Customer Reviews

Still Life (Mlps)

5 star:		(20)
4 star:		(1)
3 star:		(1)
2 star:		(2)
1 star:		(1)

 

 

When this album was released -- in 1976 -- hot on the heels of the band's 'come-back' effort, GODBLUFF, it was almost too much to endure. The songwriting of Peter Hammill, and the musicianship of the incredible players present -- the VdG core of Hugh Banton, David Jackson and Guy Evans -- combined to make this one of the most stunning recordings this amazing group ever produced. Hammill's lyrics and vocals were the strongest they had been in years -- and on a lyrical level, his songs had taken a turn with the band that listeners had previously experienced only on his (equally impressive) solo recordings. They had gotten more personal -- no longer cloaking his emotions and feelings in the guises of other characters, Hammill's soul is laid more bare on this album than at any time in the past, to be matched and surpassed perhaps only on his as-yet unrecorded solo album OVER (one of the most painfully personal works I've ever heard). The arrangements are alternately strong and delicate, showcasing the immense imaginations and talents of this band -- and the recording quality is the best of any of their efforts.

This album is not only a shining artifact of the best music of its era -- it's as powerful today as it was then, the mark of lasting art.

This 1976 release would prove to be the last truly excellent release by the band. Although the follow-up album World Record (also 1976) had its moments, it was clear that the steam had run out. Fortunately, Still Life is a remarkable Van Der Graaf Generator album and features those properties that make them one of my favorite progressive bands: Peter Hammill's voice and vocals; Hugh Banton's organ work; and Guy Evans drumming. Come to think of it, this may very well be the finest "post Pawn Hearts" album they released. That of course is just my opinion.

The lineup on Still Life is considered the classic lineup and featured virtuoso drummer Guy Evans (drum kit and percussion); Hugh Banton (Hammond organ; mellotron; acoustic piano; bass pedals; and bass guitar); Peter Hammill (vocals; electric and acoustic guitars; and piano); and David Jackson (alto, tenor, and soprano saxophones (acoustic and electric); and flute). The playing by all members is in top form on Still Life, although David seemed to have backed off from the wild playing that characterized the 1970-1971 period. Peter's voice however, is still loaded with the angst and anguish that made him my favorite prog vocalist - he characteristically alternates between a high pitched falsetto and a heavy metal growl. Although not very high in the mix, Peter plays electric guitar on the album - the liner notes comment on how he felt that he could hold his own on the instrument after releasing several solo albums. Hugh favors a very clean, "churchy" tone on the Hammond, which really makes the album work for me. Guy churns out his usual high quality work on the drum kit and this newly mastered version really brings the intricacies of his playing out.

The five tunes on the album range in length from 7:08 to 12:23 and feature the tense arrangements, odd meters, and strange root movements that characterized much of their classic material. Like all of their best music, there is generally a brooding atmosphere to Still Life, which is saturated with minor keys. However, like Godbluff (1975), the rough edges appear to have been smoothed away a bit and a little bit more room is left for softer textures and melodies. The spacey track My Room (Waiting for Wonderland) is a good example of this and boasts a very nice and melodic saxophone solo by David. One other quiet passage includes the introduction to Childlike Faith in Childhood's End, which features an extremely interesting flute arrangement that does not sound too much unlike the approach used in minimalism. By the way, this track is a superb symphonic prog workout and an excellent way to close the album. I guess it is worth pointing out that although there are some smoothed edges and quiet moments, this album "rocks" - the VDGG heaviness is very much in place along with some metrically complex and blazing ensemble work that kept me on the edge of my seat (La Rossa comes to mind).

This remastered album by Virgin is absolutely, positively excellent. The CD booklet features informative liner notes and the lyrics to each piece. The sound quality is what blows me away - all of the remastered albums sound so much better than the older versions that these may as well be completely new recordings. The bonus track includes a scary and overwhelming live version of the previously unreleased track Gog, which was recorded at a concert held in 1975 at the Theatr Gwynedd in Bangor, Wales. The sound quality is very poor, but the sheer brutal power of the piece more than makes up for it.

All in all, this is the last excellent album by VDGG and is very highly recommended along with H to He, He who am the Only One (1970); and Pawn Hearts (1971).

This is the second album of Van der Graaf Generator's 1975-1978 "comeback" phase. While it exemplifies the intricacies of mid-70s progressive rock, it nevertheless "hooks" the listener at several points.

