new horizons
'Poles Apart' is the third album release from Root, a.k.a. David Kendall who writes the lyrics, composes and plays the music, records and produces the albums - as well as providing his own artwork! He has built upon the foundation of the previous two albums and created a full, rich melodic sound that does not suffer from, what was my main criticism of those, the overt drum machine sound.
The CD is attractively packaged with a glossy covered booklet which devotes a page to the lyrics of each of the nine songs, the background of each page containing a colourful yet unobtrusive image pertaining to the lyric.
The album begins with 'Kim' (8.03) which is ushered in with gentle melodious sounds over which spoken voices can be heard. Strong guitar work breaks in and leads up to the vocals which vary in intensity and pace and the instrumental outro finely balances a whole host of differing sounds ... a nice start.
A sweet keyboard sound open 'Perfect' (4.00) which, musically, is comparable to John Young's solo sound. Multi layered vocals sit above a soft yet lush background ... fabulous.
'Poles Apart' (4.51) starts with a sparser backing, but the sound soon builds up behind the Floyd-ish vocals. Robust guitar work accompanies the chorus, blends into the instrumental break, fading away at the song's end.
The start of 'Should've Known' (5.34) is much more up tempo with strong guitar work. This is a harder edged, rockier number than anything that's gone before and features some fine guitar playing throughout.
An extended peaceful and tranquil instrumental begins 'Blind Faith' (5.09) which has an elegant and polished sound with lovely vocal harmonies in the chorus.
'All That He Could Be' (7.45) is a laid back, slightly melancholy number with a very atmospheric sound which is very effective. Features some nice Garson-esque piano work entwined in the lengthy, yet enjoyable, instrumental outro.
The upbeat song 'Natural Gift' (6.17) comes next. The lead vocal on this one is slightly harsher and is contrasted by the balmy and harmonious backing vocals. A fine guitar-led instrumental break leads to a final chorus and the abrupt ending.
The penultimate track, 'Only You' (7.27), is a love song with lashings of multi voiced harmonies in the chorus. The piece commences gently and slowly builds to the pure and clear guitar solo towards the end.
Finally, 'Brightest Star' (9.59) which starts with an acoustic guitar intro into 'part I' which has a pure and sweet sound with gentle harmonies. 'Part II' is heavier and more intense with strong keyboard and guitar work and richly layered vocals. 'Part III' is calmer with a benign piano sound, sublime vocal harmonies and a smooth opulent guitar playing ... all in all, a totally fabulous ending.
David has excelled himself with this album, creating a variety of moods within the songs, all of which are very well executed. For those who have enjoyed his first two CDs, this is a must have. If you haven't yet heard the distinctive Root sound check out the web site which contains some sound bites and details of how to buy this album - it is excellent value for money too!
Marisa Hill new horizons 22/10/2000
DPRP
A highly impressive release, considering the fact that only one person is responsible for composition, artwork (although I am not too impressed by that), playing all the instruments, vocals, production etc. In fact, I wasn't even aware of that initially, only by reading the sleeve notes I found out about the fact that this is a solo production of David Kendall.
The opening track Kim of what is already the third album by Root, starts with some Floydian synth tunes and voices, but soon it goes into a Marillion (Hogarth era) type of power sympho, combining the dynamics and sensitivity of an album like Season's End into this track. Some excellent solos on both keyboard and guitar are of course the obligatory ingredients of a track in this style.
Perfect is a ballad, a bit in the Frankie Goes To Hollywood - Power of Love style. I quite like this type of power-ballads, and this is just a typical example of that style.
Poles Apart is on the other hand more of the lullaby-type ballad, reminding of the latest Flower Kings or again Marillion, with a Floydian (Division Bell type) interlude and an extremely long fade-out. Should've Known is one of those eighties sympho tracks, which were then produced in masses. You know, these uptempo, sort-of-happy songs. Blind Faith sort of continues this style, vaguely reminding me of Yes or ABWH.
The next track, All That He Could Be, again prolongs the style which by now becomes a bit annoying. A bit more variation would have been in order here. The excellent use of keyboards is worth mentioning though. The track finally gains some momentum at the end with a Gilmouresque guitar solo. Then it's back to Marillion again with Natural Gift. Even the voice of David Kendall is not unlike Hogarth's at times, but with a rockier edge. Right on time a slow interlude starts, too bad this only acts as a foreplay to a guitar solo of the same melody line as the main one, which makes it a bit less interesting.
