![Godbluff [Original recording remastered]](http://images.amazon.com/images/P/B0009QZ4CE.01.TZZZZZZZ.jpg)
| 1. Undercover Man |
| 2. Scorched Earth |
| 3. Arrow |
| 4. Sleepwalkers |
| 5. Forsaken Gardens [Live][#][*] |
| 6. Louse Is Not a Home [Live][#][*] |
Editorial Reviews
Product Description
Digitally Remastered Edition of Van Der Graaf's First Album after Lead Singer/Songwriter Peter Hammill Launched his Solo Recording Career.
The lineup on this album includes Peter Hammill (vocals, piano, acoustic/electric guitar); Hugh Banton (Hammond organ, piano, synthesizers, bass guitar); David Jackson (saxophones and flute); and excellent drummer Guy Evans. The performances are very good all around and Peter Hammill's aggressive vocal style is in great form.
In contrast with classic albums such as Pawn Hearts (1971), this album may not be musically as experimental and far-reaching but it still makes for a challenging listening experience. This is especially apparent in David Jackson's playing, which is also somewhat tamed down - he does not unleash the "free-jazzish" explosions of atonal notes on his saxophone as he did on earlier albums. I suppose this all sounds like I am complaining although I am not. There are some fantastic compositions on this album, and melodies are actually used very well. Overall, the VDGG "thing" is still present, albeit in a somewhat toned down manner - they seemed to want to loosen up, even if only a tiny bit.
In addition to the original tracks, this superb EMI remaster features two live bonus tracks including Forsaken Gardens (12'23") and A Louse is not a Home (10'26") - this track was originally featured on Peter's solo album The Silent Corner and the Empty Stage. Although the sound quality is pretty rough, the performances are out of this world and recall the band at their heaviest. One thing I feel compelled to point out is that the improved sound quality has really brought out the subtleties of Guy Evan's incredible drumming. In fact, all of the remastered VDGG albums are like that - it is just a shame they waited so long to remaster the catalog, Guy is just fantastic. In addition, the liner notes are extremely informative and feature a ton of pictures of the band (black and white).
This is a fantastic album from this period of VDGG and is highly recommended along with H to He, He who am the only One (1970); Pawn Hearts (1971); and Still Life (1976), which is a personal favorite. World Record (1976) is the last 1970s album to feature the classic lineup, although it is not nearly as good as Godbluff or Still Life.
"Scorched Earth" exemplifies the plusses of this album perfectly. Featuring a slow pre-grunge chromatic riff as its centerpiece, it builds in segments like the best of VDGG, until they've spun considerable tension by the end of ten minutes. Every musician is on here, especially David Jackson and the formidable Guy Evans on drums.
"Arrow"--quite the memorable song, if not only for Hammill's shrill falsetto emanations after starting out in his lower registers--exemplifies both the plusses and (comparatively few) minusses of this album. Like every other song here, this is a slow-burner. It builds in its own time, like the best of VDGG (and the best of wines), but the recording is sub-par and Hammill sounds like he's singing under the sea (again, not in a good way like on _Pawn Hearts_'s "Plague of Lighthouse Keepers"). His falsetto does get annoying (doth he protest too much?), like I said before. The difference between his falsetto here and on _Pawn Hearts_ is that every instrument screeches when Hammill does and your lost in the Echoplex of your corpus callosum. On "Arrow" it's Hammill screeching over a by-and-large restrained supporting cast. Somehow the balance just seems off here.
In short, buy this album after you've had a proper introduction to the band (_Pawn Hearts_ and the earlier works like _H for He . . ._ and _The Least We Could Do is Wave . . ._). I think to start on this one might scare you off to the abundant joys of VDGG (if indeed disequilibrium is a joy to you). If you go through those and get to this one, you'll be able to appreciate it for what it is. A slightly flawed document of a master lyricist and his supporting musicians' journey upward from hell. They are still in hell here, but they are reflecting on it as they ascend, hence all the fascinating things they do with the slow burn.
I am not completely familiar with the full story of "Godbluff," but I do believe that this was their 1973 "comeback" album, after a brief break-up; singer/songwriter Pete Hammill had become wrapped up in his solo career, while keyboardist/drummer/sax-flautist Hugh Banton/Guy Evans/David Jackson retreated to Italy (where VDGG was a #1 chart-topping act) to record their interesting but not-spectacular "Long Hello" album.
