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IN SPITE OF HARRY'S TOENAIL
First time around Gnidrolog had a fairly short career running from 1969-1973, but in that time they managed to play some of the classic venues alongside some of the most illustrious names in the history of rock
music. Sadly, despite producing some truly inspiring works, they never quite achieved the level of acclaim that they richly deserved.
The lineup on this album are Colin and Stewart Goldring, Peter Cowling (bass) and Nigel Pegrum (drums) - who after leaving Gnidrolog went on to join Steeleye Span. The music is a real blend of guitar work and
vocals augmented by recorders, flutes, saxophones, harmonicas, and such like.
The end result is a unique style that was leading edge for it's time. Now, looking back it's really very hard to tell exactly who was influencing who, but this album certainly has some elements that are strongly reminiscent of the likes of VDGG, Gentle Giant and Jethro Tull.
The album opens with 'Long Live Man Dead' and from the outset one is struck by the starkness of the powerful vocals set against some very harsh guitar riffs. After the initial opening the sound throttles back a
little and there is a nice passage with woodwind sounds contrasting well with the guitar and percussion work.
Vocals continue with less harsh tone, but they are charged with emotion and feeling. 'Skull' is effectively a continuation of the first track and is marked by gently echoing flute work set against the acoustic guitar. The track finishes with a reprise of the opening vocal and guitar theme, before lapsing into a series of musical echoes reminiscent of King Crimson's earlier works.
'Peter' has a very mellow opening with Peter Cowling's cello coupled with a beautiful flute arrangement which plays alongside. Acoustic guitar and vocals add to the air of melancholy on the track.
There is a brooding sense of unease as 'Snails' starts up with recorder and oboe. A repeating pattern on the electric guitar soon joins in, the percussion part is gradually introduced and the pace slowly builds
up. The vocals intially come in short, fairly quiet sections, alternating with heavy oppressive, and somewhat disharmonious, guitar work.
The track is musically very advanced for its time and it provides a relentless assault on the senses as the frenzied pace and feeling of dischord contiues to build - it's almost above likes and dislikes - it simply is! It takes a little getting used to but is very effective.
In complete contrast 'Time and Space' is another piece that opens peacefully, a recorder and oboe passage is set against acoustic guitar and a lightly tripping vocal line.
It gives way to some far more progressive elements with a much heavier sound. The song seems to have it's roots set in renaissance period music but overall, I am tempted to draw comparisons to King Crimson and Gentle Giant. The following song ,'Who Spoke', is a quiet acoustic guitar track with some very plaintive, almost anguished vocals, very akin to Peter Hammill.
The final track 'Goodbye-Farewell-Adieu' is another piece split into two parts. The first section 'Goodbye-Farewell-Adieu' contains woodwind sounds winding gently around, with gentle trills and more quiet guitar
work.
The vocals are very melancholic with harmonizing that is truly superb. The second part of the piece, 'Harry's Toenail', is an instrumental piece which is suddenly more upbeat with driving drum rhythms and pacey guitar work. Harmonicas give a really nice bluesy feel to the track.
The eight tracks referenced above, which made up the original album, were all recorded in 1972. However, for this CD release four bonus tracks have been added, increasing the playing time by nearly 30
minutes. These extra tracks are 'Smokescreen' and 'Saga of Smith and Smythe', both recorded in 1969. From 1971 come 'My Room' and differently mixed version of 'Saga of Smith...'. These rare tracks
are certainly of interest, I particularly liked 'Smokescreen' which has a very Jefferson Airplane sound to it.
Certainly, the inclusion of additional tracks increases the overall value for money, but I have to say that the sound quality is not up to the standard of the rest of the CD!
Twenty seven years on, this album still sounds great. There are a few rough edges for sure but this is, in part, due to the technology available at the time of recording.
Some fans of modern neo-progressive music may find the album a little disconcerting at times, but one thing is very very clear - this is truly progressive music at it's best. Furthermore, just to prove it can be done, all the tracks come in at under the ten minute mark and there's not a trace of keyboards anywhere - marvellous! And why 'Harry's Toenail'? ... well you'll just have to get yourself a copy of the CD to find that out - it's well worth hearing!
