And now comes the "piece de resistance". This pieces starts of with the most genial rythms sprinkled with sax and flutes lines and 6 min into the number comes in some scatting no jazz feeling though with suddendly one of the three vocalist breaking into another scheme making this grandiose.
Bass and flutes take over only for Roland Frei to break into this Hamillian-singing worthy of Pawn Heart. We are now just barely half-way through and are now lying on the floor ready for the final blow , the ultimate nail into our coffin. The music flutters by, twiddles , twirls around you and circles , swirls not giving you an instant to recuperate and now comes the blow. The finals verses are shared in the most beautyful call-and-respond manner so well delivered that if have not shot your intellectual wad by now, you must be frigid or impotent.
The number closes of with fabulous music unfortunately the only slight mistake sticking to close to my fave number from Crimson , Starless. Repeated listening in the last four years still have not calmed me down as I shot my intellectual wad just writing this review not even listening to it. I don't know how this album is almost never cited in a desert island list, because this belogs on everyone's. Hurry up at Greg Walker , he still has a few copy of this one and their debut also well worth it.
When you think about influences, then comes to mind Van Der Graaf Generator, as reveal the typical sax parts. There are some excellent percussion parts, sounding like xylophone, reminding me Dire Straits' "Love over gold". The very dirty effects on electric guitars clearly remind me Jade Warrior, especially on the "Last autumn's dream" album: it sounds like if there was a dirty organ played all the time! There are other electric guitar sounds which slightly remind me the mellow tracks of early Judas Priest "Rocka Rolla", "Sad wings of destiny" and "Sin after sin" albums.
The music is often very delicate and subtle; the acoustic guitars parts are absolutely delightful and VERY refined, like on "Laughter Lane". Rating: 4. I had never heard a Swiss prog band before hearing this album and I was impressed enough to give it three consecutive spins. I'm still not sure if the style of Circus a latter day outfit whose debut album came out in is truly representative of a scene that spawned Mainhorse including that brilliant gent Patrick Moraz and Analogy, but this is an entertaining band to listen to.
Incidentally, this group should not be confused with the similarly-named English outfit that featured reed-man Mel Collins.
There aren't any weak songs among the five pieces here although the moody Laughter Lane, with its heady mix of vibraphone, delicate acoustic guitar playing and Marco Celetti's distinctive bass-work that calls to mind the playing of Wishbone Ash's Martin Turner, is probably my favourite of the shorter songs.
Loveless Time is another fascinating track that runs through a range of moods within a relatively short period of time. One strength that Circus has that not every progressive band enjoys is that their music always manages to sound natural The fourth piece Dawn is also a quality cut, although at one point I felt convinced that Circus were just a little too much under the influence of Lizard-era King Crimson perhaps they should have called this group Cirkus, eh?
The 22 minute title track makes up more than half the album's running time and it's a real winner as far as I'm concerned. Despite being the lengthiest piece here, it's got the most energy packed in it. Starting in "fusiony" mode with pacey drums under-pinning a New Age flute solo it gradually moves into a passage dominated by modern for synth sounds I was quite charmed by the mellow ambient vocal segment that started at around the 13 minute mark Probably the worst thing about this album is its timing.
Coming out, as it did in , when progressive rock was on the retreat, it stood very little chance of ensuring that its "parents" got a chance to make much headway, and sure enough Circus seems to have been lost in the mists of time. It would only be a slight exaggeration to say that this is one of those must-hear great "lost" albums, and although you'll be able to hear a few other bands like King Crimson, Van Der Graaf Generator and Yes at various times during this record, Circus has a distinctly robust character of its own.
The sound of Circus is highly distinctive, probably because they have neither a keyboard player or a lead guitarist. At times they sound like Gentle Giant, particularly the use of tuned percussion and wind instruments, whilst the bass and sax interplay is reminscent of Kraan.
The shorter songs could almost be by a band like Supertramp - mid atlantic accents, strummed acoustic guitars and tasteful sax breaks, while the longer tracks call Zappa, King Crimson and VDGG to mind. For all of that, Circus have a sound and style that is very much their own.
