Customer Reviews

Wake

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

 

 

I'm astonished that no other Amazonian has commented yet on IQ's second release, "The Wake;" possibly it is too new of a listing. At any rate I'm DELIGHTED to be first in the pool, because this is IQ's first drop-dead MASTERPIECE, a release that still distinguishes itself as a towering convergence of lyrical, musical and conceptual brilliance. "The Wake" is an early sunburst of genius from a band that has gone on to provide SEVERAL other supernovas of smart-rock illumination, but "The Wake" is where they first brought it all together, and still elicits all the power and awe it inspired when first issued 21 years (!) ago.

I have the advantage of being able to say that I was in on the ground floor with this release. I worked in an independent record store in 1985 and got to hear "The Wake" when we got it in as an import LP. We were already familiar with IQ after their debut album the year before, "Tales from the Lush Attic." My initial impression at that time was that IQ was to Peter Gabriel era Genesis as Starcastle was to Yes; a nimble and earnest imitator enjoyable to us fans but not surpassing the band that inspired them. At this time I also lumped Marillion in the same category (after their 1984 debut, "Script for A Jester's Tear).

But guess what? Marillion came out with their second LP "Fugazi" and IQ issued "The Wake" and now all of a sudden I REALLY had to pay attention, because both bands now had fury, authority and fire that was not apparent on their first releases. Now my attitude was, "OK, yeah, it's derivative, but you know what? I love the bands that inspired these guys and now all of a sudden these "tribute bands" are hauling up huge nuggets from the same mines of inspiration Genesis & Yes had by that time mostly abandoned. So let's stop shrugging Marillion & IQ off and be grateful for what they're creating!"

All side one of "The Wake" is indeed pure gold, starting with the VERY "Watcher of the Skies"-like opener "Outer Limits;" a throbbing bass riff opens and is then overlaid by ethereal synthesizer chords; the synthesizers slowly descend to "land" the flying saucer and launch the full band into the driving organ/drum riff setting up singer Peter Nichol's opening salvo, "rain down the waters, waiting for anything to fall." Guitarist Mike Holmes enters to bring the band up short for a series of harpsichord/organ interludes before relaunching the full band into a series of instrumental flourishes leading back to the opening synthesiser/bass riff, this time with the full band pounding away; as Peter's last vocal line fades, the band itself peels away leaving only the opening bass and synthesizer, this time ascending to silence; the bass however, continues to maintain the pulse of the song, leading directly to the title track "The Wake", still to my ears one of their most incredible compositions in a career disproportionally rich in musical milestones.

ALL of IQ's strengths are in full flower here, starting with keyboardist Martin Orford's clever orchestral opening chords thundering alongside drummer Paul Cook's authoritative bluster; the keys, bass and drums go down the drain together in a descending riff preceding the main theme, a strutting swagger of synth, drum and bass riveting the listener before Peter again takes center stage, "Singing praises was never a feature encouraging me or my kind..." More ornamental chordplay distinguishes the chorus, leading to a second verse sung with even more emphasis and urgency by Nicholls, "I go drifting through the draughting dropping out of sight, I'm not begging for love, I'm empty as I am!" This is punctuated by the first of Holmes' two monstrous guitar solos, each a textbook example of control, economy and emotive force. This first solo whirls over the maelstrom of the main theme, shrieking like a banshee over the verse/chorus instrumental and stepping up to lead us back to Peter, still in full emergency mode, "I'm beginning to wonder is the ability too weak? Does this stark interior surround me, am I so unique?" The track concludes with the opaque but still memorable lines, "I wanted to be magnificent for the less than a lifetime of mine. I forget where I came in, all I know there's no discipline now--"
Synth, drums and bass all ascend to lead us to a plateau where the synth goes solo with a searing wash of chords bridging between "The Wake" and track #3, "The Magic Roundabout."

