Review Summary: Another great British prog discover. This is a very charming work.
“Lifesigns” is the eponymous debut studio album of Lifesigns that was released in 2013. The line up on the album is John Young, Nick Beggs and Martin “Frosty” Beedle. The album had also the participation of Steve Hackett, Jakko Jakszyk, Robin Boult and Thijs Van Leer.
Lifesigns is a British progressive rock band that was founded in Leighton Buzzard, UK in 2008. Lifesigns was the brainchild of John Young a veteran keyboardist from Liverpool that had collaborated with some progressive rock bands and artists all over the years, such as Strawbs, John Wetton and Fish, only to mention a few. So, Young had spent the majority of his musical career co-writing, playing and touring with those musicians, as well as forming his own band, The John Young Band in 2002. Lifesigns is a new progressive rock oriented project of him wanting to pay a tribute to the classic progressive rock sound of the 70’s. Beginning in 2010, Lifesigns set about recording over the next two years their eponymous debut album, featuring some guest contributions from some of the best and most known prog artists.
“Lifesigns” offers five long tracks of the finest British progressive rock, which seems to be made of one piece and offer a good balance between song oriented parts and solo parts. Overall, the album is very melodic and the solo parts are integrated in a very project friendly manner. From the opening track to the last, we are treated to an auditory banquet of some of the finest symphonic prog. “Lifesigns” is packed full of modern yet classic progressive rock that focuses on strong melodies and above all the album focuses on songs. And these songs are nicely enhanced by great complex but still accessible instrumental passages and finales. To complete my feelings about it, all songs were written by Young.
About the musicians involved, Young’s classical training is evident throughout, and each track is brimful of pleasing harmonies and lilting keys. Young’s vocals are clear and convincing, but as a keyboard player, who seems to be clearly inspired by Tony Banks, is where he delivers some fine piano and keyboard sounds. The band’s rhythm troupe are the equally convincing Nick Beggs and Frosty Beedle, especially the unmistakable sound of Beggs’ Chapman Stick brings a clear distinction to the album. Adding the presence of the contributions of Hackett, Boult and Jakszyk on acoustic and lead guitars and the unmistakable of the flute contribution of Thijs Van Leer on flute, we have the complete picture.
“Lifesigns” has five tracks. The first track “Lighthouse” opens the album full of some excellent keyboards and guitar, with soft drums keeping pace. It’s a fine bombast rocker that knows how to convince and inspire with its exciting guitar work and complexity, especially in the second part. The ocean and the seagull sound effects are wonderful. The second track “Telephone” is probably the most pop-heavy track. So, it isn’t my favorite. Still, it showcases the qualities of the rhythm duo Beggs and Beedle. It has a wonderful percussion, soft keys, bass, soft drums, and electric guitar, all set to a jazzy 90’s beat. The rest is flowing pop rock, with Young’s calm and beautiful voice enjoying plenty of space. The third track “Fridge Full Of Stars” is a quiet track full of deep bass at the opening, with soft piano and keys drifting over the dreamy soundscapes. It has a small acoustic guitar solo by Hackett and a more detailed flute solo by Thijs Van Leer, but Young’s piano parts are simply classy. It reminds me of Genesis. Hackett had probably a hand with the arrangements. The forth track “At The End Of The World” is another harmonically perfect neo-prog song where everything is in the right place. One or other solo could be a bit longer. It has great piano, keys, soft drums, and electric guitar. Young’s vocals almost mirror Paul Young. It would have fit perfectly well on “The Living Years” of Mike + The Mechanics. The fifth track “Carousel” is the highlight on the album. The tempo, which is otherwise leisurely on the album, is picked up a bit and weird sounds appear in the impressive solos. The soloists again show their greatness on their instruments and evoke the “Genesis’ feeling” of their golden days. It’s the closer and longest track on the album.
Conclusion: “Lifesigns” is a very good album, a well-advised, high quality, but also a well calculated album. It offered to me some very special insights into the amount of care and dedication which goes into to crafting music of such intrinsic beauty and complexity in the progressive rock music in our days. With this album Lifesigns made an incredibly impressive debut album that I can recommend to anyone who is interested in modern, very accessible and yet highly complex classic progressive rock. But, beyond that, this album will also give to Young the long overdue recognition he so deserves. This is a once in a lifetime album for any musician. Having the right people around you to make it happen is also a huge plus. So, all in all, “Lifesigns” is far way of being a masterpiece but represents a very honest work of the melodic progressive rock in our days. Besides, it has an impressive amount of great musicians, some of the classic era.
Music was my first love.
John Miles (Rebel)