"Pilgrims" suggests a sequel to "Refugees" (from their earlier album "The Least We Can Do Is Wave To Each Other"), while "Still Life" and "Childlike Faith" are startling (at least to the uninitiated) in their stark imagery. "My Room" witnesses vocalist Peter Hammill exploring his lower register with a minimalist instrumental backdrop. And finally, "La Rossa" (this reviewer's favourite track) combines aggressive and catchy instrumentation with extreme vocals (some of them in the form of bone-chilling screams) and lyrics which will strike a chord in all too many listeners.

If you enjoy sophisticated lyrics, marvelous performances on organs and saxophones, or progressive rock in general, you'll enjoy "Still Life". Like most fine progressive albums, it's not the greatest thing at the first listening, but it insists you listen again, and again, and reveals itself further each time.

Dear friends, this is simply one of the best albums I ever heard. I get into VDGG by chance when a friend showed me the wonderful Godbluff opening track 'the undercoverman' and I almost collapse of the deep emotion and awesome sound of this strange band (VDGG doesn't have a proper bass and guitar in these 2 albums!!). Then I knew that Pawn Hearts was the devoted album of the group by all the prog fans...but..I seriously find this record as their masterpiece and 'pilgrims' one of my favourite songs. Buy this CD it won't desapoint you.

If you read the rest of the reviews you will note opinion seems to be widely distributed about this album. It seems the anti-cigar faction is writing from a place of disappointment, frankly, because the complaints against this album are unfounded. Hammill's voice is certainly not gone, or at the end of its tether, and if it seems that way, I am willing to assume that Hammill meant it that way. For me, this album features my all-time favorite Van der Graaf Generator song, "Still Life" -- the definitive statement on why human aspirations to immortality are false. And it also contains the answer to this "negative" song, in "Childlike Faith in Childhood's End", which Hammill howls, which ends triumphantly, and which has the power to move me to near-tears on occasion. So if I constantly skip the first song on the album (important as it is to the album's concept), nevertheless, I could never give this album less than an excellent rating. At the very least, I find that the songs above sustain me and buoy my spirit -- and if it can for me, then it can for others I am sure. For me, that is a fundamental function of genuine music. And a gift not to be denied one's self.

Van Der Graaf broke up several times, but in my opinion, their best three albums came in a sequence interrupted by their first break: 'Pawn Hearts', split, get back together, 'Godbluff', 'Still Life'.

'Godbluff' is regrettably out of print at the moment -- a tragedy, as it is even better than this five-star album. But this comes a close second, and indeed many feel it is their best.

You need to get used to Peter Hammill's vocal style, but VDGG albums always improve, the better you know them. The line-up is slightly perverse: Hammill on vocals/piano, Banton on organ and keyboard bass, Evans excellent on drums and Jackson also excellent on saxophone.

The overall atmosphere of the album is at least as weird as recent Radiohead or late Talk Talk -- progressive, serious, not catchy. The whole album is brilliant. DJ Alan Freeman picked out 'La Rossa' as his favourite when it was released, but I like it all.

Peter Hammill did a solo concert at my school around the time of 'Still Life''s release, and I remember about a third of the pupils shuffled out halfway through the performance, due to sheer boredom. Very embarrassing. Boredom is not an emotion you will suffer listening to this album.

every song here is execellent. it's a perfect song cycle starting with the more direct and straitfoward Pilgrams leading into the subtle beginnings of Still Life, building in its passion and expressions. The next song La Rossa (later a coming up again on Hammills solo album Over) is a strong driving song with good percussions. La Rossa has the strange metaphor of comparing the relationship of a oragan grinder and his dancing monkey to the relationship of a Hammill and his desires. With inspired saxaphen playing by Dave Jackson, My Room is a graceful song that eases the intensity a bit between La Rossa and what is to come- Childlike Faith in Childhood's End- And this is the mother of all Hammill/VDGG songs- interesting intrumental passages (though not as spacious and dynamic as earlier songs, bit more subtle), intense lyrics along with intense and strange harmonies all sung by Hammill- and of course the thing Hammill is always trying to find - the grand finale

I finally figured out what it is that makes Peter Hammill's vocal style different compared to every other singer I've ever heard- whenever he sings a vocal line, he actually sounds like he's reciting a poem or speech, haha.

