Hammill, Pater - 1997 - The Union Chapel Concert

A one-time event stemming from an offer to percussionist Guy Evans to do anything he wanted at the Union Chapel in London. An idea to collaborate with Peter Hammill on a variety of semi- improvisational material partly built on samples of Hammill's music soon expanded to incorporate more traditional performance ideas as well as connections to Evans' own colleagues in the Echo City troupe. By the time the planning stage was over, Hammill and Evans had decided to bring in members of Echo City, regular Hammill collaborator Stuart Gordon, drummer Manny Elias, and, to cap things off, longtime Van Der Graaf members Hugh Banton (who had retired to a life of organ-building) and David Jackson, who not only turned up with sax and flute in hand, but with his Soundbeam rig as well.

The resulting live album, spread over two discs, is an impressive document. It is certainly Evans' show all the way, with some of the best drumming Evans has ever captured on record, though Hammill gives a good account of himself -- as Evans says in his sleeve notes, Hammill instantly took up the gauntlet that Evans threw down. As a result, the album includes some of Hammill's best live playing, including a ferocious reading of "Accidents." For some, though, the highlight will most likely be the rousing, 15-minute performance of "Lemmings," which amounts to a Van Der Graaf Generator reunion. There is, however, far more to recommend this two-CD set. By far one of the most powerful Hammill showings to date.

Disc 1
1 Introduction
2 Fireworks
3 A Forest of Pronouns
4 Anatol's Proposal
5 After the Show
6 Roger and Out
7 Accidents
8 Four Kinds of Rice/Hello/Resolution
9 Women of Ireland
10 Ship of Fools

Disc 2
1 Hamburg Station
2 Seven Wonders
3 Adagio for Strings
4 Red Shift
5 Lemmings
6 Outroduction
7 Traintime

¡Aquí!

Hammill, Peter - 1997 - Sonix

1 Emmene-Moi Bare Theme
2 A Walk in the Dark
3 In the Polish House
4 Dark Matter
5 Hospital Silence
6 Four to the Floor
7 Exercise for Louis
8 Labyrinthine Dreams
9 Emmene-Moi Full Theme

¡Aquí!

Hammill, Peter - 1997 - Everyone You Hold

Everyone You Hold is one of Peter Hammill's better latter-day albums. Although he hasn't changed his style much to speak of, the washes of keyboards, expansive tempos, clattering percusssion and loud, processed guitars are filtered through better compositions this time around, resulting in his most focused and engaging album in years.

1 Everyone You Hold Hammill 5:59
2 Personality Hammill, Hammill, Heusen 6:04
3 Nothing Comes Hammill 3:56
4 From the Safe House Hammill 6:13
5 Phophorescence Cosentino, Hammill 5:12
6 Falling Open Hammill 6:14
7 Bubble Hammill 6:30
8 Can Do Hammill 6:49
9 Tenderness Hammill 4:51

¡Aquí!

Hammill, Peter - 1996 - X My Heart

Longtime fans of Peter Hammill know that his recorded output is very unpredictable. He's released some of the finest albums in thinking-man's rock (1973's Chameleon in the Shadow of the Night, 1986's And Close as This, etc.), as well as a few that were directionless and/or self-indulgent (1983's Loops & Reels, 1988's In a Foreign Town, etc.). In the early '90s, Hammill fans' patience was tested by a string of ineffective albums (Roaring Forties and others), and they feared that Hammill would never return to the quality of his past triumphs. So they must have been relieved when Hammill released one of his best and most consistent albums ever, X My Heart, in 1996. It features one of his most beautiful ballads, "Earthbound," which features heartfelt vocals and a gorgeous string accompaniment. "Narcissus (Bar & Grill)" will delight fans with its classic Hammill style, while "A Better Time" shows that he's one of the more underrated vocalists in rock music today. Definitely one of his finest, and a good place to start for newcomers to the unpredictable and challenging world of Peter Hammill.

1 A Better Time [Acapella] Hammill 5:14
2 Amnesiac Hammill 5:36
3 Ram Origami Hammill 5:28
4 A Forest of Pronouns Hammill 5:18
5 Earthbound Hammill 5:23
6 Narcissus (Bar & Grill) Hammill 6:45
7 Material Possession Hammill 6:09
8 Come Clean Hammill 5:02
9 A Better Time Hammill 5:33

¡Aquí!

