It Is And It Isn't

元KING CRIMSONのメンバーとして知られるSSWの'72年2ndアルバムが重量盤アナログで再発!

KING CRIMSONのメンバーとして『LIZARD』に参加、脱退後はマイペースに活動を続けるも'20年に惜しまれつつ逝去したSSW、Gordon HaskellがAtlanticレーベルより'72年2ndアルバムが、180g重量盤アナログとして'23年再発!

バックには後にKING CRIMSONへ参加するJohn Wetton(b)、RARE BIRDのDave Kaffinetti(key)、FIELDSのAlan Barry(g)等が参加。Atlanticレーベルを代表する名プロデューサーの一人Arif Mardinを迎え、'No Meaning'をはじめ'Could Be''Sitting By The Fire''Benny'等々、この方の人間性が反映されたような朴訥かつ素朴な秀曲と洗練されたアレンジが散りばめられた逸品です!

Gordon Haskell issued this solo album to absolutely no critical notice or public response of any kind in 1971, which is sort of a shame -- not that its exactly an earth-shattering record, but it does represent a relatively light, lyric-oriented brand of progressive rock (almost resembling the Moody Blues more than it does Haskells former group, King Crimson), and a good entry in the field. Latter-day Crimson member John Wetton is present here, playing bass and organ and providing backing vocals on this rather sweet-textured, languid, and highly melodic assembly of songs, which mostly show off Haskells unusual vocal range but leave ample room for classical stylings on the electric and acoustic guitars and jazz-inspired fills on the drums. When Haskell does rock out, as on Sitting by the Fire, the effect is startling, the crunchy electric rhythm guitar (courtesy of Dave Spinoza) and bold lead parts (by Alan Barry) wrapping around decent, memorable hooks and choruses -- No Need is a similarly accessible piece of romantic balladry that might have passed for an England Dan/John Ford Coley demo. And then theres Worm, a pounding, too-serious-for-words meditation on (apparently) life, death, and being devoured, which repeats a cool opening electric guitar flourish in various guises and allows Barry the chance to stretch out on a related series of riffs. Spider is some kind of personal commentary on the music business, possibly referring to managers and their potentially devouring ways -- Haskell would know that best -- but it is funny and cheerfully upbeat in mood, with some pleasing choruses. Benny the Beaver, with its fascinating but confusing references to various elements of the music business, also seems to be about a subject that mattered to Haskell. Its a pity he couldnt have shared it more clearly, but the principal acoustic guitar riff is pretty, and some of the transitions recall King Crimsons Cadence and Cascade (which Haskell sang). The final section, in which an old-style music hall showband picks up the riff, demonstrates more humor than most entire art-rock albums of this period ever dared reveal. From a broader perspective, perhaps the most interesting aspect of the recording is that it was produced by Arif Mardin, who, at the time, was moving into some much more profitable and visible projects with the Bee Gees that went in a completely different direction. On this album, Mardins evident goal was to meld Haskells pop-progressive sound with the clean, sharp mixes that King Crimson of that era were using on their albums, with the results that the drumming (courtesy of Bill Atkinson) and Wettons bass, as well as Haskells acoustic guitar, sound like they were recorded during leftover time from a Crimson session. All in all, this is a fun piece of King Crimson ephemera, and pretty pleasant on its own terms. The 1998 Blueprint CD reissue is a real treat, with a cleaner sound than could be found on the generally lousy Atlantic vinyl pressings (most of which were promo copies), and all of the lyrics are reprinted. ~ Bruce Eder