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(More customer reviews)I'm astonished that no other Amazonian has commented yet on IQ's second release, "The Wake;" possibly it is too new of a listing. At any rate I'm DELIGHTED to be first in the pool, because this is IQ's first drop-dead MASTERPIECE, a release that still distinguishes itself as a towering convergence of lyrical, musical and conceptual brilliance. "The Wake" is an early sunburst of genius from a band that has gone on to provide SEVERAL other supernovas of smart-rock illumination, but "The Wake" is where they first brought it all together, and still elicits all the power and awe it inspired when first issued 21 years (!) ago.
I have the advantage of being able to say that I was in on the ground floor with this release. I worked in an independent record store in 1985 and got to hear "The Wake" when we got it in as an import LP. We were already familiar with IQ after their debut album the year before, "Tales from the Lush Attic." My initial impression at that time was that IQ was to Peter Gabriel era Genesis as Starcastle was to Yes; a nimble and earnest imitator enjoyable to us fans but not surpassing the band that inspired them. At this time I also lumped Marillion in the same category (after their 1984 debut, "Script for A Jester's Tear).
But guess what? Marillion came out with their second LP "Fugazi" and IQ issued "The Wake" and now all of a sudden I REALLY had to pay attention, because both bands now had fury, authority and fire that was not apparent on their first releases. Now my attitude was, "OK, yeah, it's derivative, but you know what? I love the bands that inspired these guys and now all of a sudden these "tribute bands" are hauling up huge nuggets from the same mines of inspiration Genesis & Yes had by that time mostly abandoned. So let's stop shrugging Marillion & IQ off and be grateful for what they're creating!"
All side one of "The Wake" is indeed pure gold, starting with the VERY "Watcher of the Skies"-like opener "Outer Limits;" a throbbing bass riff opens and is then overlaid by ethereal synthesizer chords; the synthesizers slowly descend to "land" the flying saucer and launch the full band into the driving organ/drum riff setting up singer Peter Nichol's opening salvo, "rain down the waters, waiting for anything to fall." Guitarist Mike Holmes enters to bring the band up short for a series of harpsichord/organ interludes before relaunching the full band into a series of instrumental flourishes leading back to the opening synthesiser/bass riff, this time with the full band pounding away; as Peter's last vocal line fades, the band itself peels away leaving only the opening bass and synthesizer, this time ascending to silence; the bass however, continues to maintain the pulse of the song, leading directly to the title track "The Wake", still to my ears one of their most incredible compositions in a career disproportionally rich in musical milestones.
ALL of IQ's strengths are in full flower here, starting with keyboardist Martin Orford's clever orchestral opening chords thundering alongside drummer Paul Cook's authoritative bluster; the keys, bass and drums go down the drain together in a descending riff preceding the main theme, a strutting swagger of synth, drum and bass riveting the listener before Peter again takes center stage, "Singing praises was never a feature encouraging me or my kind..." More ornamental chordplay distinguishes the chorus, leading to a second verse sung with even more emphasis and urgency by Nicholls, "I go drifting through the draughting dropping out of sight, I'm not begging for love, I'm empty as I am!" This is punctuated by the first of Holmes' two monstrous guitar solos, each a textbook example of control, economy and emotive force. This first solo whirls over the maelstrom of the main theme, shrieking like a banshee over the verse/chorus instrumental and stepping up to lead us back to Peter, still in full emergency mode, "I'm beginning to wonder is the ability too weak? Does this stark interior surround me, am I so unique?" The track concludes with the opaque but still memorable lines, "I wanted to be magnificent for the less than a lifetime of mine. I forget where I came in, all I know there's no discipline now--"
Synth, drums and bass all ascend to lead us to a plateau where the synth goes solo with a searing wash of chords bridging between "The Wake" and track #3, "The Magic Roundabout."
Much more than an instrumental extension of "The Wake," "The Magic Roundabout" is another full-frontal take-no-prisoners tour-de-force all by itself, kicking off with a drum roll leading to a tight little full-band shuffle winding up to a stroboscopic node of tension as guitarist Holmes floats screaming sustained guitar cries howling over the trio (keys, drums, bass) holding a repeating tight, stacatto tattoo beneath. This resolves to a big major-key blowout, with Holmes leading the band into a relaxed, almost leisurely stroll through a more placid soundscape, where Peter rejoins with his mysterious but nevertheless interesting lyrics, "some day, one day, I will take from the air my only way out; I can't deny the honesty, I want to stay but it's not in me." This section gives way to a nervous, claustrophobic, jumpy transition, "each time you go down, don't forget to remember--everything is easy, most of all believing." This blossoms abruptly into another radiant little rosette of major-key synthesizer reconfiguration, swelling quickly as Paul's drums roll us in to the grand finale, explosive guitar solo #2 from Mike Holmes, dancing madly around, above and below keyboardist Orford's majestic theme to create a second fury of exaltation within the confines of perhaps 10 total minutes.
Experiencing "The Wake/The Magic Roundabout" was (and remains) a premier moment in musical discovery and appreciation for me. This to my ears is artistry of the HIGHEST caliber--a fusion of styles, moods and creative vigor exceptional in its conception and execution. This was truly the moment IQ not only exceeded the limitiations of the prog-rock template they'd cut their teeth on, but indeed, began to levitate on the power of their own creative energy. The word SUBLIME loses force through overuse, but I don't hesitate for a second to assign it here. This is truly one of the highest pinnacles of progressive rock, and ANY listener whose tastes are receptive to the prog rock experience MUST check this out.
The rest of the album has PLENTY to recommend it as well, especially the understated charm of the following track "Corners," but after "The Wake/Magic Roundabout," this listener is truly still gasping for breath, and the remainder of "The Wake" is overshadowed by all the firepower spent so early. Nevertheless, the remainder of "The Wake" is certainly no letdown, with anthemic rockers like "Widow's Peak" and the driving, hymn-like refrain of the closer "Headlong" neatly wrapping up one of progressive rock's unrecognized masterpieces.
I note that Amazon has coupled "The Wake" with their 2003 release "The Seventh House" as a twofer; I STRONGLY recommend that interested listeners unfamiliar with this visionary band go ahead and spring for both. "Seventh House" is to my mind IQ's signature work, a pinnacle I doubt they will EVER equal, and even more worthy of your attention than "The Wake." (See my separate review for "Seventh House" on its own Amazon page.)
I will state it simply: IQ is THE most overlooked band on the planet and deserves your attention and support. Risk $35 on this twofer of "The Wake"/"Seventh House" and see for yourself.
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Originally released in 1985 The Wake is the second album from the English progressive rock legends, IQ. The Wake was recorded in March/April 1985 in London and released that same year.This album features the IQ classics songs, Headlong, Widow’s Peak, The Magic Roundabout, and The Wake. Most of these songs are still a favourite part of the band's live set list. This CD really is a true progressive rock classic. The booklet features new artwork by Peter Nicholls.
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