Simon 25th November 1999
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LIVE 1972
July 1972 ... progressive rockers Jethro Tull are ignoring the UK in order to improve their standing in the States, the doom laden Van Der Graaf Generator and the surrealistic Bonzo Dog (Doo Dah) Band have both
recently split up. Whilst Gnidrolog bear certain similarities to all of these, the obvious, and immediately apparent, difference is that they are alive and well, and still playing for British audiences.
Gnidrolog was formed, in 1969, by Stewart Goldring (lead guitar and vocals) and his twin brother Colin (lead vocals, guitar, recorder, tenor sax and harmonica). Together with Nigel Pegrum (drums, flute, oboe
and piano) - who later joined Steeleye Span - and Peter Cowling (bass and cello) they recorded their first album 'In Spite Of Harry's Toenail'. After this, John Earle (flute and soprano, alto, tenor and
baritone sax) was recruited, and performed on the follow up 'Lady Lake'. This is the five piece band that appears on 'Live 1972'.
Not surprisingly, the track 'Intro' appears first on the album. This is a number that that the band always used to start live sets.
It's a jazz-rock type piece with heavy emphasis on the saxophones. This is closely followed by 'Any Use In Living' with its thought provoking lyrics supported by lots more saxophones. This finishes with a light hearted jig played on the recorder.
'I Could Never Be A Soldier' begins quietly with sweet trilling flutes, that contrast strongly with the scathing lyrics. The central instrumental section, also featuring flutes, gradually builds up towards the
final emphatic vocals. From this point, the lead is taken first by the strings - with some really nice guitar work - then the saxophones finish the piece with a flourish.
'Time And Space' can be best described as eclectic. The quirky beginning features idiosyncratic vocals and haunting saxophones.
Then the saxophones become more frantic; sound and rhythm increase to a totally crazed culmination. The frenzied feel continues into the next track 'Meanwhile Back At The Office'. This high energy, sax-soaked number racing through its four minute slot.
'My Mother' has to be heard to be believed! This track is great fun - but with a serious message behind its humorous lyrics. The later instrumental section is very up-tempo and features some splendid
harmonica and saxophone sounds.
A complete change of mood is achieved in 'Goodbye - Farewell - Adieu' with its beautifully sweet flutes and vocal harmonies.
This gives way to 'Harry's Toenail' which has some pure clear guitar work, smooth saxophones and dancing harmonicas. All of the instruments interwoven into this tightly knit musical extravaganza. The final track on the album is 'Sixpence For A Handstand', a free form improvisational number which gives each member of the group a chance to shine.
So, what were Gnidrolog like in 1972? ... they were definitely thought provoking, amusing and entertaining.
They have a certain, almost innocent, charm - but this is coupled with a cohesive strength in their musicianship. Somewhat surprisingly, considering that this CD is lifted from 27 year old tape, the sound quality is superb.
I must admit that I'm not familiar with Gnidrolog's work. However, this is an excellent introduction to the band. I've enjoyed listening to it immensely and I'm now eager to hear more ...
Marisa 17 October 1999
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LADY LAKE
Following hard on the heels of 'In Spite of Harry's Toenail' Gnidrolog produced what is, for me, a much more coherent and polished performance with their second album, 'Lady Lake'. The nucleus of the band
consists of the Goldring twins; Stewart on lead guitar and Colin providing rhythm guitar, vocals, recorder and lead horn. As before, Nigel Pegrum provides drums and flute, while Peter Cowling plays bass and
cellos. A new face to the lineup this time around came with the addition of John Earle on soprano, tenor and bass sax and second flute - John also sings lead vocals on one of the tracks, more of which later ...
The CD follows the same format as the original album, consisting of just six tracks, with a playing time of just under forty minutes, which actually strikes me as quite long for the year!
As with my previous Gnidrolog review I have to reiterate the point that, even with hindsight, it's actually very hard to tell who influenced who, but again there are certain similarities to bands such as Van der Graaf Generator and Gentle Giant - although I find the music here to be much more emotional and capable of creating moods.
The opening track, 'I Could Never Be A Soldier', is the longest on the album at 11'36".
