Sunday, July 19, 2015

Warm Dust - 1972 - Warm Dust

Warm Dust 
Warm Dust

01. Lead Me To The Light (5:22)
02. Long Road (4:50)
03. Mister Media (3:10)
04. Hole In The Future (8:39)
05. A Night On Bare Mountain (1:05)
06. The Blind Boy Parts I - V (18:19)

- Dransfield "Les" Walker / lead vocals, percussion
- Paul Carrack / organ, piano, percussion
- Alan Soloman / saxophones, flute, keyboards, synthesizer
- John Surgey / guitar, saxophones, flute
- Terry "Tex" Comer / bass, percussion
- John Bedson / drums, percussion

Guest musicians:
- John Knightsbridge / guitar
- Eddy & Casper / percussion

Third and last album from this sextet that can be included in the fairly closed category of brass rock. With only a change of drummer (Bedson coming in for Bailey), this album is the logical continuity of the two previous albums, entertaining us with a brass-heavy proto-prog rock that is often uneven, but can reach awesome height of brilliance. Coming with an rather amazing but naïve gatefold artwork depicting an orca whale having swallowed the band on their raft, along with a couple of sexy mermaids.

The first side is filled with short tracks (bar one) that have more to do with pure brass rock ala Blood Sweat & Tears than with prog, even if Long Road is one of those pleasers that even the harder-lined progheads would have a hard time resisting. The lengthier Hole In The Future has a long Indian-laced mid-section where Surguy's flute hold the centre stage before a fairly flawed Moog solo from Carrack destroys the previous effort and the track suddenly and abruptly (no warning) reverting to its original pattern. Gone are the superbly subtle chord changes of Rejection in their previous album, so much that this track has a "botch job" written all over it.

Obviously on the flipside, everyone is waiting for the 18-min+ Blind Boy suite to save the album, but one has to be patient and suffer a rather tedious (but thankfully short) rendition of Sibelius' Bare Mountain. However the Blind Boy suite does come in to save the album from sinking to depths of no-return, as it is easily the album's highlight and is often as inspired as the previous album was. The opening movement called trouble In The Mill sounds like a superb Oblivion Express track meeting Chicago Transit Authority for a full speed crash on rails. The following Clogs And Shawls is a quiet starter where Surguy's enchanted flute is leading through a slow crescendo with all the finesse you hoped they would developed on the first side of the album and finally climaxing with Walker's delicious gutsy vocals in the following self-titled movement. Superb stuff. But with such climax, the fall could only have been a shattering one, and the band takes a few minutes to collect the scattered parts and start reassembling them to rebuild an awesome groove called Slibe, where Soloman's sax might be reminiscent of Traffic's Chris Wood. Spine chills and goose bumps assured. The closing Dustbust is just a short recall of the original riff

With only the 5-part Blind Boy suite to save the album from drowning, that very same track being worth the ticket price alone, Warm Dust's last album is a very uneven affair, not matching the constancy and consistence of Peace For Our Time, but the album's centerpiece is definitely the group's best achievement without the slightest hint of a shadow of a beginning of a doubt. Hard not to give it at least equal rating than its predecessor.



  2. Their third and final LP took Warm Dust on BASF. The album with the whale cover is quite rare and sought among record collectors. The content justifies - as often happens - the expensive rarities status but not necessarily. After the relative failure of the two previous albums, the LP should probably get some commercial potential, making it a pretty streaky affair. Even sound has changed to "Warm Dust" something. Alan Solomon accesses now quite common in various keys (synthesizer, organ, mellotron), so that the jazzy Woodwind duets who just "And It Came To Pass". Excellent, have become scarce. In contrast organs , Paul Carrack is rather pushed into the background, he avails but now increasingly more often from electric piano.

    With the gray leagues soul ballad "Lead Me To The Light" is the disc, carried by the song Walkers, Los. Even the unimaginative blues rocker "Long Road", including the simple Giraffes of guest guitarist Knightsbridge, makes not necessarily that is improving the mood when reviewers. The harmless Brass Rocker "Mister Media" is also abundant negligible. Up to this point there is hardly something to "Warm Dust", which could be for the prog listener of interest. The beginning of "Hole In The Future", with its Tralala flute rock, does not change this once nothing. But suddenly sets by a flute, accompanied by corresponding percussion and synthesizer Wabern, an eastern melody sings. A brisk bass and distorted organ join these three and it develops a quite exciting, herbaceous. Unfortunately, the section will disappear after a while and Walker may ready to rock out the piece pop-shallow. Second side of the LP then provides the long track, which makes the album but then again for Progger interesting. After a brief quote by Mussorgsky, Warm Dust can be varied "Blind Boy" suite going on the handset. In good 18 minutes the band shows that it has the jazzy distaff still not forgotten. Warm electric piano lines, interesting brass sections, a playful ahead driving bass, discreet Mellotronteppiche, virtuoso solos on sax, organ and flute and strange sounds from the synthesizer, making the seizure of the first side of the LP forgotten and even the vocal assignments Walkers bearable. A notable example is the hypnotic synth and flute duets, somewhere in the middle of the piece, and the intense final with a great, expressive saxophone solo.

  3. Thank you, for all the great uploads!
    Do you have any albums of Chantal Goya or other Ye-Ye musicans?