Allan Holdsworth - None Too Soon (96)

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Guitarist Allan Holdsworth is widely considered to be one of the finest instrumentalists in all of jazz fusion, yet has never truly received the recognition that he so rightfully deserves.

Born on August 6, 1946, in Bradford, Yorkshire, Holdsworth was originally taught music by his father, who was a pianist.

First a saxophone player, Holdsworth didn't pick up the guitar until he was 17 years old, but learned the instrument quickly.

After playing in local outfits (in addition to learning the violin), Holdsworth relocated to London, where he was taken under the wing of saxophonist Ray Warleigh.

By 1972, Holdsworth had joined progressive rockers Tempest, appearing on the group's self-titled debut a year later before joining Soft Machine in December 1973 — and radically changing the latter outfit's sound to guitar-based fusion in the process.

Gong - Camembert Electrique (71)

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1 Radio Gnome
2 You Can't Kill Me
3 I've Bin Stone Before/Mister Long 4 Shanks/O Mother
4 Mister Long Shanks: O Mother/I Am Your Fantasy
5 Dynamite/I Am Your Animal
6 Wet Cheese Delirium
7 Squeezing Sponges over Policemen's Heads
8 Fohat Digs Holes in Space
9 Tried So Hard
10 Tropical Fish: Selene
11 Gnome the Second


This is a classic, the epitome of the band's early Daevid Allen phase with Ph.P.'s (pothead pixies) in full, blazing glory.

In its infancy, Gong was a unique prog rock band that branched out in all directions at once while most other prog bands chose simply one path or another.

Camembert Electrique is a testament to that.

The band's eclectic "electric cheese" rock is a mixture of psychedelic rock, spacy atmospherics and lyrics, and doses of jazz often presented with a pop sensibility, yet always intense.

From the first cut on Camembert, you are transported to planet Gong via the voice of a "radio gnome" who drops in intermittently to remind you you're not in Kansas anymore.

Daevid Allen leads the band through several compositions musically (not lyrically) reminiscent of, and possibly influenced by, early King Crimson — a hard, raw-edged sound propelled by a strong guitar-sax-percussion combo. Drummer Pip Pyle played on only a few Gong sessions; he is a major figure here, as is saxophonist Didier Malherbe.

Both are up front on the wailing progressive rocker "You Can't Kill Me," which also features guitarist Allen in top form.

Allen's declarative "I've Bin Stone Before," the first part of an inventive three-song medley, is of particular interest; introductory church organ and avant-garde sax make this another unique Gong experience.

But the real gem on Camembert is "Tropical Fish: Selene." This jazzy composition is the most involving and intricate piece on the recording.

The band moves tightly through several progressive movements and Gilli Smyth scores with her trademark "space whispering."

Camembert Electrique remains undated after almost 30 years and hovers "strong and steamin'" over most of the Gong catalog.

Gong - You (Radio Gnome Invisible, Pt 3) (74)

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1 Thoughts for Naught
2 AP H.P.'s Advice
3 Magick Mother Invocation
4 Master Builder
5 A Sprinkling of Clouds
6 Perfect Mystery
7 The Isle of Everywhere
8 You Never Blow Yr Trip Forever

Conveying more advice from AP H.P., You emerges thematically as the third part in the Radio Gnome Invisible series, though not titled as such.

Overall a fair release, the album seems somewhat poorly planned and insubstantial, with brief tunes punctuated by several long jams.

Guitarist Steve Hillage's role in Gong had become quite prominent, to the point of overshadowing founding member Daevid Allen.

You marks Allen's last stand with the band, at least until his quasi-return many years later. The album opens with three light, ethereal pieces.

Among the short tunes, "Perfect Mystery" is the standout, a fun but very advanced jazz-oriented composition.

The lengthy, epic-like structures on the album are generally solid (though at times uninspired), jazz-tinged progressive rockers, with the instrumental "Isle of Everywhere" taking top billing.

Each piece features Pierre Moerlen's hot percussion, and each bandmember steps up front at one time or another.

The awkward moments occur in the final cut, the jazzy "You Never Blow Yr Trip Forever."

At times early in the song Allen's vocal presentation and lyrics seem at odds with music which dares to outdate him, making some of the most progressive music on the recording.

Gong – Shapeshifter (92)

Pt 1 ---> Download

PT2 ---> Download

1 Gnomerique
2 Shapeshifter
3 Hymnalayas
4 Dog-O-Matic
5 Spirit With Me
6 Mr. Albert Parkin
7 Raindrop Tablas
8 Give My Mother a Soul Call
9 Heaven's Gate
10 Snake Tablas
11 Loli
12 Can You: You Can [live]
13 Confiture de Rhubarbier
14 Parkin Triumphant
15 Longhaired Tablas
16 Éléphant la Tête
17 Mother's Gone
18 Éléphant la Cuisse
19 White Doves
20 Gnomoutro
21 Goddess Invocation Om Riff [live]

For their first album of new material in over 20 years, the real Gong (i.e., one led by Daevid Allen and containing a number of players from the classic '60s-'70s period) offer — well, much of what made them so popular in the first place.

There's an impish sense of humor to the lyrics, Gilli Smyth's deeply echoing space whisper, stunning sax and flute work from the criminally underrated Didier Malherbe, and plenty of trademark glissando guitar from Allen himself.

Goddesses are invoked, gnomes are mentioned, and rhubarb is eaten, among many other things.

Guitarist Steffi Sharpstrings fills what was Steve Hillage's role with plenty of post-punk energy, but really it all revolves around Allen's personality and some stunning music.

Time's been kind to Gong.

Their pioneering space rock ways found a home with the ambient crowd and their music shows they've listened to what's gone on and incorporated it into their sonic journey, which is part prog rock, part jazz, and part just out there. "Can

You: You Can," a live cut from 1992, with its wonderful improvisations, is a prime example, although even better is the long closer "Goddess Inovation/Om Riff," where they hammer to infinity and beyond.

Veteran Pip Pyle shows a light, steady touch on the drums, Allen is even more inventive than before, and the refusal to take themselves completely seriously keeps it floating along.

Having this band together before recording in the studio was obviously a good idea; they mesh perfectly, and it's good to have a classic back, energetic and full of ideas.