Reuniting with "Godbluff," the quartet roared to life again in a HUGE way with this (skimpy by modern CD standards) 40 minute reaffirmation of their collective power. All four tracks are lucid, mighty testaments to the visionary talents of Hammill and company, but I most especially want to direct your particular attention to the track that scorches with the most frightful intensity: ARROW, track 3 (1st cut side two for us LP era neanderthals).
This is STRONG stuff, here folks, and not in a profane or cartoonish death-metal sort of way. Rather, it's all intensity and execution, starting with the fade-in bass & drum intro, skipping along nervously as Jackson's sax bleats in over the top to add some high-plateau drama to the soundscape. The musical suggestion of traveling by horseback across a barren landscape is evoked vividly before a single word is sung. Banton's Fender Rhodes (probably Hammill-there is NO GUITAR in this song) joins to bring this atmospheric stage-setter to a close, settling down to a sinuous opening statement of the song's theme, sustaining the final note like a snake poised on a desert stone waiting to strike--
Enter Hammill, roaring: "Stub towers in the distance, riders cross the blasted moor against the horizon." Simply transcribing the line can hardly invest it with the skullcrushing force of Hammill's delivery, in surely the most extreme match of material and performance of his career. "Arrow" is 9:47 of pure blood & thunder on trampling hooves, with Hammill riding high in the stirrups and screaming into the maelstrom, "what a crawl against the slope, dark loom the gallows--one touch to the chapel door, how swiftly comes the arrow."
And of course the band is at full gallop alongside Hammill, with Jackson & Evans stomping mercilessly with massed saxaphone & percussion. Save for a brief synthesizer break (fully in accord with the near-panic mood established at Hammill's first words), Hugh Banton keeps well to the background, but with the other three wailing at "11," the restraint becomes a valuable contribution in its own right.
Van Der Graaf, as I am again obliged to state, is NOT for everyone, and "Godbluff" (like their other CLASSIC record, "Pawn Hearts") is almost sure to scare off timid or casual listeners. To unattuned ears, it's rough, Hammill's voice is not "pretty" in the Michael Bolton sense, although Hamill was definitely capable of it. Here I recommend their second record, "The Least we can Do is Wave to Each Other" as a starting point for curious listeners; Hammill's voice is beautiful by any standard, especially on the plaintive "Refugees," a song that some movie director will eventually make a gigantic hit with when he leases it for his soundtrack.
Still for those adventurous enough to try something with some real brains & brawn, you've definitely stepped up to the Phd. level here. Van Der Graaf were not looking for chart-topping smashes, they were (are) artists fortunate enough to be chasing their muse at a time when commerce favored musicians in that pursuit. For those of us coming of age during that late '60's early '70's flowering of progressive rock, we now have a rich and vast body of work to discover (or rediscover) and reflect on for the rest of our lives. Including among many others but with special distinction, the great Van Der Graaf Generator, who after a 20 year hiatus have now fired it up again to release yet another reunion CD, "Present," now available on Amazon...
Let's give the last word to Peter, reflecting in his unique way on our mayfly existences; "How long the night is, why is this passage so narrow? How strange my body feels, impaled upon the arrow!"
If you are already familiar with this album, it need not be said. Godbluff was VDGG's first comeback that shook the world during a period when Yes, Genesis, Pink Floyd and the like were all but sleepwalking. Had Godbluff been released a year or 2 later, it simply would've grabbed the threat of Punk by its ear and sent it home crying to mommy. This album had the balls no other prog band ever had, and it is my personal favorite.
"The Undercover Man" reminds me of "Pilgrims" from Still Life, with a similar pace and sets the mood for the album. With a dramatic fade-in, "Scorched Earth" all but incinerates the place. The aforementioned snare drum of Guy's sounding tight & crisp. Hammill puts on an absolute demonic performance and is more than convincing. Both Banton & Jackson sound so full on this album (and Still Life) that you wouldn't really have much room for a guitar, although Hammill's Strat is mixed very carefully in "Scorched Earth" and raises Holy Hell at the end. "Arrow" offers a harrowing performance by Hammill, who is putting his vocal cords to the absolute test. Finally, the trigonometry of "The Sleepwalkers" closes the album and builds to up to a climax that is to die for. In this reissue, you can clearly hear Hammill going into a frenzy before he screams "Tonight before you lay down...". It makes my hair stand on end everytime I hear it. I love how Hammill refuses to play it safe, squeezing in syllables where they may or may not belong, and just completely going insane.