Hammill, Peter - 1994 - There Goes The Daylight

"There goes the Daylight" offers 72 minutes of a live concert at The Grand, London, on April 29th, 1993. Peter Hammill, singing and playing the guitar, staffed an unconventional rock band ("The Noise") for this evening with his exquisite fellow musicians Stuart Gordon (violin, guitar), Manny Elias (drums) and Nic Potter (bass). No keyboards, no saxes here. The concert was recorded by David Lord, mixed and produced by Peter Hammill in an excellent way.

The 12 songs are taken from Peter Hammill's solo albums "Over" (1976), "Sitting Targets" (1981), "In a Foreign Town" (1988), "Fireships" (1991), "The Noise" (1992) and the Van der Graaf album "The Quiet Zone, the Pleasure Dome" (1977).

The concert must have been rehearsed well, the musicians play with enthusiasm, but still sound very relaxed. All concert long "The Noise" act as a band and there's no focus an any of the musicians on the stage.

The intonation of the songs mainly reminds to the sound of "The Quiet Zone" or "Vital" (1978) and so is not every Peter Hammill's fan's taste. But there are two tracks here for which it is worth owning the album.

The first of these songs is "Sign". The Noise play a stunning version of this tune from "Sitting Targets" (1981), also published by Peter Hammill and the K Group on "The Margin" (1985). Stuart Gordon uses his violin here as a rythm guitar and produces a funky rythm section together with drums and bass. It's most interesting to compare the three released versions. The interpretations are totally different on the basis of the same song.

The other track is "Lost and Found" from "Over". One of my all time favourites. Peter Hammill plays a marvellous guitar on this live version. I could listen forever to the heavenly swinging chords at the beginning of the song. The guitar solo at the second part of the song is as breathtaking as on the studio version.

The booklet shows five pictures with most expressive portraits of the band and it's members.

A most rewarding album for Peter Hammill listeners, no must for others.

1 Sci-Finance (Revisited) Hammill 5:21
2 The Habit of the Broken Heart Hammill 6:34
3 Sign Hammill 7:58
4 I Will Find You Hammill 5:22
5 Lost and Found Hammill 7:58
6 Planet Coventry Hammill 6:25
7 Empress's Clothes Hammill 5:05
8 Cat's Eye/Yellow Fever (Running) Hammill, Smith 6:10
9 Primo on the Parapet Hammill 12:17
10 Central Hotel Hammill 5:33

¡Aquí!

Hammill, Peter - 1994 - Roaring Forties

From the cutting edge of "Sharply Unclear," athrough the insistent, throbbing "Talk Turkey," across the gentle instrumental bridges and into "A Headlong Stretch" (a twenty-minute, seven-part tempestuous journey through life) and all the way to the peaceful, gently-beautiful "Your Tall Ship," this album is an example of Hammill's musical, poetical and inspirational best.

1 Sharply Unclear Hammill
2 The Gift of Fire Hammill
3 The Gift of Fire (Talk Turkey)
4 You Can't Want What You Always Get
5 A Headlong Stretch
6 Your Tall Ship Hammill

¡Aquí!

Hammill, Peter - 1993 - Offensichtlich Goldfisch

An excellent idea (if, perhaps, a somewhat self-indulgent one): 12 of Peter Hammill's finest recent songs, rendered into the German language that his more stentorian vocals seemed to be striving for, even in English. Titled for Out of Water's "Evidently Goldfish," the album is dominated by material from the early '90s: cuts from Fireships and The Noise account for more than half the album, while the remainder is culled from 1988's In a Foreign Town and 1986's And Close As This. But Offensichtlich Goldfisch is no simple retread of already familiar material. Although little more than the vocals were re-recorded from the original master tapes, the musical textures change immensely in their new setting, regardless of whether or not one understands German. Familiar imagery is skewed, expected emphasis is delayed or dismissed altogether, and Offensichtlich Goldfisch unexpectedly emerges as one of the most surprising albums that Hammill has put his name to in a long time.

