccer) team called the St. Anthony Ants of 1924-1925-1926-1927 when they were the champions every year or close to it.

The Ants first ground was a public park situated beyond the southern end of Hamilton Street (now Nethan Street) in Govan (South Glasgow.. It was a humble grass soccer field. It was unenclosed -cold and wet in the winter and had no pavilion, so the players had to change in the League of the Cross Hall in Hamilton Street.

Father Collins (parish priest of St. Anthony’s)and Bishop Donald Macintosh were both avid supporters of the team and helped the boys get shoes and equipment. Both men had studied at the Scots College (then at Valladolid, Spain and in Rome). Both were avid linguists and could speak Italian and Spanish as well as Gaelic, Scots and English. My father loved both men and they were friends of Uncle Johnny Dorian (his fourth-grade teacher and later headmaster of St. Anthony’s.). My father called him Uncle Johnny but he was really my grandmother’s sister’s son so my father’s cousin.

Father Collins married his parents, baptized my father on March 17, 1915, was at his first communion. Father Collins had a very strong influence on my father and his mother, brother and sister visited the Dorian household often and Father Collins and Bishop Macintosh were frequent visitors. My father, his family, and Johnny Dorian and his daughters and the Bishop would listen to recordings of Caruso and John McCormack, chiefly Italian opera but also English, Irish, and Scottish songs. Father Collins and Bishop Macintosh later became close friends with Father Sidney MacEwan, also of Govan and later a successful recording artist. When McCormack died MacEwan was by his side and sang to him the Highland song ISLAND MOON.

I believe my father’s love of languages and classical music, particularly opera began with those Sunday dinners in the 1920s. The legendary great years of the ill-starred ANTS:

Scottish Junior League Victory Cup Winners 1918/19, 1921/22
Glasgow Junior Cup Winners 1918/19, 1921/22,
Elder Cottage Hospital Charity Cup Winners 1923/24,
Scottish Junior Cup Runners-Up 1918/19, 1924/25

Why such a tragic team?

Because so many of their fathers had been killed in WWI and many of my father’s teammates were later killed themselves in WWII many at Dunkirk with the 51st Highland Division, North Africa, and Normandy.

Some died in Nazi slave labor camps. One of the few times I saw my father weep in public was when we went to the Scottish National War Memorial in Edinburgh in 1967. There was THOMAS CRAIG (Cameronians/Scottish Rifles) 4 Dec 1942 (North Africa) KILLED IN ACTION. His teammate and very best friend.

PATRICK QUIGLEY KILLED 10 October 1943 (HLI -Highland Light Infantry -his teammate and cousin)

Many of his Quigley kin had been killed in the Argylls or HLI in the First World War. There was also his “Uncle Johnny” (or American Johnny) Robertson his father’s best friend who had returned to Scotland in 1938 to retire. He was killed in the Glasgow Blitz -6 May 1941. I still have books that belonged to Robertson that he gave my father in 1938, Shaw, Kipling, and Burns. My father as he saw name upon name began to cry uncontrollably. I was frightened.

But I always remember the Scottish people there were very kind and sat with my father and talked to him and comforted him. My father said, “If I hadn’t come to America in 1927 my name would be in the books next to theirs. It was rifles against tanks and they didn’t have much chance. They were always in the front lines in the thick of the fight.” It left a strong impression on me and when we had teas and Empire biscuits afterward he spoke Johnny Robertson and his friends and kinsmen. Immigration had been good for my father but also had caused him personal suffering, pain ,and loneliness. My father always wanted to be an American but knew he was partially a permanent exile. In 1967 my father pointed out the Boer War memorial that that been bomb damaged on 6 May 1941 in Kelvin Grove Park. When I am Glasgow I always go back to visit that spot if only for a few moments. REMEMBRANCE.

When my father graduated from high school, his grandfather, Jos Munro, his mother, his sister Johnny and his father and his cousin Jimmy Quigley were there. My grandfather gave my father five coins (coins I still have)One is a British Penny (1881) given to my grandfather when he went to sea when he was eight years old. It was all the money he had and his mother said, “Never spend it unless your life depends upon it. Naebody can every say Tommie Munro is penniless. ” He did not see his mother or family for eight years but he held on to the penny virtually his only possession.

