Artist: Colin Tench Project
Album: Hair in a G-String

Rel. Date: 2017-04-16
Genre: Progressive Rock
Label: Waters Records
Source: CD
Type: Album
Quality: VBR, 44.1kHz, Joint Stereo

I keep getting dragged back to this album. I do
believe it's the best album for many years from
anybody. If a single member of many different
early progressive rock bands got together to see
what happened, this might be the result. It is
simply sublime. I see there are a few others who
say the same in reviews, so I thought I would add
my own. There is not one moment on here that I get
bored or the feeling there is any pointless
noodling going on. All of the vocals are brilliant
and that rarely happens on any album. A perfect
combinatoion of songs and pure music ranging from
Beatles, Santana to Piano and almost classical
pieces to classic guitar rock. Didn't this kind of
record get banned 40 years ago? The Opening Part 1
draws you in and Part 4b blows you away as a
finale.

I'm going to straight to the point. It is
brilliant! Everytime Colin Tench is involved in
something I got to have it. It is soooo refreshing
to still be able to find music and musicians that
have an ability to not take themselves 100%
seriously. Except for the obvious talent for
constructing "catchy" tunes Colin and Co. also are
able to put in a huge chunk of humour. It shows
that they are having fun making the album, which
in turn makes it fun to listen to.
The album is very well paced and despite some of
the compositions being quite lengthy, none of them
overstay its welcome. Constant twists, loops and
changes make you feel like you are on a crazy
adventure that can lead you anywhere. That is
something that i find difficult to find in most of
modern music. That sense of discovery, surprise
and excitement. This album has it by the loads.
Even though I enjoy the album and I would put it
on some of the highest of my shelves I think there
is still more where it came from. Can't wait for
the next one, cause they just keep getting better
and better. OH, and don't forget to sit through
the wohle thing cause Part 4b Redux, although
short, might be modern musics answer to Bethovens
Opus 55: Symphony No. 3 in E-flat major ("Eroica")
that we all have been waiting for!

Track Part 4B - Don't miss it! The title of the
album is a take of Bach's Air on the G-String.
While (Unfinished but sweet) is often described in
classic music sheets unfinished suite. This album
as a whole, one can't help but think of Alice
Cooper's UNFINISHED SWEET musical landscape with
explosion of colors taking you to Willy Wonka
Chocolate Factory, to James bond sexy spy
thriller, from the Beatles fun filled tunes and
harmonies, to Nino Rota's latin musical scores,
evolving to a dramatic opera with all the
trimmings giving you Queen with Vangelis
crescendos.
Hair In A G-String opens with Part 1 - The Opening
- Stunning, stunning, song! Acoustic guitars,
piano, keyboards, electric guitars lead in to
"it's time to start the show, sit down,
relax,...", Pete's voice sounds unbelievable, like
Peter Gabriel with lyrics Bowie could have
written. But the best part is yet to come. At
4.33mins Peter Jones saxophone 'OMG', you feel it
starting right from your gut, an absolute stunner,
reminiscent of Floyd's Dark Of The Moon.
Can't see any other way - Beautiful 70's feel good
song, guitars play lead and response to Phil
Naro's amazing 4 octave vocal range and harmonies.
The bass guitar really shines here and Colin lead
guitar at times sounds like a saxophone.
Part 2 - The Hairy Part - A track full of
surprises - most endearing classical orchestration
beginning, goes into full rock mode, changing to
fluttering drumming and deep inhaling guitars,
fast and rhythmic clever, 3mins into the track,
... "bang" Santana arrives... in big way... with a
fantastic samba explosion.
The Mad Yeti - Romantic Spanish Acoustic song,
fast and slow beautiful melodies.
And so today - Homage to Four Beloved Artists we
sadly lost last year. Lyrics make special
reference although not obvious to Sir George
Martin (5th Beatle), Glenn Frey, Lemmy Kilmister
and David Bowie... this song hits a nerve,
emotionally grabbing, leaving lump in my throat,
brings me easily to tears. Besides vocals, Pete
plays clarinet with a touch of Genesis and the
Waltz whereby the acoustic guitar, piano, violins
and bass notes, all complement each other. Colin's
small lead-break halfway through adds the right
beautiful touch.
