Brian Auger's Oblivion Express
A Better Land

A true oddity in the half-century musical catalog of the virtuosic London organist and pianist Brian Auger, this work for once discreetly puts the jazz fusion keyboards of our artist in the background, often venturing instead into folk and semi-acoustic, guitar-driven, harmonious territories (as in: full of vocal harmonies); unprecedented solutions for an essentially instrumental and swinging combo like the Oblivion Express.

Auger's proverbial touch, especially on the organ, is used here much more part-time, frequently placing itself at the service of the songs, the vocal melodies, verses and choruses, thus maintaining an ever-important but definitely not dominant role as in the past.

The album begins by recalling the two sculpted minor seventh chords of “Light My Fire”, a small obsession for Brian and for many other musicians of those years. It’s certainly not plagiarism, this “Down of Another Day”, because from the third chord onwards, the song takes a different direction, but still, the initial notes do make you raise an eyebrow.

Acoustic and gently electric guitars pop up from every corner even on “Mara’s Wedding”, which, thanks to its triple harmonies constant from start to finish, reveals a clear inspiration drawn from Crosby Stills & Nash and the like. Three voices in harmony also appear in “Trouble”, which adds moderately rhythm & blues nuances and could easily fit into James Taylor’s repertoire.

I mean… all of this is extremely enjoyable, to be clear—these very pleasant and relaxed tunes somewhere between west coast and country are well thought out and performed. It’s just the origin that is surprising. The same goes for “Women of the Seasons”, which sports an opening more in the direction of the Allman Brothers, but then returns to yet another smooth melody harmonized in thirds and fifths. It must be said this is undoubtedly the album where Auger sings best, devoting much care and attention to the matter, layering many overdubs, in any case aided by the other voices available within the group.

The first real bite from the Hammond organ isn’t heard until the fifth track, “Fill Your Head with Laughter”, though this time the vocals aren’t great. But the lush choruses promptly return on “I’m Thinking It Over”, although immersed in a jazzy atmosphere: all things considered, a delightful ballad, further enhanced by a measured but sunny piano solo.

“Tomorrow City”, “All the Time There Is”, and also the album’s eponymous closing track are finally of the fusion genre, more reminiscent of past (and future) work. The first and third are, as ever, choral, while the second is not.

In the end, Brian Auger’s vocal timbre isn’t something to discard… sufficiently clear and above all likable, humble, communicative. The closing “All the Time…” and “…Better Land” are also rather tricky to sing, with all those half-tone slides. Our skilled keyboardist makes his best effort, delivering the only true, sweeping Hammond solo right at the end, in the album’s last possible moment.

Ah, one final note—and a fully deserved commendation—for the greenish and meticulous psychedelic/progressive album cover, a little bit Caravan and a little bit Genesis. Without a doubt, the best in the discography of the delightful, glorious Brian.