Van Der Graaf Generator- Scorched Earth (First Listen)
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- Опубліковано 16 вер 2024
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Song Link: • Scorched Earth (2005 D...
Scorched Earth is a masterpiece!
The story in my opinion is not about an actual warrior but, as typical for Peter Hammill, he takes his audience on a trip through the inner universe by telling an outward story. In my humble opinion he speaks of a person who has lost control of his situation and / or his life but not realizing it, still regarding himself on the winning side of life. He thinks he is doing what he is doing by his own will, thinking he still got the initiative, which he actually already has lost ("the dice slips through his fingers" means he is no longer able even to throw the dice). This is one of Peter's very dark songs.
Greetings from Germany
Scorched earth is my favourite VDGG song. The last few minutes are absolute pulse pounding adrenaline awesomeness
Its just so good
VDGG is probably my favourite band, but it's quite a difficult band to get in initially, so the fact that you enjoyed this means you're going to enjoy it even more when you've understood their sound.
Next check out maybe "The Sleepwalkers" from this same album (or you should just listen to the whole of Godbluff, it flows better) or "Lemmings (Including Cogs)" from Pawn Hearts. Or you could also listen to "A Louse is not a Home" from Peter Hammill's "The Silent Corner and the Empty Stage": it's a solo album, but all the VDGG members play in it and it's basically another VDGG album.
Thanks Luca! I'm looking forward to more!
Yes me too great band!
@@JustJP Interesting that you thought of a medieval castle - this reminded me of the the lyrics of A Louse is not a Home, which kind of sums up their approach -
Sometimes it's very scary here, sometimes it's very sad,
sometimes I think I'll disappear; betimes I think I have.
There's a line snaking down my mirror,
splintered glass distorts my face
and though the light is strong and strange
it can't illuminate the musty corners of this place.
There is a lofty, lonely, Lohengrenic castle in the clouds;
I draw my murky meanings there
but seven years' dark luck is just around the corner
and in the shadows lurks the spectre of Despair. The tracks by Peter Hammill I would urge you to listen to are the manically satanic Gog from the amazing In Camera, and then the extraordinarily passionate Betrayed from the album Over. I saw the band many times during my teenage years in Manchester during the 1970s. I love them still. Thanks very much, actually, for reawakening my interest and enthusiasm. I've spend years listening to jazz and classical stuff exclusively as a mature adult, but these guys got me interested in intelligent, challenging music, and poetry, and they have stood the test of time.
Best album ever done. From start to finish - no flaw.
Now you ought to do the final song from Godbluff. "The sleepwalkers"!
Probably one of the most profound songs, lyrically, ever written in prog...
Senses dimmed in semi-sentience, only wheeling through this plane,
only seeing fragmented images, prematurely curtailed by the brain,
but breathing, living, knowing in some measure at least
the soul which roots the matter of both Beauty and the Beast.
From what tooth or claw does murder spring,
from what flesh and blood does passion?
Both cut through the air with the pendulum's swing
in deadly but delicate fashion.
Tonight, before you lay down to the sweetness of your sleep
do you question your surrender to the drop from Lover's Leap
or does the anaesthetic darkness take hold on its very own?
Does your body rise in service with not one dissenting groan?
These waking dreams of life and death
in the mirror are twisted and buckled;
lashes flicker, a catch of breath,
skin whitening at the knuckles.
The army of sleepwalkers shake their limbs and are loose
and though I am a talker, I can phrase no excuse
not to rise again.
Scorched Earth is epic. Godbluff is a masterpiece.
Peter Hammil one of the best voices of prog
Saw these guys live in 2012 at NEARfest in Bethlehem PA and this was their opening number! Great band live - chest shaken by Hugh's organ - and they brought the theater down. Later that night, my band Pinnacle had the honor of playing the NEARfest Afterparty at the official hotel for the event and Van Der Graaf Generator's drummer Guy Evans came in, listened to us and told one of the crew "They actually got some real musicians to play this." A memory I'll take to my grave.
Oh that's awesome. I'm sure those words are still echoing on your mind
Van Der Graaf isn't an easy listen. You have to hear it. It's not background music. You have to be an active listener. They went through a few very different periods. One of their early tunes won't sound much like something from a later album. But then, it's never boring. Keep listening, you won't be disappointed. Still Life might be a bit more accessible. Pawn Hearts is brilliant insanity. God Bluff is something in between. They are Prog royalty. They deserve to by heard.
