Pioneers of progressive rock, the music of Eyes Of Blue is celebrated in an excellent new box set.

Release date: Available now

Label: Esoteric Recordings/Cherry Red Records

Format: 3 CD Box Set

THE STORY OF EYES OF BLUE

This box set is an affectionate representation of Eyes Of Blue, a band from Wales, formed in 1966. They were well ahead of their time, in developing a progressive rock sound and musical approach, though sadly the success and recognition they deserved never quite came their way. All three of their albums are included in this set: Crossroads of Time from 1969; In Fields of Ardath also from 1969; and Bluebell Wood from 1971, albeit recorded under the name Big Sleep. In this review we will highlight tracks on each of the albums that are illustrative of the bands development.

The line up of the band comprised: Phil Ryan keyboards; Ritchie Francis bass, keyboards and vocals; John Weathers drums and vocals; Raymond Williams guitar; Gary Pickford-Hopkins vocals and guitar; and Wyndham Rees vocals (on the first two albums). 

MAN…

Phil Ryan of course was later to join the iconic Welsh wizards of improvisation Man, with whom he had three stints, and formed the Neutrons with Will Youatt, who was also in Man for a time. Eyes of Blue members John Weathers and Raymond Williams were part of the Neutrons set up, and the first Neutrons album Black Hole Star is a highly recommended listen. John Weathers as well as being a key member of Gentle Giant also later joined Man. All of this is by way of illustrating the quite wonderful musical labyrinth, that is the Man family tree. In fact, a reformed Eyes Of Blue apparently played at Man’s Christmas at the Patti show in 1972, though a little mysteriously their set was left off the subsequent live album.

CD ONE – CROSSROADS OF TIME

The opening title track, written by the influential jazz and blues musician Graham Bond, opens with what sounds like the sound of a giant explosion, followed by some foreboding gothic phrases on the organ. This is a track with a classic psychedelic foundation overlaid with a medley of rhythm and blues accents. The lyrics interestingly draw on many of the anti-war slogans that were a part of the 1960s protests. The strong harmony vocals are indicative of the band having three people who could offer vocal parts.

THE WEST COAST SOUND

The following track, Never Care, is very indicative of the progressive rock experiments that would really come to the fore on the albums that followed. Frequent time shifts, layered keyboard parts, and thematic guitar phrases, are embellished with choral harmonies. Prodigal Son, later on the album, takes this even further, adding in the influence of the late 1960s West Coast sound emerging from the United Stares, through bands like The Doors and Love. An influence which is affectionately acknowledged in a quote from John Weathers, in Mark Powell’s accompanying essay for the box set. The angular bass driven rhythms, and a remarkable instrumental section with a fiery guitar solo, punctuated by John Weathers crashing cymbal work, is musically quite exceptional. Phil Ryan’s organ solo, as one would expect from this great player, has a beautiful flow, throwing out some compelling melodic phrases.

Love Is The Law, also written by Graham Bond, is a real stand out on the album. Its heady jazz infusions are created by Phil Ryans evocative organ parts and John Weathers formidable funk driven rhythms. It’s a track that deservedly demands repeated listens. Inspiration For A New Day, in complete contrast, is an infectious boogie shuffle, with a high-octane guitar work out, that wouldn’t be out of place on an Allman Brothers record. It is illustrative of the huge musical range Eyes Of Blue could deliver. There is no doubt that this debut album by the band was a strong musical statement.

CD TWO – IN FIELDS OF ARDATH

In Fields of Ardath, the band’s second album, witnesses the band taking their music further into a pioneering progressive rock sound. The first track on the album, Merry Go Round, is an epic progressive rock piece spread over nine minutes plus of playing time. A swirling keyboard introduction leads into a frenetic vocal led section that introduces the main theme. A slower paced section brings the bands soaring harmony vocals into the mix, before returning to the main theme. Another time change brings the harmony vocals back in, before Phil Ryan’s keyboards lead off the instrumental section. The interplay here between soloing guitar, stabbing keyboards, and the dynamic drum patterns, is quite something. A gentler voices led coda brings the track to an end. It is an ambitious musical suite for a second album, but the band pull it off.