Three of the coins were American silver dollars dating from the 1890s and 1920s. These were actual dollars his father and grandfather had earned as a worker in America. The last was very special; it was an English 1918 silver half-crown that my grandmother had sent my grandfather and he kept in his left tunic pocket in his missal. She gave him one for 1914, then another for 1915, then another for 1916, then another for 1917, and the last he had his pocket for Armistice Day 1918. When he returned to Scotland in May 1919 he turned it over to her and it was one of her prized possessions until her untimely death on March 7, 1942. She never saw the Allied victory nor her sons come home from the war. My father gave the missal and the coins to me after my mother died in 2001 and told me the story.

Ne obliviscaris -do not forget.

Mary Munro, the Missal and two of the coins.

SONNET 30

When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time’s waste:
Then can I drown an eye, unus’d to flow,
For precious friends hid in death’s dateless night,
And weep afresh love’s long since cancell’d woe,
And moan the expense of many a vanish’d sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o’er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restor’d and sorrows end.

Look At The Flower Kings Now!

Flower Kings look

Welcome back, Spirit of Cecilia readers! In this post, Brad Birzer and Tad Wert discuss the new album from the Flower Kings, Look At You Now.

Tad: Brad, I know the Flower Kings are one of your favorite artists in music. They certainly are prolific – when they release an album, it’s usually a double-length one. Look At You Now clocks in at a relatively modest (for them) 67 minutes.

I’m not as big a fan of them as you are, but I certainly respect their talent. That said, I have to say that this album is really attractive to me. It seems more focused and energetic than previous releases. Right off the bat, “Beginner’s Eyes” is a song I bet Yes wishes they could produce these days. It’s majestic and inviting at the same time.

Brad: Dear Tad, you wrote this over a week ago, and I’m just now getting to it.  I’m so sorry, my friend.  It’s been crazily busy here, but not busy enough to warrant such neglect.  

Anyway, I’m so glad you’ve introduced us to the new Flower Kings album, Look at You Now.  I first came to the Flower Kings back in the year 2000.  A student (now a beloved colleague in the philosophy department)  leant me his copy of Flower Power, and I was utterly gobsmacked.  I couldn’t believe how nuanced the album was on disk one (the Flower Kings rarely do anything short), and I loved the “b-sides” of disk two.  From there, I worked backward and found my way through the band’s entire catalog.  

For twenty-three years now, I’ve been fully immersed in everything Roine Stolt (the founder of the band) has done–from the Flower Kings to Kaipa to Transatlantic to The Sea Within to Agents of Mercy.  The guy is astoundingly relentless and talented.  I’ve even tracked down and purchased–for my personal collection–Flower Kings rarities, all of them beautiful.

The latest album, Look at You Now, is much more laid back than I would’ve expected from the band.  If you look at something like Space Revolver (my favorite album from the band), the band is nearly unrestrainable.  But for this new album, the band is confident in its mellow state.  Even its mellowness, though, has a nice intensity to it.

Tad: Brad, I find it interesting that you characterize Look At You Now as laid back – my first impression was that it had more fire than usual! However, I haven’t heard Space Revolver, so I don’t have the same history to compare Look At You Now to that you do. As I mentioned in the intro to this post, I think “Beginner’s Eyes” is a great song that outdoes anything Yes has recorded in years. Stolt’s guitar really stings in his solo. Another song I found immediately appealing is “Scars”, with its gritty, bluesy intro and infectious groove it lays down. Once again, Stolt’s guitar work is outstanding (assuming he’s the lead guitarist here); the entire song reminds me of something Eric Clapton might have produced at his peak. 

I also appreciate the fact that almost all the tracks on this album are relatively short – more than half are under five minutes. Maybe it’s my age, but I’ve lost patience with songs that meander without resolution for more than six or seven minutes. I have a friend who went to a Phish show a couple of nights ago, and he said he had to leave after the first three songs took 45 minutes! Neal Morse is one of the few artists who can hold my interest over a long period of time; most others, not so much. Okay, rant over – as I said, I think the Flower Kings have done a great job paring every song on this album down to its essentials, and I think that makes for a really strong album overall.

Brad: Tad, thanks so much for a great response.  I love the rant.  I must admit, though, I’m a guy who likes meandering in my music.  Phish playing only three songs over forty-five minutes sounds wonderful to me.  I’m guessing I would’ve been immersed in the experience.

