547. Squarer for Maud

“I mostly hated so-called jazz-rock fusion at the time – so many of my fave Prog heroes getting caught up with showing off or whatever, forgetting to actually make interesting, astonishing music. But National Health (straight outa Canterbury) seemed to mostly get it right, keeping it sharp, innovative, fun. And in the case of Squarer For Maud, it even gets epic, particularly once the cello cuts loose toward the end. And then there’s that rap about numinosity (a word I’d never heard before). Of or relating to a numen; supernatural. Filled with or characterized by a sense of a supernatural presence. Now that’s my kind of music.” (Philip Random)

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950. as you said

In which Cream, one of the key inventors of HEAVY, prove they can do dreamy acoustic every bit as well. “I always just assumed this was Donovan song, until one day I finally sat down and listened to all of Wheels of Fire, and what do you know? It’s Jack Bruce. A definitive 1960s artifact either way, sounding damned important, revelatory even. Not that I’ve ever actually cracked what it’s about. Change, I guess, seen through psychedelic shades. And you’ve gotta love that cello.” (Philip Random)

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