To me, it is important to note that Hammill doesn't sing but PERFORMS his lyrics, which I think confounds the unsuspecting listener. It sounds lame to me to hear people [...] about his vocals, but yet offer other vocalists their highest regards for phoned-in performances of technical mastery & sterility. BORING!! That's like bitching about Hendrix being too loud & using feedback during his solos. Stay home & knit a quilt!!
I could go on & on about this album and this band, but I have no time. Of course, I highly recommend this one and any from the newly remastered VDGG catalog. I also recommend you play it to maximum volume, because you can finally hear what VDGG was supposed to truly sound like all along. They are the Godzilla of Progressive Rock. VDGG never was for the faint of heart.
Reformed for the second (or third) time, this was the best VDGG ever. "Still LIfe" is considered as Peters masterpiece and most think "World Record" was a dud. But I like them all!
If you are already familiar with this album, it need not be said. Godbluff was VDGG's first comeback that shook the world during a period when Yes, Genesis, Pink Floyd and the like were all but sleepwalking. Had Godbluff been released a year or 2 later, it simply would've grabbed the threat of Punk by its ear and sent it home crying to mommy. This album had the balls no other prog band ever had, and it is my personal favorite.
"The Undercover Man" reminds me of "Pilgrims" from Still Life, with a similar pace and sets the mood for the album. With a dramatic fade-in, "Scorched Earth" all but incinerates the place. The aforementioned snare drum of Guy's sounding tight & crisp. Hammill puts on an absolute demonic performance and is more than convincing. Both Banton & Jackson sound so full on this album (and Still Life) that you wouldn't really have much room for a guitar, although Hammill's Strat is mixed very carefully in "Scorched Earth" and raises Holy Hell at the end. "Arrow" offers a harrowing performance by Hammill, who is putting his vocal cords to the absolute test. Finally, the trigonometry of "The Sleepwalkers" closes the album and builds to up to a climax that is to die for. In this reissue, you can clearly hear Hammill going into a frenzy before he screams "Tonight before you lay down...". It makes my hair stand on end everytime I hear it. I love how Hammill refuses to play it safe, squeezing in syllables where they may or may not belong, and just completely going insane.
To me, it is important to note that Hammill doesn't sing but PERFORMS his lyrics, which I think confounds the unsuspecting listener. It sounds lame to me to hear people [...] about his vocals, but yet offer other vocalists their highest regards for phoned-in performances of technical mastery & sterility. BORING!! That's like bitching about Hendrix being too loud & using feedback during his solos. Stay home & knit a quilt!!
I could go on & on about this album and this band, but I have no time. Of course, I highly recommend this one and any from the newly remastered VDGG catalog. I also recommend you play it to maximum volume, because you can finally hear what VDGG was supposed to truly sound like all along. They are the Godzilla of Progressive Rock. VDGG never was for the faint of heart.
Reformed for the second (or third) time, this was the best VDGG ever. "Still LIfe" is considered as Peters masterpiece and most think "World Record" was a dud. But I like them all!
Digitally Remastered Edition of Van Der Graaf's First Album after Lead Singer/Songwriter Peter Hammill Launched his Solo Recording Career.
Godbluff,Van Der Graaf Generator,Caroline,Experimental,Pop,Prog-Rock/Art Rock,Rock,Rock/Pop
Godbluff [Original recording remastered]
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Godbluff
Van Der Graaf Generator Manufacturer: Caroline ProductGroup: Music Binding: Audio CD  General
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ASIN: B0009QZ4CE Release Date: 2005-06-27 |
Tracks:
- Undercover Man
- Scorched Earth
- Arrow
- Sleepwalkers
- Forsaken Gardens [Live][#][*]
- Louse Is Not a Home [Live][#][*]
Album Details
Digitally Remastered Edition of Van Der Graaf's First Album after Lead Singer/Songwriter Peter Hammill Launched his Solo Recording Career.Customer Reviews:
Awesome!.......2007-05-12
The band regroups in 1975 and releases a great album.......2006-09-30
The lineup on this album includes Peter Hammill (vocals, piano, acoustic/electric guitar); Hugh Banton (Hammond organ, piano, synthesizers, bass guitar); David Jackson (saxophones and flute); and excellent drummer Guy Evans. The performances are very good all around and Peter Hammill's aggressive vocal style is in great form.