A U2 like slide-guitar opens Only You. The vocals are a bit reminiscent of Bon Jovi in this rock-ballad. The result is a commercial track which might do well in terms of airplay, but may be to cliché for average prog lovers. Brightest Star opens with a Dire Straits like acoustic guitar, in the style of a lullaby. Slowly it builds up to a climax with some nice bombastic keyboards and guitar work. I suspect that the drums are electronic as is probably the case on the rest of the album as well, but it never gets really annoying. The rest of the track dies down a bit though.
All in all an impressive release, and definitely worthwhile for any record label to pick up. I think that, with the right people around him in a band, Kendall will be able to produce some high quality works in the future. I do hope he will leave the artwork of the covers to others, though, because initially I thought I was send a Hip Hop album to review.... If you are looking for something independant to add to your collection and you like the eighties style of prog, check this out! CD's can be ordered through the Root website.
Conclusion: 7+ out of 10. DPRP
Wondrous Stories
This is the third album to be released by David Kendall under the name Root and like its two predecessors it is a solo project with David writing, singing and providing all the instrumentation.
His debut Dreams of Green established him as a name to watch in progressive rock circles and Follow the Dawn continued the good work with a continuation of his Pink Floyd inspired rock. Poles Apart sees the development continuing as David explores his own style and the Floydian feel is much less here. The one constant is his incredible musicianship and he proves himself yet again to be a true master of the guitar solo. His keyboard work is exemplary and I still find it difficult to believe that this can be the work of one man. It's just not right that anyone can be so talented! Poles Apart is a truly classy progressive rock album and David just seems to get better as a songwriter and he is at home with the short 4-minute track as he is with the 10-minute epic. He seems to have the knack for what a song needs and he is never guilty of over-egging the pudding. From the opening gentleness of Kim, the blistering All That He Could Be, the inspiring Only You through to the epic closer Brightest Star this album does not contain a weak track. Demonstrating impossibly I would have thought that Root and David Kendall just keeps on getting better.
Terry Craven Wondrous Stories
The Light
upbeat, atmospheric, guitar-driven style of progressive rock;
Kendall's voice is full and soulful, sometimes reminding of a more energetic David Gilmour or a slightly higher-pitched Steve Hogarth;
His guitar playing is at times also reminiscent of Gilmour,
Kim" is quite an impressive statement with which to begin "Poles Apart."
followed by the delicate, airy "Perfect," a moving number which would be an ideal single....fantastic.
The album's title track is a sometimes trippy, yet ultimately quite evocative number
"Should've Known" is a stuttering, supremely uplifting number".....a deeply emotional track that superbly showcases Kendall's stirring vocal style and soaring guitar work.
Blind Faith" begins with a spacey guitar section that evokes images of Steve Howe's more transcendental work, and ultimately evolves into another beautiful, uplifting track
"All That He Could Be" is an atmospheric, emotional extended track
"Only You" is a piano- and guitar-driven ballad that captures its soul amazingly well....deep, soulful vocals on this track are actually somewhat reminiscent of Jon Bon Jovi's,
"Brightest Star," an uplifting three-part suite....reminds of early Enchant.
the production on "Poles Apart" (by Kendall, natch) is simply astounding -- everything is crystal clear and even the backing vocals sound perfect. The keyboards are sweeping, the guitars are cutting, and the vocals have just the right amount of echo to help to convey a mysterious, etherial air.
this album is a first-rate, classy production by a truly gifted musician who has a great deal to say. Expect great things from David Kendall, whether on his own or in a group, and do yourself a favor by getting in on the ground floor with "Poles Apart."
The Light
excerpt from a review, translated from german Progressive Newsletter
. . . overall a nice album with elements ranging from Pink Floyd inspired music, neo progressive rock to slight soft rock touch. Most of all I like the varying sounds and moods created by the guitar.
When listening to the album from beginning to the end, the later songs are for my ears the stronger ones, creating a more diversified atmosphere.
Progressive Newsletter
Proglands
Oh boy ! How can I describe this music. It's really not easy. Root began in Leicester, England and is a one man band, David Kendall who plays all the instruments and does the vocal parts. Because he plays progressive music, Kendall knew the difficulty of playing this type of music in pubs, so he decided to do more studio work produce his own albums. Yes the album is done entirely by Kendall, including making of the booklet (a true work of art); it's a success and much better like he says himself. The music in here is prog-rock with some elements coming from PINK FLOYD circa "Atom heart Mother" or "Meddle"(1, 3). The vocals remind me of SPOCK'S BEARD and DAVID GILMOUR (8), a blend between those two + his own rendering on some songs, and surely many more influences as hard-rock (Guitar in all songs), blues rock (1), psychedelic rock (6), some spacey elements (6), Ethereal Keys (2) and a few adult-pop trends (2, 3). That's what I found in this beautiful album and all this in a hard-rock format mixed with elements of DAVID GILMOUR solo albums. Recommended, that's a nice bet. CIAO See you.
