The Greatest Show On Earth
Horizons

In the varied landscape of the 70s progressive rock, there is a little-known (if not entirely unknown) gem called "Horizons." The creators are "The Greatest Show on Earth." They were formed in 1968 originally as a Rhythm & Blues band, but soon shifted towards a more typically progressive sound. Perhaps theirs might not be the greatest show on earth, but in any case, this band boasts several merits.

This work of theirs from 1970 can first and foremost boast of an impressive horn section, with as many as three musicians (Dick Hanson, Tex Phillpots, and Ian Aitchison) assigned to that task, as well as a lead singer who, besides being a guitarist, surprises with his skill as a flautist (Colin Horton-Jennings). Indispensable in a symphonic group are the keyboards, here skillfully conducted by Mick Deacon.

This unusual formation thus fields a total of eight members, playing a symphonic prog in which I see clear traces of Soul and splashes of Jazz. Improvisations, contracted times, progressions, and sudden rhythm changes are certainly not lacking. Their majestic sound is enriched by a robust use of the organ and the aforementioned horns, skillfully blended to create a very varied style; a clear example of this can be found in the fifth track: "Real Cool World."

Within the album, what certainly stands out is the Suite of almost fifteen minutes that gives the album its name, a jam in which there are entirely instrumental pieces, representing a true musical manifesto of the group (and endowed with a genuineness that unfortunately will not be repeated), as well as the acoustic ballad for flute and guitar "Again & Again," in which Horton-Jennings leaves the guitar to Garth Watt-Roy to devote himself to the flute. The group would split up as early as 1971, after only two albums, the second of which ("The Going's Easy") failed to live up to the first. Watt-Roy would then go to Dave Arbus's East of Eden (the violinist who lent himself to the Who for "Baba O'Riley," to be clear), while the others tried their luck in groups that remained more or less obscure.

Beyond their personal history, the Greatest Show on Earth, thanks to this "Horizons," emerged from that sometimes unproductive melting pot that is the minor (or "underground") progressive scene, demonstrating, thanks to their very polished sound, that they possessed instrumental skills superior to many other more or less fortunate bands.