Robert Fox & David Wright Blue

CD 1 'The Stuff of Dreams' begins with 'From the Heart', a wonderfully poignant, emotive, piano piece, accompanied by gentle beats and subtle treatments. Melodically reminiscent of Vangelis at his best, it makes an immediate impact as does the next track 'Blue Mountains Revisited'. Robert patiently, and expertly, introduces the layers with due restraint and economy so that when the larger, more expansive pads arrive they have a marked impact despite being, compared to his earlier work, more subdued. 'A Song for Sarah' is sensitive, romantic, vignette with a memorable motif and is followed by 'Heaven's Gate'. More rhythmic than its predecessors, Fox's excellent melodics and voice textures invoke a spiritual, inspirational atmosphere which uplifts the spirit and cross fades into the equally impressive 'Chasing the Night'. Here the composer employs a range of techniques to maintain the listener's interest, including more dramatic chords and devices which complement the high standard of Fox's melodies and bridges. 'To Sleep....Perchance to Dream' is a perfectly formed child-like romantic miniature a prelude to 'A Cry in the Dark'. Again, compared to earlier albums, Fox's trademarks are more subdued, but he seems to deploy them more effectively utilising more light and shade and, as is evident here, successfully imbues much of his work with a mature, stately melancholy. 'Beginning to Dawn' concludes the set with a subtle touch of inspiring optimism evoked through fine melodies and dramatic percussion. Make no mistake about it, this is an excellent addition to Fox's canon and stands up well to the highly impressive 'Talking Heads', although perhaps not quite matching the heights of its partner, it is possibly a touch more consistent overall.

'Hypnosis' was beset with similar problems to those documented above. After a series of concerts performed in London, Derby and Nottingham featured material intended for a forthcoming album, Code Indigo commitments and studio improvements led to the inevitable delays. Several months after the concerts, David re-arranged and re-recorded the original material for a new studio album. However, Wright had gone on to record what was to become 'Threesixzero', and bearing little resemblance to the original project, 'Hypnosis' was shelved to give way to the newer album. No doubt a number of factors were considered and like 'The Stuff of Dreams', 'Hypnosis' can be seen as a companion, or stepping stone, to its preferred successor. Given the reaction to the favoured releases, these decisions have been vindicated. 'Threesixzero' was certainly more commercial and my slight reservations were, to be fair, largely not shared by the fans I've spoken to who bought the album. 'Hypnosis Part One' begins in dramatic fashion with thunder and eerie effects on 'Dark Skies' before a sampled voice (Carl Sagan) is accompanied by expansive pads and simple rhythms.On these early sections Wright deploys some Schultzeian techniques and textures. For example, the morphing key and tempo changes and the patient evolution of the music. Nevertheless, Wright adds his own trademarks such as the jazz tinged keyboard phrasings and greater attention to subtle melodic development for instance on 'The Search'. However, on 'To Touch the Sky' Wright changes the mood with a gently romantic, expressive, laid back motif which is instantly memorable.

Part Two begins with a gentle, almost subliminal, piano introduction on 'Night Falls' and is accompanied by natural sounds which continue into 'Embers'. A bass sequence introduces and underpins 'Mystic' alongside simple ethnic percussion, and expansive themes which cross fade into 'Lord of Light' which develop things further adding extra ingredients such as emotive voice samples, and classical references. 'Rhythmiccato' continues the evolution with some unusual string effects, rhythmic experimentation and eccentric keyboard textures and solos. 'Sojourn' starts with a few bars from 'Greensleeves' before a lyrical piano accompanies a wonderfully subtle, but highly effective, motif providing an effective contrast to its more frenetic predecessor. Cross fading into 'Lord of Illusion' the piano continues as extra layers are added, including later 'Enigma' style vocal samples, and more expansive keyboard phrases and pads. 'The World is Thus' satisfactorily concludes the second Hypnosis suite with widescreen orchestral textures and rock rhythms which bring the set to a satisfying climax. Finally, a new, brighter, studio version of 'Sygyzy' clocking in at just under 10 minutes rounds off the CD.

David takes a few more risks on 'Hypnosis' than on the smoother 'Threesixzero' and in the main they come off. To be fair it is a more uneven set, but impressive for its range and adventure, which just edges it above its sequel in my view. The third CD includes the collaborative works and begins with 'Meeting at Trevalyn' previously only available on the deleted 1997 ADMusic sampler and performed for a BBC radio Soundscapes. 'Overture' and 'Finale' were recorded for an abandoned charity project and appear for the first time on CD. All three tracks have been digitally remastered by David Wright at Ambivalent Studios during )u!y 2000 and as the pieces were recorded 1993J4 they complement each other very well and are very much in the epic widescreen style. The latest non Code Indigo collaborative project the four piece eponymous 'Blue' takes up the rest of the CD and begins well with an evocative but relaxing segment, with gentle rhythms and expressive piano backed by expansive pads. The second part begins dramatically with sonic booms and crashes, spiritual voices, rhythm guitar, vibrant, resonant percussion and a wonderful downbeat plaintive motif. Superb. The gentler 'Blue Part 3' commences with quiet piano, accompanied by tasteful guitar and features another strong melody before cross fading into the extended finale. Beginning with a lonely, wailing rock guitar in the sonic wasteland a bright percussion track kicks in with an understated five note guitar theme, then, at around 1.17, a magnificent, panoramic anthem is introduced providing a backdrop to Andy Lobban's powerful, but tastefully economical guitar licks, add to this an infectious keyboard motif, clever use of light and shade and you have a stirring climax. Excellent.

The final CD consists of Code Indigo's Derby Cathedral concert performed on October 1998. Due to technical difficulties on the night, which included a PA and stage monitor failure at the start of the set, the tapes were discarded. However, it was later realised that the problems of the concert tapes could be overcome using studio technology and the PA problems which plagued the early section of the concert could be eradicated without detracting from the integrity of the live performance. No doubt the performers' early assessment of the concert was jaundiced by the technical difficulties as closer, more objective, listening of the tapes revealed a band in fine form, interacting well with each other. Essentially a prequel to 'Uforia', released in 1999, this is nonetheless an interesting set, as the music is more expansive, generally slower and more 'chilled' than the studio album which followed and in my view is at least as good. Featuring some truly excellent guitar work such as on 'A Question of Answers - Uforia' and 'Cathedral' by Andy Lobban. This is a thoroughly enjoyable set and like the other 3 CDs is of more than historical interest, providing enough musical highlights in its own right to provide an interesting comparison to the 'Official' release that came later. Some may even come to prefer the contents of 'Blue' more.