By: Jesse James Mazzoccoli
Cheat the Gallows is the fourth release by rock band Bigelf since their debut in 1991, though it’s their first on Linda Perry’s Custard Records. Cheat the Gallows is the answer to those music lover’s that are looking for something fresh and original, trying to escape much of modern music’s mundane monotony. How’s that for literal alliteration?
This album has a little bit to offer everyone that like post-Romantic era music. You can hear the self-proclaimed influence of the mighty Black Sabbath, Beatles, Pink Floyd, and Queen, as well as some unmentioned influences that resemble everything from evil circus organists to Andrew Lloyd Webber.
This record has it all; great guitar work, mysterious keyboard effects, a full orchestra, separate brass and string sections, brilliant lyrics and vocal melodies, ingenious songwriting, and even a backing vocals cameo by none other than the great Linda Perry on “Superstar” and “Race with Time.”
Front man Damon Fox does a superb job of vocally paying homage to many of the bands influences, yet retaining an originality that is much needed in a world of p***-pop clones and Pickelcrack wannabees. (I refuse to use the word “punk” in that context, because the other “p” word music is anything but punk. Although I’m sure we could think of a few other “p” words to describe it)
Unlike many of their progressive rock-metal brethren, none of the members are noted as having the prowess of Dream Theater’s John Petrucci or Rush’s Neil Peart. Individually, each member is a stable musical element in their own rite. However, when combined, the chemistry in Bigelf creates a highly explosive combustible that is uncontrollably infectious. Once you start listening to this record, it’s hard to stop.
Cheat the Gallows can be fitted solely with the label of “unable to label,” i.e. prog, due to its eclectic approach to deal with topics such as life, death, rags and riches. No two songs on this record sound alike or like anything on any of their previous recordings. Unsure if it is the inspiration of the so called “New World Disorder” or the new record label is the cause, but Bigelf has done something genuinely significant here.
Bigelf gets an “A” for originality and delivery. The name of the record is a statement to the oppressed music business that seemingly so many times has tried to cheat Bigelf of its rightful place in the world of music. This statement is a message that Bigelf is not gone nor going anywhere; Bigelf has just arrived.
We at Guitar International would like to give our deepest condolences to Bigelf for their recent loss. A.H.M. Butler-Jones, born on September 7, 1967, died in Knoxville, TN on December 31, 2009 from complications from pneumonia. He was a founding member, guitarist, and background vocalist of Bigelf from 1991-2001. He was 42.
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