Label: Avalon - MICP-10113 • Format: CD Album • Country: Japan • Genre: Rock • Style: Prog Rock
Day For Night 2. Gibberish 3. Skin 4. The Distance Urban Noise - Spocks Beard - Day For Night The Sun 5. Crack The Big Sky 6. The Gypsy 7. My Shoes Mommy Comes Back Lay It Down Hurt Bonus tracks on remaster: Urban Noise Day for Night Neal's Home Demo Gibberish Neal's Home Demo Day For Night 8.
One of the most representative Spock's Beard songs there are. If only the rest of this Scherzo: Allegro Vivace - Trio: Un Poco Più Lento - Friedrich Gulda - The Complete Musician maintained this quality. Not prog at all. IT sounds like Porcupine Tree. Crack The Big Sky 3. The Gypsy 5. Can't Get It Wrong 4. It is a very spotty epic with some good and some awful sections.
I think it is their worst epic they've done. The highlight is the 'healing colors of sound pt II'. Get 'V'not this one, unless you are a fan of the band. While the fundamentals of old Progressive Rock were still the band's driving force, Neal Morse decided that the band should take a turn towards more dense and short tunes, which remain fairly intricate, bombastic and complex, but also contain a heavier dash of Pop.
On the other hand there is not a single piece Oh Mama - The Outsiders / Wally Tax - Singles As & Bs Inc. Wally Tax Solo Singles & Rarities the min. Even so, you can't do wrong with a Spock's Beard album. The epic atmospheres, emphatic breaks and rhythm changes are still in the menu along with a retro atmosphere and an intelligent display of modern instrumentation and production.
It's just that the vocals now sound too sweet and poppy placed in such kind of arrangements. Cuts like the title-track, ''Crack the big sky'' or The gypsy'' though belong among the goodies of the band, these guys offered here a monumental delivery of full-blown Prog with some BEATLES-que tunes.
Spock's Beard say goodbye to the 90's with their weakest album. Still recommended. Like on previous epics, the Beard end their masterpiece with a powerful "wall of sound" finale. Neal Morse still shows he's a talented and skillful composer and writer. It appears from other Urban Noise - Spocks Beard - Day For Night that Day for Night didn't quite live up to their previous works, but I have found this one to really grow on me over the years.
When it came out, I'm sure I would have leaned more towards 3. Again, not as good as their previous three albums, but still a masterpiece.
Ok, maybe lentgh doesn't say everything but at least it tells you something where for instance the style and composing ways are concerned. As an epic lover I'm not quite Sturm - Orlog - Elysion with this change in style.
And it will be no surprise my love for the band is slowly declining by now. Luckily with the successor of this 4th album V the band is drawing itself up one more time and write even their longest and best tracks ever Urban Noise - Spocks Beard - Day For Night after that, the compsing ways as on this album will be continued for the rest of their career. With Gibberish they try the Gentle Giant vocal style for the second time on V they repeat this with Thought pt.
Nice song but as a non GG-fan I'm not really waiting for this retrostuff. Skin sounds pretty original with first few tones but turns into a regular track with the rest. The Distance to the Sun is an ok ballad but no more. Third longest The Gypsy starts quiet, gets rougher later on but never truly mesmerizes. The other eight tracks are more or less forgettable in my book and are in fact below par for Spocks Beard standard I feel maybe with exception of My Shoes revisited with some superb guitar.
It makes it more and more obvious where the rating for this album is heading and that's towards a downright three stars.
Maybe a tiny bit more but that's all. It's the first signs of decline as far as I'm concerned and in the new millenium I slowly drifted away from the band that once got all my repect. Too bad In the end, Day for Night is a fun divergence for fans of the band who will doubtless enjoy the material for what it is-- a smart band getting the sing-along bug out of their system.
