Biography
Cressida is one of
the quintessential bands from the early British symphonic prog
scene. Both albums are excellent, but it is their classic
second, Asylum, which is the arguable apex of a scene
also represented by the likes of Spring, Fantasy, Gracious!
and Beggars Opera. Both albums were released on the legendary
Vertigo label originally, like many a classic of the period,
and have been kindly reissued on LP by Akarma Records, as well
as in the more accessible CD format by Repertoire. After
they broke up, drummer Ian Clark went on to play in Uriah Heep.
- Greg Northrup
[March 2002]
Cressida
(1970)
Though not as
brilliant as its follow-up, the seminal Asylum, Cressida's
self-titled debut is sort of what one would expect their first
album to sound like. The band's style is certainly not
quite as developed or unique as it would come to be, there is
less instrumental interplay and the compositions are not as
ambitious or complex. Still, Cressida is great
for what it is. The tracks on the whole are shorter and
more focused, heavily built around subtle song craft and a typically
exquisite melodic sense. The expected amenities of early
British style are certainly present; delicate vocals, gobs of
organ and acoustic guitar, as well as a knack for soaring, fuzzed-out
electric solos.
The overly poppish
aspect may be a slight turn off at first, but there is plenty
going on beneath the catchy melodies to keep things interesting.
"Winter is Coming Again" impresses with some stunning organ
solos, but the album really starts heating up towards the end,
as tracks like "Lights in My Mind" and "The Only Earthman In
Town" are blessed with some of the most infectious melodies
on the whole album, a winning streak further sustained on the
melancholy "Down Down", perhaps the finest cut here. All
in all, while this album may be no Asylum, its certainly
a recommended platter of great early British rock.
- Greg Northrup [February 2002]
Click
Here for Tracklist and Lineup Info
Asylum
(1971)
Simply put, Asylum may be the best album to come out
of that school of early British symph also comprised of the
likes of Gracious!, Fantasy and Spring. This is very beautiful,
melancholy and for the most part, mellow stuff. Asylum
is atmospheric and morose, yet with a singularly British personality
to it. You can literally taste and smell the colors of autumn
while listening to it. "Munich" is a fabulous track, with some
absolutely gorgeous orchestration that sounds like authentic
strings to me, and not mellotron, though not credited as such.
This kind of orchestration makes frequent appearances throughout
the album, adding texture to some already beautiful songs. All
the tracks are for the most part built around the very pleasant
vocals, though there are moments when the band stretches out
and engages in some intriguing interplay. The whole affair is
awash with tasteful piano, softly pulsing bass and an occasionally
biting and ferocious Hammond organ assault when the band builds
up the intensity.
This is
an album whose atmosphere will have a slow but sure effect on
the listener, like most great prog albums, its full emotional
potential should be slowly realized. Most of the tracks are
short melodic ditties that definitely stick in your head, except
for the aforementioned "Munich" which allows the band some free-reign
jamming, and the epic centerpiece "Let Them Come When They Will"
during which the band experiments with a number of dynamics
and some phenomenal melodic themes over a 12-minute stretch.
Overall, this is a flawless album of subtle beauty and understated
grace. Definitely a classic.
- Greg Northrup [2000]
