While I wouldn't say that I love it, there's certainly a decent amount of music on it that I find oddly beguiling, and in a rather unconventional manner. Granted Sinfield's singing voice was somewhat 'off' for many, the album has remained an item of, I suppose, ambiguous appeal - even with the alleged "community".Originally Posted by Lopez
I personally love those opening 10 minutes; serenely celestial, yet also with that distinct trail of farce, sarcasm and twisted wit to iron out the dew. I'd say I probably really enjoy a good 68,9% of it, and I'd never even ponder my otherwise stuffy record collection without it.
Interestingly, I found this one in the same large leftover bin from a recently departed woman's estate where I got the McDonald&Giles record as well. I still [!] listen to both on occasion, and I usually find myself feeling a bit better afterwards.
Sinfield's lyrics, at their very finest, were some of the most impressive and defiantly transcendent I ever heard in rock next to those of Reid, Blegvad, Coyne and Spinetta. The kind of ferocious unravelling of worlds and dimensions so apparently different and 'other' to what's expected until you grasp point premise, by which stage there's no returning to yore.
Lizard is where it's at. That's a dark cascade of fate-induced dominion nursed to poetry for tone, actually even enhanced by the fact that it's sung by someone who -disliked- the lyrics and consequently framed delivery with a scent of cynicism mostly serving an awkward awareness already apparent in the text - 'though seemingly lost on the vocalist.
And fwiw, I wouldn't have wanted for any other voice than Haskell's here.
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