Part 1: The 1970s

Marchman's overhyped pick: SUPERTRAMP - "Crime of the Century" 1974 (A&M)

Peak Billboard Chart Position: 38

Marchman's review: Most of us have been to see a magic show at one time or another. Obviously we go for some entertainment after working hard all week in the real world. Most magic acts incorporate a lot of flash, special effects, showy costumes, and exotic creatures. Of course, these serve the purpose of distracting us from scrutinizing the magician’s slight of hand. If we do overscrutinize this type of event, we may be at the mercy of other friends or family members saying, “Stop analyzing it! It’s supposed to be for fun!” Granted, a little break from reality can be just what the doctor ordered in a time of stress. Keeping everything in proper perspective is important.

The music scene in Britain in 1974 is booming on a global level. Stellar releases by bands like JETHRO TULL, GENESIS, and KING CRIMSON have made the world of British progressive rock all but irresistible to the rock enthusiast. SUPERTRAMP, while establishing quite a stir recently with this latest release, aren’t exactly newcomers to the music scene. The songwriting team of Richard Davies and Roger Hodgson have been gigging and recording together since the band’s inception in 1970. This LP, “Crime of the Century” is the band’s third-length album. It sports a radically different lineup than the band that created 1971’s “Indelibly Stamped”. New members Bob Seibenberg (drums), John Helliwell (sax) and Dougie Thompson (bass) along with top-notch producer (Ken Scott) and a new musical direction all come together in this magical attempt at progressive rock grandeur. Reactions to the disc thus far have largely been (as the previously mentioned scolding family members) exceedingly positive, based on the notion that this is a well-constructed concept album. Sadly, my impression after multiple spins is that “Crime of the Century” is long on flash and polish, and exceedingly short on substance, resulting in a magic act that simply falls flat.

Gone from this disc are long-winded TRAFFIC-styled compositions like the acoustic “Aries”. Instead, it appears that the band is shooting for a happy medium between the musical virtuosity of progressive rock and more radio-friendly pop music. But in the quest to serve both audiences, the band effectively serves neither by laboring on a set of songs that, while very well produced, simply lack the substance to get the job done.

Hodgson’s higher-pitched vocals strike the listener as unusual and perhaps intriguing for the first few tracks, before wearing thin as the album progresses. The first couple of singles, “Bloody Well Right” and “Dreamer” both sparkle with ice-droplet piano lines and great arrangements by Ken Scott. But these tunes still come across as rejects from past albums by THE WHO and PROCOL HARUM. “Dreamer” begins with a wonderful vocal-and-key intro that creates a degree of high drama, but the track capsizes and falls over after the first minute, going absolutely nowhere and sounding like the aural equivalent to a vehicle stuck in the mud.

The longest track on the album, “Rudy” clocks in at 7:07, but feels like a much longer song, as the tedious keyboard-upon-keyboard passages, occasional disco synths, and studio sound effects from Scott just seem to go on forever.

The high points of the record would definitely include “Hide in Your Shell”, the only real songwriting achievement that I could detect at all. Smart, quirky, hooks and very hummable choruses made me long for more tracks like this. The intertwining guitar melodies in the title track were also impressive, if fleeting. Beyond that, the track “Crime of the Century” fits in well with the rest of the album, an exercise in highly polished, well orchestrated filler material.

On the whole, “Crime of the Century” is very melodic and brassy. It is also an excruciatingly tedious and pretentious affair, by musicians with a great deal of talent, capable of much better. You’ll find yourself nodding along to a catchy vocal hook from Hudson, or perhaps a cool sax riff from Heliwell once in awhile, but those moments are few and far between. Indeed, fan as I am of magic and all things enchanting, “Crime of the Century” is not one of them.

Marchman's underrated pick: CRACK THE SKY - "Crack the Sky", 1975 (Lifesong)

Peak Billboard Chart Position: 161

Marchman's review: One of the most common questions I’m asked is, “So who’s the best, in your opinion? Best band, best guitar player…who?” Now, these types of questions are rarely asked of me by other critics, music collectors, or musicians. Rather, it’s typically those who “dabble” in music; business or sports types that see music as something to occupy the time they spend while driving. Once my identity as a music reviewer has been established at a dull party or on a long elevator ride, I may be asked something like this. My typical wry response is remarkably honest, but may be taken as an attempt to avoid answering. “Beats me. Probably a bunch of guys nobody’s ever heard of, making music in a basement in some nowhere town while they work day jobs flipping pizzas and sweeping arcade floors.” It’s a statement that calls to question the bizarre and ironic separation between our ideas of artistic talent and the realities of the music business “machine”.