1 Offensichtlich Goldfisch 5:02
2 Dich Zu Finden 4:46
3 Die Kälte Killt Den Kuss 4:12
4 Favorit 5:06
5 Kaufhaus Europa 5:11
6 Der Lärm 6:13
7 Oase 5:44
8 Die Prominenz Küsst Sich 4:34
9 Die Tinte Verlischt 4:23
10 Auto [Wieder im Wagen] 4:02
11 Gaia 5:38
12 Schlaft Nun 4:39

¡Aquí!

Hammill, Peter - 1993 - The Noise

Loud, powerful and energetic music, balanced by poetical and clever lyrics. "The Entertainer" is an immediate success while "The Noise" is a prime example of Hammill's style of rhythmic and arrhythmic rock. A stab-in-the-back for the materialistic '90s society is cleverly disguised in the almost-pop "Great European Department Store," and the Finale -- the slowly building, haunting "Primo on the Parapet" -- reminds us to remember the past. Another unforgettable collection from Mr. Hammill.

1 A Kick to Kill the Kiss Hammill 4:11
2 Like a Shot, the Entertainer 5:12
3 The Noise Hammill 6:12
4 Celebrity Kissing 4:33
5 Where the Mouth Is 5:33
6 The Great European Department Store 4:58
7 Planet Coventry Hammill 4:01
8 Primo on the Parapet Hammill 8:35

¡Aquí!

Hammill, Peter - 1992 - Fireships

Fireships is one of Hammill's most consistently quiet, intimate works; a collection of relationship odes similar in mood to 1984's The Love Songs. Hammill, even at his most reflective, is highly poetic and intense. Each of the nine numbers is given ample room to breathe, with most ranging between 5 and 7 minutes. A hint of tragedy, a smoldering fire, burns below the surface of even the most languorous numbers, like the highlight "His Best Girl."

1 I Will Find You Hammill 4:46
2 Curtains Hammill 5:49
3 His Best Girl Hammill 5:05
4 Oasis Hammill 5:44
5 Incomplete Surrender 6:38
6 Fireships 7:20
7 Given Time Hammill 6:38
8 [Untitled Track] 4:19
9 Gaia Hammill 5:33

¡Aquí!

Hammill, Peter - 1990 - RoomTemperatureLive

With his 1990 in-concert, two-CD set Room Temperature: Live, Peter Hammill took an approach similar to his earlier The Margin: Live -- it contained few overdubs and very little audience applause. Recorded during a month-long winter tour (which included the United States, Canada, and England), the band consisted of Stuart Gordon (violin), Nic Potter (bass), and Hammill on keyboards, guitar, and vocals. The performances are, for the most part, stark and haunting, no doubt due to the absence of a drummer. But this may be the closest the listener will ever get to the heart and soul of Peter Hammill, since there is nothing for him to hide behind on such bare tracks as "The Wave" and "Something About Ysabel's Dance." Also, the stunning emotion contained in Hammill's vocal delivery has been captured on tape flawlessly throughout (perhaps this album provides the ultimate showcase for Hammill's vocals). Other standouts are "Cat's Eye/Yellow Fever (Running)," "Hemlock," and one of Hammill's best-known songs, "The Future Now." Each disc runs over the 70-minute mark, while the intensity and consistency of the performance never dips. Certainly one of the more unconventional live albums in recent times, Room Temperature: Live is sure to please just about any Hammill fan.

Disc 1
1 The Wave Hammill 3:40
2 Just Good Friends Hammill 5:16
3 Vision Hammill 4:51
4 Time to Run Hammill 5:01
5 Four Pails Hutchinson, Smith 6:19
6 The Comet, The Course, The Tail Hammill 9:45
7 Ophelia Hammill 4:12
8 Happy Hour Hammill 9:16
9 If I Could Hammill 5:57
10 Something About Ysabel's Dance Hammill 7:38
11 Patient Hammill 10:02

Disc 2
1 Cat's Eye/Yellow Fever (Running) Hammill, Smith 6:04
2 Skin Hammill 5:31
3 Hemlock Hammill 8:20
4 Our Oyster Hammill 7:12
5 The Unconscious Life Hammill 5:57
6 After the Show Hammill 11:01
7 A Way Out Hammill 8:46
8 The Future Now Hammill 4:07
9 Traintime Hammill 5:53
10 Modern Hammill 10:51

¡Aquí!