Ty Charlie, I really liked what I heard
You should definitely listen to the rest of this album, there’s only three other tracks and the last one is probably my favourite
Thanks Luke!
Schorched Earth must be heard with Arrow
Wonderful vocal acrobatics from Mr. Hammill in that one
Scorched Earth should be preceded by Undercover Man.
@@hansvandermeulen5515 well fuck it, just listen to Godbluff in it's entirety
This and Arrow are my favorite VDGG songs
My favourite VDGG album. The 2005 remaster brings out even more detail in the recordings. Wonderful.
Hi JP - GREAT synopsis of this song - I am a fan (fanatic :)) of Peter Hammill and Van der Graaf Generator. This song is a great but complex starter for someone who has not heard the band before - you did really well - I watched your nuances as the song progressed - you were really reacting honestly. I first heard Hammill in 1975 at the age of 14. I was absolutely smitten. I manged to persuade my mate's dad to drive us from Liverpool to Manchester to watch the band on 5th November 1977 (Hammill's birthday) at the Free Trade Hall. I have seen him about 12 times since as solo and with VdGG. I have also met him and chatted on several occasions (one time after the Peter Gabriel WOMAD performance of Gabriel 4 in Shepton Mallet) - he is truly a normal man and very human to be with. It is amazing that you take requests to listen to stuff that you have no idea about and film your response - I salute you and thought your review was absolutely spot on. Initially, most people hate Hammill's voice - once overcome, it becomes integral to the songs and I am so pleased you read out some lyrics as this is the focal point of the band - he is an English national treasure as a poet. There are a few (not enough IMO) histories of the band but many of them for some weird reason, miss out the period between 1973 and 1975. Here he brought out 4 albums two of which are rarely discussed ('The Silent Corner and the Empty Stage' and 'In Camera'). Everyone has their favourites but, for me, these are his two absolute classics - some of it recorded at home before finishing in Trident. I simply cannot image writing rehearsing, recording and releasing 4 albums in the space of 2.5 years and them being absolutely seminal works of art - 'Modern', 'Red Shift' and 'The Comet the Course and the Tail' are just 3 songs that come to mind from that period. I am about to listen to your next review 'The Emperor In His War Room' and can't wait for your reaction. H to He (Who Am The Only One) was a mixture of home recordings and then finished at Trident. It is rumoured that David Bowie humbly asked Peter Hammill if he could sit in on the recording process for this album and Hammill agreed. If I could be so rude as to ask you to review 'Modern' by Peter Hammill at some future stage, I would be eternally grateful - it is a testament to everything that is wrong in this modern era. Without wishing to pre-judge any review you might do - it sums up everything I love about Hammill - he does not recognise a verse or a chorus - the music flows without any rules. Thank you so much - Carl (drummer in Half Man half Biscuit)
"Darkness" If you ever return to VDGG, this is the jam!!
You should try "Lemmings" from the same band. They also have a Suppers Ready length epic called "A Plague of Lighthouse Keepers" that's absolutely insane
I slightly prefer Childlike Faith in Childhoods End but Plague is probably my 4th favorite (after the aforementioned, Lemmings,and Sleepwalkers)
Please listen to this whole album. The whole album contains much variety. The songs complement each other well.
One of my favorite albums of all time and all genres. Top 10 : Yes-Relayer • Gentle Giant-Free Hand • Van Der Graaf -Godbluff • Redbone-Wovoka • Greenslade-Spyglass guest • Chris Whitley-Living with the law • Genesis-The Lamb lies… • BrandX-Moroccan roll • Primus-Sailing the sees of cheese • Them Crooked Vultures (this a list for today but a stable one).
Lemmings (Including COG) Is underrated and is a good and brilliant intro to Pawn Hearts (their best album)
My YT username came from this as I was was listening to it while I set it up! (and I like the old PS1 video game)
Lemmings performed live especially is absolutely jaw dropping.
It isn't underrated in the slightest! I'm guessing you're an idiot who doesn't understand what the adjective underrated means...
Keep going with your Van der Graaf & Peter Hammill albums -- but when that's exhausted try the Italian prog rock band PFM (Premiata Forneria Marconi).
The best track to sample would be their English track "The Mountain" from "The World Became The World." Quite an ambitious piece with a big introductory chorale before the band kicks in full throttle.
PFM performed in the 70s at Central Park in NYC & had more than 100,000 people in the park at lunchtime. The album they recorded from that concert was "PFM Cook." (They were on the Emerson, Lake & Palmer label Manticore & their first lyricist was King Crimson's man Pete Sinfield).
