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Customer reviews

3.3 out of 5 stars
4
Pine/Cross Dover
Format: Audio CD|Change
Price:£13.39+ Free shipping with Amazon Prime

VINE VOICEon 23 September 2009
It's been eight years since the last great studio album from Messrs Goss and Leamy, but such is the nature of the music contained herein, it would appear that the mere passing of time is of little consequence in Masters of Reality's universe. With the assistance of some of their friends (the names of whom will be familiar only to long-time fans of the desert rock scene) this dynamic duo has crafted another wonderfully weird collection of songs and extended jams that are as difficult to pigeon-hole as they are enjoyable to listen to.

Pine/Cross Dover is by turns haunting and hypnotic, with Goss's warm, floaty vocals and cleverly vague lyrics lending it an ethereal, timeless quality. Queens of the Stone Age is one, more obvious reference point (Goss has collaborated on numerous Josh Homme-related projects, and vice-versa) and the repetitive, robotic riffing on the likes of 'Rosie's Presence' and 'The Whore of New Orleans' is as alien as it is addictive - and as good as anything recorded by the Ginger Elvis and co in recent years. While everyone else gets excited about the prospect of Them Crooked Vultures, I'll be happily playing this, over and over.

Matt Pucci
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on 12 September 2009
Wow I just received Chris Goss's latest effort and it is complex and will take many listens to fully appreciate. On first listen its progressive rock but not in the early 70's meaning, a new progression for the Masters as usual very beautiful and dark with some CAN drumming! Indescribable but a new direction and very solid. No particular hooks like on "Deep in the Hole" but I love it already.
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on 5 September 2013
I love Masters Of Reality and Chris Goss, so when I knew they were going to release a new album which, according to Goss in some in interviews, was inspired by Yes and the Mahavishnu Orchestra, I got very excited! Unfortunately, this excitement turned to major disappoint about half way through the first play. To me, the only thing it appears to be inspired by is the Undertones, as at least 3 of the songs have riffs which are variants on Teenage Kicks et al and song wise it is lame. As for the 10 minute 'prog' track, it is not very Yes or Mahavishnu, more like a poor quality early-70's Groundhogs' style jam. Mr. Goss is still a great producer, but as a performer, I think he's run out of riffs and melodies, which is a major shame. Won't be playing this again, I'll stick to Sunrise on the Sufferbus, How High The Moon and Deep In The Hole, which are all 5 star classics.
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VINE VOICEon 30 January 2010
Chris Goss is God.

Well, that was objective, wasn't it? But you know, sometimes it just isn't possible to step back and neutrally appraise a record, particularly when you regard the prime mover as the finest force in modern music. See, for my money, where Chris Goss is concernced, objectivity can go hang, because Goss is in an absolutely untouchable league of his own. In terms of my own personal taste, his unique, diverse vocals set him apart as the most remarkable, most endearing and most original voice in rock, versatile to a fault. And that's only his singing.

Still, trying to rein in my deep and long-felt love of Goss, how would I categorise this record? Well, it's definitely a grower. 'Deep In The Hole' was pretty immediate but much of this one won't impact on first listen. Goss has made no secret in regard to his profound love of Mahavishnu Orchestra ("They were gurus, but I like to boogie" - Ginger Baker) and interviews with him claim that their influence is all over this record. This is probably most prominent on closing freeform jam 'Alfalfa', but hints and inflections permeate the record, albeit not quite to the extent Goss's effusive worship might make one believe. 'King Richard TLH' and the oppressive, powerful 'Testify To Love' (an atmospheric collaboration with Goss's beloved Unkle) are the immediate stand-outs, but a few more spins, as ever, start to open up the doors of perception and reveal the real depths of tracks like 'Worm In The Silk' and 'Always'. Overall, I'd characterise this as a more rustic rock'n'roll brother to 'Welcome To The Western Lodge', but the likes of 'The Whore of New Orleans' seem to hark back to the band's first record, with its 'John Brown'-ish vibe. In honesty though, I tend to find the Masters of Reality fundamentally unclassifiable: it's beautiful, intense, atmospheric rock music, and that's about as far as I wish to define it.

Clearly, if you love Goss like I love Goss, buying this is a no-brainer. And hell, if you love eclectic rock music in general, or have any regard at all for the concept of 'stoner rock' (copyright Chris Goss, circa 'Blues For The Red Sun'), you need to hear this.
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