Hammill, Peter - 1988 - Spur Of The Moment

1 Sweating It Out Evans, Hammill 6:40
2 Surprise/Little Did He Know Evans, Hammill 9:34
3 Without a Glitch Evans, Hammill 3:33
4 Anatol's Proposal Evans, Hammill 4:06
5 You Think Not? Evans, Hammill 4:33
6 Multiman Evans, Hammill 8:11
7 Deprogramming Archie Evans, Hammill, Ridout 1:52
8 Always So Polite Evans, Hammill 5:28
9 An Imagined Brother Evans, Hammill 5:26
10 Bounced Evans, Hammill 5:20
11 Roger and Out Evans, Hammill, Ridout 1:37

¡Aquí!

Hammill, Peter - 1988 - In A Foreign Town

Although not considered one of Peter Hammill's best by longtime fans, 1988's In a Foreign Town does contain some worthwhile material. Produced by Hammill himself, the album is far more upbeat than most of his past work, and sounds like mid-'80s Genesis at times. But it may be one of Hammill's most musically varied albums; just give a listen to the new wave sound of "Invisible Ink" (one of the album's catchiest and strongest tracks), the Talking Heads-like "Sci-Finance (Revisited)," and the Adrian Belew/King Crimson sound of "Auto." But the anemic '80s production of the material tends to take away from the compositions; it's the complete opposite of earlier Hammill releases, where he kept things more straight-ahead. The song "Under Cover Names" contains completely un-Hammill-like, cheesy Miami Vice keyboard sounds. The only track where the Peter Hammill-of-old resurfaces is on the stark piano/voice composition "The Play's the Thing." If the one-dimensional production was replaced with more interesting sounds, In a Foreign Town would have turned out better, since there was still plenty of strong Hammill songwriting present.

1 Hemlock Hammill 6:30
2 Invisible Ink Hammill 4:18
3 Sci-Finance (Revisited) Hammill 4:19
4 This Book Ameli, Columbo, Hammill 5:11
5 Time to Burn Hammill 5:11
6 Auto Hammill 3:57
7 Vote Brand X Hammill 4:01
8 Sun City Night Life Hammill 4:31
9 The Play's the Thing Hammill 4:52
10 Under Cover Names Hammill 4:17
11 Smile Gronemeyer
12 Time to Burn Hammill

¡Aquí!

Hammill, Peter - 1986 - Skin

All but a reunion of Van Der Graaf Generator in terms of personnel, and hearkening to the latter-day spirit in terms of some of the tone, Skin is nonetheless Peter Hammill continuing to declare his own direction minute by minute, rather than plotting overarching career goals. There is more of a dependence on MIDI on this album, and a lot of obvious keyboard support, but the core human players come through loud and clear, especially Guy Evans on drums and David Jackson on saxes. It is odd to hear Hammill belting his way through a song with the support of sampled and synthesized horns and a rocking beat, especially when the song is about the death of art ("Painting By Numbers"), but it's also a welcome relief -- that ability to flex is exactly the thing that has helped to keep the man's creative existence alive since 1967. The album is also highlighted by "Four Pails," a beautiful song by longtime Hammill confederate Chris Judge Smith. The album has had several CD releases, with the Fie! release having improved sound.

1 Skin Hammill 4:18
2 After the Show Hammill 4:20
3 Painting by Numbers Hammill 4:01
4 Shell Hammill 4:18
5 All Said and Done Hammill 3:40
6 A Perfect Date Hammill 4:14
7 Four Pails Hutchinson, Smith 4:30
8 Now Lover Hammill 9:47

¡Aquí!