Part 3 - I'm Going Down - The first part of this
song up to 2.17mins, orchestration, guitars hit
every sensitive nerve, one feels, hangs on to
every note. Then the song takes a Queen turn, May
lead guitars kick in, at 2.38mins Pete vocals come
in, soon turns into a darker Queen Opera, and back
to melodic full orchestration of flowing fanfare
'fom fom fa fom fom fa' accordion to The Beatles
Sergeant Pepper, the last part followed by Pink
Floyd The Wall with my favorite ending Colin's
guitars playing funky chucking notes like Nile
Rodgers to describe it the best I can. N.B.: A
secret backwards message at the end.
Lisa Waltzes Back In With No G-String - Gob
smacking brilliant Waltz! Maestro Gordo
orchestration is huge, Colin's guitars start a
lead and response war, the horns, violins, bass
and drums all join in to produce a marvelous
explosion.
Lisa's Entrance Unplugged - Another big favorite,
acoustic guitars, whistles and the flute performed
by Ian, telling a Sicilian story with a touch of
western, beautiful & touching like Nino Rota's The
Godfather.
Something Old Something New Something Borrowed
Something Screwed - Masterpiece - Exciting
Instrumental song, great guitar tunes, beautiful
lead breaks and magnificent crescendos.
La Palo Desperado - My favorite acoustic track on
the album, Spanish Paso Doble and The Tango.
Exciting full of flavor and raunchy with slower
seductive bits. OlΘ ! And a slight pink panther
tune.
A Beautiful Feeling - Phil Naro vocal harmonies
take you back to the classic early 60's Frankie
Valli and the 4 seasons, a song to be played
anywhere, the soft samba rhythm, slide and lead
guitars added by sweet percussion with shakers,
easy to dance either alone or with a partner.
Dnieper Summer Day - a quirky fast acoustic guitar
track, layers changing and overlapping each
others. You cannot possibly sit still to that.
PART4-B - Favorite ending of an album, The Rat
Pack Sinatra and Crosby with Zappa joining in.
Very clever and funny, Peter Jones and Phil Naro
duet with lead and response guitars joined by big
band orchestration done just right. I have to
highlight the comical middle section with Jay's
drums adding to the whole band having fun.
PART4B Redux - This short piece, I envision Monty
Python and the Holy Grail start of the movie, but
this time they are Minions.

Listening to this album has been one of my very
disappointing musical experiences of the year.
There are many good reviews about it!! So I was
expecting for something really great. I prepared
myself for an hour of great sound, big
arrangements and all I know is a big prog album.
And then it came "Hair in a G string" and I knew
why the complete name has the "(Unfinished but
sweet)" commentary Oh, my boy, IT IS, "Unfinished
but sweet"!!! I will ask Colin Tench. Please why
didn't you finished them all, BEFORE releasing the
whole bunch? To me a prog album is greatly
polished. OK, you got some good tunes here, but
you got to work a lot on them before get a "prog
album" of this stuff. Colin Tench in a very good
musician, he plays guitar virtuously, but that's
not enough to me. In the end, to me this is but a
bunch of pop songs (some with long soft intros):
"sweet but unfinished". I can't rate it as a "prog
album".

Ed Sheehan once said "I can't tell you the key to
success, but the key to failure is trying to
please everyone" but that is not the case for
Colin Tench Project (CTP). Rather than trying to
please everyone the band take detours into a vast
variety of musical styles and this culminates in
an album with surprises around every corner on
HAIR IN A G STRING (UNFINISHED BUT SWEET). There
are Samba and Latin rhythms mixed with extended
keyboard and lead breaks, sporadic passages of
jumpy beats and dissonance merged in among
beautiful pastoral ballads. One song might sound
like The Beatles and then the next launches into a
full blown progressive instrumental. This is the
type of album that grows slowly on the listener.