As to The Flower Kings, this new album is definitely a surprise, especially given the shortness of the songs.  But, I very much appreciate and like what the band is doing.  I think you’re absolutely right, any band–Yes or The Flower Kings–should be proud of a song like the album opener, “Beginner’s Eyes.”  What a delight it is.

As much as I love the dual vocals with the Flower Kings, I also especially like the instrumental passages, and one of my favorite tracks is “Dr. Ribedeaux.”  Despite the absence of lyrics, I think this song has the most classical Flower Kings feel to it.

I also love that The Flower Kings are willing to wear their influences so openly.  Obviously, “Mother Earth”’s introduction sounds like something Brian May of Queen might have done, and much of the album has a Yes fan–as you were implying above.

And, Tad, before we close this review, I must encourage you to listen to Space Revolver.  It’s most certainly a top 15 prog album for me.  It’s wacky and gorgeous, all at the same time.

Regardless, I’m so glad to have The Flower Kings in the world.  Roine Stolt is my favorite viking hippie!

Tad: Brad, I love “Sr. Ribedeaux” as well! A great instrumental workout. In sum, I think Look At You Now is a worthy addition to the extensive Flower Kings catalog. In my opinion, one of their best, and well worth checking out if someone isn’t familiar with their work. And I promise to give Space Revolver a listen – you have yet to steer me wrong with your music recommendations!

VIN, Baseball, Auld Pop, my Dad and Me.

by RICHARD K. MUNRO

(SEPT 26, 2016)

So today was Vin Scully’s last game ever at Dodger stadium and there was a thrilling extra-inning game won by a clutch homer by Charlie Culberson. I wish my father and Auld Pop could have been here to enjoy it with us!

My cousin Helen Munro (born 1943) was discussing how she lived to keep score at home with Auld Pop and listening to Red Barber and then Vin Scully. She went many times to Ebbett’s Field as did my parents but I went only once (in utero in August 1955 (see my mother’s ticket below!)

My grandfather came to love baseball with his friend “American” Johnny Robertson and they saw many big league games and Texas league games together in the 1920’s and 1930’s. I know also they played shinty while with the Argylls in Greece and on at least one occasion played baseball with Canadians and Americans (while wearing kilts!!!).

To the left of my grandfather THOMAS MUNRO Sr. you can see AMERICAN JOHNNY ROBERTSON and to his right a very young boy his nephew JIMMY QUIGLEY

Auld Pop, it is said had quite a wallop. So I know he played the game in America probably pre 1910 and certainly in the 1920’s when he was in his early 30’s.

I know his favorite player was Zack Wheat and Wheat played for the Dodgers in the 1910’s and 1920′. Auld Pop’s favorite players were Wheat, Duke Snider (he passed on an autograph) , Jackie Robinson, Johnny Podres and Gil Hodges. He saw the Yankees play many times (he always rooted against them). He saw Bob Feller no-hit the Yankees and Joe Dimaggio in 1946 and some years ago my son and I met Bob Feller in Bakersfield and had a nice talk with him (he signed our books and memorabilia for no charge)

So Auld Pop saw many great moments at Ebbets field and even lived long enough to see them on color TV in 1959 and in April 1962 at Dodger stadium. So my father and Auld Pop saw (and met in person at the ballpark and in Brooklyn many Dodger players many future Hall-of-Famers).

But Auld Pop could only go to so many games; he followed the Dodgers on the radio day to day with Red Barber (up to 1953) and later Vin Scully and by reading the Daily News and Red Smith in the Herald Tribune.

But Vin Scully played a very important part of Auld Pop’s life.

One curiosity that my cousin told me about this past week is that Auld Pop would NEVER go to July 4th games or celebrations. He would stay home by himself and listen to Scully and Barber on the radio. he would retreat to my father’s cellar den which he called his dugout or bunker. It was soundproofed. He would sip on beer and Four Roses whiskey and smoke. He just couldn’t stand to hear fireworks or the noises of firecrackers and cherry bombs. My cousin Helene Munro -Auld Pop called her Buntie- said the noise made him very anxious and sometimes even give him uncontrollable tremors. She remembered seeing him on the edge of his bed, shaking and she would (she was just a girl at the time) say she would stay home with him and she ladled whiskey into him and held his hand until he calmed down or fell asleep. But listening to baseball was calming to him and he taught Helene and my father the basics of the game and how to keep score.

He used to read to me Red Smith articles just as much as comic books or the Bible and he used to show me the intricacies of the box score. One of my favorite books was the classic MY GREATEST DAY BASEBALL.