Hammill, Peter - 1986 - And Close as This

Peter Hammill seems to alternate between releasing unpredictable work (the rock opera The Fall of the House of Usher, the electronic, experimental Loops & Reels, etc.), and his trademark style (straight-ahead arrangements for voice and one other instrument, usually guitar). And Close as This would fall into the former category, since it's comprised exclusively of pure arrangements (in this case, voice and keyboard). It's hard not to be impressed by the emotion in Hammill's voice on the songs "Other Old Clichés" and "Beside the One You Love." And like all of his past work, Hammill will often unite gentle music with sometimes overtly intense vocals ("Too Many Yesterdays"). The keyboards on the album have been filtered through a computer, updating the classic Hammill sound laid-down on his earlier (and best) work, Chameleon In the Shadow of the Night. But Hammill would unfortunately not pursue this style for a while -- his next album, In a Foreign Town, would be the complete opposite of And Close as This, containing overblown production, and an extremely dated '80s sound. And Close as This, however, is one of Hammill's finest.

1 Too Many of My Yesterdays Hammill 4:47
2 Faith Hammill 4:27
3 Empire of Delight Emerson, Hammill 4:43
4 Silver Hammill 5:31
5 Beside the One You Love Hammill 5:12
6 Other Old Clichés Hammill 4:07
7 Confidence Hammill 6:37
8 Sleep Now Hammill 4:42

¡Aquí!

Hammill, Peter - 1985 - The Margin

Recorded live in Glasgow, Edinburgh, and London in December of 1983, The Margin -- Live captures Peter Hammill in intellectual rock mode, rather than the acoustic style that he is often associated with. Hammill is backed by a superb band, the K Group (which includes John Ellis on guitar, Nic Potter on bass, and Guy Evans on drums and percussion), who are jaw-droppingly tight and technically brilliant. Amazingly, there are absolutely no overdubs found anywhere on the album. And the audience's applause has been erased, so you get the best of both worlds -- the energy and spontaneity of a live concert with the clarity of a studio recording. The album's opener, "The Future Now," contains continuously shifting dynamics, and borders on hard rock. "Porton Down" is quite a departure for Hammill, with its opening bluesy feel (due to Ellis' slide guitar), and is a showcase for the expertise of Evans' drumming. Midway through, the group gets to relax on a couple of lighter numbers ("Empress's Clothes" and "Labour of Love"), before returning to rock & roll ("Sitting Targets"). The Margin -- Live may very well be the definitive Peter Hammill concert album.

1 Future Now Hammill
2 Porton Down Hammill
3 Stranger Still Hammill
4 Sign Hammill
5 The Jargon King Hammill
6 Empress's Clothes Hammill
7 The Sphinx in the Face Hammill
8 Labour of Love Hammill
9 Sitting Targets Hammill
10 Patient Hammill
11 Flight Hammill

¡Aquí!

Hammill, Peter - 1984 - The Love Songs

This odd collection delves, seemingly at random, into the corpus of Peter Hammill songs that, inasmuch as they discuss the fraught path of romantic entanglements, can be construed as "love songs" -- although anybody picking up a copy as a Valentine's gift for his or her own significant other might well regret it. And not only because the sentiments and emotions expressed are often a long way from love itself. Re-recordings and remixes dominate, but that cannot disguise the album's failings. The ten songs here date, in the main, from the sequence of albums Hammill cut for the Charisma label during the 1970s, and that is where they are best experienced. Although the revisions have certainly tightened some hitherto loose arrangements (most noticeable on Over's "(This Side Of) The Looking Glass"), the frail immediacy of the original recordings has been surrendered in favor of a lush homogeny that disguises the songs' roots beneath a uniformity that, frankly, grows a little wearing after a time. Unleashed within the proto-punk apocalypse of Nadir's Big Chance, for example, "Been Alone So Long" emerged a shocking oasis of spellbinding longing. Sandwiched between the never-especially-great "My Favourite" and the drab "Ophelia," it simply sits and scratches itself. "Again" (from In Camera) similarly loses impact within its new surroundings, while the two cuts from Hammill's Fool's Mate debut, "Vision" and "The Birds," sound positively maudlin when divorced from the earnest poetry that once surrounded them. And so forth. In terms of the actual songs, The Love Songs is an excellent digest of one side of Hammill's mighty muse. Lumped together on the off chance that the emotions they share might bind them as a musical experience, however, they instead emerge a one-dimensional and ultimately dispiriting collection of moans.