It's adorned in an attractive artistic cover and
booklet illustrated by Sonia Mota always capturing
life perfectly at the stroke of a brush.
The real highlights are found in the songs with
lyrics so well sung by Peter Jones. However the
instrumental tracks are musical ear candy
especially the Hair in a G String segments. Tench
is masterful on lead guitar making it soar and
dive at every opportunity. He is joined by a
plethora of musical geniuses each adding their own
quirky intervention.
The album opens with a symphonic space suite
sounding like Star Trek and as soon as we hear the
chimes, a wonderful acoustic accompaniment
vibrates into a romantic sonnet. The harp
glissando signifies a new movement and the lead
guitars layer across the soundscape. This is
beauty in a musical format. The vocals implores us
to throw off some clothes so we can begin. It
sounds as theatrical as Peter Gabriel. Peter Jones
has a sweet timber in his voice and it's magnified
by the cacophony of sounds including a gorgeous
sax sound. A great start to the album.
The next track proves that CTP are capable of
radio friendly commercial excellence. They are not
People pleasers: for such people take most
criticism personally; and Feel an extraordinary
fear of rejection. The lyrics of Can't See it any
other Way speak of making decisions and not
allowing one to surrender their lives to the
opinions of others. I love that Beatles sound on
the song; melodic and calm.
Furthermore people pleasers would find it hard to
express their true feelings. CTP certainly know
how to express themselves in musical terms. On the
Hairy Part of the title track they begin to
channel Santana especially the sound of the early
years. I love this and how the band sound like
they are partying. It's a sexy sound with a ton of
tom tom and Latin rhythms.
The Mad Yeti is an acoustic piece beautifully
played with a very relaxed feel. Though I would
not have a chance of getting such a gorgeous sound
from my old axe.
The Sad Brazilian is a masterpiece. The piano
rings with a melancholy sound and an orchestral
sunset hovers over the keys. The hyper relaxed
atmosphere is a dreamscape of symphonic majesty. A
colourama of dark and light augmented by Psycho
strings and cinematic breadth. The loud guitar
crashes through at the right moment. Absolutely
deliriously brilliant.
And So Today I rediscovered from the film clip
scattered on social media. The ballad is sung with
heartfelt emotion by Peter Jones in a graveyard.
It signifies the passing of musical legends such
as Lemmy. A very emotional detour in the album.
I'm Going Down is the third segment of the title
track. It's a multi tracked song that becomes an
instrumental. This one veers into all sorts of
directions from Gentle Giant madness to Pink Floyd
to Captain Pugwash accordion then into Because by
The Beatles. It's as if a musical shop exploded
and the instruments took off by themselves to play
their own private gig. It's surreal in places,
backmasking at one point, and is the band in an
experimental mood. When they're unleashed they are
at their best. A ten minute mini epic and one of
the highlights of the album - its goodity goodity
good.
Another instrumental follows with Lisa Waltzes in
with no G String. This Lisa has appeared on past
Tench albums so it's a familiar thing. A lot of
fun as we are treated to a cinematic waltz with a
Tarantino western feel.
Lisa's Entrance Unplugged is a medieval
Elizabethan melody. This is followed by Something
Old, Something New, Something Borrowed, Something
Screwed, an instrumental that encompasses a
variety of musical styles that are striking when
you hear them. There's a tribute to The Wall era
Pink Floyd, The Beatles, The Eagles, and others
less obvious. Tench's lead guitar is wonderful on
this track and the harmonies blend perfectly in.
We venture into Spain next as if Red Dwarf's
Riviera Kid were about to make an appearance. This
is followed by a song sounding as radio friendly
as The Eagles Lying Eyes. It's actually a dang
good song and well sung. I reckon Peter Jones
would be a good lead singer for an Eagles tribute
band.
Where to from here? An acoustic instrumental that
is a glorified sped up version of Hotel
California. But it's fun, short and I love the
chord structure so I'll let them get away with it.
