Customer Reviews

Robbery of Murder

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

 

 

Salem Hill's The Robbery Of Murder is the type of instant classic that I didn't think anyone could make anymore. A compelling true story of the loss of a father at the hands of a drunk driver and the tragedy's long term effects on his son is set to music which so perfectly captures the layers of emotional trauma that you'll feel like you lived through the experience yourself, or watched it happen to a close friend. The story takes turns you don't expect, at times keeping the listener on the edge of his/her seat. And the music? Well, put the best music of ELP, The Beatles, Pink Floyd and Kansas in a blender, throw in some Tommy/Quadrophenia-era WHO passion, and you've just begun to scratch the surface of describing Salem Hill. Somehow they have taken all the familiar elements of prog rock, classic rock and pop and combined them in new ways thru creative arrangements that sound fresh, powerful and alive. Add to this the infectious passion in each musician's performances and we have here an album of tremendous depth and range that has indelibly imprinted itself on my soul for a lifetime. One for the ages...

Since I was fortunate enough to find this CD here six months ago, it has become one of my favorites. The way the powerful music helps the moving lyrics to tell a story make The Robbery of Murder a progressive rock classic that begs to be reissued.
It didn't take long for this to become my favorite Salem Hill CD, overtaking Be and Mimi's Magic Moment in the scramble for ear-time. The story told in The Robbery of Murder is of the life of a boy whose father was killed by a drunk driver and how the boy dealt with his loss as he grew up. We feel the sadness, the rage, the chance for sweet revenge, then finally how all those negative feelings melt away into a new outlook on life and hope for the future. We even get a look into the feeble mind of the drunk driver who blames his parents for his drinking and society for failing to provide him "free" psychological counseling; blaming everyone but himself, of course. All this is done in the manner of a symphony with each story told in successive "movements". The father speaks in one movement, the drunk driver in two, and the boy/young man in six. Instrumental passages introduce the story and then serve as transition mechanisms at the appropriate points in the "symphony".
The music is memorable indeed, but to really appreciate this CD you should read the lyrics as you listen. That ought to bring home to you the true greatness of The Robbery of Murder. If and when this becomes available again, I would urge you to buy it before it disappears once more. Put this at the top of your list, you'll never be sorry that you bought it.

This album is a masterpiece of neo-prog. It is simply one of the most cohesive, compassionate, gritty, realistic and downright coherent concept albums I've ever heard.
Overture begins with a free-style sequence signaling that something different is on the horizon ? something darker than we are used to hearing from Salem Hill.

Swerve begins reminiscent of an introspective interlude from Pink Floyd's "The Wall". How were they to know that a drunk driver would soon end a life? The textures drops into a lone and pensive section of piano. Slow-hand electric slide guitar ushers in tasteful drumming. Church bells ring in the background to transition us seamlessly into the next song?

The denial is utterly clinical in the song. "When's he coming home?" The painful answer is that he's won't. The arrangement builds with violin, a plucked harp tone, even a music-box type tinkling piano sound. Everything drops to pensive solo piano again. Another Pink Floyd-fest ensues with slow-hand melodic electric guitar and keyboard strings taking center stage. The song ends with a surreal utterance of "Dad?"

No few years have transpired when we rejoin our bitter and vengeful protagonist screaming "Daddy!" to kick off the song "Someday". Just when I think the music is far too bouncy to be reminiscent of Floyd? the lyrics do the trick. "You chronic pretender, you rank elbow-bender"? I almost expect a subtle "ha ha ? charade you are" to follow? Groves convincingly spews an angry vocal timbre on this one. "Someday I'll get you, you sorry excuse? I'll carve out your heart if you have one to carve? because you hardened mine? because you poisoned mine? You reckless lifetaker? You ? mocker of life". The 5/4 section of the song is one of the catchiest and naturally flowing odd meters you'll find. Ragsdale's violin naturally evokes memories of Kansas.

Blame is the truly rare song that intelligently pleads both sides of a case. It even manages to reach a logical conclusion without sounding preachy. The tone is lighter ? even if it is served with a side dish of irony.

The upbeat tone of "Dream" is like a welcome breath of fresh air. A middle 13/8 section with fantastic violin lines takes us to heights Salem Hill had never taken us to before. There is no doubt that this is the album in which Salem hill has *found* their prog voice.

We get to hear the band mature right before our ears as they explore polyphonic counterpoint on "Father and Son", and the instrumental tune that serves as our intermission between Acts I and II.

"To the Hill" is as soulful and tuneful as it is mellow. And the sweetness is moderated by a melancholic tone. Hey. Even the great giants of prog shot for a hit single every now and again didn't they?

The grit and hard-driving determination of "Revenge" ushers us into the defining moment of "Trigger". A pretty guitar section gives us an interlude in which we are allowed to think and let it all sink in. Wow.