The band formed in the early 70s & continues to this day recording & performing. They had Jethro Tull's Ian Anderson play with them live. No second-tier band here.
Good assessments -- don't leave out the fact that much of VDGG's intensity is due to tight arrangements & skillful musicianship. Hammill's voice is used properly -- he doesn't rely on his limited vocal cords but pushes notes through his diaphragm for maximum tonality & power. I saw him live & he never misses a note.
The way Peter uses his voice (as you try to describe) is intonation, phrasing & tonality. Basic rock singers ignore this approach. They just sing. They want to impress you with showboating & hitting notes but never accentuate the proper words in the lyrics. Their breathing is not there.
An excellent example would be Elvis singing on his '68 Special live toward the end of "Trying To Get To You." There's an obvious line in the song where other vocalists say they don't see Elvis take a breath & the vocalizing is too long. But Elvis did it with ease every time. Breath control.
Hammill & Greg Lake did it brilliantly for prog rock, Presley was one of the best, and Sinatra was a master. Billie Holiday, Ella Fitzgerald, Amy Winehouse & Anita O'Day -- all perfectionists.
I enjoy your videos JustJP because at least if you don't like something you explain why.
A Plague of Lighthouse Keeper is a Prog gem give it a chance
They are a difficult band to get in to, but once it clicks, they are THE BEST. Peter Hammill's discog is large and great.
Its clicking!.
😁
Try A Plague of Lighthouse Keepers from their 4th album Pawn Hearts
Agreed here. Their masterpiece is Pawn Hearts and A Plague Of Lighthouse Keepers is their best moment of their long career. Mind blowing and they made a performance video lit by candles.
very nice analysis; certainly my favourite band ever
Ty Kouk!
I love this band. They're raw, weird and complex. They touch something deep down in your soul. Check out Man Erg. One of a handful of songs that changed how I think and feel about life in my formative years .
VdGG music is severe, as are the vocal stylings of Peter Hammill, but they are one of my favorite groups. VdGG, along with Genesis, were among the first groups on The Famous Charisma label.
VdGG was actually the reason for establishing Charisma in the first place, but Genesis came in soon and they were more the crowd pleasing guys, well, at least compared to VdGG :)
The “Mad Hatter” label! I have a t-shirt with the MH, also with the old style Genesis logo. A prized possession.
@@58678S Other Charisma greats: Rare Bird, String Driven Thing, Audience.
Check out whole "Pawn Hearts". In my opinion, maybe the best album of all time. Three songs, last one being the epic. Magical album and might not open at the first listen. Truly an dark and the deepest progressive rock album out there with "Rock Bottom"...
Thanks professor!
I agree; I find Pawn Hearts by far their most interesting work.
my all-time favorite album as well. A plague of lighthouse keepers, in my opinion, is the greatest song ever made. a heart-wrenching emotional roller-coaster of a song, an absolute masterclass. Justin just HAS to check it out.
Man I love how you just let the entire song play out. You are probably the best reaction video content creator I've seen, even if I don't agree with some of your opinions. Cheers dude
Ty so much Sidney!
Wow. You're the first reaction I've seen to VdGG . Cheers for that and I see more Kate Bush too so needless to say, subscribed! ps don't forget the Cloudbusting music video :)
Thanks for watching Jason!
My Critique of this song...Hope people enjoy...
