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MP3 Mr. So & So - The Overlap
8 MP3 Songs
ROCK: Progressive Rock, ROCK: Classic Rock
Details:
The band was originally formed in the late 80''s by Shaun McGowan (vocals and bass) and David Foster (guitar) while they were attending the Leigh college of music. Completing the lineup for this, their final outing, are Kieran Twist (keyboards), Leon Parr (drums) and Charlotte Evans (backing vocals).
It is worth mentioning that ''The Overlap'' was the first album to be released on Steve Rotherey''s Dorian label and, furthermore, Steve contributes to the album with a guitar solo on the track ''Coup de Grace''. Also noteworthy is the excellent production on the album - but with Mike Stobbie at the helm I would honestly expect nothing less.
Broadly speaking, the band can be categorised as a neo-progressive outfit, but - and please don''t be put off by the fact - the music has a tendency to lean more towards the pop end of the spectrum. Certainly the sound can be very involved and full of complexity where required, but the main emphasis seems to be on creating strong songs and lyrics backed by solid musicianship rather than simply adopting the rather more showy keyboard style so often associated with bands of this type.
''Metaphor'' opens the album with some strident keyboard work which quickly fades away in favour of the gentler vocal melody, which is very similar to Rick Wakeman''s ''Softsword''. The song is a good opener and has a strong up beat mood and, while the vocals are smooth and crisp, it is the lead guitar work in mid section instrumental break that really makes this track for me - very powerful stuff!
A complete change of mood comes with ''Spacewalk''. The song follows a doomed astronaut (there seem to be an awful lot of them about) contemplating his fate and, while the subject matter maybe something of a cliché, the performance is marvellous. Soft piano chords using repeat patterns create a sensation of floating and the melancholic vocal line is beautifully delivered. As the song progresses guitar bass and percussion all join in, but the effect is subtle and unobtrusive helping to build the mood of the piece.
''Drowners'' represents a good mix of styles; initially the feel of the piece is very pop oriented and the vocals seem very familiar. The mid section instrumental break allows Kieran Twist a brief foray in twiddly keyboard territory, which is the exception rather than the rule here, while the final section of the track really slows things down and has an almost Steve Hogarthian quality.
''Isn''t it Amazing'' is another fairly uptempo piece, again we are on familiar territory here and the song is another with a strong pop edge. Charlotte Evans'' vocals really add strength to the performance, both with backing harmonies and some of the foreground sections.
The opening of ''Subterfuge'' has a harder rock edge to it initially with heavy bass and guitar work but, as ever, when the vocals come in the listener''s attention is instantly shifted to the lyrics and the mood seems to lighten up. This is in some ways misleading since both the guitar and bass are still providing a powerhouse of energy. The song again demonstrates the ability the band have to switch effortlessly from upbeat fast flowing music to slower more subtle moody passages and back again.
''Salamander'' is another track with a strong rocky opening and this continues throughout the instrumental parts of the track and skillfully combines with the more poppy vocal parts. Kieran Twist''s keyboard work is very much in evidence, but it is Shaun McGowan''s singing that really stands out - particularly in the repeat chorus sections, along with Charlotte''s spirited support line.
''The Overlap'' really seems to sum up all the best points of the album. The song is beautifully laid back, with complex layered instrumental work. Once more the vocals command the focus of attention and again those seamless switches between sweeping melody and slow melancholic passages, work their magic. The track is constantly building towards the inevitable climax and, for me, is the pick of the crop.
Finally we come to ''Coup de Grace'', led in with a repeating piano pattern which is soon replaced by vocal chant set against a background drone which gives a very eastern flavour. As with the preceding track, the overall approach here is mature and relaxed and the result is a song strong on feeling and delivered with a passion that does credit to the band.
Simon (Voiceprint) 28th March 2001
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