Denis Taillefer Proglands
First Light
Under the name Root, English multi-instrumentalist David Kendall delivers atmospheric and well written music with its roots (no pun intended) in the neoprog vein. At times it does however lean more towards AOR or even pop than prog, but it can also become rather symphonic. In other words it has a little bit of everything. Any exact musical references are hard to find even though it´s pretty familiar territory overall. I guess in terms of prog-bands the music can be said to resemble bits and pieces from any of the following bands: Hogarth-era Marillion, later Pink Floyd, Pendragon - circa Fallen Dreams and Angels (just listen to Should´ve Known), Machiavel and Spock´s Beard. Not a bad set of bands to be compared to is it? Also for those of you into Bon Jovi (What! No one!?) I am glad to inform you that Jon Bon Jovi (I´m sure he isn´t aware of it himself) is singing on Only You, even though it says Kendall does all the work on this cd...
Despite the fact that, as I said earlier, this is pretty familiar territory the music remains fresh and interesting and the compositions are certainly strong enough to make one come back for more. The guitar and keyboards dominate and they are both well played. In addition Kendall´s voice is also very good which makes it even more enjoyable. To me there really isn´t much to complain about here. If I have to find something to complain about it has to be the fact that you have probably heard it many times before in another shape or form. The musical ingredients are all very typical for this type of music, even though the end-recipe is fairly original. But then again this could be said for most of the music produced, not only in the prog-genre. All I´m saying is that if you´re looking for something entirely new to explore, then perhaps you better look elsewhere.
In my view this is an enjoyable album and one I can easily recommend to fans of any of the abovementioned bands, or fans of neoprog in general.
Good work David!
First Light
Progressive World
Root is David Kendall (as in, he plays all instruments and does the vocals). But if you didn't know that and merely heard the music you'd think it was Steve Hogarth. Though on the first track, "Kim," Kendall also sounds a bit like Bryan Adams, overall, it's Hogarth. Even more so, much of the music on this album is very much like Marillion circa Afraid Of Sunlight and This Strange Engine. "Perfect" echoes "A Thousand Faces," musically at least, although there are a few words here and there that can be heard in both tracks. Okay, this isn't a selling point to those who dislike Hogarth - for whatever reason. But knowing that I do like Hogarth and Marilllion, this isn't a bad thing for me. Interestingly, for the most part Kendall's guitar playing is nothing like Rothery. Thus he creates the Marillion effect mainly with atmosphere and mood; the exception to this is the guitar leads on the closing track "Brightest Star" (the second best track here), which are somewhat Rothery-esque. The acoustic guitar sections on the track are more in the style of Steve Howe, however (Steve However?). Every once in a while, echoes (no pun intended) of Pink Floyd creep in, though they are very covert.
The title track is an energetic, big track. One of those defining statement kind of songs -- the one released as a single that everyone gets up and sings along with. Stepping away from the Marillion aspects, this is more like a sweeping roots rock piece, a country rock piece where the rock element is stronger than the country element. I personally don't care for Kendall's vocal performance here, and not just because he doesn't sound like Hogarth in this instance. But, otherwise it is an effective track.
Interestingly, the most overall effective material is when Kendell sounds the most like Marillion/Hogarth. It seems a much more comfortable place for him, that in trying not to sound like Hogarth (presumption on my part), he loses focus. It sounds like a strange thing to say, I know. But I get the sense that he just happens to sound like Hogarth and that to try for some other vocal effect is...well, the focus becomes that rather than on performance or communication. For example, the two tracks that follow "Poles Apart" are much stronger overall. "Blind Faith" and the one that follows it, "All That He Could Be" remind me of This Strange Engine's title track and "Memory Of Water." And yet, they are quite different from each other -- the former is rumative and thoughtful, the latter building into a mellow rocker -- guitar solos and all. There is a strange, flat and tinny bit of production during the solos, some instrument (not sure which exactly) have a very high, dry wheeze. But perhaps not noticable if you aren't putting the CD under a microscope -- I know I didn't until getting down to the "fine tooth comb" stage.
While the sentimental (and yet not corny) "Only You" follows a by now familiar power ballad format - calm first verse, build up for the chorus carrying through to the rest of the song - this is still a very nice track and one of the best on the album. Along with the Hogarthisms, and the bit of Adams, there are a few seconds where I thought of, of all people, Bob Dylan. Kendall plays one of "those" solos -- notes lovingly extended, reaching, soaring and singing.