In contrast with classic albums such as Pawn Hearts (1971), this album may not be musically as experimental and far-reaching but it still makes for a challenging listening experience. This is especially apparent in David Jackson's playing, which is also somewhat tamed down - he does not unleash the "free-jazzish" explosions of atonal notes on his saxophone as he did on earlier albums. I suppose this all sounds like I am complaining although I am not. There are some fantastic compositions on this album, and melodies are actually used very well. Overall, the VDGG "thing" is still present, albeit in a somewhat toned down manner - they seemed to want to loosen up, even if only a tiny bit.
In addition to the original tracks, this superb EMI remaster features two live bonus tracks including Forsaken Gardens (12'23") and A Louse is not a Home (10'26") - this track was originally featured on Peter's solo album The Silent Corner and the Empty Stage. Although the sound quality is pretty rough, the performances are out of this world and recall the band at their heaviest. One thing I feel compelled to point out is that the improved sound quality has really brought out the subtleties of Guy Evan's incredible drumming. In fact, all of the remastered VDGG albums are like that - it is just a shame they waited so long to remaster the catalog, Guy is just fantastic. In addition, the liner notes are extremely informative and feature a ton of pictures of the band (black and white).
This is a fantastic album from this period of VDGG and is highly recommended along with H to He, He who am the only One (1970); Pawn Hearts (1971); and Still Life (1976), which is a personal favorite. World Record (1976) is the last 1970s album to feature the classic lineup, although it is not nearly as good as Godbluff or Still Life.
Great for Late Nights by Yourself . . ........2006-07-16
"Scorched Earth" exemplifies the plusses of this album perfectly. Featuring a slow pre-grunge chromatic riff as its centerpiece, it builds in segments like the best of VDGG, until they've spun considerable tension by the end of ten minutes. Every musician is on here, especially David Jackson and the formidable Guy Evans on drums.
"Arrow"--quite the memorable song, if not only for Hammill's shrill falsetto emanations after starting out in his lower registers--exemplifies both the plusses and (comparatively few) minusses of this album. Like every other song here, this is a slow-burner. It builds in its own time, like the best of VDGG (and the best of wines), but the recording is sub-par and Hammill sounds like he's singing under the sea (again, not in a good way like on _Pawn Hearts_'s "Plague of Lighthouse Keepers"). His falsetto does get annoying (doth he protest too much?), like I said before. The difference between his falsetto here and on _Pawn Hearts_ is that every instrument screeches when Hammill does and your lost in the Echoplex of your corpus callosum. On "Arrow" it's Hammill screeching over a by-and-large restrained supporting cast. Somehow the balance just seems off here.
In short, buy this album after you've had a proper introduction to the band (_Pawn Hearts_ and the earlier works like _H for He . . ._ and _The Least We Could Do is Wave . . ._). I think to start on this one might scare you off to the abundant joys of VDGG (if indeed disequilibrium is a joy to you). If you go through those and get to this one, you'll be able to appreciate it for what it is. A slightly flawed document of a master lyricist and his supporting musicians' journey upward from hell. They are still in hell here, but they are reflecting on it as they ascend, hence all the fascinating things they do with the slow burn.
The Sundial Draws a Line Upon Eternity Across Every Number.......2006-02-14
I am not completely familiar with the full story of "Godbluff," but I do believe that this was their 1973 "comeback" album, after a brief break-up; singer/songwriter Pete Hammill had become wrapped up in his solo career, while keyboardist/drummer/sax-flautist Hugh Banton/Guy Evans/David Jackson retreated to Italy (where VDGG was a #1 chart-topping act) to record their interesting but not-spectacular "Long Hello" album.
Reuniting with "Godbluff," the quartet roared to life again in a HUGE way with this (skimpy by modern CD standards) 40 minute reaffirmation of their collective power. All four tracks are lucid, mighty testaments to the visionary talents of Hammill and company, but I most especially want to direct your particular attention to the track that scorches with the most frightful intensity: ARROW, track 3 (1st cut side two for us LP era neanderthals).