Part 4b opens with a nautical feel then really
powerful lead guitar tones and a proggy song, with
theatrical touches and extreme humour a bit like a
Monty Python satire. It makes me laugh so I'm okay
with the downright silliness. Where did these
violins come from? Good question guys. The
nonsense lyrics is a send up of the medium and why
not? Zappa would approve. The Bathory death metal
roar is killer but is soon ended with a Fishermans
Friend. I'm not kidding. The odd time signature
follows and the music spreads out into a nice
piece. They still need to close off the show and
impress the fans so it's time for some more
arguments before a brilliant lead break with a Wah
Wah pedal. It soars heavenly and launches into the
stratosphere. I'm already sold by it all but then
it takes me on a speed metal detour but it's
damned too short. Back to the medium pace melody
and duel lead break showcase. What a nutty and
enjoyable romp.
The redux to follow is like Devo got hold of the
album and added their own quirkiness.
Contentment doesn't come when we have everything
we want but it comes When we want everything we
have. TCTP absolutely nail every track on this
album. We want to hear these tracks even though we
don't realise it till the album is playing so we
become content with it. Every time I put it on I
am surprised at its diversity and how it manages
to deliver so many pleasant musical experiences.
It's a new approach to prog, ambitious and daring,
but when it's played to perfection and with such
passion it leaves little room for us to critique;
on the contrary we can only sit back and bathe in
the instrumental pool of delights.

Wow,The Colin Tench Project Hair in a G String (
unfinished but sweet) is my absolute favourite
album of 2016. The musicality of the whole album,
every track different yet the genius that is so
obviously Colin Tench shines through every guitar
chord. Can't see it any other way i think is very
much influenced by the beatles ballads, then Part
4B has hints of the Beatles once again but in a
completely different way, i hear i am a walrus in
parts, the vocals by Peter Jones and Phil Naro are
great. Lisa's entrance unplugged is a fantastic
instrumental it makes me think of Robin Hood and
Maid Marion. There's also a Spanish flavour to
Dnieper Summer Day, another excellent piece. There
is something on this Album for everyone. It's been
so cleverly put together by someone who loves what
he's doing and it comes through in his music. And
so, Today and A Beautiful Feeling are truly
beautiful songs, wonderful lyrics accompanied by
an amazing musical arrangement. Anyone who listens
to this album will be blown away, the name Colin
Tench should be up there with the best, his music
will put a smile on anyone's face, for many
different very clever reasons.

Colin Tench, that progressive rock artisan who has
sufficient strength to season it with sounds
distant to the genre, releases a forceful and
elaborate work baptized from the beginning as a
progressive music album. And it is not entirely
false, but not true either. It is true that the
structure presents itself to us as a concept of
elaborate music, which is not missing, nor
lacking, the progressive foundations that the
British musician residing in a world of Vikings
dominates in such a particular way; but it is also
true that, despite being structured as a concept
album, Colin's emotional and intimate element has
slipped through at breakneck speed for a rich
record of nuances that plummets, with that retro
sound that only Colin seems to dominate, into an
end product that not only pays homage to Pink
Floyd or Genesis, but also to the Beatles or ELO,
and to a large extent Santana, to name a few of
the influences that feed Tench's musical soul. And
it's that the exquisite set of progressive music
of this incomplete but sweet 'Hair in a G-String'
(note the irony referred to Bach), feeds itself,
as interludes, on compositions as personal as the
mastery of its composer. In this album, I repeat,
we can attend a stage filled with an imagery of
elaborate music, reminiscent of his other personal
project, Corvus Stone, but we can also place
ourselves before the naked soul of the artist full
of references to the classics, to television
tunes, to the Beatles, to Chicano sounds, to
orchestral movements, to the intimacy of his life
and his personal experience, definitely. A father
and his son, neither more nor less. An excellent
Music exercise, with capital letters, that wraps
the listener from beginning to end and that has
nothing to do with the cited project, in group
format, which is Corvus Stone. We are facing the
compositional crowning moment of an artisan whose
craft is imagination and melody. We are facing the
personal revelation of a musician who lives by and
for the music and who does not care, at all, to
undress metaphorically before a listener who will
appreciate the enormous effort of a work born from
the heart. A work cared for with great care and
executed, apart from the huge cast of musicians
whose talent is dispersed throughout this great
album, with the delicacy, professionalism and
energy of someone who knows what he wants. We are
presencing, in a rationed but firm way, the
consolidation of one of the musical and
progressive pillars of the 21st century. Colin
Tench is that friendly and effective mainstay of a
genre that cries out for a regeneration that isn't
lacking details and essences that enrich it once
and for all. Colin Tench in the seventies would be
a consecrated musician today, but the best of all
is that we can be witnesses of this confirmation
in these dangerous times for a progressive genre
that, more and more, shows lack of emotion,
technique and feeling. From the darkness of
self-production and the underground emerges an
increasingly powerful light that announces, like
this 'Hair in a G-String', a new future full of
hope, a horizon of events that will drag us
towards the primitive and true condition of the
progressive genre. Colin Tench is one of those
flag bearers. The reason is simple: he is a
musician with soul.