Yes, the Beard's precursor to their wonderful work ''V'' is not quite as good as it's successor would turn out, but it still has it's great moments none the less. Certainly a different feel in this album than in previous and later albums, but this one has all the ingredients of a great Spock's Beard [SB] album.
Certainly an uplifting album in terms of music if not always in lyricsthis album certainly has a more pop influence to it than it's brother and sister albums. Though it does have a couple longer and more typical symph-prog moments this one tends to stick more to the short song format.
Only three songs and one suite reach over the length of 5 and a half minutes and when they do they often do so in a fairly catchy manner. However, while one can complain about poppyness there's no doubt that this is still a very good album that SB fans will still very much enjoy. The album hosts a multitude of different sounding songs, ranging from full out prog right down to simple pop-rock songs. While there are some weaker tracks on the album they're easily forgiven because of the excellent stand out tracks.
Morse, and utilizes a fairly catchy chorus to make all of it's speed changes and instrumental bits accessible to all. GIBBERISH continues SB's constant tributes to Gentle Giant and uses a well done harmony of voices to deliver some a-cappella vocals between the chorus and some excellent riffs and instrumentation from each member of the band.
While many of these songs may seems to be heading down the more simple road it's easy to see the SB still knows what they're doing. The shorter and more strait forward songs are more of a mixed bag from here on in.
SKIN, the album's single, is a great rock song that has a great riff and chorus. Maybe not as accessible to people who prefer their prog to be as pure as black coffee, but a great song for those of us who still have a bit of headbanger in them. Unfortunately the other shorter songs don't pack as much of a punch. While the other poppy songs were album to make use of their speed to pull them through these songs don't have Urban Noise - Spocks Beard - Day For Night going for them.
Urban Noise - Spocks Beard - Day For Night at this review so far, then the track listing on the album one may think, ''Oh no, this must mean that the whole second half of the album is not good! Not true, fortunately. One area of the album I've neglected to address thus far has ben the suite that occupies the better of the second half of the album.
While not named in total and not really adressed as one big song it's easy to see from the ''parts'' and ''[reprise]s'' of the songs that there's something going on there. Indeed, the music is very closely linked and plays strait through as one song. Totaling somewhere in the area of 22 minutes, this suite is easily the standout of the album, and not just because of it's length.
Ending the same way it started with that crazy feedbackthe suite seems a lot shorter than it actually is -- the mark of any good, long song. In the end this album gets a solid three stars. The reason for this When Im Sixty-Four - The Beatles - Sgt.
Peppers Lonely Hearts Club Band is as follows: While an excellent album, and very enjoyable, it's audience is rather small in the prog community. This album will appeal to any SB fan, as well as anyone who likes a Urban Noise - Spocks Beard - Day For Night pop in their prog. However, anyone who cringes at the simple mention of the word Urban Noise - Spocks Beard - Day For Night should steer very clear of this album and move strait on to the next two albums by the band.
The opener, Day for Night, is fantastic Urban Noise - Spocks Beard - Day For Night. It makes me smile every time on account of its fast pace, flaying drum work, and killer instrumental bits. The band proves here that they're in fine prog rock form, and that they still can write music that's abnormal yet terribly exciting and, God no, almost danceable. But that sort of influence is forgivable, I think, since the song works so well on its own.
The next piece, Skin, follows with some weird guitar sounds, but flies by like a regular rock song. Very exciting, though. Definitely a good bit of fun, all three. Next follows The Distance to the Sun, a pretty but forgettable Neal ballad. It kind of sits by itself on the album, in between two chunks of great music.
The acoustic work is nice, though. The next series of quality tunes begins with Crack the Big Sky. You know that whole dancing thing from the title track? It's back here. Handclaps, a driving rhythm Some very good proggy insertions and instrumental sections in here, though.
Great vocal lines, and a crazy keyboard solo from Ryo towards the end. Oh, and the drums are on fire. Right after this wanders in some more weird, in the form of The Gypsy. After a slow start, this piece really gets moving.
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