This is STRONG stuff, here folks, and not in a profane or cartoonish death-metal sort of way. Rather, it's all intensity and execution, starting with the fade-in bass & drum intro, skipping along nervously as Jackson's sax bleats in over the top to add some high-plateau drama to the soundscape. The musical suggestion of traveling by horseback across a barren landscape is evoked vividly before a single word is sung. Banton's Fender Rhodes (probably Hammill-there is NO GUITAR in this song) joins to bring this atmospheric stage-setter to a close, settling down to a sinuous opening statement of the song's theme, sustaining the final note like a snake poised on a desert stone waiting to strike--
Enter Hammill, roaring: "Stub towers in the distance, riders cross the blasted moor against the horizon." Simply transcribing the line can hardly invest it with the skullcrushing force of Hammill's delivery, in surely the most extreme match of material and performance of his career. "Arrow" is 9:47 of pure blood & thunder on trampling hooves, with Hammill riding high in the stirrups and screaming into the maelstrom, "what a crawl against the slope, dark loom the gallows--one touch to the chapel door, how swiftly comes the arrow."
And of course the band is at full gallop alongside Hammill, with Jackson & Evans stomping mercilessly with massed saxaphone & percussion. Save for a brief synthesizer break (fully in accord with the near-panic mood established at Hammill's first words), Hugh Banton keeps well to the background, but with the other three wailing at "11," the restraint becomes a valuable contribution in its own right.
Van Der Graaf, as I am again obliged to state, is NOT for everyone, and "Godbluff" (like their other CLASSIC record, "Pawn Hearts") is almost sure to scare off timid or casual listeners. To unattuned ears, it's rough, Hammill's voice is not "pretty" in the Michael Bolton sense, although Hamill was definitely capable of it. Here I recommend their second record, "The Least we can Do is Wave to Each Other" as a starting point for curious listeners; Hammill's voice is beautiful by any standard, especially on the plaintive "Refugees," a song that some movie director will eventually make a gigantic hit with when he leases it for his soundtrack.
Still for those adventurous enough to try something with some real brains & brawn, you've definitely stepped up to the Phd. level here. Van Der Graaf were not looking for chart-topping smashes, they were (are) artists fortunate enough to be chasing their muse at a time when commerce favored musicians in that pursuit. For those of us coming of age during that late '60's early '70's flowering of progressive rock, we now have a rich and vast body of work to discover (or rediscover) and reflect on for the rest of our lives. Including among many others but with special distinction, the great Van Der Graaf Generator, who after a 20 year hiatus have now fired it up again to release yet another reunion CD, "Present," now available on Amazon...
Let's give the last word to Peter, reflecting in his unique way on our mayfly existences; "How long the night is, why is this passage so narrow? How strange my body feels, impaled upon the arrow!"
the generator returns.......2005-10-15
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Godbluff
Van Der Graaf Generator Manufacturer: EMI Japan ProductGroup: Music Binding: Audio CD General
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ASIN: B000AA7FQW Release Date: 2005-09-26 |
Tracks:
- Undercover Man
- Scorched Earth
- Arrow
- Sleepwalkers
- Forsaken Gardens [Live][#][*]
- Louse Is Not a Home [Live][#][*]
Album Description
Japanese pressing of the 1975 album features the 4 original tracks plus 2 exclusive live bonus tracks 'Forsaken Gardens' & 'Louse Is Not A Home', packaged in a paper sleeve. Virgin. 2005.Album Details
24bit Digitally Remastered Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork of Van Der Graaf's First Album after Lead Singer/Songwriter Peter Hammill Launched his Solo Recording Career.
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Godbluff
Van Der Graaf Generator ProductGroup: Music Binding: Audio CD General
| Rock
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ASIN: B000025JQ6 Release Date: 2006-04-18 |
Tracks:
- Undercover Man
- Scorched Earth
- Arrow
- Sleepwalkers
Customer Reviews:
The Finest In Digital Remastering.......2007-02-19
If you are already familiar with this album, it need not be said. Godbluff was VDGG's first comeback that shook the world during a period when Yes, Genesis, Pink Floyd and the like were all but sleepwalking. Had Godbluff been released a year or 2 later, it simply would've grabbed the threat of Punk by its ear and sent it home crying to mommy. This album had the balls no other prog band ever had, and it is my personal favorite.