For those who maybe don't know Colin Tench, I
should say that he is a very talented and skilled
musician, who is involved in various bands and
projects, such as Corvus Stone for example. I knew
Colin and his skillful guitar playing from his
previous works with Corvus Stone, but this solo
album came as a surprise to me. I have no
intention to get into details for every song,
because to be honest, 99% of the times I just put
the CD and let it play. It is one of the best
releases of 2016 without a doubt, and that is
proven by the No.1 position at the Prog Archives
albums chart with the best releases of 2016. As
Colin told me a couple of days ago when we were
talking on Skype, one of his most beloved bands is
The Beatles, and that is something that is rather
obvious throughout the album. One can find enough
influences by The Beatles among a few other bands,
like Pink Floyd for example. The song Can't See it
any other way sounds like it was taken out of The
White Album, and the small passage of ''Because''
at the start of Something new, Something old?
makes me chill every time. There were many
musicians that participated in the recordings, so
further than Colin and the 6 musicians that worked
on this album, there are also 16 more that helped
as guests; playing a very big variety of
instruments, like flute or violin for example. But
further than each person's personal taste in
music, the important thing is that Hair in a
G-string is a well-structured album, with emphasis
on the details. And you know what? All these
simple and small details are making a big
difference finally. Based on the 6-7 times that I
listened to the album so far, these are my most
beloved songs: Hair in a G-string Part.1, Can't
See it any Other Way, The Sad Brazilian, And So
Today, Something Old, Something New, Something
Borrowed, Something Screwed, and the fantastic
Liza's Waltz with full orchestral arrangements,
that is a bonus track. The album is available for
download on the artists Bandcamp page, but further
than that it will be available in CD near the end
of November. Give yourselves a favour, and buy
this really beautiful album! You will not regret
it! Highly Recommended! My Rating would be: 4.5
out of 5.0 stars. P.S: Because I can't rate it
with 4.5 stars, I will give 5.0, in order not to
downgrade the very good ratings the album has so
far.

I have been listening to Colin Tench's past works
and I have always enjoyed it very much, even
rewarding it with five stars. That is a testament
to a young man's brilliance and ecclecticism,
because that is his forte. Tench seems able to
play any genre in a convincing way and ever
evolving. In a progressive sense that is true
strengths. When I learned that he was involved in
a new venture I was intrigued and happy to review
it. Since I loved Corvus Stone II so much I was
fearful that I would not like this as much. I was
proven wrong.
Let me tell you, the opening track is such a
gentle piece and holds a spoken "Welcome to the
show". This section of the song, with a soaring
sax-solo is one of the most beautiful passages I
have ever heard. Breathtaking. The next track is a
very melodious one which brings Beatles to mind.
And then it hits you, "Hair in a G-string part 2".
Santana and latin fusion. It's a vivid celebration
to music and creativity. Part 3 of this suite is a
folky nod to the 70's, I think, and is great.
Apart from the folky nod there is a fantastic
section of free-form characcter, a powerful
workout and a intriguing soundscapes. I love this
song.
