Customer Reviews

Feels Good to Me

5 star:		(17)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Formerly only available on Japanese import, here at last we have a modestly priced CD of Bruford's solo debut. Not quite a masterpiece, the album shows Bruford finding his feet as a fusion composer.

It's a strangely organised work, too. All the catchy stuff was placed on what was side two of the LP, and the more introvert jazz-rock noodling. The opening track 'Beelzebub' has a terrible intro, but it is redeemed by Holdsworth's fantastic soloing.

This was British jazz-rock at its best. The US had supergroups like Return to Forever, Weather Report and the Eleventh House. The Brits had more modest affairs, such as Nucleus, Isotope, Brand X, and Neil Ardley. They were never going to get colossal financial reward. The sleevenotes by Melody Maker's columnist Richard Williams show that this was more of an intellectual than a commercial venture. Bruford showed that there was rather more to his ambition than money when he left Yes at the peak of their popularity. (Incidentally, the Melody Maker newspaper finally closed last week, and the Times said the paper never recovered from going down the intellectual path in the late 70s and missing the punk revolution.)

This is a great album. If you like this, you'll love its successor, 'One of a Kind' and also Gong's 'Shamal'. The female vocals work surprisingly well -- at times it's vaguely reminiscent of Henry Cow's 'In Praise of Learning'. I have no idea why they weren't used on the follow-up.

Holdsworth's guitar is, as usual, outstanding. (It's also very good on UK's 'UK' album.) The interplay with Dave Stewart's keyboards melds well. Sometimes there's a lot of attack to each note, and it sounds like Akkerman. Then suddenly he takes all the attack off the front of the notes and we're into Terje Rypdal territory.

This was the album that got me into related groups like National Health, Matching Mole and Hatfield and the North. There haven't been many albums which have had quite such a long term impact on my record collection.

I purchased this recording as an LP upon its release in early 1978. For admirers of Bill's work since the first Yes album, his latest project, either as part of a group or as leader, meant another occasion to enjoy the latest creations of an artist who has remained true to a musical ethic of unabashed curiosity and courage. "Feels Good to Me", though his initial step into the dual roles of composer and ensemble leader, is neither tentative nor disappointing. To quote Richard Williams from the original liner notes: "...its combination of sureness and audacity evince durable achievement, and hold out provocative promise." He got it right.

Some of Bruford's best melodies are enhanced by great solos, complex meters, and Bill's crisp vibraphone overdubs. What a supporting cast: Holdsworth, Berlin, Stewart, Kenny Wheeler on flugelhorn, with a sprinkling of Annette Peacock's breathy vocals lending a late 70's touch of London-underground, avant-garde credibility to the undertaking.

Twenty-seven years after its initial release, and taken in context with Bruford's entire body of work to date, "Feels Good to Me" marks a transition from the occasionally grim experiments of King Crimson to a similarly bold, but melodic, jazz-fusion briskness. It's a "must-have" recording which documents the stage in Bruford's career when his signature syncopated, percussive approach and gift for distinctive melody reconcile, complementing an already highly-developed and ambitious musical creativity. This work, now reissued and remixed on CD and featuring additional material, not only documents the energy and excitement of this early chapter in Bruford's continuing maturation as a musician and composer, it illustrates how the current advanced state of those talents should not be a surprise to anyone.

It's 25 years since this album was released and it stands the test of time remarkably well. This is also the first album that got me into Allan Holdsworth's playing - an interesting thing really as Allan apparently doesn't consider his playing from this period to be his best. In fact I seem to remember seeing the band play a couple of tracks on the Old Grey Whistle Test, after which I was hooked. Rather well recorded too - notably Robin Lumley (Brand X's keyboard player) shared the production credit with BB too - quite an intensity of talent in the project.

Speaking of talent and keyboard players I couldn't pass by without correcting David Hugaert's glaring error concerning Dave Stewart. Sorry David but the Dave Stewart on this recording is in no way connected with David A. Stewart of Eurythmics fame (the former is a musician for starters) but is in fact a time-served player from England's Canterbury scene of 70s and early 80s, featuring in such seminal outfits as National Health, Gong and Hatfield and the North. He's done some great work and remains one of my favourite keyboard players. It makes me shudder to think of comparing him with the other oaf......

Rant over - this is a great album with some wonderful energy and playing and showcases BB's perhaps unexpected (back then anyway) writing talents rather well. It's a great mix of sounds and, if you can soak up Annette Peacock's rather crystal-rubbing wowsiness without suffering too much psychodamage it's a real treat to dig out and blast again and again. Highly recommended.

Earl Rhone Strutt

As with all the BB remastered Winterfold/Summerfold titles, this CD can be found @ $14.98 direct at billbruford.com.

Also, one oddity. The album art is as exactly as shown above: A horribly out-of-color replication of the original cover.

