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.

Bill Bruford - Bruford Tapes (79)

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01-Hell's Bells
02-Sample and Hold
03-Fainting in Coils
04-Travels With Myself - And Someone Else
05-Beelzebub
06-The Sahara Of Snow - Part One
07-The Sahara Of Snow - Part Two
08- One of a Kind (Part Two)
09-5G

Ozric Tentacles – Arborescence (94)

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1 Astro Cortex
2 Yog-Bar-Og
3 Arborescence
4 Al-Salooq
5 Dance of the Loomi
6 Myriapod
7 There's a Planet Here
8 Shima Koto


Ozric Tentacles carries its mainly instrumental version of the Gong experience forward to new heights with 1994's Arborescence.

Instrumental prowess abounds.

Ed's guitar can best be described with two adjectives: swirling and Hillage-esque.

Drummer Merv and bassist Zia lay down odd-meter rhythms with confidence and energy, and the way they mutate some of these long grooves is one of the most entertaining things about this record.

In fact, this is one of the things that Ozric Tentacles does best in general: creating legitimate, memorable song structures out of very little purely melodic material.

On only a few occasions on Arborescence does the band provide the listener with some sort of melodic hook, with one notable occasion being the Arabic-themed melody to "Al-Salooq."

Rather, they prefer to insinuate grooves under your skin while guitars, flutes, and synthesizers dance gleefully around the rhythms.

It is ambient music crossbred with alien dance music, and it is marvelous stuff.

If any complaint can be mustered against this record or Ozric Tentacles in general, it can be said that some of the drum patterns become a bit tired and repetitive.

One tom-tom fill in particular really must have the love of Merv, because he uses it every four bars (this is admittedly hyperbole, but not as much as you might think).

The Gong nods also may be a bit too obvious for some but, to those who don't mind, the OT experience is a trippy one indeed.

Spicy, evocative, and hypnotic, Arborescence is an unpredictably joyous record.

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)

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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.

Daevid Allen - Dreamin' A Dream (96)

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1 Dear Friends
2 High Points
3 Brothers
4 Big Daddy
5 Wotsa Use
6 Garden Song
7 Came to Find You
8 The Rapist
9 Sittin in a Teashop
10 Fire Becomes Her
11 No One's Slave
12 For Song
13 Dear Friends

Daevid Allen's Dreamin' a Dream is a warm, pretty progressive-rock recording featuring violinist Graham Clark.

Daevid Allen was one of the founders of the British progressive rock band the Soft Machine in 1966.

After recording just one album with the group, he became the founder/leader of Gong, which he left in 1973 to begin a solo career (though his first solo album, Banana Moon, was released in 1971 while he was still in the group).

Allen explored his quirky, folky take on rock throughout the '70s and '80s on albums like 1976's Good Morning and 1983's Alien in New York.

His solo work also included collaborations with underground rock impresario Kramer like 1993's Who's Afraid? and 1996's Hit Men, which was released on Kramer's Shimmy Disc label.

Allen returned in 1999 with Money Doesn't Make It, followed a year later by Stroking the Tail of the Bird.

Nectans Glen also followed in 2000.

In 2003 Allen formed a new version of Gong with members of the Japanese collective known as Acid Mothers Temple, as well as playing and releasing material with his California-based band University of Errors.

He continues to release numerous live sets and one-off collaborations in limited editions on various independent labels under his own and various group names.

A best-of, Man From Gong, which only scratches the surface of his lengthy discography, appeared from Snapper Music in 2006.