Personally I LOVE that vocal style. I have no idea whether this band is self-indulgent, or whether they made this kind of progressive rock for nerds, or what kind of intentions Peter Hammill and the rest of the band had in mind. All I know is that Peter Hammill has a way of displaying this amazing style of emotions whenever he sings... but it's not an obvious kind of emotion. It's the kind of emotion that takes several listens to fully comprehend, I believe, because lyrically Peter Hammill looks at the world from a perspective a lot deeper than most people do.

In other words, the more you hear a Van Der Graaf Generator album, the more you GET what Peter Hammill is trying to do. He's a complicated guy apparently, and wants you to spend considerable amount of time trying to figure him out. I'm not being sarcastic there either- this is actually one of the things that makes Van Der Graaf Generator so appealing. It's not easily-understandable emotional music. That's why it's important to listen closely to the bands lyrics.

Peter Hammill's lyrics really feel incredibly powerful, and you get the feeling he's taking full advantage of the fact that he's a human being with a gift for a singing voice, and trying desperately to get through to everyone who's willing to take the time to understand his feelings. Maybe there's better singers out there with more appealing (and prettier) voices, but I doubt most of them would be able to take advantage of their vocal range as much as Hammill does on these Van Der Graaf Generator albums.

It took me such a long time to understand what Peter Hammill is trying to do- he's not only trying to get through to me with his passionate and honest feelings, he's also making me expand my vocabulary and bring out the very best in me. I'm a human being who has everyday problems just like everyone else. Hammill's lyrics and emotional vocal range honestly helps me take time out of my day and understand who *I* am through the eyes of Peter Hammill. Van Der Graaf Generator is all about pure emotion -sometimes raw and sometimes brutally honest- but always fascinating.

Now I KNOW sharing these kind of thoughts makes it appear like I'm some obsessive fanboy who believes Peter Hammill can do no wrong no matter what, but these are my honest feelings whenever I sit in the dark by myself and listen to any given Van Der Graaf Generator album. So much feeling and beauty and honesty can be found here. All you have to do is allow yourself to open up to Peter Hammill's lyrics and the rest of the bands distinctive style, and you might feel the same kind of emotional attachment.

I'm not sure where I'd put Still Life in my list of favorite Van Der Graaf Generator albums. Probably third, right behind Pawn Hearts and H To He- Who Am the Only One. Then again, Godbluff is pretty terrific too, but that album doesn't really display Hammill's emotional range (but then again, it DOES feature quite possibly the best lyrics Hammill ever made with the Generator gang).

But this isn't about Godbluff- this is about Still Life. "My Room (Waiting for Wonderland)" is my FAVORITE BALLAD EVER. Okay, maybe not a true ballad like the same way Aerosmith would write a ballad (goodness no!) It's actually a really depressing song.

In fact, what makes the song so appealing is the way the atmosphere and the soothing saxophone jams combine to capture a unique feeling of inner-peace. I feel immediate comfort in the quiet vocal melody, and feel curiosity as to what the future might bring for me while the final portion of the song (the saxophone jam) takes place. The eerily quiet (and melodic) saxophone throughout the song haunts me in a way that makes me feel like I can escape any kind of severe depression that might try to take over my life. Maybe not depression only- maybe anything. Whatever kind of negative emotion I may be feeling the day I wake up can suddenly be changed into something I can control whenever I hear this song.

"Childlike Faith In Childhood's End" takes the enormously popular subject of heaven and death, and takes the lyrics to a whole new level of mystery and wonder (and sophistication). I've *never* heard anyone take the all-important subject of life and death and make it seem so adventurous, mysterious and creative. Peter Hammill looks at life from many different angles, and even explains them in a way that most of us would have trouble doing. This is a total mind-blowing song lyrically. "La Rossa" has lyrics about... I'm not really sure, haha. I get the feeling they might be about a human being contemplating his thoughts after a bad relationship and trying to maintain the feeling of love through a lengthy period of troublesome roller coaster emotions.

The amazing thing is that the entire album, along with many other Van Der Graaf Generator songs, make me feel the same way. I CAN overcome anything, and I DO have the strength to do so. Again, I'm sorry if I sound like some obsessed fan who admires everything Peter Hammill and the band has done, but this music is absolutely *great* to me because it has more emotional value than most bands would understand be able to comprehend. When you're honest with your feelings, you tend to get *through* to more people which allows them to open themselves up, and that's the case with Peter Hammill and specifically the Still Life album.

There comes a point when you realize you're an adult and there's no need to feel ashamed or embarrassed about anything because we're all human beings who are more or less the same. You get the feeling Peter Hammill wants everyone in the world to find happiness and peace within themselves, and for everyone to get along with each other.