‘Scorched Earth’ - And if one brilliant song ('The Undercover Man' which immediately precedes it on the album ) wasn’t enough something quite magical then occurs. It
tails off into an uncharacteristically non-climactic coda, which actually turns out to be a quite extraordinary and (first time around) unexpected segue into the next song, giving the delighted vinyl owner an entire ‘side’ of non-stop new, improved VdGG. While we are into superlatives and hyperbole, this segue in my opinion is absolutely the best ever segue between two pieces of music. What is more, it reinforces that feeling of the ‘relentless’ that is a key characteristic of the album as a whole. Did someone in their comments say that this one isn’t really a ‘concept album’? I’m not so sure. If not, then it certainly has one of the strongest feelings of ‘Unity’ and cohesion of any album not in that bracket. This segue enhances that Unity, while at the same time effectively highlighting - as its emerging sound character, with the electric piano, and the snare, is progressively fed in - the contrasting nature of the track (across the snow) that is coming. We’re out of the ‘we’ song variant and into a narrated drama, observed from above or beside, its protagonist a ‘he’, like an Emperor or Killer, perhaps the encapsulation of the self-centred principle in the previous song, here objectified as a being finding ‘himself’ defined by the conflict situation or ‘battlefield’ into which he finds himself, by a chance roll of a dice, delivered, with only the scantest awareness of a remembered past. A distressing image, and even if the battlefield is just a correlative, to me it conjures the situation of any soldier having a sudden battlefield epiphany - “Where am I? What am I dong here?” - on a field at Agincourt, Flanders, or Huế. The reaction is some indefatigable urge to move, to advance, to respond to the ‘onslaught of a deadly foe’ in kind in a wholly destructive reciprocal impulse, because he is “too proud yet to kneel”. If this were really (just) about War and Battle it is still superbly executed, but this VdGG incarnation definitely steps into a more ambiguous world, and this is also about a more generic reaction of force to force. There is some sort of vigour and even bravery in this figure that ‘fights back’ in adversity, that returns fire for fire - in Life not just in Warfare - even if in the end it is a wholly negative path - this cycle of revenge, counterattack, and endless destruction. The dice that started the cycle returns to reinforce the arbitrary nature of the success of such a life strategy, where every turn, ever direction conceals a new trap or ambuscade, chance alone determining who will survive. The main theme builds up powerfully from the song’s outset with Peter’s voice coming in strongly too, setting the scene, and then we swiftly roll into a helter-skelter rolling theme on ‘in his wake’ that again gives this feeling of being borne along helplessly without a moment to reflect or contemplate, decide, or undecide. Almost the opposite of ‘Undercover Man’. There is something instinctive and animalistic about this process, “leaving spoor to mark his passage”, and musically it seems to be interrupted only by brief pauses, as if to catch breath, on “unless it’s to stone”. But then there actually is a brief respite, a pause not for introspection, but one which only serves to recapitulate the theme of stimulus response, attack and counterattack. [Digression: It was at this point in one live show - the delicate moment of near silence after the instrumental break following the line ‘one single line’, when Peter comes in with “This latest exponent” when a very stoned fan (?) standing at the front decided to shout out “Bollocks!” - a moment of deepest bathos, which Peter and the band dignified with the zero response it deserved, demonstrating true showmanship. Everyone else did the same and the song continued, somehow unspoiled!] The little narrative break here is superb, with some lovely subtle touches, like the little rattle of (?) cowbell by Guy between ‘enemy’ and ‘too late’. And again it works its way back to the main themes thunderously coming back in, blasted out with saxes and underpinned by heavy bass pedals, and moving into a splendid instrumental build up with lots of rhythmic variants from all the instruments and players, and leading into the Peter and Hugh crescendo on organ and piano which I have to say was an absolute high spot in the first show where I saw this song performed. In this new VdGG incarnation, Peter’s own musical contribution feels far more an indivisible and integral part of the whole sound. All the way through, the defiance and intransigence of the protagonist, in spite of its consequences, yet seems strangely admirable: “his life remains unfettered - he denies defeat”. It is in fact a very ambiguous song. No-one wants to endorse destruction or violence, and yet the persona of the independent spirit here seems to be forced to adopt these through lack of choice - not out of ‘false pride’ - but rather from a determination to remain true to self; not to submit to the will or the onslaughts of others. As a big Blake devotee, I can very much feel some empathy here, and I think there are probably some forward echoes for come in ‘Place to Survive’. But it’s a tough message, and I think we are meant to come out feeling a lot of ambiguity about it.
Wow! Great song and great choice to begin with the band. VDGG are one of the darkest bands I know and for sure the darkest classic prog band.
A strange band for sure, without the constant presence of bass or guitar and without many solos.
Peter Hammill, the singer, leader and main composer is one of my favourite vocalist of all time.
Please react to steven wilson, with the song luminol
I’ve never liked VDGG and I really didn’t like this song, but I really liked your insightful analysis and interpretation of it. Respect!
Ty Michael!
You would probably have been better to hear something from the "first Generation" The Least We Can Do, H to He or Pawn Hearts. Though "second Gen" is great too - they have a guitar!
Well, after years of hearing about them, now I’ve finally heard VdGG. Cannot wait to dig into more. And yeah, the organ makes this track stand out; spot on JP.
Jazzy techniques? Keyboard solos? Stand out vocals? Ending on a high note? Time for “The First Circle” by Pat Metheny Group.