The Japanese, however, got it right on their recent LP mini-sleeve edition release. The mini-sleeve also has the same Winterfold remaster.

I first heard this album,I guess,within a year of it's release.I figured I would hear something kinda King Crimsonesque.My first reaction after playing it was to play it again.On the music front this is simply brilliant,but what makes this album for me is the breathtaking vocals of Annette Peacock.Subsequent albums were good,but the lack of Annette vocals always left them kinda empty for me. PS check out Annette Peacock's material as well. I've got X-Dreams,The Perfect Release & Im The One on vinyl,and they are well worth checking out

I first heard this music circa 1983, and I couldn't hardly believe it was from the 70's. It is the best (and first) offering from this basic line-up (vs. 2nd offering, One Of a Kind - minus Peacock and any lyrics, and 3rd offering, Gradually Going Tornado - with John Clark in place of Holdsworth, Berlin singing). No one artist in the line-up dominates, though all shine - BRIGHTLY; each is tempered by the others. Results are similar to those of Al DiMiola's "Dream Band" (on Electric Rendevous, another of my favorites), without any of the stylistic preconceptions. This album is utterly different, even today (98).

Bruford plays HIGHLY syncopated. The rhythm is difficult to follow the first few times through; once you get the hang of it though, the rhythm is addicting, but ALWAYS keeps you off guard!

This album contains excellent examples of Holdsworth's technique of simulating saxaphone (he began his musical career with a saxaphone, but switched to guitar after ear infections became too severe). Specific tracks: Beelzebub, and If You Can't Stand The Heat....

This music will keep you off balance, no matter how much you listen, and will NEVER become boring. I dare anyone to drum it.

The two follow-up albums (One Of A Kind, and Gradually Going Tornado) are both excellent, but do not match THIS one for overall freshness and spirit.

Most reviewers focus on Bruford but little has been said about Annette Peacock.

Some people find her performance disturbing but I have to say that Peacock's talent is enormous. Her first compositions were written at age 4. She rubbed elbows with the likes of Miles Davis, Herbie Hancock, Bill Evans, and Keith Jarrett. She literally pioneered the use of synthesizers to process vocals and create effects using an early prototype given to her by none other than Robert Moog himself! The fact that she is unconventional and psychedelic is no coincidence as she was an early participant in Dr. Timothy Leary's culture experiments and has always aligned herself with the non-conformists.

This lady might seem tone-deaf to the ill-informed but make no mistake; every laconic sound, every quirky detail, every cryptic twist of her eerie voice, and every "structure-less" sonic nod is a DELIBERATE attempt to shake you from your bourgeois expectations and connect you to her musical universe.

Bruford is outstanding. Bruford + Peacock is unique.

This is an eclectic record filled with excellent compositions and, of course, fiery playing...this record and it's follow-up, "One of a Kind," are two of the absolute best fusion records of the 70s...Bruford proves himself to be a fine composer and he, Holdsworth, Stewart and Berlin turn in monstrous performances as well...

Aside from the brilliant musicianship, I think the writing is way ahead of its time. It almost seems as if Bill Bruford was on another level back then. I think "Feels Good To Me" and the other Bill Bruford records of that time tower over his more recent attempts with Earthworks.

This is a very different album from a drummer. Bill Brufford is one of the most innovative British drummers, he played with Genesis, Yes, King Crimson and this is his first recording as a soloist.

Lucky (for the rest of us), the drummer is 100% human and his mates are amazing too: Jeff Berlin on bass, Dave Stewart in keyboards, Allan Holdsworth in guitar, Annette Peacock in vocals and Kenny Wheeler in flugelhorn, also John Goodsall of Brand X plays in one tune.

If you want to listen to a real master in the art of drumming: listen to this CD, if you want to listen a beautiful blend of rock and jazz: listen to this CD, you want to listen contemporary music with profound lyrics: listen to this CD. If you want to listen to real music, just run to buy this CD, period.

Este es un álbum completamente diferente de un baterista. Bill Brufford es uno de los bateristas ingleses más innovadores, el tocó con Genesis, con Yes, con King Crimson y este es su primera grabación como solista.

Afortunadamente (para el resto de nosotros) el baterista es 100% humano y sus acompañantes son sorprendentes también: Jeff Berlin en el bajo, Dave Stewart en los teclados, Allan Holdsworth en la guitarra, Annette Peacock en la voz y Kenny Wheeler en el flugelhorn, también John Goodsall de Brand X participa en una pieza.

Si quieres escuchar a un verdadero maestro en el arte de la batería: escucha este CD, si quieres escuchar una bella mezcla de rock y jazz: escucha este CD, si quieres escuchar música contemporánea con letras profundas: escucha este CD. Si deseas escuchar verdadera música, sólo corre a comprar este CD, punto.