Although it is, in many ways, a product of its time - written when the the Vietnam war was very much in the media spotlight - it is a song with a clear and powerful message. Having said that, the song is written without any direct reference to time or country and, due to this, the message is humanitarian rather than political and it works perfectly. Musically this is a song of contrasts; at times light and airy, at other times a darker heavier feel prevails - and it is these contrasts that help create a sense of urgency as we move through the track. The verse/chorus structure is apparent in the early part of the song where flute and recorder work feature prominently and create beautiful additions that are woven around the main theme. The instrumental section that follows is a real joy to listen to as a repeating motif comes into play with gentle percussion rhythm, excellent bass work and very subtle echoes cutting in from the guitar. Bit by bit the layers of sound are built up as the percussion becomes more complex and the guitar part fills out, while the flute/recorder sounds really break free from any constraint. The final vocal section is sung with real passion as the song launches into a final instrumental section with a truly breathtaking lead guitar line which is finally joined by the saxophone for the last climactic moments.
'Ship' is one of the highlights of the album. It is a very moving and inspired song and, of all of Gnidrolog's early work, is probably the one I like the most.
The song, basically, deals with refugees finally finding a place to call home - but Stewart tells me it actually works on a number of levels. It kicks off with some great sax playing which makes way for acoustic guitar work that supports the vocals for the song verses. The vocals have a slightly raw edge to them, but they command the whole performance gliding effortless through the verses and soaring to ecstatic heights during the chorus, where the saxophone rejoins with magnificent effect. As with the first track this is another number that just builds and builds to a peak ... and the way the guitar and saxophones run rings around each other towards the finish has to be heard to be appreciated.
The shortest track of all is 'A Dog With No Collar' at just over two minutes. Although, on first hearing, it seemed a little weak by comparison to its immediate predecessors, it has grown on me with time and is
now very high in my estimation.
The main feature is the very bleak, but well defined, vocal line supported by acoustic guitar. Despite my early misgivings, I love the production on this track as you can hear the finger movements across the guitar strings - and this seems to really heighten the intensity of the piece. The addition of a sensitive saxophone line from about half way through adds to the air of melancholy
The album's title track 'Lady Lake' is the one most at odds with the rest of the featured material - and is most likely to be a problem for those not familiar with the genre of early experimental prog.
Musically this one is very avant garde in its outlook and it seems to be very jazz-influenced. Throughout the early stages of the track there is a sense of structured dischord with driving bass lines and swirling sax sounds which have a very anarchic feel. This starts to die down at the point where the vocal line is first introduced and, at this point, I can sense strong similarities with the style later adopted by Gong offshoot Here and Now. Overtones of an angst ridden Peter Hammill echo through the remaining vocals while instrumentally things seem to settle down into a more structured pattern although the style becomes quite heavy and oppressive.
'Same Dreams' is another very compact song at under three minutes, but it is strong on content.
The lead in features some gentle piano playing which continues throughout the whole piece building strongly where appropriate. This is, in fact, the only early Gnidrolog track that I'm aware of which features any kind of keyboard. It is played by Charlotte Fendrich and the style seems to have a classical edge, giving a slightly Procol Harum feel to the proceedings. Pleading vocals and fine harmonisation from the sax come across well and the strong percussive build up to the choruses, supported by fine bass work, is masterful.
I have heard it said that the final track, 'Social Embarrasment', sounds more like Gentle Giant than Gentle Giant did themselves, and I have to concede that this is not far off the mark!
My only criticism here is that the incessant repetition in the closing section of the song tends to jar the nerves a little after a while but other than that this is a good, if at times quirky, track which makes a strong end piece to the album.
I cannot help but wonder what the band might have gone on to produce next if they had not split up the year after 'Lady Lake' was released, although thankfully they are now back together after a gap of some 27 years
(see Gnosis review)!
'Lady Lake' really is a beautifully crafted work which displays true musical genius. Often overlooked and rarely imitated, Gnidrolog represent many of the best aspects of true progressive rock music.
Not only has this album stood the test of time well but it has also retained a freshness that should be a source of real inspiration - and with the exception of piano on one track, still not a keyboard in earshot ... but don't let this put you off! This album comes highly recommended to all fans of seventies prog or to those who want to discover where it all began!
Simon 20th June 2000
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GNOSIS
At last, the long awaited third studio album from Gnidrolog is here ... after a hiatus of some twenty seven years!
Gnidrolog were formed, in 1970, by Colin and Stewart Goldring.