1 Just Good Friends Hammill 3:55
2 My Favourite Hammill 3:04
3 Been Alone So Long Smith, Smith 5:03
4 Ophelia Hammill 3:11
5 Again Hammill 3:38
6 If I Could Hammill 5:04
7 Vision Hammill 3:18
8 Don't Tell Me Hammill 4:43
9 The Birds Hammill 3:43
10 (This Side Of) The Looking Glass Hammill 6:59

¡Aquí!

Peter Hammill - 1983 - Patience

Rock, roll, dance, sorrow, bewilderment, sadness...the classic, gentle love song "Just Good Friends": the unmistakably-Hammill time signatures, rhythms and vocal of "Jeunesse Doree"; the perfectly-timed silences of "Comfortable," with its almost-churchlike acoustic backdrop, and the human frailty of "Patient" make this another excellent offering from Peter Hammill.

1 Labour of Love Hammill 5:55
2 Film Noir Hammill 4:19
3 Just Good Friends Hammill 4:28
4 Jeunesse Dorée 4:53
5 Train Time Hammill 4:24
6 Now More Than Ever 5:38
7 Comfortable 4:54
8 Patient Hammill 6:12

¡Aquí!

Hammill, Peter - 1983 - Loops & Reels

Peter Hammill fans should be warned that Loops & Reels is a bit of an experiment, and not comparable to any of his other releases (Hammill himself calls this album an abnormal work). Originally an inadequate-sounding, tape-only release in 1983, it has since been remastered as a CD, which obviously helped clear up the muddy sound. And although it contains some interesting compositions, a few too many self-indulgent tape experiments keep the album from becoming anything more than an oddity. The first track on the album, "A Ritual Mask," features Hammill's voice accompanied by a foreign stringed instrument called a kora, with primitive drumming being added later in the tune. And "The Moebius Loop" turns out to be a successful experiment, with Hammill singing over a repetitive loop of simple piano and unearthly backing vocals. But it's pointless and overtly long tracks like "An Endless Breath" and "My Pulse" that test one's patience after awhile, since they contain no real music, just sonic scraps and buzzes. Loops & Reels is of interest only to the Peter Hammill completist; casual fans should begin with one of his "proper" albums.

1 Ritual Speak
2 Critical Mass
3 Moebius Loop
4 Endless Breath
5 In Slow Time
6 My Pulse
7 Bells, The Bells

¡Aquí!

Peter Hammill - 1982 - Enter K

The usual Hammill combination of musical excellence and the deepest emotions this side of hell. Shades of David Bowie in "The Great Experiment" and "Happy Hour." Dramatically moody "Don't Tell Me" (which also appears, rearranged, on The Love Songs) contrasts with the upbeat, tongue-in-cheek "Paradox Drive." The centerpiece has to be "The Unconscious Life": the vast, full range of Hammill's vocal gymnastics coupled with David Jackson's soulful sax make this song unforgettable.

1 Paradox Drive Hammill 4:36
2 The Unconscious Life Hammill 5:07
3 Accidents Hammill 4:39
4 The Great Experiment Hammill 5:14
5 Don't Tell Me Hammill 4:46
6 She Wraps It Up Hammill 4:24
7 Happy Hour Hammill 9:18
8 Seven Wonders Hammill 4:27

¡Aquí!

VA - 2004 - The Letters: An Unconventional Italian Guide To King Crimson

Tribute albums while lauding a suitable band or artist worthy of such praise, can so often be lacklustre affairs. I strongly believe a tribute album should add to one's experience of a band's music; (hence I would be keener to see Queen fronted by Paul Rodgers, than the Musical Box). Indeed progressive rock tends to suffer from at best indifferent tributes, where one of two tracks may stand out, but are too often a complete waste of time. I usually want with these to hear some new but anchored someway to something familiar - although ocasionally excellent imitations e.g. Mike Keneally's Siberian Khatru, also can hit the button.
So with the advantage of finding a cheap 2nd hand copy of this Italian Krimson tribute (well under half the list price), I first played this album with some trepidation. But there had been no need to believe I had made a poor purchase. The Letters has a consistency of reinterpretation from the originals, while usually finding something different to say within the arrangements on the majority of familiar tunes. And it has to be said that when many other tributes fall flat and only provide 70 minutes of music, The Letters clocks in at 180 minutes plus.