I was so happy that you listen to some Van Der Graaf Generator material that I almost fell down my chair. This band is the truth incarnation of progressive rock music and has influenced so much bands like Yes, Gentle Giant, Genesis, etc. I suggest you listen to there master piece Man-Erg (ua-cam.com/video/SMVgaZ0uUyc/v-deo.html) is, in my opinion, the best song of all progrock catalog songs. Music, lyrics, atmosphere are so well blend that you're gonna feel the same experience that you had with the first listening of Genesis songs like Fifth of firth or Ripples. Simple remark: the band does not have any guitarist (apart from Robert Fripp who contributed to some riffs) the rest of the sounds is the result of keyboards, saxophones and drums. If you feel like a Indiana Jone's spirit, you could try to listen to the Pawn Hearts album like you've done with Trick of the tail from Genesis (that i really appreciated). You will hear sounds like David Bowie's weird materials and some unbelievable melodic jazzy and poetic movement. It's worth the detour !
Thanks Yves! Hope the chairs ok🙃
Smart considerations about Hugh Banton's organ. I think too that it is the harmonic base where all the other instruments sits.
I like the description of VDGG as a dark medieval castle. Your analyses are really interesting. The drummer Guy Evans was definitely jazz influenced you're right, he wasn't a typical rock drummer.
Thank you Asa!
Earlier this year I decided to go deeper into lesser known progressive rock bands such as this one, Family and Gentle Giant. So much to discover. Van Der Graaf Generator reminds me a lot of early Genesis.
This is one of only a very few prog rock bands/songs that actually sounds like Genesis to me. The organ and performance vocals do it for me. I really dug it.
That organ is 👌
Some listeners and fans disagree with me, but I think Van Der Graaf Generator’s album, “Pawn Hearts” sounds like the band Genesis strolling with Alice in Wonderland.
Nice work! When listening to Van der Graaf Generator or Peter Hammill you should also look at the lyrics maybe before listening to the song. It really helps to know what Peter Hammill is saying to fully enjoy the song. I think he's the greatest songwriter of all. Other songs of note - The Sleepwalkers, Man-erg, Childlike Faith in Childhood's End, Meurgly's III, Darkness 11/11, A Louse is Not A Home, Arrow, Every Bloody Emperor, Lemmings and literally a hundred others!
Johnny Rotten of the Sex Pistols said he was heavily influenced by Peter Hammill.
Not the best track off that album, but an integral part of the whole album. Van Der Graaf was the most unique prog band, didn't really sound like anyone else back then. Unique instrumentation as well with a heaving emphasis on keyboards and woodwinds over guitar. The band, and Peter Hammill's solo work, really have a signature mood and tone that you have to acquire a taste for. I remember attending one of his shows at the Troubadour back in 1977. There were as many punks in the audience at that time as proggers. I think the darkness of his music was appealing to punk rockers and fit their aesthetic well. I met him after the show and found he was a really cheerful guy.
I disagree, i feel this is the centerpiece of the album, IMO.
Please react to the sleepwalkers, the last song of the album
Listening to groups like Van der Graaf Generator is often not a love at first sight. But very often it turns out to be worthy to listen to them after a while. It takes time to create art like that, not only music but also the other arts. So why shouldn't it take time to enjoy it and to find out what makes an artwork special?
The sound of the Hammond organ adds some sort of dirt, roughness and strength that I miss in many productions since long time. Imagine how much the music of Deep Purple, Uriah Heep etc. would loose without that sound especially when it is distorted and driven through a Leslie.
Long time ago someone told me that in the very early 70ies he travelled from Germany to London just to watch Van der Graaf. They were supported by a band that shared the fate of many supporting acts. Nobody really listened and people were not unhappy when they finished and left the stage for the main act. Some time later that guy heard some music that he found interesting and he was sure that he already had heard it but at first he could not remember where he had heard it. But then he realized that he knew that interesting music from the supporters of Van der Graaf. And those supporters turned out to be Genesis before they became known.
About Progressive Rock as a genre: Musicians who are put into this genre mostly have the intention to cross borders or push borders aside especially borders that are made by a genre. It is a little bit of paradox that music that does not accept genres as a musical concept is put into one. I have read several attempts to describe Progressive Rock as something that is generally valid for all the musicians that are counted among the genre. But always something is missing or too special. And to say that all of them tried to push borders away is by far not enough to describe it because it is a negative description that is also valid for every musician of every era whose music passed time. I think it was neither Deep Purple nor Black Sabbath who invented Heavy Metal but it was Beethoven when composing the Waldstein Sonate and there are several shredder versions of the 3rd movement of his Moonlight sonata. Does that make him Prog Metal? And so it comes that musicians that do not completely belong to a description of Prog Rock suddenly become members of a subgenre. For instance I read that Procol Harum is Protoprog because they were there before Yes, Genesis ... and had a great impact on the groups that came some time after them. Peter Gabriel called them one of their most important influences.
