 Yuriy P. - 21.05.2021  America's progressive scene in the early 70s was not very populous. If we talk about art-rock performers, then, as a rule, two names come to mind: Kansas and Pavlov's Dog. Someone may still remember Styx, but their belonging to the progressive is very doubtful, and even something similar to art-rock appeared only in the late 70s. Of course, in the States there were very, very original prog-rock performers in the 70s, but only "encyclopedists" and "archaeologists" know about them.
Kansas is known, perhaps, quite widely, and not only among fans of art and prog rock. But Pavlov's Dog is known mainly due to the episodic participation of Bill Braford in this group, and also thanks to the unusual voice of David Serkamp, vocalist of "Pavlov's Dog". In addition to the vocalist, the group included high-quality musicians, among whom, along with the standard set of instrumentalists for a rock band, there was also a violinist and a flutist. The sound of the group, in general, resembles their compatriots Kansas, although the vocalist negates such a comparison.
Very high alto with frequent vibrato; some have likewise likened Sirkampf to "Jeddie Lee inhaling helium." There were even comparisons with Marlene Dietrich. And with his theatrical manner of singing, Serkamp, in my opinion, is very reminiscent of Roger Chapman from Family. In general, a very unique performer, although, like most unique ones, falls into the category of those who are either accepted or repulsed. Personally, I am among the first.
As for the music, despite the obvious parallels with Kansas, the compositions of Pavlov's Dog are much more original, there is no such total influence of British art rockers. In a slightly bluesy manner, the band is more like Family than Genesis or Yes. There is a lot of Mellotron, a piano, here and there you can hear the harpsichord and Moog. The album opens with a beautiful piece "Julia", which begins as a ballad with a clear tinge of European romanticism, but by the chorus turns into a powerful symphonic art-rock piece. Note the catchy chorus and a very melodic vocal line. Sirkamp's vocals sound very inspirational and emotional. The next composition "Late November" is from the category of those that do not attract any attention at the first listening, but around the fifth time they begin to "shine". A simple melancholic guitar melody that perfectly conveys the mood of late autumn. The next song - "Song Dance" - one of the album's pearls, with a beautiful disturbing introduction, with the main part built on one simple but incredibly effective guitar riff, over which the sonorous emotional vocals of Serkamp sound, and Mellotron and a violin fill all the free sound space. ... Plus, a competent and very convincing rhythm section, unexpected, but at the same time very appropriate melodic and rhythmic moves, a wonderful guitar solo - all this makes "Song Dance" one of the outstanding works in progressive rock in general. The next "Fast Gun" is another great ballad with a catchy guitar-violin melody. In "Subway Sue" you can hear the vocal coda, in which Serkampf demonstrated the possibilities of his voice as an additional instrument, and the instrumental "Preludin" pleases with its beautiful and catchy melody. In general, it should be noted that the lack of melodies on the album is not felt, and the instrumental tricks typical of the progressive, a la "we speak our teeth," are absent at all.
The timbre of the voice and manner of Sirkamp's singing is, of course, a matter of taste, but personally for me it is better to have a really strong and expressive voice than the useless mournful moans of Steve Hogarth from Marillion.
In general, a wonderful work from people who missed the stars from the sky, but simply composed and recorded this wonderful album, which I highly recommend for listening.
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