The album ends on the three part "Brightest Star" which opens with a gentle and lilting acoustic guitar passage (Howe-esque), "Part 2" is much rockier, electric guitar driven passage, and part three comes to a point in between -- mid-tempo (structurally, "The Great Escape" came to mind, even if sonically this sounds nothing like it; "Part 1" and "Part 2" did remind me of "Made Again," though).
By the way, Kendall is another one of those artists with multiple talents, as he also did the album artwork and design. Too often when the lyrics are printed, the background artwork swallows up the text, but Kendall had the good sense to make the backgrounds less opaque -- more like a watermark than a background - so one gets the illustration and the text. So very high marks for this. (Credit production to Kendall, too, which is excellent).
Poles Apart is Kendall's third album, released in November 2000 (though I'm certain I've not had it here that long). It is, overall, a very good album, though not all aspects work for me. And yet, if you miss that mid to late-90s period of Marillion, this will fit the bill.
Stephanie Sollow, February 2002 Progressive World
Prog Visions
Root is another sample of the strength and constant pushing of the progressive musicians that want to let everybody know about their work, following their influences and not fearing to fail. David Kendall is the genius behind Root, a multi instrumentalist that has dedicated these last years to produce his albums with prog-rock influences.
His first steps were, as usual, a lot of pub performances in Leicester (UK) from where the musician comes, trying to show his work and getting with his effort a certain amount of fans. Together with the internet possibilities, David has got to record already three CD’s and has been accepted as a good creator for some part of the underground media.
Influenced by the big bands of english and american progressive music (Rush, Yes, Marillion, Starcastle, SagaÉ) Root strikes back with this "Poles Apart", a good record full of fantastic atmospheres, good melodies guided by the guitars. A guitar that fits in every piece with a different kind of approach. Is a record that gives a lot good vibrations from the beginning focused on the more melodic of the style with moments that it reminds to Marillion with Steve Hogarth, or Saga from the end of the seventies. The only thing that can be disappointing is the production, too similar in each composition. But you can not ask much more if do it all by yourself.
Listening to the record, it is true that it sounds to a thin mixture of many things and styles and in generals terms the work’s got an intimate atmosphere, so the songs go by with great melodies arranged a bit different in each case. We are not talking about the record being a copy of Rush, Genesis or Marillion’s work if not songs that sounds a bit of everything all together. What is clear is that David’s voice is very similar to Hogarth’s which gives the music a bit more of Marillionesque flavor.
I don’t think is necessary to tell you about all the songs, you just have to imagine a bit what I’m trying to explain to you. It’s a good demonstration of a musician and his effort even not having the highest and expensive technology of the big bands, can do.
It’s a good record that I sincerely think will like those who understand the progressive music as a relative simple and good digesting music without loosing any of its elements. For the fans of the most recent Marillion is a perfect work and also for those who listen to King Crimson and they say that they hate Marillion and they sometimes listen to their music or even buy some of their records, for these people is also a recommended disk. If you want to get it, contact to www.rootmusic.fsnet.co.uk .
Jordi Costa - July 2002 Prog Visions
ProGGnosis
In this imperfect and unfair world of music we daily see hollow, meaningless artists get monstrous credit for songs they do not play, do not compose and often do not sing (at least you cannot actually say it is that they are doing). They get the big bucks stardom and their share of fame for doing nothing artistic. On the other hand we have superlative musicianship; talented artists that deliver rich music, filled with content; music that makes you think and really show emotional status, sentiment, soul and quality. Many of these artists have to produce their music, pay for their instruments and recording equipment. This is true love for music.
Root, which is David Kendall belongs to this last group.
David Kendall performs all the instruments in this release. He also produces, is responsible for the artwork and lyrics of his albums. Though I am not acquainted with his previous two albums, I find Poles Apart to be very mature and ear-candy.
If the booklet is very colorful and has beautiful artwork (the lyrics have, each, a devoted page with a related picture), the cover is not so representative of the overall quality of this artist, for it is not that much appealing for a progressive recordÉI prefer his other two album covers.
In what concerns to music, Root is a soft mix between Space Rock with Guilmouresque emotional guitar soloing (not the tone), ambient keyboards and some Neo-Prog song structures but always with a distinctive and acute melodic sense.
David is a skillful guitar and keyboard player. It really seems like a whole band is playing, with strong interplay. This is mostly complimentary to David’s work.
Even the drum-machine is used to very good effect. The majority of the songs seem played with the real kit (this is quality programming!).