Much more than an instrumental extension of "The Wake," "The Magic Roundabout" is another full-frontal take-no-prisoners tour-de-force all by itself, kicking off with a drum roll leading to a tight little full-band shuffle winding up to a stroboscopic node of tension as guitarist Holmes floats screaming sustained guitar cries howling over the trio (keys, drums, bass) holding a repeating tight, stacatto tattoo beneath. This resolves to a big major-key blowout, with Holmes leading the band into a relaxed, almost leisurely stroll through a more placid soundscape, where Peter rejoins with his mysterious but nevertheless interesting lyrics, "some day, one day, I will take from the air my only way out; I can't deny the honesty, I want to stay but it's not in me." This section gives way to a nervous, claustrophobic, jumpy transition, "each time you go down, don't forget to remember--everything is easy, most of all believing." This blossoms abruptly into another radiant little rosette of major-key synthesizer reconfiguration, swelling quickly as Paul's drums roll us in to the grand finale, explosive guitar solo #2 from Mike Holmes, dancing madly around, above and below keyboardist Orford's majestic theme to create a second fury of exaltation within the confines of perhaps 10 total minutes.

Experiencing "The Wake/The Magic Roundabout" was (and remains) a premier moment in musical discovery and appreciation for me. This to my ears is artistry of the HIGHEST caliber--a fusion of styles, moods and creative vigor exceptional in its conception and execution. This was truly the moment IQ not only exceeded the limitiations of the prog-rock template they'd cut their teeth on, but indeed, began to levitate on the power of their own creative energy. The word SUBLIME loses force through overuse, but I don't hesitate for a second to assign it here. This is truly one of the highest pinnacles of progressive rock, and ANY listener whose tastes are receptive to the prog rock experience MUST check this out.

The rest of the album has PLENTY to recommend it as well, especially the understated charm of the following track "Corners," but after "The Wake/Magic Roundabout," this listener is truly still gasping for breath, and the remainder of "The Wake" is overshadowed by all the firepower spent so early. Nevertheless, the remainder of "The Wake" is certainly no letdown, with anthemic rockers like "Widow's Peak" and the driving, hymn-like refrain of the closer "Headlong" neatly wrapping up one of progressive rock's unrecognized masterpieces.

I note that Amazon has coupled "The Wake" with their 2003 release "The Seventh House" as a twofer; I STRONGLY recommend that interested listeners unfamiliar with this visionary band go ahead and spring for both. "Seventh House" is to my mind IQ's signature work, a pinnacle I doubt they will EVER equal, and even more worthy of your attention than "The Wake." (See my separate review for "Seventh House" on its own Amazon page.)

I will state it simply: IQ is THE most overlooked band on the planet and deserves your attention and support. Risk $35 on this twofer of "The Wake"/"Seventh House" and see for yourself.

"The Wake" was the album that effectively put IQ on the map. It is a significant improvement from the band's debut album as they began to find their footing as writers and performers. Two of the band's most popular songs, "The Wake" and "Widow's Peak" appear here. One or both of the songs have been used as encores ever since in the band's live show. The album is a bit dated today, but is considered a classic of the 80's neo progressive rock movement. A testament to the timeless material found on this disc is the fact that 5 of it's 7 tracks are still to this day often featured in IQ's live show. Mike Holmes has some truly magical moments on guitar on the disc, and Martin Orford's dramatic, bombastic keyboards are always at the fore. Peter Nicholls vocals are much improved from the previous disc and his lyrics are both perplexing and mesmerizing at the same time. Of the songs, the album opens with the sci-fi tale "Outer Limits. The title track "The Wake" follows with it's driving base line that never fails to ignite the crowd in concert. "Magic Roundabout" is next with some great instrumental interplay from the band along with more mysterious lyrics from Nichols. "Corners" is oddball of the bunch, with an almost carabien reggae type of feel. It is different from everything else on the album, but serves as a nice interlude between the prog epics. "Widows Peak" is next with it's lyrical double antandres and driving closing section. This is classic IQ. The album closes with "The Thousand Days" and "Headlong" which are both solid IQ compositions. This album is a must own for fans of the band and really anyone who is into mid 80's neo progressive rock.