The epilogue fairly reminds us that "life goes on". Our central character must face the rest of his life with the choice he has made. When the obsession that has become the driving force of your life is gone, what is one to make of the giant hole that it leaves behind?

Without giving too much away, I'll only say that a realization does break into view. And so this masterpiece of neo-prog ends on a hopeful and positive note.

For many Salem Hill fans, "Robbery" is considered their best album. Personally I think they topped it with "Be" a few years later, but "Robbery" remains a stunning progressive rock work. Michael Dearing is back in the fold on vocals and guitar along with the 3 other original members. Also on board is Kansas violinist David Ragsdale who appears as a special guest. Salem Hill are often compared with Kansas and Ragsdale's work on this album fits just perfectly. "Robbery" is a concept album that tells the story of a child whose father is killed by a drunk driver. The child grows up to seek revenge on the man who was driving the car. The thing that makes this album especially interesting is that the story is told from several different points of view, including the child / man, his mother, and the drunk driver. The music is all very good complementing the story all the way through. It is difficult to break this down into individual tracks as the whole thing works as one long piece almost like a screenplay to a movie. This album can be somewhat difficult to find these days, but it is well worth seeking out if you are a Salem Hill fan and down have it.

4 stars, solid! This is one of the best concept albums ever. I think it would make a great stage or movie production. A kids father is killed by a drunk driver. The kid seeks vengence, while the killer searches for peace, even wishing for togetherness in the afterlife. I'm not a religious person, not even close, but this disc moves me. Something about rising above the hate that brings a sense of self-awareness seldom explored in music. Powerful, emotional, expressive? Yeah, that and more. Salem Hill has never disguised their beliefs, but they've never shoved them down your throat either. They raise awareness and do it in a way that comes from the heart.

There are many strong tracks here, vocally, technically... So versatile. The Dream as some world beat tones that I found inspiring. Interlude is a short acoustic piece that Steve Howe would have liked to have written. Kansas in sections, partly Ragsdales bits, but more collective. Roger Waters delivery, with a better voice, in many sections. Even some Blue Oyster Cult and Uriah Heep in sections. Overall, it's an amalgam of styles and influences that make this a standout.

Who would like this? Echolyn fans would enjoy the strong harmonies, Floyd fans could appreciate the lyrical content. Kansas fans could relate to the music, powerful, but not metal. Proggers on the whole could wallow in the concept, a concept well thought, well played and complete. No missing pieces.

Check out the download, it is only a small piece, but it illustrates the tone of the recording quite accurately. The recording is somewhat hard to come by, I've seen it going for 79.99 on e-bay, because Cyclops no loonger carries it, but go to Salem Hills website and order it there.

Remember.... Don't Drink And Drive.

I bought Salem Hill's ROBBERY OF MURDER on the suggestion of a friend, and I was not disappointed. The first great thing about it is that this is an honest to God 'concept album', telling the story of a man who sees his father killed by a drunk driver; then seeks revenge. (a much better concept than Roger Waters bizzare and pointless RADIO KAOS!). The other great thing is that this band heavily influenced by KANSAS, and even has ex-Kansas member DAVID RAGSDALE on violin. TRIGGER is an excellent prog ballad that rates with some of Kansas best mellow material. On the opposite end of the spectrum SOMEDAY and REVENGE really rock with a heavy rhythms and angry lyrics. OVERTURE, WHEN, BLAME, and DREAM are some of the other standout tracks, all very melodious and well-written (DREAM has a particularly excellent instrumental break in an odd time signature). The musicianship and vocals are of a very good standard, and the guitars sound particularly good (very much like Kerry Livgren & Rich Williams from 70's Kansas) While I really enjoy ROBBERY OF MURDER I have rated this album at only 3 stars for 2 reasons; 1) The short instrumental tracks seem like time filler and don't add much to the album 2) The production and sonic quality are not up to snuff with other modern prog recordings, this sounds more like a mid-70's recording. However, since the prog world already has plenty of newer bands covering the YES/GENESIS/EL&P sound (and many of them do it very well) it is great to see a band like SALEM HILL who will have great appeal to KANSAS fans. If you are looking for more great prog rock, also see my reviews of PENDRAGON, UNDER THE SUN, MAGELLAN and other great new bands.

Salem Hill has themselves a lifelong fan since the day I first listened to the Robbery of Murder. The album centers around a story of a boy who has lost his father to a drunk driver. The concept follows the plot as the boy grows up and deals with the tragedy. The music is as powerful as the concept. The performance is very good and is packed with lots of catchy melodies and great neo-prog music.

Robbery of Murder was my first exposure to Salem Hill and I have since bought everything they have out! From the opening track you will find yourself drawn into this beautiful story of redemption. David Ragsdale (formerly of KANSAS) adds inestimably to this re-make, his haunting violin weaving between other instruments and vocals. The music and lyrics are a perfect counterpart to each other, each enriching the other. Buy this cd and you will be back for more!