Customer Reviews

Expresso 2

5 star:		(6)
4 star:		(6)
3 star:		(4)
2 star:		(2)
1 star:		(0)

 

 

This was my introduction to Gong. After all I'd read about stoned-out pixies and the like, this was the first Gong I ever heard. I was surprised, to say the least. This was not what I'd expected. I was not disappointed, however. To the contrary, Gong exposed me to a whole new form and style of music that I hadn't known before. To this day, even after having collected the major (and a few offshoot) Gong releases, it is the '76-'78 Gong and the '80's Pierre Moerlen's Gong that I love most. Jazz-fusion in my experience isn't usually so percussion-oriented as Gong; and nothing is as awe-inspiring. This is very, very ahead-of-it's- time material, and certainly does not fit in with earlier Gong. Basically, true Gong (as opposed to the many splinter bands) are two completely different bands. You just have to choose, or not, but there are many differences. I enjoy all Gong. But the version led by Piere is the ruling class, and all of their albums are essential. I can recommend "Expresso 2" as your first Gong purchase, because it has obviously worked for me.

This version of Gong sure had a unique sound, utilizing a twin vibes/mallets frontline and propelled by Pierre Moerlen's firey drumming.

While not as compositionally strong as Gazeuse/Expresso, it still has more than its share of gems, enhanced by contributions from the likes of violinist Darryl Way and guitar maestro Allan Holdsworth.

Among my favoorite tracks are "Sleepy" which is anything but. This track features some of the spookiest Allan Holdsworth playing along with great eerie violin from Darryl Way and a cool hypnotic vibes/bass figure throughout most of the piece. The closer "Three Blind Mice" just tears the roof off the joint with everyone playing their hearts out, "Golden Dilemma" features a unique angular, piercing Bon Lozaga guitar solo and lots of mallet pyrotechnics.

The only weak track on here for me is "Heavy Tune" where Holdsworth takes a back seat playing a grinding rhythm guitar as ex-Rolling Stones axe-meister Mick Taylor takes center stage, and it kind of sticks out like a sore thumb. Not terrible by any stretch but not great either.

Despite that one misstep, "Expresso II" is sure to perk up the ears of anyone who enjoys unique progressive/fusion, and it's a double treat fo drumming and percussion/mallet percussion fans.

Originally released in 1978,as this CD reissue turned out to be a bit better than what I had expected.I mean,with percussionist Pierre Morlen(R.I.P.)acting as band leader,plus the fact that guitarist Allan Holdworth was now in the group makes this a decent Daevid Allen-less Gong album.I've heard numerous long-time Gong fans mention how they really like this,yet more jazzy/Canterbury styled catalog title.Give it a chance.

Like a PG Wodehouse character, the original Gong was dominated by thoughts of pixies. Gnomes, flying teapots and the odd electric cheese were also on the agenda. When producer Nick Mason licked the post-Allen ensemble into shape for the excellent SHAMAL, there was still the vestige of the band's past. ("Why is the pusy in the well? Must have been a cat that fell ...") You could sense the jazz-rock destination the group were headed, but there were still a few lyrics.

Three years after SHAMAL, Pierre Moerlen and Mireille Bauer were the sole survivors, so it was of little surprise that the new Gong was a percussive-dominated line-up. Another Moerlen was added, along with Hansford Rowe, whose origins I know nothing of, on bass. The group was essentially a rhythm section in search of some lead instrumentalists, and they recruited some strong session players: Mick Taylor (former guitarist of the Rolling Stones), Darryl Way (violinist with Curved Air and Wolf), and the sublime Allan Holdsworth on guitar.

My regret is that Holdsworth doesn't play anything like enough on this album. Recorded in between his outstanding contributions to Bill Bruford's FEELS GOOD TO ME and ONE OF A KIND and UK's fantastic debut album, he features on just three tracks here, and he's only on lead guitar on two of those.

By the time 1978 arrived, jazz-rock had hit a dead end. Return to Forever, the Mahavishnus and Larry Coryell's Eleventh House had all gone. Weather Report were past their best. All that was left was a mopping-up operation. Bands of excellent instrumentalists such as Gong provided workmanlike but not innovative fodder for the substantial jazz-rock fan base who mourned the passing of the giants.

Twenty-three years on, I can listen to this album while working. But I'm never tempted to turn up the volume. It no longer moves me. Somehow it seems to have lost its soul. Sorry, folks.

This is a rather strange album that was very hard to find when it came out in the late 70's. The album is a rather percussive jazz fusion style with vibes and marimbas often playing the lead melodies. Allan Holdsworth plays some of the most innovative and exciting lead guitar work that I've heard.

The music on Expresso II is absolutely *fantastic*. There's no other way to put it.

