Also see: Atomic Rooster
> the record in question came out in 1978 and VC _does_ play on it!
I would suggest not wasting you money on this one (unless you just want to try to complete your A Brown collection). Stick with the 3 Kingdom Come albums -- all wonderful IMO. BTW, after Kingdom Come, Victor P formed his own band called VP's Kingdom Come in 1975. I have a copy of the first album "No Mans Land" -- anyone know if there was a second?
From: Peter Abusamra <>
Has anyone ever heard of "Chisholm In My Bosom/Dance"? I've read that Brown reunited with Vincent Crane for this. Thoughts? Reviews?
From: John McIntyre <>
_Chisholm In My Bosom_ and _Dance_ were originally two separate albums. Don't remember if Vincent Crane was on either one. I remember _Dance_ as having one moderately interesting cover song (I think it might have been "We Gotta Get Outta This Place") and the rest was dreck. I remember _Chisholm_ as being all dreck. Although I do have to confess I did not give either repeated listenings.
From: "Craig Shipley" <>
RE: Arthur Brown & Vince Crane: Digging through the LP pile, I found a couple of old releases that might be of interest. Both are from '82/'83. One is HEADLINE NEWS by Atomic Rooster. Crane is accompanied by Paul Hammond on drums and some guy named David Gilmour plays guitar on about half of the tracks. Besides signing lead and playing bass & occ. percussion, Crane plays Hammond C.3, Bluthner Grand piano, Prophet 5, Mini Moog & Clavinet. I don't remember much of this release, shows how much of an impression it made on me. Also found one by Arthur Brown called REQUIEM. Pretty bleak synth-doom rock about the final days of mankind, Ironically enough, the cover art is a processed Landsat photo of the Persian Gulf with a cross-hair super-imposed, considering what happened there almost ten years later. Synths include Oberheim, Serge, Fairlight C.M.I., Jupiter 8 and there is a Mellotron on this one. Keys were played by Sterling Smith and Scott Morgan with various and sundry folks handling acoustic and electronic percussion. I think that this one has made it to CD at some time in the past.
From: email@example.com Subject: Re: Arthur Brown
> Gary at the Artist Shop had this on his latest list-anyone familiar with it?
> Compare to his Fire era,Kingdom Come era?-(Arthur Brown and Vincent Crane/Faster than the Speed of Light ).
Ok, so I gave my old Faster than the speed light LP some rotation. (Almost forgot the music). This is somehow unique, orchestrated collaboration between Brown and Vincent Crane on then Klaus Schulze's label IC. Very eclectic but mostly interesting LP. My personal associations going from sometimes zappaesque sometimes wakemanesque (remember his 2nd and 3rd album with orchestra?) vocal parts by Brown and some soul/pop passages reminiscent of soul version of Atomic Rooster. Sometimes sounding like kinda musical, but proggy musical. So again, a good piece of music from 1980, but thinking of all that good stuff around waiting for my money I am not sure if I will buy it on CD. At least not now and not for "normal" price. Perhaps some day when in the mood for little frantic zappa/wakeman/ orchestra/prog-musical stuff with some good keyboard work from Mr.Crane I will.
From: Cesar Montesano <> Date: Wed, 28 Jul 2004 Subject: Review: ARTHUR
BROWN'S KINGDOM COME "Journey"
ARTHUR BROWN'S KINGDOM COME "Journey"
'Time Captives!!' Truly an out of time leap predating techno, 4AD, punk & encompassing all... with a drone calliope trance-induced second cut, 'Triangles.' 'Gypsy' rolls in all majestic like and teutonic as hell, the kind to make Julian Cope's hair and curls stand straight up on end. Like foggin' Ayyy right-o and rooty-tootin'. This album, the earliest (successful) drum machine usage, dating to 1974 backing a seeming progressive rock band (coming off the heels of the dervish whirlwind of "Galactic Zoo Dossier" and "Kingdom Come") proved quite clever to bring out a cosmic krautrocker's heaven vibe over the lyrical guitar work of the English with dollops of synthesizer heaped freshly atop like cherries to boot. Lest we forget, this beast heralds from the pits of hellfire and brimstone gleams with shiny red teeth - a matured delivery croons in a slight wail akin to some of the vocal work done by Tim Buckley on "Blue Afternoon," "Happy/Sad" or tiny bits of "Starsailor." This third cut, is a pretty well sprawling epic of a monster that rides through the edge of the fourth dimension to bring a spacelock syndrome finale to crumble Hawkwind in it's leaden fist and eat us alive like so much Soylent Green as treated murmurs in English flip out like Franco Battiato through a Flamen Dialis Residentzophone Regal Zonocomb shimmering smattering of vocals - this thing climbs like Jumbo on acid vietato any DNA evidence of who did this to you, in the den with the candlestick and its interloping guitar lines like an Alphataurus carrying the heaviest moments of 'Shaving is Boring' by Hatfield and the North and/or the combination of compensatory parts off of Egg's "The Polite Force" like Atlas on their backs... but, oh no, it's not over yet! The drilling continues to churn into a fuzzy guitar cutoff at 9:10.
'Superficial Roadblocks' brings the authority of Gracious! to attack Troy at the orders of Agamemnon von-Hotep with KGB papers.. Then, all of a sudden, you are in an egyptian Lysergodrome being led in to feel Ray Davies as impersonated by Frank Zappa on mushrooms. No joke, kids, the theatricality employed by Mssr. Brown on this rivals the impish complexities of the divided alien himself, Daevid Allen, of Gong fame. The chords strummed here howl with the power of The Who still humming in the background stadiums and Second Hand chirping their chant of "Death May Be Your Santa Claus" when massed choirs of our fabled and favorite Mellotron set the bset for and bring in the ripper to shred the bed with muscle bound strumming and picking a storm frenzy of clearly meant, well-kept, note flurries. What? And then at the end take us inside a church of a wholly wooly elegiac dirge outro, cue the Brainticket!
Next up we have the closest thing to a regular cut ('Conception' clocks in at a princely 2:06) with thick bass lines counter measures against some screeching, calypso drum patterns, and odd bits off the sythnie.. It gets stranger folks! Popping 'Spirit of Joy' off by way of Allman Brothers like family passion we get a wheezing Neu! 4/4 bravado a bit more electrified reverbo-vocaled insane monkey kumquat and guesting Simeon oscillating his Silver Apples thing here and there like Pierre Henry playing a Theremin to his own private Siberian beach, chillin' with Leon and sipping some absinthe, boys...
'Come Alive' has punishing guitars and dueling bass methods has that by the time it gets mid-stride, you realize and relate to the Bentley in all too different manner. The creative usage carries compositions well and supports fine instrumentation throughout. Maybe even a couple measures like T2 off "It'll All Work Out in Boomland" and pensive keyboard bleating melodies ala Angel Rada in his masterpiece, "Upadesa" make themselves present on this tune. At the outset here, we get a nice serving of psychy fuzzed processed guitar over a looming Jonathan Richman-esque string-jangle copping his best Lou Reed expressions. No, it's more than that happening here right as it is almost over. Tweaky vocals bring you in to question the whole trip and then leave you dusted off on the platter in the desert where El Topo shot your Zorro mask off and left you crying in your diapers to hear this amazing ship sail again and again.. did he just do a David Bowie cum Police reggae gumbo jamboree bowl porridge of pleasing you with the right tempered mix of seemingly disparate elements??? Dunno, whoah.