The German group "Can" who insisted on not being a rock band and chose simplicity as a musical concept are called a Progressive Rock band though on the other side complex structures are named characteristic for the genre. Their album "Future Days" is on place 8 of the Rolling Stone list of the 50 Greatest Prog Rock Albums of All Time even though they saw themselves as a non Rock band. The Beatles throwed a lot of borders away but noone would talk about them as Prog Rock. I am in doubt that it is very useful to put completely different approaches to music to one genre. What have Bebop and Swing in common? It is jazz! Oh, thank you. Now I know.
I'm not ignoring your comment, just have to come back and read it when I get a minute😁
Totally agreed about the organ, it has this unnatural strength and force to it that just brings everything together in the song.
And that is absolutely HILARIOUS about Genesis😅
I understand the point; most music, if not all, is inspired in some capacity from that which preceded it. Just as you've mentioned with metal, it highly in kindred spirits with classical music (a reason why symphonic metal works beautifully)
Was able to see them live at a small venue in Pittsburgh several years ago and it was the most impressed I'd ever been, only to be later matched by King Crimson
I remember hearing them on a radio show called Stone Trek on either KOME or KSJO in the late seventies and early eighties, I don't remember which one. I liked them but could never find their albums and never heard of them having concerts near where I lived. Too bad, I think seeing them would have been great.
jwatson - Stone Trek! Now that is a blast from the past and SO appropriate to get name dropped here. Long Live Greg Stone!
Definitely would be crazy to see live
When Hugh Banton wasn't busy with VDGG, he would repair church organs for a living.
I saw VDGG in NYC back in 2009. They were a trio by then (Jackson left in 2006) but still sounded amazing. They're probably the only band that can pull off hard rock without a guitar. The Strawbs opened for them and also sounded great. Actually, you should definitely check out The Strawbs. They're a great prog folk band that often gets overlooked. They have a lot of great songs but I recommend starting with "The Battle". It's a bit more folky than prog but it was the song that initially attracted me to the band.
I’m glad you enjoyed this band they definitely take some time to get used too but there music is very rewarding. I was thinking The Knife by Genesis has to be a big influence on this band.
I agree the sheer intensity of the music is alot to handle at first, but once it takes hold its amazing. I think VDGG were really stand alone though, they were on the same label as Genesis but they were doing totally different things, darker, more experimental and "out there".
TheFloydios Yeah non of the Progressive bands in the 70s were really alike. Except I think the high amount of words crammed into a tune is in the same vein as Genesis and Marillion.
Yeah the longer it went on the more I enjoyed it
@@JustJP Absolutely, they all had thier unique sound. VDGG was definitely the darkest. The Still Life album is one of my personal favourite albums of all time and Godbluff comes close as well. Basically all the 70's vdgg albums are phenomenal
TheFloydios I still need to get into Still Life I’m mainly familiar with Pawn Hearts and Godbluff which I love very much.
Yup!
In 75 they got more crude and rude sounding. One of the most important signs was Peter's voice. I really understand why you can love it: it's powerful (as the band name intends to tell). But... The previous album, oh boy...
Sleepwalkers is my personal favourite from Godbluff.
My screen name, on youtube starting in 06, until about 3 months ago was GodbluffVDGG...You're the first reviewer of it I've seen...This album is done in it's entirety live. Godbluff 75. With Plague of Lighthouse keepers tacked on. It's note for note live...Hammill is a very prolific and profound writer...Still Life, H to He who am the only One, World Record, The least We could do is wave to each other, all of them are brilliant...Not just good, Brilliant.
Would love to see em live; This song has repeatedly gotten my attention, its so interesting lol
@@JustJP Here's the link for the whole thing and some extra live stuff...ua-cam.com/video/KZQ6lCwZFMk/v-deo.html
I read the comments before watching the video and had an idea of what I was going to hear. I liked it much better than I thought I was going to.
Same! It's a grower for sure
I find VdGG to be a band who once in a while does something extremely mind-blowing, but usually just sounds kinda cool. Pawn Hearts I think is the best example.
