Brand X: Theory of Nothing: Record Live in 1977

Every so often an archival release arrives that makes you wonder how such music remained unheard for so long. Theory of Nothing: Recorded Live 1977 is one of those releases. Drawn from reel-to-reel tapes discovered in the collection of Brand X keyboardist Robin Lumley, this two-CD set captures the British progressive rock / jazz fusion band during its 1977 U.S. tour, offering a vivid glimpse of the group at its best.

The first disc sounds astonishingly fresh, with a clarity and immediacy that could easily suggest it was recorded yesterday rather than nearly five decades ago. The instruments are well defined, and the music has considerable presence and punch. Disc two is not quite as pristine, but still conveys the power, detail and intricacy of the performances.

Phil Collins could not make the tour because of his commitments with Genesis, so elite jazz fusion drummer Kenwood Dennard occupied the drum chair. Any concern that Collins' absence might diminish the band's rhythmic firepower quickly disappears. With Percy Jones on bass, John Goodsall on guitar, Robin Lumley on keyboards and Morris Pert on percussion, Dennard helps create a formidable five-man unit capable of negotiating abrupt turns and difficult meters while maintaining a surprisingly loose feel.

"Disco Suicide" provides an immediate demonstration of the group's chemistry. Goodsall and Lumley exchange lightning-fast runs while Jones, Dennard and Pert navigate the constantly shifting rhythmic terrain underneath them. Unison lines fly by at alarming speed, yet even the most technically demanding sections retain shape and purpose. Along the way, they weave dreamy, melodic episodes into the mix, moving through various modalities, abetted by Lumley's stinging Moog notes and orchestral synth voicings. The band's precision never comes at the expense of excitement.

"Euthanasia Waltz" brings the band's Canterbury side into sharper focus. Its melodic passages offer a counterweight to the rhythmic complexity, with Lumley's keyboards and Goodsall's guitar darting in and out of the arrangement. Jones is especially effective, supplying muscular low-end support while remaining extraordinarily nimble. The performance illustrates how Brand X could move from tightly constructed passages into freer territory without making the transition sound forced.

"Malaga Virgen" is an exhilarating showcase for the band's instrumental firepower. Goodsall unleashes rapid guitar runs while Lumley responds with equally fleet keyboard passages, the two frequently converging in tightly executed unison figures. Difficult time signatures and sudden rhythmic shifts are handled with such confidence that the underlying complexity can almost seem effortless.

Disc two raises the temperature with "Nuclear Burn," including a high-impact drum and percussion solo that puts Dennard and Pert squarely in the spotlight. The two generate a barrage of rhythmic ideas before the rest of the band reenters and the ensemble snaps back together with startling precision. It is a potent reminder that Brand X's technical brilliance was matched by its ability to create genuine excitement onstage.

What makes the album exceptional is that virtuosity never becomes the sole attraction. Blistering runs, odd meters and intricate unison lines abound, but so do memorable melodies and the quirky progressive character associated with the Canterbury sound. Thanks to the discovery of Lumley's tapes, Theory of Nothing: Recorded Live in 1977 is far more than an archival curiosity. It captures five remarkable musicians turning daunting complexity into music that remains spontaneous, melodic and thrilling nearly half a century later.