At this point, I’ve spun this debut disc from CRACK THE SKY several times, and I’m convinced that fate has somehow gotten her wires crossed. Something has gone wrong in the delicate balance of the universe. I don’t know whether two planets collided and threw each other out of orbit, oil and water decided to mix somewhere, or perhaps one last dinosaur decided to survive. But something definitely has caused an unexpected chain of events that led to this band releasing an album. Forgive my incredulity. It’s just unheard of that a group of players with such obvious musical talent, none of whom I’ve heard of before (especially when you consider their residence in the musical Mecca that is Weirton, WV) that create such a captivating and original sound, actually get a chance to have their music heard by releasing an album. It appears that the aforementioned “bunch of guys” I’ve speculated about at parties has finally put out a record. Did Terry Minogue of Cashwest wander into the wrong bowling alley and run into these guys or something?

Well, enough speculation on the “how”, let’s focus on the “what”. Joe Recordbuyer gets nine tracks of highly original rock music with equal parts singer-songwriter charm, heavy rock bombast, and brilliant American humor. The music on this record blasts, tickles, grooves, soothes, and even pokes a little fun at the listener, but you’ll be having such a grand time, you’ll hardly notice. At times, it seems the music of CRACK THE SKY was created in a vacuum of pure originality, and then, in the blink of an eye, the band’s influences jump out, as plain as the nose on your face.

The raucous opener, the appropriately titled “Hold On”, roars from speaker to speaker, greeting the listener with CRACK THE SKY’s signature sound of blasting riffs and snaking, jazzy changes led by Joe Macre’s commanding basslines. Before you know it, the band is crashing into the next track, the barnstorming “Surf City”, a delightfully rockin’ track with quirky lyrics centering on a lighthearted search for identity. This track takes the energy level of the record up a few ticks from the opener with bold, harmonized leads from the guitar team of Rick Witkowski and Jim Griffiths. At this point, with such daring guitar sounds occupying the same space as gorgeous vocal harmonies and the aforementioned basslines, I realized I was in for something very special.

The combo of “Hold On” and “Surf City” rocks so hard, and creates such a temptation to stand on your seat and clap along; you would think that CTS would want to keep you there. But instead, the band completely changes gears in favor of the soft piano tones of “A Sea Epic”. Vocalist and main CTS songwriter John Palumbo truly shines in the execution of this hilarious account of a sailor lost at sea, pleading with the Lord to spare himself and the cook. “I’m sorry Lord. You know what’s best. But please would you at least spare the cook? For I’m very hungy, and by the looks of this ship, I’m gonna starve!” The piano sparkles with occasional bursts of guitar mayhem and some orchestration making this yet another exceptional and unusual track from this talented five-piece.

The rest of the album continues on in much the same way, juxtaposing Palumbo’s wacky lyrics and piano virtuosity against heavy metal guitars and beefy basslines. Lyrically, one could draw a common thread through the entire record as a lighthearted commentary on American materialism and “keeping up with the Joneses” mentality. It’s tough to pick a high point on the record, as the album moves in cycles, alternating bombastic rock, rousing piano balladry, harmonized vocals, orchestration, acoustic guitar, and some of the wittiest lyrics you’re ever likely to hear. If I had to pick a high point of the record, it would have to be the line in “Robots for Ronnie”, the pathetic story of the world’s most unpopular child, in which Palumbo matter-of-factly states “If Ronnie were to blow up, I don’t think anyone would care.”

If you’re one of those name-dropping types that needs some point of musical reference before plunking your money down for this, then I’d say think about mad BEATLES tunes like “Maxwell’s Silver Hammer” crossed with some tracks from ZAPPA’s “Over-Nite Sensation” record. That’s the best you’re going to get from me, as the sound of this band is exceedingly hard to pin down. Rather, think of this album the way you’d think of a great musical comedy. After watching it, you’re equally impressed with the talent and abilities of the performers, the strength of the story lines, the quality of the songs, and the number of times you laughed out loud during the performance. And perhaps most importantly, you want to see it again. In this context, I view the debut from CRACK THE SKY as an essential and (dare I say) important record. You’ll just have to experience it for yourself.

