| | Van Der Graaf Generator Still Life CD - Import Van Der Graaf Generator Discography of CDs
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Peter Hammill is the poster boy for prog rock, and everything he ever touched throughout his career worked -- especially Van De Graaf Generator. This 1976 outing is V.D.G.G.'s most importan outing, and this issue is extra-important, as it features a stellar live bonus recording of "Gog."
VDGG's second step on the mid-'70s comeback trail saw Peter Hammill attempting to meld the introspective and the cosmic throughout, though this did not stop him from taking a dead run at a grandiose concept or two -- the consequences of immortality on the title track, and the grand fate of humanity on the epic "Childlike Faith in Childhood's End." The theme of humane cooperation informs the opening "Pilgrims," while "La Rossa" is an epic tale of desire fulfilled (a story that would be concluded on Hammill's solo album, Over). The true highlight, however, is the beautiful, pensive "My Room (Waiting for Wonderland)," with its echoes of imagination and loss. Hammill did not achieve such a level of painful beauty again until "This Side of the Looking Glass" on Over. ~ Steven McDonald
Japanese pressing of the 1976 album features the 5 original tracks plus the exclusive live bonus track 'Gog', packaged in a paper sleeve. Virgin. 2005.
CD comes in Jpn LP Sleeve. Van Der Graaf Generator Still Life Songs | 1. | Pilgrims | |
| 2. | Still Life | |
| 3. | La Rossa | |
| 4. | My Room (Waiting For Wonderland) | |
| 5. | Childlike Faith in Childhood's End | |
| 6. | Gog (Live) (Bonus Track) | |
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Still Life Review
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Japanese remaster in an LP-replica sleeve also features two live bonus tracks.
Following the release of Pawn Hearts, bandleader Peter Hammill took time out to develop a solo career, choosing to focus his energy on darkly introspective works that seemed to be intended to examine the personal consequences of his life. When it came time for reuniting the members of Van Der Graaf, this change in direction had its effect on the band's post-1975 music. While the musical structures continued to be complex and dense, there seemed to be far less accent on the demonstration of musical skill than had formerly been the case. Indeed, the album opened with daring quietness, with David Jackson's flute echoing across the stereo space, joined by Hammill's voice as he whispered the opening lines. There was sturm und drang to come, but the music had been opened up and the lyrics had developed more focus, often abandoning metaphor in favor of statement. Godbluff was a bravura comeback -- only four cuts, but all were classics. ~ Steven McDonald
Japanese pressing of the 1975 album features the 4 original tracks plus ...
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The foreboding crawl of the Hammond organ is what made Van Der Graaf Generator one of the darkest and most engrossing of all the early progressive bands. On H to He Who Am the Only One, the brooding tones of synthesizer and oscillator along with Peter Hammil's distinct and overly ominous voice make it one of this British band's best efforts. Kicking off with the prog classic "Killer," an eight minute synthesized feast of menacing tones and threatening lyrics, the album slowly becomes shadowed with Van Der Graaf's sinister instrumental moodiness. With superb percussion work via Guy Evans, who utilizes the tympani drum to its full extent, tracks like "The Emperor in His War-Room" and "Lost" are embraced with a blackened texture that never fades. The effective use of saxophone (both alto and tenor) and baritone from David Jackson gives the somberness some life without taking away any of the instrumental petulance. H to He is carpeted with a science fiction theme, bolstered by the bleak but extremely compelling use of heavy tones and the absence of rhythms and flighty pulsations. This album, which represents Van Der Graaf in their most illustrious stage, is a pristine example of how dark progressive rock should sound. ~ Mike DeGagne
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