Souvenirs (Tribute to Django) brings together acoustic and electric guitars and piano, set against a lovely swing rhythm, in a tribute to jazz guitarist Django Reinhardt. The track, written by Django Reinhardt and Stephane Grapelli, cleverly switches from a traditional analogue sounding production to a more contemporary sound during the track and completes with a blues rock finish.

A DIVE INTO PROGRESSIVE AND EXPERIMENTAL

Spanish Blues, another number written by Graham Bond, has three sublime instrumental breaks, where keyboards and guitar pull off some irresistible melodies. Ritchie Francis’s jazz influenced bass playing provides a perfect counterpoint. Door (The Child That Is Born On The Sabbath Day) is another dive into progressive rock territory and very experimental. There are frequent changes of pace and rhythm, and beautifully intricate keyboard and guitar passages. A stunning choral vocal section emerges out of the mist that has a musical quality of the Beach Boys. A spoken word insert punctuated by industrial like sounds concludes the piece. This track is quite breathtaking in its musical reach and scale. 

Extra Hour is a quite cinematic, largely instrumental track, that wouldn’t be out of place accompanying a new wave 1960s film. Interestingly the band were recording a film soundtrack in parallel with recording the album, although the sessions were kept quite separate. The latter two tracks both involved writing by Phil Ryan, and this was an album that also saw the composing duties more equally shared across band members, whereas on the first album most of the writing was done by the excellent Ritchie Francis.

CD THREE – BLUEBELL WOOD

Bluebell Wood, was the third album, but was recorded under a different name, with the band renaming themselves Big Sleep. A key new feature of this recording were the string arrangements by Phil Ryan on two of the tracks, Death of a Hope and Saint and Sceptic. 

First though, to highlight the title track, Bluebell Wood, a progressive rock tour de force spread over eleven minutes plus of fine playing and complex arrangements. The initial passages set the scene, with a strong expressive lead vocal and some chamber like musical embellishment by an uncredited flute and saxophone. The first instrumental break includes a set of guitar phrases with a stinging metal type attack. The second lengthier instrumental break is introduced by ringing twin guitars, before Phil Ryan’s organ hits overdrive, disrupted by layers of fluid guitar soloing. John Weathers and Ritchie Francis’s rhythmic underpinning is remarkable, driving the track onto ever greater levels of intensity.

INTERPLAY & SYMPATHY

The interplay between the band members on this track evidence’s how much they are in sympathy with each other’s playing, while also allowing plenty of space for free form improvisation. This track feels a good place to reference the guitar work of Ray Williams, which is very impressive over the three albums, and also the exceptional lead vocal talents of Gary Pickford-Hopkins.

Death Of A Hope and Saint And Sceptic are an illustration of the talent of Phil Ryan as an arranger. Death of a Hope with its enthralling combination of piano and strings has a shimmering beauty. The subtle use of voices, drums, bass and guitar adds a classic pop ballad overlay. Saint and Sceptic has an incredible strings passage, where the strings section battle it out with the guitar. The cello parts here are just exquisite and so well recorded. 

A FITTING TRIBUTE

By the time the album was released the band had sadly come to an end. This box set is a fitting tribute to the band and its pioneering approach, and a comprehensive and respectful recognition of some great music. The presentation, in a clamshell box, with the three albums in card sleeves with the original album artwork, is very striking visually. The accompanying booklet with a detailed essay on the band by Mark Powell, also includes archive photos. The whole package is very well put together, as we have come to expect from Esoteric Recordings.

You can find out more about Esoteric Recordings and Cherry Red Records releases here: Cherry Red Records / Cherry Red Records Facebook / Esoteric Recordings / Esoteric Recordings Facebook

Keep up with At The Barrier: Facebook / X (formerly Twitter) / Instagram / Spotify / YouTube