"The Undercover Man" reminds me of "Pilgrims" from Still Life, with a similar pace and sets the mood for the album. With a dramatic fade-in, "Scorched Earth" all but incinerates the place. The aforementioned snare drum of Guy's sounding tight & crisp. Hammill puts on an absolute demonic performance and is more than convincing. Both Banton & Jackson sound so full on this album (and Still Life) that you wouldn't really have much room for a guitar, although Hammill's Strat is mixed very carefully in "Scorched Earth" and raises Holy Hell at the end. "Arrow" offers a harrowing performance by Hammill, who is putting his vocal cords to the absolute test. Finally, the trigonometry of "The Sleepwalkers" closes the album and builds to up to a climax that is to die for. In this reissue, you can clearly hear Hammill going into a frenzy before he screams "Tonight before you lay down...". It makes my hair stand on end everytime I hear it. I love how Hammill refuses to play it safe, squeezing in syllables where they may or may not belong, and just completely going insane.
To me, it is important to note that Hammill doesn't sing but PERFORMS his lyrics, which I think confounds the unsuspecting listener. It sounds lame to me to hear people [...] about his vocals, but yet offer other vocalists their highest regards for phoned-in performances of technical mastery & sterility. BORING!! That's like bitching about Hendrix being too loud & using feedback during his solos. Stay home & knit a quilt!!
I could go on & on about this album and this band, but I have no time. Of course, I highly recommend this one and any from the newly remastered VDGG catalog. I also recommend you play it to maximum volume, because you can finally hear what VDGG was supposed to truly sound like all along. They are the Godzilla of Progressive Rock. VDGG never was for the faint of heart.
Pulling back, changing slightly.......2005-05-07
My personal favorite - - - =- - - =- - - = - - -=.......2004-03-04
Reformed for the second (or third) time, this was the best VDGG ever. "Still LIfe" is considered as Peters masterpiece and most think "World Record" was a dud. But I like them all!
The Prog Album That Put the Prog Giants To Bed.......2004-03-02
The opener "The Undercover Man" creeps along with Hammill whispering in the shadows, building suspense before the song opens up with a reflective & confessional soliloquy. The band always supplying the perfect canvas for Hammill to paint his lyrics to profound effect, which become universally addressed by the end of the piece.
Like a restless ocean wave comes "Scorched Earth", beautifully segued from the opening track. The song builds with Evans' drumming really punctuating the intensity that soon reaches its tantric release. Banton's modified Hammond sounds downright frightful during the heavy angular riffs (this music would've scare the crap out of me as a child), which again help convey Hammill's wrath with lines like "It's far too late to turn, unless it's to stone". The band then goes into an absolutely frenzy, demanding that the listener turn his stereo up well into the red (and well past 11). Hammill's guitar abuse at the end is absolutely perfect.
"Arrow" begins with a jazzy schizophrenic vibe (with wah-wah sax) before easing into the opening chords. Hammill is absolutely manic on this track (which I have blaring as I write), with lyrics full of helplessness & wrath. Jackson's sax sounds great & easily replaces the electric guitar. Actually, I couldn't even imagine a guitar on this album - too much intensity.
Finally, we meet "The Sleepwalkers" with a very mathmatical interplay between Banton & Evans. The song has many incredible movements & a great build with Jackson really coming to the fore. The song grows to orgasmic proportions with Jackson really taking the song to new heights. It's really something to hear Hammill lose his mind in the background just before he explodes into "Tonight, before you lay down to the sweetness of your sleep...". Of course, this part should be cranked up to infinity to feel the full effects (or affects) of his wrath.
I obviously have profound feelings for this album and recommend that when you buy (and yes you WILL buy it) this one, it must be played at full volume everyday. We should get a petition going to have this & other VDGG albums digitally remastered (any feedback on this?). This band really makes the other prog giants appear as SLEEPWALKERS.
Scary stuff....and that's no bluff........2003-12-05
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Godbluff
Van Der Graaf Generator Manufacturer: Caroline ProductGroup: Music Binding: Audio CD General
| Rock
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ASIN: B000000HTK Release Date: 1992-09-23 |
Tracks:
- The Undercover Man
- Scorched Earth
- Arrow
- The Sleepwalkers
Customer Reviews:
The Finest In Digital Remastering.......2007-02-19
If you are already familiar with this album, it need not be said. Godbluff was VDGG's first comeback that shook the world during a period when Yes, Genesis, Pink Floyd and the like were all but sleepwalking. Had Godbluff been released a year or 2 later, it simply would've grabbed the threat of Punk by its ear and sent it home crying to mommy. This album had the balls no other prog band ever had, and it is my personal favorite.
