Brand X

Phil Collins' seemingly endless well of energy afforded him two careers: one as the drummer/vocalist in Genesis, and a second as a prolific session musician. It was in this second scenario that Collins hooked up with Percy Jones, John Goodsall, and Robin Lumley during sessions for Brian Eno, Eddie Howell, and Jack Lancaster. The quartet soon formed Brand X, a fusion jazz band that matched the prodigious rhythms of Collins and fretless bassist Jones with the atmospheric melodies of Goodsall and Lumley. Unorthodox Behaviour sets the stage for what would follow: music that plies the same sonic territory as Weather Report, Mahavishnu Orchestra, and the like, punctuated by the distinctive styles of individual members. The songs, though credited to the band, reveal two factions at work, with Jones and Collins teaming for percussive sections and Goodsall and Lumley handling the lyrical passages. When Jones and Collins take the lead, as on the opening "Nuclear Burn" and sections of "Unorthodox Behaviour" (which begins with a reprise of Brian Eno's "Zawinul Lava") and "Running on Three," the music takes a frenetic, mathematical tack. Goodsall and Lumley generally provide the mood, the dominant trait on "Euthanasia Waltz" and "Touch Wood." Middle ground is found on the funky "Born Ugly" and "Smacks of Euphoric Hysteria," true fusions of rock and jazz. Unorthodox Behaviour samples a variety of styles: from melodic to energetic, ethereal to mathematical. Without a standout soloist like John McLaughlin or Wayne Shorter, Brand X does run the risk of sounding like a generic fusion jazz outfit, but their compositional skills pick up the slack nicely. Those interested in the band may do well to start with this album, although their next three records are just as good in terms of quality.



Moroccan Roll is not a step toward the rock & roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures that trades in the thunderstorms of their debut for rhythmically rich siroccos. Expanded to a quintet with the addition of percussionist Morris Pert, Brand X balances their arrangements with more equanimity, resulting in a subdued sound that is mesmerizing rather than arresting. The songs are written by individual members (their debut credited the band), but this doesn't yield the results you might expect: while Percy Jones' "Orbits" is essentially a showcase for the fretless bass, Lumley's "Disco Suicide" shares more with Frank Zappa than the artist's typically dreamy tones, and it's Phil Collins' "Why Should I Lend You Mine" that sounds most like the work of Lumley. The better compositions come from John Goodsall, including the opening "Sun in the Night" (featuring sitar and a smattering of vocals from Collins), the parched-sounding "Hate Zone," and the album-ending "Macrocosm." Jones' "Malaga Virgen" is another highlight, led by the artist's popping bass, delivered with a unique mix of restraint and explosive energy. Moroccan Roll is notable for a heightened sense of humor, from lighthearted liner notes to its everything but the kitchen sink ending. If the music is more spiritually informed than their flashy debut, the contemplative listener will find this brand of subdued fusion jazz equally rewarding.



Without the drumming of Phil Collins, who does appear on some of Brand X's albums, Masques still maintains a snug, jazzy-prog milieu and comes off clean and tight. Each song has a different beat, speed, and tempo with a satisfying assortment of keyboards and percussion instruments to keep the entire album afloat. Resounding xylophone and chimes outline the music on the seven tracks, with "Earth Dance" and "The Poke" coming up a little bit stronger than the rest. Most notably is the superb musical interplay of all the instruments used, and the way in which they enhance and benefit one another. The progressive rock sound does evolve by way of lengthy guitar passages from John Goodsall and accelerated keyboard fingering from Morris Pert, adding spice and vivaciousness while popping up when least expected. Masques is a firm studio album, and will keep listeners fascinated with the band.



Brand X's most eclectic album to date, Product is perhaps most notable for its attempts at a pop crossover in the Phil Collins-sung "Don't Make Waves" and "Soho." The range of styles presented here -- hard and soft fusion, pop, progressive rock -- results from the now-interchangeable nature of the Brand X lineup, which, in addition to the returning Collins and Robin Lumley, is expanded to include bassist John Giblin and drummer Mike Clarke (Chuck Burgi having left after Masques). While the pop songs have a tart, new wave sound to them that is oddly ingratiating, they're likely to leave longtime fans scratching their heads. (Genesis fans may hear in "Soho" the musical inspiration for "Illegal Alien," and in Percy Jones' "Dance of the Illegal Aliens" its titular inspiration.) Despite the presence of the original quartet -- Collins, Goodsall, Lumley, Jones -- the four don't appear together on Product, although Goodsall is present for all but one song (the lone pairing of fretless bassists Percy Jones and John Giblin on "Wal to Wal"). Many of this album's tracks have found a place in the band's career retrospectives, including the airy fusion of "Dance of the Illegal Aliens" and the engaging "Algon." While Mike Clarke's impact on the music often goes unnoticed, John Giblin adds a new dimension to the band's sound with two soft, evocative songs: "Rhesus Perplexus" (in which Goodsall's acoustic guitar crosses into Pat Metheny territory) and "April." The remaining tracks, "Not Good Enough -- See Me!" and ".And So to F.," are pleasant instrumentals with a more prominent role for the percussion; Collins thought enough of the latter to include a live version of it on a couple of 12" singles from his subsequent solo career.



~Dave Connolly, All Music Guide