"Something old, something new?" is a track in
sections with outstanding playing and a guitar
that is unbelievable. The opening nod to The
Beatles (copying the intro to "Because" is simply
delicious.) And the we head into the Wild West on
"La Palo desperado" before "Part 4 b" starts
summoning all the pieces together in a magnificent
epic and soaring fashion. And then there's the
bonus track, "Liza's waltz" with full orchestra.
Pompous and overblown and as such stunning.
Of all things I have heard from Colin Tench this
is by far his most progressive work. He throws all
and any into the pot making "Hair in a G-string" a
collection of outstanding beauty and power,
blending his hardrock tendencies with folky
intricacy, progressive outbursts and expeditions
to any part of the world, fusing all above with
latin jazz-rock worthy of any and all of the
greats. It's whimsical in just the right sense and
that makes the music even more endearing.
It need to be said that though Tench is the
mastermind he surrounds him with, just as he
always do, outstanding brilliance in his entourage
of fellow musicians. If I was the emperor of the
world, which I'm clearly not, I would prompt for
all to listen to this album. It is a crowning
achievement of 2016 and I urge you to listen.
Brilliance on a plate.

1. "Hair in a G String (The Opening) Part 1"
(6:25) is a very dramatic opening (an overture?)
with quite theatric music supporting Peter Jones'
eventual narration singing drawing us into the
story (album). It's like the narration of the
experience of writing and listening to a concept
album 'show.' How self-aware is this
writer/narrator/composer/performer! One of my
three favorites from this album. (9/10)
2. "Can't See It Any Other Way" (4.36) a little in
the countrified vein of the early EAGLES or GEORGE
HARRISON/BEATLES-like tune. A well-recorded and
-constructed homage to the music of the past but a
little too over the top for me. (7/10)
3. "Hair in a G String (The Hairy Part) Part 2"
(6.04) continues the "suite" theme that began with
the album's opening song. This one feels very
cinematic, like a lot of the Corvus Stone stuff.
Very Spaghetti Western like (except for the
drums--which are rather lame) with at least three
distinct parts, the third of which is completely
old-school SANTANA. (8/10)
4. "The Mad Yeti" (2:54) is a guitar instrumental
with at least three or four tracks devoted to
acoustic guitars. Not far from an Anthony Phillips
piece. I like to imagine Colin sitting by a fire
in the fireplace while recording each of these
tracks. (8/10)
5. "The Sad Brazilian" (7:20) This happens to be
one of my favorite songs on the album--as much for
the wonderful use of orchestra and piano as for
the wonderfully cinematic soundscapes painted
herein. Even Colin's electric guitar flourishes
are contained and restrained, yet they pack the
perfect punch. (9/10)
6. "And So, Today" (4:12) is a beautiful tribute
to four rock'n'roll greats that passed away in
2016. Great encrypted lyrics delivered with such
beauty and respect from singer Pete Jones. Another
of my three favorite songs here. (10/10)
7. "Hair in a G string (I'm Going Down) Part 3"
(10.09) opens like a classic ROY BUCHANAN song,
orchestra and all. Then, at 1:10 the guitar sound
choice shifts into sustained overdrive to give it
a more modern sound. At 2:25 there is a shift in
mood to more Southern Rock--over which the
theatric vocals of Pete Jones are delivered. The
dreamy "feels so good" part at the five minute
mark is pretty--as are the guitar and keyboard
solos that follow. Accordion's presence gives the
song a little beer hall feel. The song is starting
to feel more PINK FLOYD/DAVID GILMOUR-esque here
in the seventh and eighth minutes. Unfortunately,
I find the premise that trimmed pubic hair is more
desirable than the alternative to be a sad
reflection of our paranoid, over-sanitized,
youth-obsessed first world society. (9/10)
8. "Lisa Waltzes Back In With No G-String" (3:53)
is a solid instrumental with another Spaghetti
Western cinema feel to it--(this time especially
the drums). (8/10)
9. "Lisa's Entrance Unplugged" (3:09) An oddly
titled song for such a beautiful medieval folk