Your description of the castle in the uncanny valley is great haha. Their best moments are their scariest, and it's kind of an achievement to write music that's actually scary. Yeah, I think you can't listen to them expecting it to be a smooth ride, but it'll be a ride for sure. It's pretty cool actually though, for a prog band to let themselves be a bit sloppy and choppy and raw and not need to be as polished as you'd expect. Very unique overall.
This is good, but please listen to The Sphinx in the Face, off the brilliant album Pleasure Dome/ Quiet Zone
Peter Jackson often plays two saxofoons at the same time for accompianement .... and also does the flute
Sorry, I think it is David Jackson... oops
Peter Jackson is a brilliant filmdirector
Works better in the context of the album!
On first listening, any VdGG or even PH solo song/music is something weird that can't less anyone indifferent but produces either love, hate or discomfort. Many reasons for that. First you can't compare to any other band. Second is, even previously knowing some song or album, each new season one is totally different except some identity given by some voice (PH), sound (Sax and organ) and drumming style.
Nothing easy, always risky.
Note : I'm not familiar with English. It requires me a lot of attention to get the lyrics. Understanding them is my bonus but first comes the sound and it's just enough to me to love their music.
Listening to this, as I haven't for a good 40 years, it strikes me how similar to this singer Bruce Dickinson from Iron Maiden is. Not many reviewers get to VDGG. Well done for taking it on. Keep on rocking.
Thanks John! Looking forward to more
I would say instead that Peter Hammil voice is REALLY similar to Rob Halford voice when he doesn't scream.
Bruce Dickinson _is_ a huge Hammill fan.
@@TrevRockOne As is Rob Halford. The late David Bowie was a huge fan too.
I couldn't connect to this one but I liked your analysis and from other comments they're certainly connecting with others so fair play to them.
Ty ty
Ok, you are truly starting to dig into the lay of the land with Progressive Rock, it is worth a gander, not all illuminating but just like the old days, the search will bear out some fresh fruit. How does one propose a request?
A simple comment will do :D
Yes! I always liked the dissonance in their musical. Not Prog Rock needs to be sweet and lush.
Listen to 'A Place To Survive'
VDGG is part of my prog holy trinity (VDGG, Camel and Gentle Giant). But what a nice breakdown of the song! This is decent reaction!
Thanks Ramon! Appreciate that
There is so much JS Bach in these organ parts.
As you might have heard of, the VdGG organist Hugh Banton actually did an album recording The Goldberg Variations on organ. So he sure enough likes the guy.
Great Song. Great Band. Peter Hammill's voice and lyrics are unique. When you listen to VDGG more you'll grow to appreciate the drummer Guy Evans too. Also, when you listen to this type of music you should have a scotch on the rocks, instead of the evian water. Maybe a bong or two would help, too.
Haha ty Bill! I'll mix up something a bit stronger next time
VDGG would be my all-time favorite if it weren't for King Crimson haha, but Paw Hearts is my favorite album, every song is an emotional journey through the words of who i believe is the best lyricist in rock history, Peter Hammill. A plague of lighthouse keepers is a juggernaut of a song. It's about a lighthouse keeper that was driven to madness due to solitude, he hallucinates the ghosts of those who died on the sea and simply can not take it anymore so he tries to leave the place he's been stuck in for so long. and it is up for the listener to determine what happens in the end, he either escapes, or drowns but finds solace in death. Justin you just have to give it a listen believe me it is worth it.
Thanks Ayoub! I have the song on my list to get to :)
@@JustJP big fan of the content by the way, much love from a north-african place called Algeria lol
They weren’t playing out of tune, just progressive harmony
Try Darkness (11/11)
try on peter hammills "the spirit" ...
Finally!
Van der Graaf Generator at their best (and I think this is their best) always sounded to me like they were about to degenerate into total chaos. This is noisy prog. No wonder John Lydon talked them up on the BBC when he was in the Sex Pistols.
I did not even dare to recommend VdGG, but here you are --
Here we are 😁
It should be noted that a lot of the music you're discovering (ie Genesis/Yes/VDGG) was heavily influenced by the album "In the Court of the Crimson King" (1969). It wasn't the first prog album, as I believe prog rock started in 1966/67 with bands like The Beatles, Zappa and the Mothers, Pink Floyd, Procol Harum, The Beach Boys and The Moody Blues. But ITCOTCK really changed the game with prog and kicked it up to a new level that had a huge impact on the genre. So it's definitely worth checking out that album as well.
