Home
We'll Talk About It Later
Barnes and Noble
We'll Talk About It Later
Current price: $39.99
Barnes and Noble
We'll Talk About It Later
Current price: $39.99
Size: OS
Loading Inventory...
*Product information may vary - to confirm product availability, pricing, shipping and return information please contact Barnes and Noble
Although
Nucleus
made an acclaimed performance at
the Newport Jazz Festival
in 1970, the U.K. proto-fusionists never became particularly popular in the States, with much of their recorded output only available as import releases. In fact, in certain quarters
is known primarily as a source of musicians who joined the latter-day
Soft Machine
, itself a group that never moved too far beyond cult status. Composer/keyboardist/reedman
Karl Jenkins
, drummer
John Marshall
, bassist
Roy Babbington
, and guitarist
Allan Holdsworth
all played with
at one time or another, and all had moved over to the
lineup by the time
the Softs
(with
Mike Ratledge
the only original remaining member of the band) issued
Bundles
in 1975.
' second album, 1970's
We'll Talk About It Later
, might be of particular interest to fans of
-era
given the presence of
"Song for the Bearded Lady,"
a
Jenkins
composition that later appeared in altered form on
as
"Hazard Profile,"
a vehicle for one of
Holdsworth
's most stunningly fleet-fingered solos on record.
"Song for the Bearded Lady"
kicks off
with a fanfare and funky unison and counterpoint riffing that segue into a spacious groove and
Ian Carr
trumpet solo echoing the influence of electric
Miles
from the same time period.
Chris Spedding
was the band's guitarist here, and one shouldn't expect
-style pyrotechnics from him;
Spedding
was a blues-rocker more than a jazzer and generally took a back seat to the soloing skills of
Carr
,
, and New Zealand saxophonist
Brian Smith
(whose duet with drummer
Marshall
at the conclusion of
"Easter 1916"
-- inspired by the
Yeats
poem about the Irish nationalist uprising in Dublin -- approaches the wildness of some of the era's most incendiary
free jazz
).
The band is at its best when firing on all cylinders (the title track, for example), but the album's mood changes are for the most part effective;
"Lullaby for a Lonely Child"
is a lovely down-tempo
ballad
(who would've guessed from that title?) with an understated horn/sax line from
and
Smith
and atmospheric bouzouki from
imparting a Mediterranean flavor. New millennial listeners might wish for a time machine to go back and tell this band to lose the occasional vocals, however. The uncredited singing in
"Ballad of Joe Pimp"
might seem laughably polite during the age of
gangsta rap
; this
Joe Pimp
sounds about as streetwise as
Gilbert O'Sullivan
of
"Alone Again (Naturally)"
fame. Still, the song seems prescient -- its tempo and instrumentation are akin to
Pink Floyd
's
"Money,"
which appeared on the scene several years later. Given
's long trumpet and fluegelhorn lines,
' probing oboe and
funk
-filled electric keyboards,
's rockish wah-wah guitar,
's freewheeling sax work, and the powerful rhythmic foundation of drummer
and bassist
Jeff Clyne
, this version of
should appeal to any fan of late-'60s/early-'70s
fusion
-- either the
Soft Machine-esque
Brit variety or the stateside explorations of the
Miles Davis
school. But
shouldn't be viewed merely through the prism of other artists;
was an original band that deserves considerably more attention than it got for pioneering a form of
jazz-rock
that has, for the most part, aged quite well, and
is a noteworthy release from a strong
incarnation. [In 1995,
BGO Records
re-released
in a two-CD package that also included
' first album,
Elastic Rock
.] ~ Dave Lynch
Nucleus
made an acclaimed performance at
the Newport Jazz Festival
in 1970, the U.K. proto-fusionists never became particularly popular in the States, with much of their recorded output only available as import releases. In fact, in certain quarters
is known primarily as a source of musicians who joined the latter-day
Soft Machine
, itself a group that never moved too far beyond cult status. Composer/keyboardist/reedman
Karl Jenkins
, drummer
John Marshall
, bassist
Roy Babbington
, and guitarist
Allan Holdsworth
all played with
at one time or another, and all had moved over to the
lineup by the time
the Softs
(with
Mike Ratledge
the only original remaining member of the band) issued
Bundles
in 1975.
' second album, 1970's
We'll Talk About It Later
, might be of particular interest to fans of
-era
given the presence of
"Song for the Bearded Lady,"
a
Jenkins
composition that later appeared in altered form on
as
"Hazard Profile,"
a vehicle for one of
Holdsworth
's most stunningly fleet-fingered solos on record.
"Song for the Bearded Lady"
kicks off
with a fanfare and funky unison and counterpoint riffing that segue into a spacious groove and
Ian Carr
trumpet solo echoing the influence of electric
Miles
from the same time period.
Chris Spedding
was the band's guitarist here, and one shouldn't expect
-style pyrotechnics from him;
Spedding
was a blues-rocker more than a jazzer and generally took a back seat to the soloing skills of
Carr
,
, and New Zealand saxophonist
Brian Smith
(whose duet with drummer
Marshall
at the conclusion of
"Easter 1916"
-- inspired by the
Yeats
poem about the Irish nationalist uprising in Dublin -- approaches the wildness of some of the era's most incendiary
free jazz
).
The band is at its best when firing on all cylinders (the title track, for example), but the album's mood changes are for the most part effective;
"Lullaby for a Lonely Child"
is a lovely down-tempo
ballad
(who would've guessed from that title?) with an understated horn/sax line from
and
Smith
and atmospheric bouzouki from
imparting a Mediterranean flavor. New millennial listeners might wish for a time machine to go back and tell this band to lose the occasional vocals, however. The uncredited singing in
"Ballad of Joe Pimp"
might seem laughably polite during the age of
gangsta rap
; this
Joe Pimp
sounds about as streetwise as
Gilbert O'Sullivan
of
"Alone Again (Naturally)"
fame. Still, the song seems prescient -- its tempo and instrumentation are akin to
Pink Floyd
's
"Money,"
which appeared on the scene several years later. Given
's long trumpet and fluegelhorn lines,
' probing oboe and
funk
-filled electric keyboards,
's rockish wah-wah guitar,
's freewheeling sax work, and the powerful rhythmic foundation of drummer
and bassist
Jeff Clyne
, this version of
should appeal to any fan of late-'60s/early-'70s
fusion
-- either the
Soft Machine-esque
Brit variety or the stateside explorations of the
Miles Davis
school. But
shouldn't be viewed merely through the prism of other artists;
was an original band that deserves considerably more attention than it got for pioneering a form of
jazz-rock
that has, for the most part, aged quite well, and
is a noteworthy release from a strong
incarnation. [In 1995,
BGO Records
re-released
in a two-CD package that also included
' first album,
Elastic Rock
.] ~ Dave Lynch
You May Also Like
More About Barnes and Noble at The Summit
With an excellent depth of book selection, competitive discounting of bestsellers, and comfortable settings, Barnes & Noble is an excellent place to browse for your next book.
Store Info
