Cartoon
s/t

If I asked you, what is the best progressive album? Many of you would know exactly what to answer, others would rightly think it's a stupid question. But if I asked you what is the best instrumental progressive album? Then I imagine, many would hint at a doubtful expression trying to recall some title.

I would respond without hesitation that a strong candidate would be the first album by Cartoon.

Classic progressive rock can be defined as a vocal genre, so, even if supported by instrumental emphasis, the song form remains intact. In instrumental progressive, however, we should speak of composition. The focus shifts towards forms belonging to the so-called classical music; the suite, chamber music, and all of the twentieth century.

This latter in particular has allowed for the seamless fusion of the now mature influences of progressive rock bands like King Crimson, Yes, and ELP, with the eclecticism of rock in opposition.

We are in 1981, an unusual year to find a great prog album, moreover coming from the United States of America, where, contrary to the dominant culture that wants Americans to always play in advance, progressive would arrive with a certain delay. This delay, however, allows Cartoon to enrich their music with some insights taken from rock in opposition, a movement that would influence few, but rich realities of the new continent. Indeed, even before them, with Happy the Man, then with Thinking Plague, and 5uu's, one feels strongly the pulse of a movement that will give rise to numerous collaborations with the most respectable European opponents, in which Scott Brazieal, the brilliant keyboardist of Cartoon, would also take part, an unusual trio formation with keyboards, guitars (Mark Innocenti) and drums (Gary Parra).

But all this would not have been enough to make this album a masterpiece in its genre if the element of youth wasn't present; this album was created by three guys at the peak of their energies, so confident and full of self-belief that they felt like they could touch the sky with a finger. And you can hear between the grooves the strength and audacity, the energy and courage, and this feeling is what makes this album something unrepeatable and unique.

I don't intend to describe their music, it seems enough to me to emphasize that Scott Brazieal plays magnificently on this record, with nothing to envy from the likes of Emerson or Wakeman, accompanied by a remarkable but not too prominent guitarist and a gritty and effective drummer.

A must for fans of the genre. Then judge for yourselves: Shark .