This was a gift from Auld Pop, December 25, 1959. After he died my father read it to me also. I still have my copy.
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I was thrilled that Auld Pop had seen so many greats players. Both my father and Auld Pop read the book to me. It was a gift from him for Christmas , 1959. After he died I cherished that book like I cherished his collection of Scottish records.

Life was tough on Auld Pop. He suffered the loss of many friends and loved ones and was lonely at the end of his life -he was the last surviving member of his squad, his company and his Regiment. He suffered the loss of the Dodgers when they left Brooklyn. But he always had baseball in the newspapers and on the radio.

Even on the 4th of July when he huddled alone or with my cousin in “the dugout” or “Jaja’s Bunker.” On those days, listening to Vin Scully, my cousin said Auld Pop would not drink to excess and even laugh and joke and tell stories. My cousin Buntie (little Button) and I were very close to Auld Pop as some of you know. As a little boy, I had no idea how his entire life had been an odyssey of survival and a veritable journey of the cross. Later I learned more. He went to the Western Front in January 1915 and at 2nd Ypres suffered 36 continuous days of vicious combat , ambushes and bombardment. For a few days he was missing in action in No Man’s Land doomed to death or a fate as German POW. But the Leal n’ True men and the Dins -led by American Johnny Robertson came to his rescue. So he survived.

And thanks to them my father, my cousin, my mother my sisters and I could enjoy so many great moments with Auld Pop. And some of the best were at the ballpark, with the newspaper and with Vin Scully and the other announcers on the radio (at later TV but in those days there were few games on TV).

Baseball was a very soothing hobby and pastime for Auld Pop and the sweetest cream was the dulcet voice , good humor and conviviality of Vin Scully whom my grandfather would see sometimes at a distance in Mass on Sundays in Brooklyn.

Vin always went to Mass with his mother and father and I think my Auld Pop told my cousin they would go Saturday night or Sunday morning. My Auld Pop -so my cousin told me- very much appreciated Vin’s salute to veterans on Memorial Day etc. And on the 4th of July when Auld Pop dare not leave the house there was Vin Scully “It’s time for Dodger baseball!

and

“Hi, everybody, and a very pleasant good (afternoon/evening) to you, wherever you may be.”

Next Auld Pop and Johnny Robertson, Vin Scully was the most beloved “legendary” heroes. He was the Bard of Brooklyn, and Irish Minstrel. He was the voice of the Dodgers and the voice of Baseball. Vin Scully was truly the Babe Ruth of sports broadcasting. Thanks for so many great memories as the announcer of so many games and six World Series.

Ne obliviscaris. Do not forget. You meant so much to veterans and disabled people who weak in limb and endurance could not go out as freely as they might have wished. You were their best friend and better than any whiskey or doctor or pill.

I close with some great Scully moments: It’s a mere moment in a man’s life between the All-Star Game and an old timer’s game.

During the 1980 Major League Baseball All-Star Game held at Dodger Stadium

It’s a passing of a great American tradition. It is sad. I really and truly feel that. It will leave a vast window, to use a Washington word, where people will not get Major League Baseball and I think that’s a tragedy.

(At the end of the last NBC Game of the Week, October 9, 1989).

Ah, yes, baseball is an acquired taste and it has to be taught and savored.

***

Scully: A little roller up along first; behind the bag! It gets through Buckner! Here comes Knight and the Mets win it!

Famous call from Game 6 of the 1986 World Series

***

(Roberto) Clemente could field the ball in New York and throw out a guy in Pennsylvania.

I saw Clemente play many times; hyperbole but almost the truth! Of course, he would have to be playing on the border!

***

And to me his most legendary call.

I heard this recording at the Hall of Fame with my father. My cousin (living in LA at the time and keeping score) heard it live.

This is from the radio transcript of 1965. This is Vintage Vin:

” It is 9:46 p.m.

Two and two to Harvey Kuenn, one strike away. Sandy into his windup, here’s the pitch:

Swung on and missed, a perfect game!

(Crowd cheering for 38 seconds)

On the scoreboard in right field it is 9:46 p.m. in the City of the Angels, Los Angeles, California. And a crowd of twenty-nine thousand one-hundred thirty nine just sitting in to see the only pitcher in baseball history to hurl four no-hit, no-run games. He has done it four straight years, and now he caps it: On his fourth no-hitter he made it a perfect game. And Sandy Koufax, whose name will always remind you of strikeouts, did it with a flourish. He struck out the last six consecutive batters. So when he wrote his name in capital letters in the record books, that “K” stands out even more than the O-U-F-A-X.”

