Nektar’s follow up album to Remember The Future, represented a bold and successful change of direction.
A BAND ALWAYS ON THE MOVE
Nektar, the UK progressive rock band, formed in Germany, were never a band to stay still musically. Down To Earth, their fifth album, while ostensibly a concept album like its predecessor Remember The Future (see our review of the reissue set here), represented another left turn. Released in 1974, it contains a series of shorter songs, full of hook laden melodies, and supported by a horn section and backing vocalists including the legendary P.P. Arnold. The circus theme that binds together the songs, is ably supported by Robert Calvert (ex-Hawkwind at the time), as the narrative ringmaster.
This new reissue includes alongside the remastered original album, additional alternate mixes, together with a live in the studio performance, of then mostly new material, which would not find its way onto Down To Earth. This unique performance was captured on tape during the album recording sessions. You also get a live concert recording from April 1975, with everything spread across four CDs, in a sturdy clamshell box, accompanied by a detailed and illustrated booklet.
In this review we will take a trip through some of the highlights to be found on this impressive reissue set.
A BOLD NEW DIRECTION
Down To Earth is presented here in a newly remastered version from the original master tapes. Opening with the sounds from a circus, we are propelled into Astral Man, which has all the sheen and brightness of power pop, with a rolling piano and guitar, and dreamy harmony vocals. Nelly The Elephant, in complete contrast, is an organ and squealing guitar led progressive rock centrepiece. The horns make their first appearance here, adding a soulful punctuation to the song.
Early Morning Clown is one of those classic Nektar rock ballads that they do so well. Roye Albrighton’s soaring lead vocal and Allan “Taff” Freeman’s synthesiser providing a strong emotional charge. That’s Life, featuring some striking backing vocals from P.P. Arnold and Kenneth Cole, blends that ballad aspect with some dynamic progressive rock time changes, and sublime harmony vocals that would give Crosby, Stills, Nash and Young a run for their money. P.P. Arnold’s distinctive voice adds that extra special something that makes this a classic in the Nektar canon.
Already, just a couple of songs into the album, one has the sense of a bold new music direction, where the lengthier and spacy compositions of previous albums have been succeeded by shorter, melodic and even catchy songs.
THE INIMITABLE ROBERT CALVERT
Fidgety Queen takes the album into more blues-based territory, with a thumping rhythmic drive from Ron Howden on drums and Derek “Mo” Moore on bass, and an accentuating backing from the horn section. Roye Albrighton’s slide guitar and almost shouty vocal, gives a real zing to the music. The inimitable Robert Calvert’s quirky introduction has an interesting coda, with the inclusion in the bonus tracks of some out-takes, where he has several attempts at the introduction. What comes across is a warmth, a self-depreciating sense of humour, and a professionalism and commitment to provide the very best version. A lovely addition to this reissue.
Oh Willy initially retains the rhythm and blues feel with the horns prominent, before stopping itself suddenly to embrace a simply beautiful lilting instrumental section. The sort of musical leap that Nektar always excel with. Little Boy brings the return of P.P. Arnold and Kenneth Cole on backing vocals, while Show Me The Way in a similar vein features a duet between P.P. Arnold and Roye Albrighton that is simply gorgeous and full of emotion. It is also a song that highlights the skilled ensemble playing the band was capable of, not dropping a breath through the song’s frenetic pacing and dynamics.
Finale, a short instrumental piece, brings the album to a close with a big band restatement of one of the musical themes from Nelly The Elephant. This is an ambitious album that significantly extended the band’s musical reach, both in terms of a different approach to composition, and adding in elements from soul and rhythm and blues music. Interestingly, the band were only in the studio for nine days, and yet together with their supporting musicians were able to pull an album on this scale out of the bag.
LIVE IN THE STUDIO SET
On one of the evenings during the recording of Down To Earth, the band celebrated Derek Moore’s birthday with a jam session, that was thankfully recorded and can be found on the second CD in the box set. The six songs that emerged (five completely new) are a testimony to the band’s improvisational inspiration and energy. The best way to listen to the session is perhaps in one listen, either on headphones or with the volume up, to let the music quite literally wash over you. It is a genuinely immersive experience. Particularly engaging is the languid funk rhythms of the piece intriguingly entitled We Must Have Been Smashed.
LIVE AT THE KIEL AUDITORIUM ST LOUIS
The final two CDs contain a live performance at the Kiel Auditorium in St Louis on the 2nd April 1975. There are of course songs from Down To Earth (though only two in this live set), alongside classics like Remember the Future and Let It Grow.
Of particular interest here is a new song that the band announce that they have only been playing from the beginning of the tour, and which doesn’t have a title. It is named Recycled on the CD and appears be the early genesis of what would eventually be the next album of the same name. It is a lengthy seventeen minute plus piece, providing a show case for Allan Freeman’s always inventive synthesiser and organ playing, and the band’s ability to confidently hold together a complex musical narrative. A brave piece to play to an audience, but they successfully pull it off given the audience response.
A Day In The Life Of A Preacher, one of three live tracks taken from the band’s third album …Sounds Like This, underlines the strength of the band’s rhythm section of Ron Howden and Derek Moore. They combine a powerful, often funk based drive, with a jazz like lightness of touch. It allows a lengthy piece like this, sixteen minutes plus in this case, to go down various musical tributaries without losing focus. Roye Albrighton’s guitar solo is very good indeed here, infused as it is with an irresistible jazz swing.
AN EXCELLENT PACKAGE
This live set nicely completes an excellent package, complemented by two informative essays in the accompanying booklet. The first essay is written by Derek Moore and Mick Brockett, the bands lighting and special effects person, and a contributor to lyrics. The reminiscing about the recording of the album is full of warm anecdotes. The second essay by Mark Powell helpfully sets out the context for the album, and some of the detail around the additional material in the set.
A final word on the album itself. Nektar set out, in a brave musical move, to provide an album of impactful shorter songs bound together by a concept. On completing this review, I still have several of the songs going round in my head. They are that catchy, and a testament to a band willing to take chances and totally succeeding.
Nektar: Website