So how does The Letters differ from many other tributes? A lot of tributes seemed rushed affairs. Get some named artists in to cover a competitive band's tunes, rehearse and record it in short time. Lesser known musicians are often employed to pad out the album, but either won't risk (or lack the ability) do anything other than a second rate clone-job OR less commonly, bravely dismantle and reconstruct into a radically new version which mayget folks talking. I don't normally want to hear near-identical versions, when I have the original artist's tune fixed in my mind. I want hear a musician/band demonstrate they have the musical ability to take something from the original and arrange/display it in a new and unexpected way. And there are those albums which cherry-pick the odd cover from a band's studio album, to compile tribute compilation, (e.g. "Blue Wind" from Niacin's 'Time Crunch' ending up on the Jeff Beck 'The Loner' tribute): the lazy way of making a tribute. Magna Carta as well as its sister labels, Road Runner and Tone Center, seem to produce the least satisfactory tributes, while appearing to be able to turn them out on a production line (e.g. separate John Coltrane, Weather Report, Mahavishnu Orchestra, Jeff Beck and Miles Davis tributes from Tone Center in the last 12 months) - maybe they are too indiscriminant.

However, this Mellow tributes makes the effort through most if not all of the tunes offered, to put new complexions on the familiar by : 1. taking the folk or jazz elements so often bubbling away under the surface of the original Krimson tunes, and emphasis these; 2. arrange for different instrumentation; 3. and perhaps the cracked English of the Italian singers, in slightly changing the annouceation or emphasis of the language/meaning, causing me to listen to the lyrics in a new way.

The Letters, is an album which provides many ideas about how a tribute should be made, and so just deserves 4 stars, especially when it is getting many a play locally. And it reminds me, it is about time I got down Mellow's Giant Giant tribute and listen again!

CD ONE (78:56):
Virtuous Circle (including: Entry of the Chameleons)
1. STEFANO BOLLANI - Frame by frame (3:13)
2. GERMINALE - Doctor diamond (5:32)
3. NEMA NIKO - The talking drum (7:25)
4. SPIROSFERA - Cat food (4:05)
5. ROVERSI/CAIMI/MENOTTI - Discipline (5:25)
6. SOUNDVISION - One more red nightmare (6:37)
7. ANATROFOBIA - A sailor's tale (5:00)
8. TILION - One time (9:09)
9. TAPROBAN - Lark's tongues in aspic part 2 (6:25)
10. PROPHEXY - The great deceiver (3:52)
11. THREE OF A CHARMING PAIR - Inner garden I & II (5:58)
12. GIARDINI D'AUTUNNO - Formentera lady (8:41)
13. PSYCONOESIS - Starless (7:34)

CD TWO (76:55):
When I Say Stop, Continue (including: no photo, no recording, no smoking)
1. GOAD - Epitaph (9:00)
2. COSTA/MOMBRINI/PIAZZI - Lady of the dancing water (3:47)
3. JET LAG - Pictures of a city (7:21)
4. UBI MAIOR - Prince Rupert awakes (4:48)
5. L'IMBROGLIO - Providence (5:02)
6. MALIBRAN I talk to the wind (5:13)
7. FLOATING STATE - Exiles (8:32)
8. NOTTURNO CONCERTANTE - Cadence and cascade (5:00)
9. GREENWALL - Lark's tongues in aspic part 1 (13:06)
10. CABOTO - Moonchild (3:14)
11. THE SLOWMOVIES - Matte kudasai (4:32)
12. ZAQ - In the court of the Crimson King (6:51)
13. MARIPOSA - Sex sleep eat drink dream (4:29)

CD THREE (26:12):
1974 EP: This Night Wounds Time
1. MOSAIC ORCHESTRA - Red (5:08)
2. COMFORT - We we'll let you know/Fracture (11:13)
3. NODO GORDIANO - Lament (3:56)
4. ARIA PALEA - The great deceiver (5:55)

Total Time: 182:03

¡Aqui!