Very true! I may have to sometime, just the whole copyright thing makes it very :/
@@JustJP You can always listen to it off camera and save the review for your videos. Honestly I watch your channel more for your reviews than your live reaction.
The song is about smoking :)
far too late to turn... unless it's to stone...
One of the bands I’ve always meant to get to. Musically it reminded me of Yes/David Bowie Ziggy Stardust/T-Rex/ Genesis. Vocals are an acquired taste.
Somewhat 🖖 beardian in the interplay between organ and guitar. Also sax sounded good. Overall, I enjoyed. It generated some interest:)
Listen to 🖖Beard instrumental ‘Skeletons at the Feast’ for some examples of some off kilter disjointed music used to convey a sense of uneasiness. Ryo Okomoto is brilliant on the keyboard 🎹.
Generating interest and a little static😶
JustJP One might say that that song was fully charged, and a little touching.
I hear Tesla has some electrifying songs as well, real hair raising stuff. But I prefer their unplugged songs.
@@sidecardog5244 Ha, I listened to Tesla's "Radio Controversy" a loooooong time ago, and I don't rememberany of it tbh
Feels like they named themselves that just so music journalists would use "shocking" puns in their reviews.
Watt do you mean?
This song gets me all amped up.
Felt like I was listening to a song that belonged in a musical and there's a story being told. I would have to have lyrics to follow along. The song was interesting, but a little too in the abstract for me.
Definitely had some theatrics to it
Ah, I see what you're doing. You're using the generator to heat up the stove.
You want to make sure that supper's nice and hot before serving it.
Hahahaha! Great comment! We'll have to wait some time anyway... there will be 5 videos before with the other Foxtrot songs. Can't wait!!! xD
Hahahaha😅 the appetizers will begin shortly
Very clever
Understand where you're coming from, with regards to keeping it fresh with all genres. Progressive rock, as much as I love some bands, can be a bit overindulgent and inaccessible by its very nature. Genesis are up there with my favourite bands, but beyond them and a few others I tend not to overdo the Prog genre.
I'm familiar with the name of this band, but not so much anything they've done. On the one hand, I can always appreciate the technicality of the musicians, but it has to move me on some kind of spiritual/emotional level, and honestly I get nothing from this. It feels pretty soulless to me. Genesis at their best takes me on a journey, but listening to this is like getting lost.
Thanks Carter! Yeah, that's why I like to have variety (in the channel and personal music life lol). I mean, just this week I discovered a song I LOVE, but doubt most here would enjoy it😅 may be a bit heavy
Strange in some ways because VDGG usually are used as an example of "alternative prog rock" not the one dominated by virtuoso guitar and keyboard solos like ELP and YES but more focused on atmosphere, lyrics and, in this case, violence of the sound. Infact VDGG were the only band that wasn't hated and saw as "old dinosaurs" by the punk and new wave at the end of the 70s.
Hi J P ; good review ; may you look to Peter Hammill solo albums ?
I saw Peter Hamill in a solo concert in Lille ( North of France ) in 1993 ,
P H playing solo grand piano or guitar : amazing performance !
I could meet him quickly after the concert !
here " traintime " with Orcherstre National de Lille ( Jean Claude Casadesus brillantly directing )
ua-cam.com/video/xlKQugPJidE/v-deo.html
my preference goes to VDGG "Pawn Hearts " LP and the first albums of the band
lyrics of the beginning of " A Plague Of Lighthouse Keeper "
"Still waiting for my saviour
Storms tear me limb from limb
My fingers feel like seaweed
I'm so far out I'm too far in
I am a lonely man
My solitude is true
My eyes have borne stark witness
And now my knights are numbered too
I've seen the smiles on dead hands
The stars shine, but they're not for me"
Check out: "Refugees" if you really want to hear VDGG's most emotional song... ;)
Van de Graff is an aquired taste. Its 30 pct about the music 70 pct about the meaning of Peter Hamill thoughts.Be very careful .Not for everyone.
Sounds good to me!
My brotha, get yourself a water bottle, plastic water bottles are lame!
🥤
Yeah more prog rock. Always loved their music, though I am not a fan of Peter Hamill’s vocals. Great lyricist though.
I dislike this for a couple of the same reasons you liked it. I did like the drumming though.
that was awful, and i love prog
At least you tried it!
@@HippoYnYGlaw You must be the only person other than myself who has ever been a fan of both VDGG and The Fatima Mansions. There can't be that many about. Cathal Coughlan is a massively overlooked genius.