01	The Undercover Man						07:25
	02	Scorched Earth						09:48
	03	Arrow						09:45
	04	The Sleepwalkers						10:31

Van Der Graaf Generator
Godbluff
Charisma (Carol 1637-2)
UK 1975

Peter Hammill, vocals, piano, guitar;
Hugh Banton, organs, bass;
David Jackson, saxophone, flute;
Guy Evans, drums, percussion

Tracklist:
1. The Undercover Man — 7:25
2. Scorched Earth — 9:48
3. Arrow — 9:45
4. The Sleepwalkers — 10:31


sean

After a four year absence (in which Peter Hammill released a number of solo albums), Van der Graaf Generator reformed in 1975 to record this masterpiece. Consisting of four approximately equal-length songs, there is a uniformity in mood that provides the semblance of a central concept, even if there isn't one that I can see.
Three of the four songs are heavy in fantasy imagery, although in at least one case ("Scorched Earth") an argument could be made that said imagery is metaphorical. Indeed, parts of each song read like a manifesto, as Hammill breaks from the scenario in question to sneak in a pointed message.

Musically, the album is led by Banton's organ and Jackson's sax, providing contrasting colors to the sound. Banton tends to lend the air of brooding and tension, while Jackson erupts into aggressive outbursts of angst. Jackson also provides a bit of flute playing to "The Undercover Man" and "The Sleepwalkers" when a softer approach is needed. Evans refuses to stay in the background, punctuating each Jackson sax burst with machine-gun staccato. The last three songs all feature killer extended instrumentals, my favorite of which would have to be the 5/4 explosion at the end of "Scorched Earth", or maybe the alternating 8 and 10 of "The Sleepwalkers" which crescendos into the nastiest prog rawk you've ever seen. Hard to say.

Godbluff captures the band at their peak, with a mature lyrical contribution from Hammill combined with the musical pyrotechnics of which the band was capable. The combined inspiration of the four musicians creates a synergy that elevates this head and shoulders above any other VdGG release, even Pawn Hearts. Essential.

review by Sean McFee — undated — post a comment (0)


joe

After a hiatus lasting several years, Van Der Graaf Generator coalesced back into shape with Peter Hammill at the helm. With the exception of perhaps more facial hair, it was as if they had never been away, for none of the band's power had diminished in their hibernation. Perhaps not too surprisingly, as the band's other members contributed to Hammill's intervening solo projects. All tracks display the trademark Van Der Graaf sound, with Hugh Banton's growling yet clear Hammond tones locking in with David Jackson's sax through some intricate but not impossible arrangements. For better or worse, above it all wails Hammill's voice, still milking every drop of melodrama he can. "The Undercover Man" starts off quiet and eerie, building tension until eventually resolving into a notably cathartic chorus. "Scorched Earth" features yet another classic Van Der Graaf riff, and to me recalls another favorite track of theirs, "Man-Erg" from Pawn Hearts. "Arrow" is the only track on here that I could live without, finding Hammill a bit too abrasive. "The Sleepwalkers" fares considerably better, though I find it not quite as engaging as the first two tracks. As for many of the rock albums recorded around this time, the sound quality for Godbluff ain't so hot. Still, this is an album that is worthy of the Van Der Graaf name, and is a welcome purchase for both fans of the band and VDG newbies.
review by Joe McGlinchey — undated — post a comment (0)

© ground and sky




Member: Prog Owl (Profile) (All Album Reviews by Prog Owl)
Date: 11/20/2001
Format: CD (Album)

Peter Hammill: Lead Vocals, Clavinet, Guitar
David "Jaxon" Jackson: Saxophones, Flute, Devices
Hugh Banton: Organ, Bass
Guy Evans: Drums, Percussion

After a nearly 4 year absence, VDGG roared back to life again in 1975 with a leaner and definitely meaner and angrier sound! The question in many fans minds was, "Could the old electricity and creative spark survive the long pause and the harrowing experiences the had on the road in Italy that caused their breakup?" The answer was thankfully, yes!

A quiet echoed flute figure begins the album in "The Undercover Man", a poignant tale of intrigue that Hammill spins masterfully, supported by Jaxon's melodious flute with Banton and Evans laying down plaintive atmospheres.

The emotional ending of "The Undercover Man" segues into the mounting tension of "Scorched Earth", a song of war and desolation between two beasts. Here, Hammill spins off memorable lines like,"And it's far too late to turn, unless it's to stone" among others. Throughout, Guy Evans' jazz inflected drumming pushes the song into an angry firestorm with Hammill in full roar as Jaxon's snarling saxophones and Banton's churchy organ paint the desolate scenery to a fiery end.

"Arrow" continues the "war" theme and examines it on a more personal level, the emotional state of the participants. It begins with a chaotic almost free-jazz intro with Guy unleashing fiery drumming, Jaxon's free-floating sax, and an understated bass figure that all threatens to dissolve into chaos until Hammill roars in with an authoritative clavinet figure to bring it all under control. From here, the tale begins of soldiers in emotional extremis. Anguished outbursts from Jaxon and Hammill both paint vivid pictures of a raging battle within and without before winding down.

"The Sleepwalkers" is like a horror movie without the movie, a tale of murderous somnambulists highlighted by Banton's spooky organ and Hammill painting detailed pictures with his cinematic wording. Somewhere in the middle, there is an unexpected and quite hilarious musical segment featuring Jaxon playing the song's pained chorus in what to my ears sounds like a demented vaudeville/English music hall/cha-cha amalgamation! This little segment has to be heard to be believed! But then it's back to the action with Guy, Hugh and Jaxon roaring full tilt to a truly chilling conclusion, with Hammill's plaintive vocals and Hugh's spooky echoing organ.

Intense, compelling and very much unlike typical prog, in the sense that with VDGG, the vocals are the main focus. While not being loaded with rip snortin' displays of chops, VDGG can paint vivid musical pictures and colors, and are one of the very few bands that can sound heavy and crunchy without the use of guitar, opting instead for sax/organ riffing as the basis of its sound.

Not happy-slappy music for certain, but for those who like intelligent lyric writing and vivid musical atmospheres, this is definitely for you!
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