In 1996 Haze released what was going to be the first of a trilogy of CDs, making available the recordings they made in the Eighties. At this time I seem to remember that the band were no more, although Paul and Chris McMahon were working as World Turtle and were also in Treebeard with Haze drummer Paul Chisnell, but given that these guys have resurrected the Haze name more than once as well as playing in other bands nearly every night of the week I could be wrong! A mere four years later and the second CD appeared, and as quick as a flash (okay, it took another eight years) the final part arrived, ‘Stoat & Bottle’. When they attempted to remix these it was discovered that the original tapes were not exactly up to the task so instead they concentrated on just digitally transferring them. So, what this means is what I am listening to sounds pretty close to how it would have been played back in 1987 (vinyl and cassette no less). That means that at least for the first song I found that I was concentrating more on the quality of the recording than of the quality of the music, but soon moved on to discover the delights that are contained within.
The original album contains some gems that the band still play in concert today, such as “The Vice” which has always been one of my personal favourites. It is the longest song on the album, and it always amazes me that somehow Chris manages to switch between keyboards and bass so effectively when playing this in concert, the only other musician I have ever witnessed managing to pull this off with aplomb is Geddy Lee! As with much of Haze’s music, this is driving over the top neo-prog with crunching guitars, swathes of keyboards, pounding bass all being muscled along by powerful drums. “Autumn” starts off as a blues number, with some strident soloing from Paul and it is the combination of different styles that makes this work so well.
There are lots of additional tracks, and while the sound is undoubtedly the product of being an old recording originally made on a budget by an underground prog act, there is no doubting that any fan of the band or of neo-prog in general will need to discover this further. These guys knows that the word ‘rock’ is as important as the word ‘progressive’ and provide plenty of blast to go with the finesse and skill. For me I enjoyed going back to hear the original versions of some songs I already knew, plus plenty of new ones, but for a newcomer to the band I would get one of their Anniversary show concerts first and then come back to discover some great music from a prog band that started in the Seventies and keep coming back for more.
