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I would say that it's one of my favourite VDGG albums because it is one of the most accessible ones; there is discernable melody here and plenty of it too. That is always important to me, more so than lyrics (but there may be many VDGG/Peter Hammill fans who fixate on his lyric writing as one of their favourite aspects) and this is one of VDGG'd most melodious albums. Tracks (not sure I can call them songs) such as the opener "Darkness (11/11)", "Refugees" and "After the Flood" are good examples, with the music on "Refugees" being quite beautiful at times.
The songs are complex, long and not in a usual rock format or beat at all but another feature of this album that I find enjoyable is the wonderful rhythm that Nic Potter (bass) and Guy Evans (drums) can set up - quite jazzy in a modernistic sort of way (not in an Ella Fitzgerald way at all!). Hugh Banton on keyboards and David Jackson on saxes and flute add wonderful aural textures and energy, as well as melody. These four create a wonderful musical soundscape for Peter Hammill to deliver his "sung" lyrics - well, if you've ever heard peter Hammill "sing" then you will understand that his is a delivery that will not suit everyone. It suits this music and I like it.
I used to have the version of the CD released before the millenium and the sound on that was pretty poor but I'm pleased to say that it is of excellent qaulity on this remastered CD - so well worth getting again for any of you fans with the old copy.
So - melody, drive, invention, energy, wonderful musical soundscapes and a vocalist that demands your attention - this is one of the great VDGG albums from a career that has delivered a strong set of albums - including the recent "Present", released after an interval of some 25 years from what many thought would be their last, "The Quiet Zone/The Pleasure Dome". And there is another studio album in the offing for 2008!! Great - can't wait!
Whilst he nurtured the careers of an eclectic and talented roster of acts (many of whom went a long way to pay for the lifestyle - step forward Genesis), Van Der Graaf Generator were always 'the ones' for Strat.
Progressive rock was the new kid on the block, but whilst there was no shortage of labels and acts loaded onto its bandwagon, few were actually 'progressing' for long. VdGG were amongst few that were truly progressive in that they innovated, and by so doing, paved the way.
This is the first release in an exhumation of the VdGG catalogue. EMI has formed an ace team for the reissue programme of the Harvest and Charisma catalogues and this album bears their hallmark.
Issued to critical acclaim in 1970, The Least We Can Do Is Wave To Each Other - 35 years later - delivers the goods again in an informative and entertaining package, re-mastered with extra tracks, and original artwork enhanced with intelligent and informed booklet notes, previously unpublished publicity photography and period memorabilia.
One incarnation of the band had supported mainman Peter Hammill on his debut solo Aerosol Grey Machine in 1969 (later credited to VdGG).
But it was the line-up of song-writer Peter Hammill (guitar/vocals), drummer Guy Evans, classically-trained church organist, Hugh Banton, jazz-fusion horn player David Jackson, and bassist Nic Potter that formed the nucleus of this creative, wayward act.
In his original sleeve notes, Hammill warned: "Don't listen when you're bustling, because it won't get inside your head. Don't listen when you're angry because you'll smash something. Don't listen when you're depressed, because you'll get more so. Don't listen with any preoccupations, because you'll blow it. "
Melancholy, melody and mayhem co-function successfully in this imaginative and assured set.
Strikingly original then and a dramatic turn still today, it intersperses observational songs (Refugees, Out Of My Book) with epic statement (After the Flood, Darkness (11/11)) in a organ and sax-fuelled melee, powered by the hyperactive Evans, and preceded by the free-ranging Hammill vocal: British, educated, reasonable until prompted by some unseen force to unreason bordering on hysterical.
This release is bolstered with two extra tracks in the beautiful, orchestrated single version of 'Refugees' and its B-side, the atmospheric 'Boat of Millions Of Years'.
The former is sweet, melancholic, lavish, naive - and a counterpoint to moments elsewhere in the proceedings that signpost the next horizon to be swept across by this band's restless, raging force.
At the time of writing, VdGG have reformed, recorded a new album and are playing sell-out dates at major venues. Begin at the beginning, and find out how this came to be ...
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