Part 2: The 1980s

Popoff's overhyped pick: DEF LEPPARD - "Pyromania", 1983 (PolyGram)

Peak Billboard Chart Position: 2

Popoff's underrated pick: KICK AXE - "Vices", 1984 (Pasha)

Peak Billboard Chart Position: 126

Part 3: The 1990s

Dorsey's overhyped pick: FATES WARNING – “Parallels” 1991 (Metal Blade)

Peak Billboard Chart Position: 20 (Heatseekers)

Ray's review: Ah, “progressive metal.” What does it mean? It’s the same dilemma, albeit a narrower one, that is “what is progressive rock?” Does it indicate a style, in that all bands who sound like QUEENSRYCHE (ok, maybe like QR used to sound) are “progressive metal?” Or does it mean the metal band that’s truly branching out, trying uncharted things and…Jesus!!!...NOT sounding like frigging QUEENSRYCHE?!?! Well, I guess you see what side of the fence I come down on! But anyway…FATES WARNING, from the USA (Connecticut) began their album output in the early ‘80’s armed with a singer who seriously got on my fucking nerves. John Arch was his name and he sounded for all the world like someone who was having a vice tightened on his testicles every 2 or 3 notes. Really, the guy went up & down, up & down, spewing out melodies that probably made sense on another planet but were so all-over-the-place that they made my head spin. To his credit, on albums like “A Night On Brocken” & “Awaken The Guardian,” he did have a sound that had to be called unique, certainly way-discernable from Geoff Tate, Bruce Dickinson, etc. It must also be said that his lyrics were thoughtful, well-written and actually very interesting. Musically, the band, led by guitarist Jim Matheos, was not anything to set the world on fire but on these early records they did represent a palatable mixture of Maiden & a bit of ‘Ryche, oft-stretched paper-thin over hyper-extended songs.

However, all that being said, this one still blows away the 1991 release, “Parallels.” I must say that, in the period of time I’ve listened to music, it would be difficult for me to pick an album much more devoid of emotion, memorability or signposts of any kind than this one. I have listened to “Parallels” several times now in writing this piece and I can remember virtually nothing about the songs. What we have are 4-8 minute chunks of playing that could be called metal, were they not suffocated so completely with a glossy Terry Brown production sheen (think the shitty later RuUSH era) that castrates any balls they would have had. The guitars are tragically polished and the riffs, could they be called that (somehow the word “riffs” implies “kicking ass,” which removes it from this album’s discussion) are so blasé as to be self-erasing from one’s mind. To say that Ray Alder’s vocals on “Parallels” sound tired would be like saying you might be a little winded after riding a full Tour De France. And, I can understand why. If you’ve had several cups of coffee or a 32 oz. Mountain Dew, sit down with the lyric booklet (or better yet, stay standing, that may keep you awake). I think it needs to be said that the texts to numbers (more like stretches of aimless wandering) like “Leave The Past Behind,” “Point Of View” and “Don’t Follow Me” are some of the most bland, uninspiring and ineffectual I can think of. I’m imagining, although not sure why anyone would bother, that you could switch lines from one song to another and have it all end up making just as much sense as it did before. Again, not a John Arch fan here but, trust me friends, this is parsecs away from “Morgan on my sill of frost!” Like I said, these guys were pretty damn popular when this thing was out and played a place called Hammerjacks in Baltimore. I was given a ticket through a music industry connection at the time, so I went. I remember my favourite thing about the show being the NAPALM DEATH shirt (?!?!) that Alder was wearing. I also remember Jim Matheos standing there playing with a ditzy-looking smile that reminded me of one of those fake-pop-jazz-musos like Kenny G. And, in reality, that’s what this album reminds me of. Shallow, hollow stuff for the masses who think they’re intelligent and are impressed by good playing without a whole lot to stand behind it…surely not my idea of “progressive metal.” But, it sold so what do I know?

Dorsey's underrated pick: MIND OVER FOUR – “Half Way Down" 1993 (Restless)

Peak Billboard Chart Position: N/A

Ray's review: Being a sports fan, I’ve always liked records & the trivia that goes along with ‘em. You know, like “Name an Oriole catcher who hit 4 doubles in a 9-inning game?” Dave Duncan. Well, ok you get the idea. Consequently, my interest in things like that spills over into music and hence, the question: “Name a band who put out 6 albums, each on a different label?” And, of course you know I’m going to tell you the answer to this one: California’s MIND OVER FOUR. From the release of their self-pressed “Desperate Expression” (each copy complete with it’s own hand-drawn cover!) in 1983 up through their swan song, “Empty Hands” in 1995, this 4-piece went on a sojourn that took them from Triple X Records to Destiny to Caroline to Restless to Fierce. Each successive commercial failure went hand-in-hand with virtually no label support, sporadic touring and a trip each time back to the Left Coast to snag regular jobs again while writing new songs & shopping for a deal. An added little twist to the story is that in the midst of all this business futility, the band consistently produced some of the most unique, vital and yes, “progressive” metal I’ve had the pleasure to hear.