"The Undercover Man" reminds me of "Pilgrims" from Still Life, with a similar pace and sets the mood for the album. With a dramatic fade-in, "Scorched Earth" all but incinerates the place. The aforementioned snare drum of Guy's sounding tight & crisp. Hammill puts on an absolute demonic performance and is more than convincing. Both Banton & Jackson sound so full on this album (and Still Life) that you wouldn't really have much room for a guitar, although Hammill's Strat is mixed very carefully in "Scorched Earth" and raises Holy Hell at the end. "Arrow" offers a harrowing performance by Hammill, who is putting his vocal cords to the absolute test. Finally, the trigonometry of "The Sleepwalkers" closes the album and builds to up to a climax that is to die for. In this reissue, you can clearly hear Hammill going into a frenzy before he screams "Tonight before you lay down...". It makes my hair stand on end everytime I hear it. I love how Hammill refuses to play it safe, squeezing in syllables where they may or may not belong, and just completely going insane.
To me, it is important to note that Hammill doesn't sing but PERFORMS his lyrics, which I think confounds the unsuspecting listener. It sounds lame to me to hear people [...] about his vocals, but yet offer other vocalists their highest regards for phoned-in performances of technical mastery & sterility. BORING!! That's like bitching about Hendrix being too loud & using feedback during his solos. Stay home & knit a quilt!!
I could go on & on about this album and this band, but I have no time. Of course, I highly recommend this one and any from the newly remastered VDGG catalog. I also recommend you play it to maximum volume, because you can finally hear what VDGG was supposed to truly sound like all along. They are the Godzilla of Progressive Rock. VDGG never was for the faint of heart.
Pulling back, changing slightly.......2005-05-07
My personal favorite - - - =- - - =- - - = - - -=.......2004-03-04
Reformed for the second (or third) time, this was the best VDGG ever. "Still LIfe" is considered as Peters masterpiece and most think "World Record" was a dud. But I like them all!
The Prog Album That Put the Prog Giants To Bed.......2004-03-02
The opener "The Undercover Man" creeps along with Hammill whispering in the shadows, building suspense before the song opens up with a reflective & confessional soliloquy. The band always supplying the perfect canvas for Hammill to paint his lyrics to profound effect, which become universally addressed by the end of the piece.
Like a restless ocean wave comes "Scorched Earth", beautifully segued from the opening track. The song builds with Evans' drumming really punctuating the intensity that soon reaches its tantric release. Banton's modified Hammond sounds downright frightful during the heavy angular riffs (this music would've scare the crap out of me as a child), which again help convey Hammill's wrath with lines like "It's far too late to turn, unless it's to stone". The band then goes into an absolutely frenzy, demanding that the listener turn his stereo up well into the red (and well past 11). Hammill's guitar abuse at the end is absolutely perfect.
"Arrow" begins with a jazzy schizophrenic vibe (with wah-wah sax) before easing into the opening chords. Hammill is absolutely manic on this track (which I have blaring as I write), with lyrics full of helplessness & wrath. Jackson's sax sounds great & easily replaces the electric guitar. Actually, I couldn't even imagine a guitar on this album - too much intensity.
Finally, we meet "The Sleepwalkers" with a very mathmatical interplay between Banton & Evans. The song has many incredible movements & a great build with Jackson really coming to the fore. The song grows to orgasmic proportions with Jackson really taking the song to new heights. It's really something to hear Hammill lose his mind in the background just before he explodes into "Tonight, before you lay down to the sweetness of your sleep...". Of course, this part should be cranked up to infinity to feel the full effects (or affects) of his wrath.
I obviously have profound feelings for this album and recommend that when you buy (and yes you WILL buy it) this one, it must be played at full volume everyday. We should get a petition going to have this & other VDGG albums digitally remastered (any feedback on this?). This band really makes the other prog giants appear as SLEEPWALKERS.
Scary stuff....and that's no bluff........2003-12-05
Rap Music:
- Good Morning Spider [Enhanced]
- Greatest Hits [Import]
- Here Come the Noise Makers [Live]
- Hex
- Home for Orphans
- I Am Me [Import]
- Jo Jo Gunne
- Just Another Band From L.A. [Original recording remastered] [Live]
- Life'll Kill Ya
- Live from Central Park [Live]
Recommended Music:
John Acquaviva: from Saturday to Sunday V.2 [Import]
Robert Brooks Sings Selected Lieder
Over My Head [CD-single] [Import]
O Som Que Vem Da Luz Do Sol [Import]