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Red Rock Music/Inside Out Music [Release date 10.05.24]
I think it fair to say that Leslie Mandoki doesn’t do things half-arsed. Several years ago a couple of reissues were accompanied by an expansive press kit, a real thick tome that reminded me when labels (via their PR) really pushed the boat out. How times have changed.
In some respects, Mandoki’s music is like a return to the quality values of old. He comes across as the James Last of Jazz Prog/AOR, the latest release following the usual formula of corralling some of the genre’s finest.
I’ve been reviewing from a vinyl copy which makes sense as there’s another great USP: the album has been recorded on analogue equipment and cut to vinyl just like the old days. And, no expense spared, there’s an album sized booklet to complement the detailed liner notes.
And what of Mandoki? Perhaps surprisingly to us Brits he’s recently celebrated 30 years in the business. He’s more established as a top producer, especially in Germany to where he fled as a protesting student from Hungary in 1975 to avoid prosecution by the communist regime.
To be critical, there are only a handful of “killer” tracks but really you have to buy in to the “Soulmates” concept (with social and politically aware lyrics) and the whole package in general. Songs like ‘The Wanderer’, though, are a tad insipid along with ‘I Am Because You Are’ where Leslie Mandoki takes lead vocal. Together with the title track and ‘Matchbox Racing’ they suffer from the usual intonation issues when not singing in the native tongue.
Musically, whilst old school there’s some really good stuff here with the opener ‘Blood In The Water’ particularly impressive and lifted by Ian Anderson’s spritely flute and using a selection of vocalists. Anderson returns for the equally excellent ‘Devil’s Encyclopedia’. Jethro Tull were amongst Mandoki’s early musical heroes.
If you like eighties Toto you will warm to ‘A Memory Of Our Future’ and if you are an album trainspotter of a certain hue you will appreciate the contribution of jazz rock luminaries such as Al Di Meola, Mike Stern and Randy Brecker.
The production values are high and Alan Parsons Project is another comparison with the melding of sonic superiority and melodic musical invention. At it’s heart, though, is a jazz rock sensibility – overtly displayed on ‘Melting Pot’ – which could be too much for some and leads to a certain imbalance.
In those liner notes when not thanking his fellow collaborators Mandoki evidently has strong views on music making and the world in general: “…passing the torch from us old rebels to our young cohort must be postponed…it’s up to my generation to provide the compass to show the way out.”
And maybe ‘The Big Quit’ – another killer track – underlines the philosophy “we got Zoom, we got Skype/we got everything but real life.” We refer readers to our previous review (link below) where the themes (and musical shortcomings) haven’t changed. And, as previously, Mandoki’s daughter makes a welcome and – sadly – rare appearance on lead vocals.
Musically and aesthetically the album – ultimately revealing human inconsistency in the playlist – may be seen as end of days before the inevitable onslaught of AI. Enjoy the old world while you can. ***1/2
Review by David Randall
Album review (Living In The Gap/ Hungarian Pictures, 2020)
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