voila_la_scorie I’m of the opinion that progressive rock and heavy metal share a strong bond from infancy. It’s true that many of the metal bands of the eighties and nineties were heavily influenced by prog bands of the seventies, but more than just that, I believe that way back in the late sixties as both progressive rock and the first generation of heavy rock artists were developing their crafts, both subgenres had emerged from the nexus of psychedelic music. Simply speaking, progressive rock would borrow a lot from jazz and classical while early heavy metal would come from a combination of acid rock or heavy psych and a revamped version of the blues. Yet thanks to the experimental psychedelic rock years, both subgenres would freely choose items from the other’s bag of tricks. One needs look no further than King Crimson’s 21st Century Schizoid Man to hear how both prog and metal could be presented in a single song.

T.2. were an English band that took heavy guitar rock and blended it with a jazzy rhythm and created extended songs which sometimes featured psychedelic guitar distortion and feedback sections and other times soft, acoustic moments. In the simplest description of their music, imagine “Fire and Water” era Free with the largely unknown Necromandus. They released a single album in 1972 and a second album’s worth of material was shelved until 1997. They released three albums in the nineties which seem to have been mostly overlooked.

“It’ll All Work Out in Boomland” is an album of four tracks with side B being taken up by the 21-minute “Morning”. The song that ends up on YouTube proto-metal and early heavy rock compilations is “No More White Horses”, which opens with a simple three-chord riff played muted at first but then opens up as the music intensifies. It’s a great example of early doom metal as indeed was the music of many English bands at the time. The band is joined by a trumpet (possibly two) and then the song mellows down for the verses while powering up for the choruses. It closes with lots of drum action and blazing guitar work.

The album opener, “Circles” is also a very worthy track to mention for its jazz-based drumming and bass work and some of the guitar playing as well. But there are open chords and barre chords played with crashing bursts of distortion. Near the end, the music lays back for some experimental jazz-type playing as the guitar goes from clean jazzy exploratory notes to psychedelic distortion rumbles and feedback.

The middle track on side A, “J.L.T.” is a mostly acoustic track not unlike something Pink Floyd might have done on the soundtrack for “More”.

Side B’s “Morning” is basically in two parts, with a slow acoustic opening that leads into a mid-tempo rock song with more Free-like hard rock chords. There’s a two-minute psychedelic/experimental interlude before the second part begins, which is characterized by a more up-tempo rock number that then becomes a showcase for wild guitar soloing. Note that during these lead guitar showcases, the drums are often going nuts in parts while the bass is holding down a repetitive but frantic rhythm. The bass does stand out a lot on this album and though it often repeats its lines, bass player Bernard Jinks says in the CD re-issue booklet that he intentionally restrained himself to allow for Keith Cross (guitar) and Peter Dunton (drums) to be able to show off their talents more.

The re-issue comes with three bonus tracks, all of which are BBC sessions. “Questions and Answers” and “CD” are not on the album and feature a more psychedelic guitar sound and playing style, leading me to believe that these are older recordings. “CD” must be the hardest hitting track on the whole, uh, CD. I also feel the guitar solos on these two tracks are more emotive than what we hear on the actual studio album. The final track is “Circles” again, though I feel it’s less effective here with the BBC because the drums are not mixed very loudly and the heavier guitar chords are also quieted down.

T.2. were a band that took the jazzy blend of rock, intensified the guitar sound with lots of hard-hitting open chords and barre chords, and added some frantic lead guitar. They played longer tracks and like most bands of the day, they added mellow acoustic parts. There is also the presence of brass on a couple of tracks. They are not progressive like Genesis or Yes or even King Crimson but more like the psychedelic bands of the late sixties who added parts to songs that allowed for a galloping rhythm section to provide a backdrop for fast fingers on the guitar fretboard. An album recommended more to people who enjoy heavy psychedelic rock and early hard rock / heavy metal and less to people who enjoy experimental jazz or symphonic rock.

Certif1ed Off-the-wall hard rock/heavy psych/partly proto metal album with that unmistakable late 1960s power trio sound, furnished with cleaner lines that belie the time of release and give the album a more timeless quality than many of that era.

The range of influences is quite diverse here, but the angular and spiky-edged riff progressions seem to come from King Crimson and Gary Moore's Skid Row, with lashings of Cream and the Hendrix-inspired explosion of the time. There's also a strong vein of Floyd running through, which comes as no surprise in an album from that time that is now labelled "Progressive".

"Progressive" does not mean "Pink Floyd-like" to me, but there seems to be a surprisingly large number to whom that is the definition.

There's also a tendency to drift slightly into 1960s psychedelic nonsense (again, I blame Floyd), but this is all contained in a taut and dramatic structure that teeters on the edge at times, but otherwise maintains an almost frantic momentum with some impeccable lead runs, sparkling feedback and, regrettably, a little mindless noodle here and there from guitarist Kevin Cross.

There are times when the music feels like it's just backpedalling, filling out the moments with sound rather than pushing the musical ideas forward, but this is countered by other times when the music takes off into muscular riffs.

There's quite a mix of music on this album, much of it non-radio friendly - small wonder that it's quite acceptable to describe it as a progressive rock album, despite the minimal Prog quotient.

A Pink Floyd vibe runs quite strongly through everything, I might have mentioned this, but it's is no mere clone, and mostly that vibe simply extends to the overriding dark melancholy that veers pleasingly away from the cheesey and obvious, although sometimes it pushes towards the over-egged and ludicrous.

There's also a jazzy quality to the overall sound (but not the style) in the choice of chords used in the progressions, which evokes the sound of early Camel.

The 8 and a half minute epic "No More White Horses" is probably most of interest to metal historians, with strong allusions to Black Sabbath and Wishbone Ash. It features fast, metallic flurries screaming above the dark and fullsome riffs.

It does tend to slip back to that Pink Floyd style all too often, and the brass section is horribly intrusive, but that rhythm guitar tone is sumptuously hi-gain when it's unleashed, and the soloing, while pentatonic based, is not that all-too-familiar psychedelic wailing (which does appear on the album later, sadly).

The dark and doomy "Questions and Answers" is another highlight, while the "Purple Haz"e inspired CD reminds me of early Blue Oyster Cult, with a screaming, angular solo that's a real head-bang fest. The jazzy solo is an off-the-wall treat for a while, until the Hendrix citations spoil things a little. There is some impressive fast playing among the bluff, but altogether, a bit on the unlistenable side.

Rounding off the album is a reprise of the opener featuring more improv and that strident guitar tone. This has the tendency to descend into chaos of a most delicious nature, but some of the initial control seems a little lost despite the tight structure.

This is a good album to hear from this time, and is a great example of what a power trio could be capable of. Well worth a spin or two, but not one that you'll keep returning to for your dose of metal madness - there's not enough here to maintain the interest beyond a few listens. Keith Cross's somewhat limited vocabulary is probably the main culprit on this guitar-dominated hard rock blast.