From the first bass notes this CD takes you on a journey and moves you in ways only the greats like Genesis and Yes could. Of note is the outstanding creative vocals of Nichols that really stick with you long after you listen. Also, Mike Holmes really does some of his best guitar work of his long stellar career. And ofcourse I must mention the maestro Orford-absolute brilliance. Even staunch Pebozo who seems to think only bands in the 70s can make sincere progressive music likes this band. These guys are awesome. I would recommend all their CDs.

Best progressive work of the 80s. ABWH and ELPowell came close to the best.

It is unbelievable: I read the previous review and I felt exactly the same. Even if more than 15 years have passed this album is as beautiful, as dramatic, as enchanting, as powerful as ever. Few other albums have this power, and one can listen it time after time and always being carried away. Buy it, even if the price is step, it's a must for every truly prog seeker and lover.

After reading such great reviews about this recording, I was shocked when actually listened to it.

It is basically an 80's new wave recording with experimentation and changing of tempos.

Much better than Nomozo (excuse the spelling) and Are you Sitting Comfortably, which were bland radio airplay sellouts.

It is like other prog acts of that era like Asia, Kansas, Yes that were forced to become radio friendly, or lose the recording contract.

Thank goodness recording technology improved to make quality recordings and much less $$$$$, so bands could put out the music they wanted to like IQ brillant Ever cd

Well, first off. I am from germany and it is kind of a funny way how i got into IQ in the first place.
At the time it came out i was looking for some good progressive groups and i asked my favorite music store what i should listen too. He recommended me IQ (which record store does this today?).
I got pretty drawn to the group and it is like genesis (the early records). If you like that kind of music, you most likely will enjoy this record as well.
Guitar-riffs are very close to Steve Hackett's and even the lead vocals remind me off Peter Gabriel. This said, the record stands on its own and is very different from, say, Marillion the other big band at the time.

This cd is a better that their debut album, but their is still some strange musical transitions. The vocal is better and the band begin to show that they can create some good music, but their is just two tracks that caught my attention. The first one it "The Wake" and the second is "The Magic Roundabout". The rest of the cd is weaker and has the same problem that their debut album, the band is still looking for a musical identity and his own sound. The best was yet to come....
Some tracks aren't bad, in fact, the live version of many of them on "Forever Live" are far better in their live versions than their studio counterparts. This demonstrate that a bad production can sometimes ruins a good song.

This is the fourth CD by the band I have purchased since being introduced to IQ several years ago, and I find that the more I listen to them, the more I like them. Its a pity they are not more well-known.
Anyway, I knew I was going to like The Wake less than a minute into the first song. Once you hear it, you might wonder how any prog fan can not like it?
Though I more or less like the entire CD, I find the strongest cuts to be the following:
1)Outer Limits, the stirring opener, quickly establishes this as a CD to be listened to thoroughly. Vocals are very theatrical.
2)The Magic Roundabout is a masterful blending of the finest impulses of metal and prog with dramatic vocals.
3)Widow's Peak offers powerful vocals with instrumentation to match. I like the Floydian interlude that segues into an explosive finish.
4)Dans le Parc du Chateau Noir is one of the bonus tracks. It starts slowly then builds dramatically to an exhilarating instrumental finish.
5)The Magic Roundabout (demo)is somewhat different from the version previously listed. The listener is treated to mellow but soaring vocals with a version that could be termed as AOR radio-friendly and is an excellent song with which to introduce the prog neophyte to the wonders of IQ.
The Wake is a re-release that was originally put out in the 1980s. The other IQ CDs I own are from the present decade. I find that I like the band of the 80s as much as I do the current one. If you are a fan of the recent crop of IQ albums, don't be afraid to check out some of their earlier work like The Wake. I'm glad I did.

Do you like Genesis?Well I don't(much)But I like IQ.Despite being 15 years old this still gives prog-rock a kick in the arse.'Outer Limits','The Thousand Days','Headlong'-prog with both songs and long widdly-bits ,lush synths and glass-shattering guitar and those vocal melodies!Aaaah!