Interestingly enough, that initial “Desperate Expression” was not really very heavy. It’s a crazily rare record and probably the quirkiest of them all, having a sound more akin to NOMEANSNO than metal, quite short in length but featuring M/4’s longest song. “Out Here,” in 1987 saw the guitars of Michael Jensen really beginning to become more of a force, although the record could probably still be called more of a college-rock-type sound. Still, cuts like “The Other With The Other/The Letter” were like an icy breath of fresh air, with Jensen sounding like a metalized-early-Edge and Spike Xavier’s vocals taking on a distinct Sean Harris rich wail. Lyrical statements like “…Listened to Bowie…he gave me a new anatomy” were odd and striking. The first MIND OVER FOUR album to really exemplify a “heavy” guitar sound was 1989’s self-titled opus on the German Destiny label. Jensen must have bought a couple extra Marshalls for this one, as the amp-ed up axe volume gave an extra kick to some of the band’s coolest songs yet, like “Vernal Equinox” and “The Black Orgasm.”

The lean toward things more crushing continued on 1990’s “The Goddess.” With this record, everything MIND OVER FOUR had done seemed to come into sharp focus. Their ability to play heavily, certainly metal songs, and yet infuse them with melody and structural ideas that were at once unusual and yet never overblown. It may seem like a misnomer to some to consider this band “progressive” metal when their songs were usually in the 3-4 minute range, but they managed to pack more into something like “Ice Water Steam” or “Autumn’s Here” than a lot of so-called prog-metal acts could in a 10 minute opus. That being said, “The Goddess” also features one of the band’s only real attempts at such an epic, “Prayer For The Dying/The Goddess.” Having none of the pompous pseudo-intelligence of the tweedle-prog crowd, it flows more like a series of interconnected songs, a mini-metallic-Side-Two-of-Abbey-Road deal. I remember at the time that I was thinking “The Goddess” was going to be M/4’s centerpiece. That was until “Half Way Down” hit my mailbox in 1993.

I remember seeing the cover, a green exposure of Spike Xavier at the microphone on the cover and then opening it to see a similar shot of Jensen in mid-stroke on his Les Paul, hair flying in true metal form. My mind went back to the cover of “Vol. 4…” but who could hope for such greatness from anybody?!?! Well, these guys came damn close on this one. As full-on metal as they would ever be, MIND OVER FOUR offer up an absolute clinic in merging top-level musicianship with original song ideas and lyrics on this disc. Listen to “Barriers & Passages,” “Jack The Throne,” “Funny Pocket” or “Coffee.” Tell me one song you have ever heard that sounds anything like any of them. Sure, you can tack 15 different rhythm changes together, write some words about dungeons & dragons and call it prog-metal. But meld together crushing guitars, flowing riffs & riveting vocals into a song that sounds different enough to have come from another planet and yet kick-ass enough to get you rolling down the car windows and that’s the definition for me.

“Half Way Down” is truly a magnificent work by a fantastic band operating at their very peak, with no artistic interference and nothing to limit them but the panorama of their own talent. Rich Castillo and Mark Fullerton lay down rhythms that are anything but just that. In the manner of Side Two of the first SABBATH disc, they go way beyond laying down a beat, taking a cue from jazz masters by moving to counterpoints and off-time stuff yet still bashing your skull. Over it, Jensen is a crush-master, guitar set to stun and laying down riffs who’s creativity is right there with someone like Piggy of VOIVOD…and, wildly, the subtleties, the brushstrokes he began to dabble in as far back as “Out Here” are still in sure evidence. Finally, atop the controlled maelstrom, Spike Xavier gives a vocal performance for the ages. His voice is at once resonant and commanding and yet in a second can move to punk-like snottiness without missing a beat. Lyrics like those in “Jack The Throne” speak at once from the streets and from stark intelligence: “We witness a country in decline…America…schools are closing, artists are crying…screaming bloody murder as they mourn their fallen majesty…the young boys hold their drunk mother…they love her, they find it hard to pledge of allegiance…they find it hard to believe that god shed his grace on thee…steel fibers in my soul.” There’s very little that can remain to be said about “Half Way Down.” It’s one of those records (Ok, CD’s) that to me, hits on all 8 cylinders from beginning to end. For MIND OVER FOUR, they achieved not only their heaviest, most metallic sound on this disc, but also took an unusual, at-times-quirky style of writing and elevated it to a level here that needs no washes of keyboards, nor 20-minute opuses, nor concept pieces about Greek mythology to be utterly progressive. Massive.