Word-for-word transcription of Scully’s call of the ninth inning of Sandy Koufax’s perfect game on September 9, 1965.

***

There is only one word for Vin Scully: INVINCIBLE. Thanks for 67 years of companionship and laughs and much simple happiness and joy. We will miss you, Vin Scully and we will never forget you.

You will remain an American and a Dodger and a Baseball legend.

Ave et vale. Hail and farewell.

Or as they say in the Irish “slan leat gu brath!”

Steven Wilson’s The Harmony Codex

Harmony Codex

The always intriguing Steven Wilson has a new album coming out September 29: The Harmony Codex. Brad Birzer and Tad Wert share their thoughts on this new work by one of modern music’s most gifted artists.

Tad: Brad, I think you’ll agree with me that one thing we can expect from Steven Wilson is the unexpected. When he was in No-Man with Tim Bowness, he created an interesting amalgam of ambient/techno/pop that was unique. As the leader of Porcupine Tree, he spearheaded the resurgence of progressive rock in the 2000s that wasn’t afraid to pay homage to the “dinosaurs” of the ‘70s like Pink Floyd, Genesis, Emerson Lake and Palmer, and Yes. His solo career has been a rollercoaster ride – which I have enjoyed – where he has produced music in practically every style. I think he has deliberately worked to escape being pigeonholed as a “Progressive Rock” artist, and he asks his fans to simply appreciate him for his music, whichever mode it happens to be.

Which is my long-winded way of introducing our thoughts on his latest work, The Harmony Codex. The first time I listened to it, I wasn’t particularly struck by any song, as I immediately was with his earlier album, To The Bone. But then I listened again, this time with headphones, and holy cow! This is an amazing album. It really came alive when I heard the songs in the soundstage Wilson has crafted.

Brad: Tad, thanks so much for staring us off on this conversation.  As always, my friend, it’s an honor to talk music with you.  

I have not yet listened to The Harmony Codex with headphones.  What an excellent idea.  Maybe tonight I will do that.

In the meantime, I have listened to the album (so graciously provided by Steven Wilson’s PR firm) numerous times since we received the review copy the other day.  In some weird way, it’s become a part of me this week.

I agree with you that it didn’t do much for me on the first listen.  In fact, I thought it way too overproduced.  Our own Carl Olson has likened it to Kate Bush, but it struck me as far more Tears for Fears, Elemental-period.  I’m not sure I would say this now after so many listens, but I also wouldn’t say at this point that it’s overproduced.  The album has truly grown on me to the point that I absolutely love it.  Again, I couldn’t imagine the past week without it.  I am jealous of those who were able to hear the album in an Atmos-equipped room.  That must’ve been quite the experience.

I guess this takes me back, personally, to my own musical “relationship” with Steven Wilson.  I first heard “Trains” on an album rock radio station while doing some shopping in northern Indiana over two decades ago.  I immediately went to a very good store in Fort Wayne and purchased In Absentia as well as Up the Downstair Case and Signify.  Yes, it was a very good CD shop!  A kind student, finding out my new found-love love, then gifted me with Stars Die: The Delerium Years.  

I fell in love with Wilson and then proceeded to buy everything I could from him–everything from his contribution to OSI, to his No-Man work with Tim Bowness, to his later Blackfield albums.  When his first solo album, Insurgentes, came out I was thrilled.  

I now, twenty-one years later, have a huge Steven Wilson collection.  Everything he has written directly as well as probably 95% of what he’s remixed for other bands.  And, of course, I happily own the deluxe edition of his autobiography, etc.

All of this is a very long way of admitting, I wasn’t sure what to expect from Wilson on this new album.  To me, the absolute height of his profound musical ability can be found in Hand.Cannot.Erase, what I think is my second favorite album of all time.  His lowest point, though, was The Future Bites.  At least to me, though I know there are good things on that album.  Yet, the whole project came off as cynical.

Still, I very much worried that The Harmony Codex would be The Future Bites, Part II.  I am so very thankful that Wilson took his music in a different direction.  While I think The Harmony Codex shares some production values with The Future Bites, it is an album that stands on its own, far closer to, say, Grace for Drowning than to The Future Bites.

