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This is one of my favorite live albums of all time; Gordon Giltrap had a brief "progressive rock" phase and this album is an excellent chronicle of my favorite GG era.
Review by
SouthSideoftheSky
SPECIAL COLLABORATOR Symphonic Team
This excellent live album can be summed up in a single sentence: Some of Gordon Giltrap's best and most memorable tunes from his three best and most progressive albums, performed with more energy and with more of an edge compared to the studio versions with a great band backing him up. When this live concert was recorded in the late 70's, Giltrap was at the peak of his progressive period and had just released three good studio albums in Visionary, Perilous Journey, and Fear Of The Dark. So there was never a better time for him to record a live album and the result is a very good introduction to Gordon Giltrap.
Apart from Giltrap himself, the band consists of no less than two keyboard players in Rod Edwards and Eddie Spence, John Gustafson (who was also part of the Ian Gillan Band) on bass, and Ian Mosley (who also played with Steve Hackett and later became a member of Marillion) on drums. While most of the show is instrumental, there are a few numbers with Shirley Roden on vocals. The parts on which she sings lead remind me of the band Renaissance. The similarities with that band on these parts are particularly strong due to the combination of the music's being driven by acoustic guitar and piano, backed up by a rhythm section of electric bass and drums. Add to that a female vocalist in a somewhat similar style to Annie Haslam, singing songs with folky as well as Symphonic aspects.
But there are also many electronic keyboards used and Giltrap alternates here between acoustic and electric guitars to great effect. His acoustic guitar playing is the most impressive and he showcases very well his trademark acoustic style (that influenced among others Ritchie Blackmore's acoustic playing). Giltrap's speed and accuracy is incredible, and he plays even the most complex and fast parts with such ease and makes not the slightest mistake. But unlike some other technically skilled guitar players, he never lets technicality overshadow the often gorgeous melodies. His electric guitar playing is less distinctive, but is an essential ingredient in the overall sound. Also, though Giltrap is the star, he does not steal the show and allows the whole band to shine.
Live At Oxford is a fine addition to many a Prog fan's collection
Review by
kenethlevine
SPECIAL COLLABORATOR Prog-Folk Team
In some sense this virtuoso's work is best suited to the live setting, since his primary talent is in playing and, to some extent, arranging, as opposed to composition. Luckily his skill is exposed in a measured fashion throughout. The main source of material is "Fear of the Dark", the most recent album at the time of the concert, and it would be hard to imagine that those tracks represented here are not more fully realized than the studio versions. This is especially the case for the epic "Visitation" and the suspenseful "Fear of the Dark", both of which benefit from the sultry expressive vocals of SHIRLEY RODEN. Still, the best example of this adaptive spirit and of Roden's power is in "The Deserter"; originally an instrumental on "Perilous Journey", it is re-invented as a spacey lyrical piece with Roden's vocals replacing sax and some pointed guitar leads. I had never heard of Roden so has to look her up, and found that her limited credits include several prog artists including MICHAEL MOORCOCK, MIKE OLDFIELD and DAVID GILMOUR.
As is standard for Giltrap, none of the material or the performances are weak but here the energy of the live setting and the commitment to the team concept contribute equally to what could be the most suitable introduction to Gitrap for prog fans.
The album has been remixed by Steven Wilson in Dolby Atmos, 5.1 and stereo for this release. The original mix does not feature on any of the three physical formats and all the new mixes include some extra passages of music that were edited out of the original.
Originally released between Pink Floyd’s Animals (1977) and The Wall (1979), Wet Dream was self-produced and Wright wrote all the songs (except ‘Against the Odds’, which was co-written with his then-wife, Juliette). Remarkably, the album flew under the radar was at best under appreciated, if not almost unnoticed at the time.
Richard Wright : Wet Dream : Steven Wilson Remix : Review
Phil Aston14th August 2023Richard Wright’s “Wet Dream” (1978): A Remix Revelation by Steven Wilson
The Original “Wet Dream”
Released in 1978, Richard Wright’s “Wet Dream” is an album I’ve
cherished, even owning a vinyl copy tucked away probably in my garage.
It’s a beautiful blend of instrumentals and vocals, showcasing Wright’s
jazz inclinations. While I’ve always had a soft spot for “Broken China”
among Wright’s solo works, “Wet Dream” is undeniably pleasant, a
testament to his musical prowess.
Steven Wilson’s 2023 Remix
Fast forward to 2023, and we have a remix by the renowned Steven Wilson. Now, we’ve all seen remastered versions of albums, but a remix is a different beast altogether. Wilson’s expertise in extracting nuances from old recordings
and highlighting elements we might have missed is unparalleled. His
ability to enhance without altering our cherished memories of the
original tracks is nothing short of genius.
This remix is a revelation. From the very first play, tracks like “Mediterranean Sea,” “Against the Odds,” and “White Waves” felt rejuvenated. The clarity with which each instrument stands out, be it Snowy White’s guitar or Mel Collins’s saxophone, is astounding. It’s as if the musicians are right there in the room with you.
A Dive into the Details
There’s a slight discrepancy in the songwriting credits between the
original and the remix. The original credits all songs to Richard
Wright, except “Against the Odds” to Julie Wright. The remix, however,
attributes the words for “Pink Song” to Juliet Wright. It’s a minor
detail, but worth noting for the purists.
The remix also comes with a booklet featuring photographs taken by Richard Wright, capturing personal moments from his holidays. Fans of the original will appreciate the reproduced gatefold sleeve, a nostalgic nod to the 1978 release.
The Verdict
If you’re a Pink Floyd aficionado, this remix is a must-have. Even if
you own the original, the Steven Wilson remix offers a fresh, immersive
experience that’s hard to resist. It’s not just about the enhanced sound
quality; it’s about the emotions it evokes. Listening to it in a dimly
lit room, letting the music wash over you, is an experience I can’t
recommend enough.
In conclusion, the 2023 remix of “Wet Dream” is a testament to both Richard Wright’s timeless artistry and Steven Wilson’s remixing prowess. It’s available now on Polarphone Records, and I urge you to give it a listen.
Phil Aston | Now Spinning Magazine
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