"Heavy Tune" features some of the greatest guitar playing I have ever heard. Move over Frank Zappa and "Willie the Pimp!" Yes I actually went THAT far! What a fantastic song. It seriously reminds me of sailing over the sun.

"Boring" is dominated with some of the prettiest and most melodic violin playing I've ever heard! Yup, the best of both worlds. Why is it so hard for most rock bands to just let loose with the violin and JAM like the way it's featured in this song? I will never understand why more musicians don't take advantage of what that electric violin is capable of. The results, when jamming nonstop, are absolutely spectacular.

How can I convince you that the violin playing in this song is brilliant? Using verbs and adjectives won't work because in the end, those are just words on a computer screen to describe how I feel. Let's just say- I feel good when I hear the violin playing in "Boring" and trust me- this song is *nowhere* near boring, haha. No way.

I was debating with myself whether to mention this next part or not, but I've decided I WILL mention it- "Boring" reminds me of walking over rainbow-colored mountains somewhere in China. There, I said it, haha.

You know what? After hearing a song like that, I'm convinced Gong is one of the most underrated bands from the 70's (both incarnations of the band). Just listening to this album tonight, while searching for old high school friends online, I strongly believe the instrumental jams on this album are spectacular in a way that's at a loss for words. A true spiritual journey.

"Soli" is dominated with a TON of xylophones. I love the way the xylophones and guitar work compliment each other the entire time. The results are a blend of jazz, rock, and... atmosphere? I guess Gong just has that special talent to take typical musical instruments and make themselves stand apart from the rest.

"Sleepy" has a briliant guitar jam taking up a good portion of it. Just fantastic. This song actually floors me just as much as "Boring" does. A perfect variety of instrumental choices.

Expresso II deserves to be in every jazz fans record collection. It's more like rock with a strong emphasis on jamming in a jazzy style. It's a rewarding kind of musical listening experience since the album holds up well over 100 plays, that's for sure.

By 1977, Gong was well integrated with the jazz rock world and this album nicely demonstrates that. Although perhaps not as vibrant and energetic as Gazeuse! (1976), I still feel that Expresso II (1977) is a great album of jazz rock that features mallet instruments and some tight playing. I have to say that this stuff is very different sounding from other jazz rock bands active at the time; and certainly in comparison with the American jazz rock bands - Gong's music seems to be more melodic.

The lineup on this album is different from the Gazeuse! lineup and includes the excellent electric guitar playing of virtuoso Alan Holdsworth (Soft Machine, U.K.) along with the superb drum/percussion work of the late Pierre Moerlen. Unfortunately, Alan is not featured as prominently on this album I would have liked - it is likely that his duties with U.K. at the time were preventing him with contributing as much (although he does rip it up on Sleepy). Other musicians on the album include fretless bassist Hansford Rowe, Benoit Moerlen on vibraphone, tubular bells, glockenspiel, claves, xylophone); Mireille Bauer on vibraphone and marimba; Ben Lozaga and Mick Taylor (lead and rhythm electric guitar); and Francois Causse (congas). Former Curved Air violinist Darryl Way even turns in a nice violin solo on Boring and Sleepy. All in all these guys are great players, with Pierre demonstrating his mastery of the drum kit throughout.

The pieces are well-constructed and solos are not too intrusive - generally speaking, ensemble work is favored and solos are only used as colorful accents. The pieces are also pretty interesting, with nice dynamic contrasts, and I love the use of the mallet instruments: they introduce a nice, earthy, textural element. I do feel however, that the energy levels are just a bit low on Expresso II and there are times when it seems like they are just going through the motions.

My complaints about energy levels aside however, this is generally a good album and is recommended to fans of jazz rock, open minded prog heads, and Gong completists. Recommended along with Shamal (1975) and Gazeuse!. For those folks that are curious about the psychedelic space-prog days with Daevid Allen, check out Angels Egg (1973) and You (1974). Both are incredible albums and extremely different from Gong's jazz rock output.

Killer percussive jazz/rock. Outstanding, fat & funky bass lines, cool vibes/marimba and vintage Holdsworth. What more do you want?????

This disc is one of the works that defined the genre. Worth the price for Holdworth's playing alone. Simply a must have...

This album comes at the end of an era in the 70's when jazz rock bands such as Brand X, Bruford & Weather Report, injected some badly needed refreshing novelty value into jazz which had, & indeed has, seemingly become a tired art form, based on the same old cliches & licks.
Allan Holdsworth is as significant in the development of jazz rock guitar as Jimi Hendrix was to blues & pop rock guitar.
All the more surprising then, with Holdsworth being such an important instrumentalist, that someone pressumably chose to only utilise his instrumental skills on just three tracks of 'Expresso II' !
Fortunately this was not the case on Gong's excellent album 'Gazeuse' as Allan Holdsworth played a more significant role & the album is better for it. However, I still like 'Expresso II' if only for some of it's quirkyness.