Anyway, I eagerly await the deluxe edition of The Harmony Codex I ordered from Burning Shed.

Tad: Brad, my love affair with Wilson’s music followed almost exactly the same path as you – I bought Fear of a Blank Planet, because Alex Lifeson of Rush played on it. I was hooked, and I quickly picked up every album I could find that Wilson was connected to. It didn’t hurt that Snapper/KScope was reissuing all of No-Man and Porcupine Tree at the time. Like you, I was exposed to OSI through Wilson’s vocals on their debut!

As far as The Harmony Codex goes, I wouldn’t say it’s his best, but it is very satisfying to listen to. I would like to know who and what influenced him while he was composing the music for this album. I hear Middle Eastern motifs in the first track, Inclination, classical minimalism in the intro to Impossible Tightrope, which then morphs into a jazz/rock fusion workout that sounds like something Herbie Hancock might do in the early ‘70s. The title track sounds almost baroque in its melody. For me, the weakest song is the single, Rock Bottom, but the other songs have set a very high bar. I think my favorite is the closing track, Staircase: nine and a half minutes of beautiful music that held me riveted from beginning to end. The break that features the bass bursting out of the mix is incredible!

You’ll notice that I haven’t spoken much about the lyrics – as I mentioned in an earlier dialogue of ours, a song’s melody has to attract me before I’ll invest any time in pondering the words. Wilson’s lyrics can be problematic for me, particularly from earlier in his career, because they dwell on some very dark subjects. In Absentia, for all its pleasant melodies, is about a serial rapist/killer. And I agree Hand.Cannot.Erase is an outstanding work of art. However, its subject matter – a young woman who dies alone in her apartment and isn’t missed for months –  is so heartbreaking that I have a hard time listening to it! You’re the lyrics man, so what are your thoughts on Wilson’s words in The Harmony Codex?

Brad: Yeah, Wilson can be really, really creepy when it comes to his lyrics, and he’s previously been obsessed with truly dark subject matter.  On not just one album, but several, he follows killers, drug addicts, and other miscreants.  

Hand.Cannot.Erase works so well for me, because he does have some hope at the end of the album, and I think he nails grief perfectly on that album.

As such, I think the weakest song on the new album is “Actual Brutal Facts.”  I can’t quite make out all the lyrics, but the muffled distorted  voice weirds me out quite a bit.  I like the music to the song, but the lyrics seem chilling.  Maybe I’m wrong on this, as I’ll need to wait until I see the lyric sheet.  As it is, the song tires me out.

And, Tad, I must admit, I’ve not been able to understand all the lyrics on the new album, so I can’t really pass judgment on them.  I will have to wait for the physical album to pass any real judgments.

Wilson employs that same creepy voice on the final track, “Staircase,” but it doesn’t seem as oppressive on this one.  In fact, I agree with you, Tad, this is an excellent track.

Maybe my ultimate answer to you about the lyrics, Tad, is this.  My favorite track on the album is the instrumental, “Impossible Tightrope.”  In an interview, Wilson mentioned that he followed Mark Hollis’s lead (from Spirit of Eden and Laughing Stock) in recording far more than needed and then edited the various pieces and contributions together.  He said the “Impossible Tightrope” on the bonus cd of the deluxe edition will sound very different from the one released on the main album.

Tad: That’s very interesting that Wilson openly talks about late-era Talk Talk being a big influence – I hope he does a surround sound remix of Spirit of Eden. That would be a dream come true for me!

I’ve been listening to The Harmony Codex a lot the past 24 hours, and I have a new favorite track: “What Life Brings”. It’s the shortest one on the album, and it has the prettiest melody Wilson has composed in years. Just when you think it’s going to be a predictable, fairly pedestrian song, he introduces a slight modulation in the key that raises it up to a thing of beauty. Wilson is the master of that.

I agree with you about “Actual Brutal Facts” – it leaves me cold. It sounds like he’s trying his hand at hip hop, and it doesn’t work for me. That said, on the whole I think The Harmony Codex is one of Wilson’s better albums. It has a nice flow overall, while covering quite a few different styles of music. It’s definitely “proggier” than his previous two albums. Personally, I enjoy his explorations into various styles – he’s such a gifted musician, anything he does sounds good!

Brad, as always, it’s a blast to do a dialogue with you – your enthusiasm and brilliant writing raises the bar for me!