The twins had been child actors, teenage folk singers and were accomplished musicians and songwriters who lent towards the avant garde and experimental progressive scene.
The idea of re-establishing Gnidrolog was born, a couple of year's ago, when Stewart was surfing the net.
He searched on the band's name and was amazed to come up with 150 hits ... the brothers had not realised that there was still so much interest in Gnidrolog and the thought of reforming the band became an irresistible challenge.
Colin (vocals, guitars, recorder) and Stewart (guitars and some vocals) contacted Nigel Pegrum who had been their drummer - and was subsequently drummer for Steeleye Span and The Barron Knights.
Australian resident Pegrum agreed to play drums, he also engineered and produced most of the tracks on the album. To complete the backbone of the band, well respected bassist Rick Kemp was recruited. Add to this ensemble the keyboard skills of multi instrumentalist (and composer) Nessa Glen - along with a few adroitly chosen guests - and the line-up for 'Gnosis' is complete.
The material on 'Gnosis' has been written over the last three decades by the brothers and encompasses a whole range of influences assimilated over their two lifetimes (so far!) in the music business.
The CD opens with a prayer for peace written in the 1970's. 'Reach For Tomorrow' has a mainly rich eastern feel, thick with atmosphere.
The layers of voices (Colin, Stewart, Rick and Chris Lloyd) and instruments are linked by lighter musical bridges.
'Reverend Katz' is a lively instrumental and I defy you to keep still while listening to it!
It's a real feel good tune - yet there's nothing straight forward here - the music twists and turns about itself in a very convoluted manner. Fabulous stuff ... and it's a great live number too!
The next song is a definite contrast being a tender love song. 'Fall To Ground' is a subtle number - but listen out for the gently interacting guitar work and the soothing backing vocals.
'Woolunga' is an instrumental that was composed in Australia. It has a strong driving beat and over the melody can be heard a host of strange sounds - including didjeridoos, played by David Hudson.
The sound slowly builds up throughout the piece and creates a soundscape that conveys the feel of open spaces and long roads.
A simple little song, 'Wonder Wonder' is enhanced by some splendid classical guitar work, from Stewart, and lots more melodious vocal work from Colin, Stewart, Rick and Chris.
'Deventer' is a sprightly tune which highlights Colin's recorder playing. This number features lots of interaction between the various instruments and was written to commemorate the meeting between the
Goldrings and Dutch band Lady Lake (who were named after Gnidrolog's second album) in Deventer, Holland.
A piece written especially for 'Gnosis' is 'Bells Of Prozac'. This instrumental with its ever changing time signatures follow the fine tradition of pure progressive music.
The sound is never static; it simply keeps evolving from within itself.
When I received this album, the first track I played was 'Kings Of Rock' which had made a big impression live. Colin wrote the song, in 1973, after the deaths of Jimi Hendrix and Janis Joplin.
It's a superbly put together piece with a simple verse and a full-on sumptuous chorus. Yet there's an elegant dignity to the wonderful instrumental tracks which weaves the strands of delicate sounds into the delicious silky background.
The title track comes next. 'Gnosis' is a high energy instrumental number with a strong eastern feel to it - a great live number - and a good reminder, if it were needed, that progressive music doesn't have to
sound like either Genesis or Marillion - it's more a matter of attitude and talent. Drums on this track are played by Colin's son, Sam.
The next three songs are all written by Colin; the first being 'Crazy, Crazy', featuring Colin's harmonica and Stewart's slide guitar playing. 'Going To France' has a moodier bluesy feel while 'The City
Sleeps', written in '86, has a strong chorus and a nice guitar hook.
The last two tracks are both instrumentals written by Stewart. 'Two Helens' is a sweet classical guitar solo played by Stewart. This song is dedicated to the brothers' wives - both named Helen!
Finally, we have 'Repent Harlequin', a tune inspired by a Harland Ellison science fiction story.
This is a stronger and heavier piece than what has gone before. Martin Coogan, Gnidrolog's web master, provides bass on this track.
So ... we have here a little gem and well worth the wait!
Marisa 4th June 2000
Checkout the Gnidrolog website for details of how to purchase the CD - and also an MP3 of 'Repent Harlequin' as well as sound bites from other albums.
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