song. One of my three favorites. (10/10)
10. "Something Old, Something New, Something
Borrowed, Something Screwed" (7:32) The title here
refers to the many themes from old classic rock
songs that Colin here borrows and varies,
including the BEATLES-esque opening upon which the
song is founded. (As I said in the opening to this
review: "Colin is feeling nostalgic.") To my ears,
it is the Eagles, Pink Floyd, and The Beatles that
are most represented in the collection and
juxtapositions of the riffs I hear. Quite probably
Colin means this as another tribute to the
recently deceased heroes of rock history. Colin
puts on display some wonderfully emotional guitar
and melodic wizardry in his expression of these
familiar themes. (9/10)
11. "La Palo Desperado (5:54) is pure Spanish
guitar play--as if King Henry VIII's court with
his first wife, Isabella of Spain. Nice concert
material--though perhaps a bit drawn out. (8/10)
12. "A Beautiful Feeling" (5:58) sounds like a hit
crossover song from the mid-70s--could be from
Glenn Campbell, Charley Rich, Leo Sayer, Ronnie
Milsap, the early Eagles or even The Greatest
American Hero or Grease. Actually a pretty good
song! Let's get it some AM radio airplay. (9/10)
13. "Dnieper Summer Day (1:38) is a multiple
acoustic guitar piece that though essentially
Spanish in its feel, purports to have something to
do with Russia--though it's really a variation on
The Eagles' "Hotel California" chords and
melodies. (8/10)
14. "Part 4b (7:56) is stable rock set up for a
humorous vocal drama between musicians, composers,
lyricists, and singers. They really do camp it up!
IT sounds like it could come out of a music studio
version of The Rocky Horror Picture Show. For the
first three minutes it's quite fun, then it gets
weird/silly in a Tim Burton-kind of way (despite
Colin's excellent guitar soloing). Then, at 5:28
it threatens to become a heavy metal song, only it
doesn't. The vocals disappear and Colin goes on
doing his bluesy electric lead solos (in multiple
channels/tracks). The orchestra joins in at the
end in a kind of Quadrophenia kind of way as the
narrator brings the comicopera to an end.
Entertaining! (9/10)
15. "Part 4b Redux (0:23) is a brief dance hall
version of the chords and comedy of the previous
song.
There is so much nostalgia present in this album I
wonder what Colin is going through (on a personal
level). I appreciate his commitment to and
reverence of these heroes and influences of his.
Where Colin's music here lacks in comparison with
his last Corvus Stone albums is in the up-front
show of virtuosic flair in the electric guitar
department. The man is an electric guitar god, so
why not exploit it! I mean, there are only so many
albums that one can put out in a lifetime (unless
you're Buckethead, Sun Ra, John Zorn, or the Acid
Mothers Tempe), so let's flaunt it! For posterity!
One last thing: While I comprehend Colin's rather
clever pun-manship with potty humour topics, I'm
not necessarily a big fan: There's always a little
too much implied misogyny (or male locker room
attitude) involved for my comfort. Still, the man
is nothing short of a genius! And a mega talented
one, at that!
A 4.5 stars album; a near-masterpiece of
progressive rock music--and a genius piece of
music drawing on, but making all his own, the
riffs and melodies of past masters.

1.  Hair in a G-String Part 1 (The Opening)   6:27
2.  Can't See it Any Other Way                4:37
3.  Hair in a G-String Part 2 (The Hairy      6:05
Part)
4.  The Mad Yeti                              2:55
5.  The Sad Brazilian                         7:19
6.  And So, Today                             4:12
7.  Hair in a G-String Part 3 (I'm Going     10:10
Down)
8.  Lisa Waltzes Back in With No G-String     3:53
9.  Lisa's Entrance Unplugged                 3:10
10. Something Old, Something New, Something   7:33
Borrowed, Something Screwed
11. La Palo Desperado                         5:55
12. A Beautiful Feeling                       6:00
13. Dnieper Summer Day                        1:39
14. Part 4b                                   8:01
15. Part 4b Redux                             0:23
78:19