Nic Potter (bass, keyboards, guitar) and percussionist Guy Evans were once in the Psychedelic pop band The Misunderstood but are probably best known for their roles in cult Prog-Rockers Van Der Graaf Generator (VdGG).
Volume One of this duo's side project - The Long Hello -was recorded in 1973 after one of VdGG's numerous splits ( they later reformed) and also featured fellow members of VdGG David Jackson and Hugh Banton.
Volume two is billed as being just Potter and Evans although David Jackson also contributes saxes, flutes and whistles on half of the tracks. In fact, Jackson's presence is so prominent it seems a bit mean spirited to list him only as a guest.
Apparently, an earlier CD reissue had three bonus tracks but this version sticks with the original ten, clocking in at a miserly 34 minutes.
The release comes as part of the Zomark label's project to release Potter's complete back catalogue.
Volume Two includes a pair of joint compositions - Hidden Drive & Indian - sandwiched between five tracks by Potter and three by Evans. All are instrumentals.
The album was mainly recorded at Evans' home and with Potter visiting in between other projects - "interruption was the keynote", say the sleeve notes, and unfortunately it shows.
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Only Evans' three compositions add something a little fresher and more experimental. The tribal drums and tamboo-too flutes on Zen and Aqua Blanca give these tracks a more interesting dimension while Welcombe Mouth ends the record on a nice mellow note. This final tune is a blend of Jackson's fine sax playing with the sound of waves crashing on the stretch of coastline in North Devon which gives the track its name.
When it was originally released in 1981, Margaret Thatcher was two years into her first reign of terror and the album too often strays towards the kind of self indulgent noodling that shows why Punks were right to dismiss Progressive Rock as stale and irrelevant to that political climate.
If you were feeling generous you might call this album a species of Pre-Post Rock but, frankly, it mostly sounds horribly dated.
I feel sure the legion of Van Der Graaf Generator completists will eagerly add this album to their collection, but I am at a loss to know who else it might appeal to.
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