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Like many of the songs on their first album though, Isham stops short of really developing the composition and it comes off as kind of a sound- bite demo. Too bad, this one had real potential. Not sure what the point was to this one. The title track is both the longest and most interesting track on the album, with a combination of digital and some acoustic drumming, long and spacey trumpet work intermixed with the keyboards, and what almost comes off as a slight climax toward the end.
Also Isham experiments with some harmonic keyboard progressions that are rather unusual and so are at least interesting. This thing is more about trying to make keyboards sound like running water and slow waves than it is about any kind of progressive arrangement. Kind of a disappointing end to kind of a disappointing album.
This is a really interesting band that had an opportunity to have a real influence on a whole generation of post-rock and experimental artists that LP) come along starting just a few years after their demise. But instead the band plays it very safe on this release, mixing then-popular digital keyboards and fake drums with spacey tempos and flat rhythms.
This is an entirely instrumental album, consisting solely of drums, trumpet, bass, and guitar, with the remainder of sounds coming out of a variety of keyboards and synthesizers operated by Isham. This is a sound that is undeniably eighties, but is also rather difficult to classify. Every note seems carefully orchestrated and executed with precision.
Each arrangement starts around a central basic rhythm, and then constructs a series of progressions that often seem to have little to do with that rhythm, usually with a combination of percussion and synthesized keyboards. The whole thing works deliciously well. A great opening to an unusual album. Guest drummer Terry Bozzio is spectacular, particularly as he works above the rim with some great percussion.
The acoustic qualities of this track are just superb. My only complaint about this particular recording is that it is entirely too brief. This could have easily been developed with some nuances of time and movement built into the arrangement to even greater effect. Isham also weaves some really unusual trumpet work in, very dissonant tones that blend very well with keyboards. Behind all of this is a persistent bell-like synthesizer rhythm that gives this a futuristic feel, or as close to one that a twenty-seven year old recording can muster.
The Tones - 87 Central - 87 Central (Vinyl ending is very unique, and much more interesting than the fadeout ending used on most of the tracks. This almost sounds as if the band took the opening number and just slowed it down a bit, but the slightly syncopated beat dresses it up with a completely new sound.
Other than the drums, this is an almost completely synthesized composition, and would not have been out-of-place on one of the later Alan Parsons Project albums.
While the album as a whole is quite strong, this one borders ever so slightly on filler. This is another track that could easily pass for something from Jeff Beck around the same timeframe, and works very well to cap off the album. Like I said before, this is a rather unusual album that is difficult to classify. While on first listen it seems a bit light and fluffy, repeated playing reveals the high level of precision and virtuoso playing of each musician. The band suffered from poor management as well as a major slump in the record industry in the early eighties, so there was little promotion of the album, and the members moved on to other ventures.
They would LP) for another album a few years later, but it lacked the fresh feel and quiet energy of this debut. This is a great recording for Tones - 87 Central - 87 Central (Vinyl who enjoy skillful musicianship and tight fusion with an early techno feel to it. A worthwhile investment if you can find it. JFL Radio. WRWO WCNG Totally Hits Radio. Radioup - Pure Classic Rock.
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