The first three tracks are pleasant enough acoustic rock songs. The playing and arrangements are very imaginative, but the material itself is rather ordinary and an album of material like this would be nothing to get excited about.
Track 4, Dawn, is the only entirely instrumental piece on the album, and it is on this 8 minute composition that the album really comes to life. The whole thing is played with a surprising lightness of touch, and never becomes dark and dissonant although it does get quite avant garde. The real meat, though, is the 22 minute title track, that stands up well against any of the better known side long epics from the golden era of prog.
This track has an almost Canterbury feel, shifting from section to section with a logic all of its own. It's largely instrumental, with some wordless vocals sung in dazzling 3 part harmony and an almost conventional rock song buried somewhere in the middle. The playing is exemplary throughout, and each member shows off his multi instrumental skills without too much pointless noodling. There's something on here for fans of just about any sub genre with the possible exception of prog metal , so I would urge every member of the forum to get a copy and give them some long overdue recognition.
CIRCUS has a very unique feel; casually disciplined, with delicate layers of sound and a light groovy feel somewhere between Krautrock and the best Italian prog of the period. Except for some sparing use of Taurus pedals, there are no synths- in fact, no keyboards of any kind. Above and below all that is plenty of masterful percussion the vibes are definitely a highlight and unforgettable vocals- imagine Peter Hammill with a lighter emotional touch and you're almost there.
In addition, classic YES fans should equally welcome the rich vocal harmonies and gritty basslines. CIRCUS is very smart about the track order, as well; starting with the likeable and at times almost even danceable "The Bandsman", each song gets a little deeper and more texturally intricate than the last. By the time you immerse yourself in the moody and shifting "Dawn", you've sampled a bit of everything the band has to offer Any criticisms I have are minor; at times the songs seem to develop with a certain disregard for the overall structure, but the transitions are so natural that nothing ever seems jarring.
Frei has a pleasant and unique vocal tone, but with an occasional and to me, very slightly regrettable tendency to slip into spoken voice instead of singing. And now comes the "piece de resistance". This pieces starts of with the most genial rythms sprinkled with sax and flutes lines and 6 min into the number comes in some scatting no jazz feeling though with suddendly one of the three vocalist breaking into another scheme making this grandiose.
Bass and flutes take over only for Roland Frei to break into this Hamillian-singing worthy of Pawn Heart. We are now just barely half-way through and are now lying on the floor ready for the final blow , the ultimate nail into our coffin. The music flutters by, twiddles , twirls around you and circles , swirls not giving you an instant to recuperate and now comes the blow.
In the same year, Jarret Cordes DJ Minutemix was accused of sexually abusing a year old relative and was subsequently arrested in Burlington County. The girl is said to have been a first cousin. In , they released the compilation, The Best of P. Through their website, they also began selling a mail-order-only album called Fucked Music on December 1, This was paired with a bonus CD, Unreleased Vol. Prince Be suffered a massive stroke in early that left him paralyzed on the left side of his body.
Undeterred, P. G also known as 'Dr. G continues to perform and record music under the P. Dawn name. On April 6, , Doc. G announced K-R. On June 17, , Attrell Cordes, known within the group as Prince Be, died of renal disease , caused by complications of diabetes, at the age of 46 at a hospital in Neptune City, New Jersey. From Wikipedia, the free encyclopedia. American hip hop group. Gee Street V2 Island. Retrieved August 27, Retrieved 22 August The Great Rock Discography 5th ed. Edinburgh: Mojo Books.
New York Times. Retrieved Going Back Home No Girl Reaction Little Miss Hipshake Milk Cow Blues Alright Alright Alright Shake 'Til I Break Burnin' Up Say Goodnight. The second CD contains the Electronically Tested album which hit 14 in the UK charts back in and includes the world-wide 1 'In The Summertime' which sold over 30 million singles. Disc four is the legendary Boot Power album. The fifth disc is the Long Legged Woman album which was more a collection of non-LP singles and B-sides than a proper album.