The vocal work is not constant. In some songs fits quite perfectly, in some others is not that balanced. But overall they are nice, emotional and, by all means, not hurting the result.
The songs are shaped to incorporate the various different elements within, in a changing atmosphere. They are not close to static, on the contrary, they’re really dynamic.
The album opens with the 8 minute Kim which is representative of what’s to come. It starts with a quiet set that prepares the introductory guitar solo. This song features rhythm changes that also set the type of vocals: soft and melodious when the rhythm slows, harder when the rhythm is also. Close to the end, there is a guitar solo with an almost metallic aggressiveness. Exquisite stuff.
Perfect is some kind of ballad that most relies on the background elements. Though what pops out immediately is the vocal work, the music that is set behind is notable. A kind demonstration of quality that almost passes unnoticed.
Poles Apart continues the album in a soft ambience. It reminds me a little of Hogarth’s Marillion kind of ballad approach but with Pink Floydish vocals and fading guitar solo in the end.
The 4th track: Should’ve known brings a more aggressive symphonic prog approach. Some sort of Neo-Sympho rock song with strong emphasis on the guitar work. It’s catchier and more straight forward than most of the album. Still, not one of my favorites.
The best part of the album, in my modest opinion, is represented by tracks 5 and 6. Here the melodic component is omnipresent and the sound is truly polished and plain beautiful. Blind Faith begins with a reminiscent Yes sound by then evolves to something more personalized and emotional.
All that he could be is the song I like the most. It simply sounds good to me. The Guilmour factor is again present in the guitar soloing and the vocals are like drowned in a sea of tranquility, again reminding me of Hogarth’s vocal style.
Natural Gift has much to do with Marillion’s kind of music structure. It’s more up-tempo and also has a somehow more commercial vibe to it. Much more in the Rock scene than the previous tracks. The more aggressive side of David Kendall is showed here, but I do prefer his introspective moods.
Only You is a love ballad which is built in a crescendo approach that ends in a (again) strong guitar solo. This is a song that could easily have radio airplay for it is likeable for anyone into rock ballads.
The final 10-minute opus is comprised in three parts that easily show the diversity and the several components that form this album. It starts with acoustic guitar and calm vocals and choruses till it bursts into a harder edge musicality. The keyboards are powerfully played here, as well as the guitar. The third part is again more laid-back and relaxing. This is the most progressive track in the album, in a final demonstration of capacity.
To sum, this is one of those albums that can easily please the progger searching for non-compromised prog, with a lot of melody and emotional guitar soloing. To such proggers I can securely advise to visit Root’s web site and order the album. You will not be sorry.
This is not too ambitious or overwhelming music. It is pure; it is honest; and it is very well done.
Progressive record labels should also take notice of this artist and other one-man-bands that, like David show tremendous qualities that could easily be focused and evolved with the proper assistance. Just remember Scott Mosher or Hugo Flores, as a small top of the iceberg.
Nuno: ProGGnosis
Pilgrim World
Poles Apart is well-constructed symphonic prog rock album composed by British prog rocker, ROOT. Root is David Kendall's own project, and he handles all instruments and vocals. At glance, I instantly thought that Poles Apart are kind of attracting the fans of Pink Floyd, Marillion (Steve Hogarth-era), Arena, Ayreon, Scott Mosher, and Saga. Musically, song-oriented neo-prog rock tunes are everywhere on this album. Amazingly, David plays most instrumental really confidently, and put together nicely. He sings pretty warm and smooth, which reminds me a little bit of Spock's Beard singer, Neil Morse, and Steve Hogarth. Mostly, emotional guitar playing is dominant, but melodius and ambient keyboard works are quite nice, too. Entirely, all instrumentaions of David Kendall is quite well put, so it is hard to believe that everything is taken care of by himself David alone. Even, drum sounds like as close as human being is playing (I assume he is using drum machine and drum patches from keyboad, though). Poles Apart album features some calmer tunes, atmospheric/ambient tunes, and emotional hard-driving prog rock tunes. Root does not go overly intricate and overwhelmingly technical veins, rather he concentrates on creating magical and emotional music which set by hard edged guitar solos, nice keyboard solos, driving rhythm sections, and some chainging paces. My favorite tunes are "Kim", "Should've Known", "All That He Can Be", "Natural Gift", and so on. Highlight tune is definately epic and long track, "Brightest Star" having three parts, which start from acoustic and clean guitar dominated parts to intense and driving progressive rock sections with lots of energy and soulful vocal performance.
Tetsu Hamanaka Pilgrim World
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