I love this song quite a bit. I sing it to myself all the time. Here, I'll sing it now! "I waaaaaaaait, by the dooooor, wondering when you will come, and keep me waaaaaaaarm". Okay, the melody is actually more fun and easier to understand the appeal when you HEAR it, and not when you read it, haha.

The title song is almost exactly the same way. "Pilgrim" has an uplifting vocal melody, with again, sincere and passionate vocals. The appeal is found in the fact that Peter Hammill actually MEANS what he sings, and that makes Still Life a classic in my mind. The rest of the album is pure emotional quality as well, both lyrically, and rewarding in that the music being created here HOLDS UP for many many years. Get ready to love this album just as much 20 years from now. It won't grow old, or stale. It's too unique for that. I love it.

"Still Life" is a Masterpice, but it's not for beginners.

One could easily get "lost" in the multi-layered soundscapes and organ driven experimental eccentricity of this Van Der Graaf Record.

If you have been feeding yourself with Yes, ELP, Genesis, Camel or Floyd don't go near this one, you must first learn about Soft Machine, Gong, Magma and pehaps a little bit of jazz(from 1967 to 1977) and a little bit of Joni Mitchell.

Peter Hammill is a genious and Van Der Graaf is one of the best bands to come from UK in the 60's/70's.They Still make marvelous music.

The thing is that this is one of those bands that you will either love and - from the first organ sound or vocal whisper - feel you finally found your home or you will hate it and perceive them as a low-fi chaotic mixture of post-rock avant-guarde piece crap.

Normally i would say music has no barriers and it's made for everyone but in this case i can't say that.This is not for average prog rock listener.

If you are in the process of discovering the world of VdGG and PH music i strongly recommend that you start off your mystical journey with "The Quiet Zone/Pleasure Dome" or "World Record" then work your way to "Godbluf" and "Pawn Hearts".After those you're ready for everything else, including "Still Life"!

As For Peter Hammill solo efforts i recommend "Chameleon in the Shadow of the night", it's a warmish mellow gem of an album.Folky tunes with a deep countryside feel to it.

Still life is my favorite VdGG album, i grew up listening to this songs and was my first VdGG record.I had already found out about the band and a good friend of mine gave me a Mixtape K-7(good days) with stuff from "Godbluff"/"Pawn Hearts"/"Fool's Mate"/"Still Life" i got instantly hooked on VdGG!I raised some money to buy one of their cds(at the time cd imports were very expensive), i wanted "GodBluff" but the record store only had "Pawn Hearts" and "Still Life", since i already loved both i chose Still life.

I love PH vocals on this one, very intense and emotional, the lyrics are astonishing and the organs are well crafted.As mentioned in other Reviews the mood here is Laid-back mellow.

Never dull, every song is it's own island, still, the songs comunicate very well with each other.

Highlights are: "La Rossa", "Still Life" and "Childlike faith in Chilhood's end".

Its a good album to lay down on your sofa or bed, turn off the lights and let yourself float into the delightfull sounds of VdGG.

For all who love this band is a Must!

I'm not a great fan of VDGG, but a listened to a great part of their records. The first albuns are a little bit confuse, experimental but really intense. My favorite one was always "Pawn Hearts", a really great complex recording. When i bought "Still Life", i thought that i was about to listen to just one more band that was trying to sunk their progressive vein, like Yes in "Going for the one" (altough it has some excelent tracks) or Genesis in "Wind and Wuthering" (a record that shows Collins and Banks burning out the Genesis song slowly and painful !).
I got extremely surprised by the songs present in "Still Life". Hammil and the band with a very clear sound, beautiful and climatic lyrics and a new way to go on with VDGG work. They just "reinvented" their own sound, altough many fans prefer the first phase of the group. The title track, "Pilgrins" and "La Rossa" are good demonstrations of these new phase. Intense tracks, much more minimalistic than their late works. "Pilgrins" have interesting lyrics. "My room", is one of my favorites. WONDERFUL melody, Hammil performatic vocals in a delightful way plus his sax interventions. Marvelous. The last track, "Childlike Faith Childchood's End" is quite a little confuse, the introduction reminds me their late works, the lyrics are very powerful, and, in the 13 mins lenght, Hammil shows that his work on VDGG continued precise, serious and provocative. The rest of the band are good too, including the organ, that are simple but atmospheric. A very nice album, not their best, but another VDGG artwork !