| Musical Style: Rock | Produced By: John Phelps |
| Record Label: Heartland / Retroactive | Country Of Origin: USA |
| Year Released: 1982 / 2018 | Artist Website: Prodigal |
| Tracks: 16 | Rating: 85% |
| Running Time: 61:51 |
The hard music landscape is littered with untold bands that musically were ahead of their time but whose albums did not always receive the recognition or achieve the same commercial success as their more popular and better-known contemporaries. Cincinnati, Ohio based Prodigal is one such act. Having formed in the early eighties and releasing three albums on Heartland Records, Prodigal (1982), Electric Eye (1984) and Just Like Real Life (1985), Prodigal proved groundbreaking by the manner in which its songwriting extended outside the worship and evangelism boundaries that typified the contemporary Christian music scene of the period. Playing a key role in helping set Prodigal apart in this regard are its multifarious style capabilities - at least compared to some from the time - which made it difficult to pigeonhole accurately as a result. I accordingly identify with the self-titled debut as representing a joining of AOR, pop, funk, hard rock and progressive rock that is in line with the musical influences as listed in its press material: Styx & DeGarmo & Key but also Steely Dan, Ambrosia, Sweet Comfort Band and Atlanta Rhythm Section. In terms of the progressive Prodigal side, Kansas receives mention but with the melodic sensibilities to Yes and Genesis.
My history with Prodigal dates to the debuts early eighties release, an album in which I thought highly in terms of the varied songwriting, choice musicianship and excellent production but did not completely capture my full attention either. This, however, more than likely attributes to my young age back in the day and affinity for heavier groups such as Resurrection Band, Jerusalem, Daniel Band and Barnabas. Time and maturity, nevertheless, can change ones perception, and over the years grew to embrace Prodigal but eventually a lack of a working turntable sadly relegated it to the backburner. In time, I included it on a list alongside other worthy but obscure early to mid-eighties Christian hard music released I hoped one day to see re-issued on CD. Those that recognize other names on the list such as Fireworks (Shatter The Darkness & Sightseeing At Night), In 3-D (No Glasses Needed) and Forerunner (a.k.a.) know of what I speak!
Everything changed, however, in 2014 when the band re-mastered and independently re-issued each of its three albums as part of a 30th Anniversary Limited Edition Set. When the Limited Edition Set went out of print, each album was re-mastered (by Rob Colwell of Bombworks Sound) and re-issued a second time in March of 2018 on Retroactive Records with enhanced packaging (including a multi-page insert with lyrics, liner notes and vintage band photos) and exclusive bonus tracks.
To gain understanding of the innate Prodigal musical diversification, it is necessary to listen closely to the self-titled debuts first half. Album opens to one of its heavier and better tracks in “Invisible Man”, a pretentious arena rocker with moments ranging from bombastic and powerful (in which keyboardist and front man Loyd Boldman’s soulful mid-ranged voice stands out) to those calmer and contemplative (highlighting dreamy keyboards and fanciful bass). Song closes its final minute as guitars move to the front of the mix and Boldman trades off vocally with shouted backing vocals: ‘Can you see me?; Can you help me?’
“Easy Street”, in contrast, mirrors a smoother AOR based sound. Featuring not just the vocals of Boldman but also those of guitarist Rick Fields and drummer Dave Workman, “Easy Street” fluidly drifts its length to forward keyboards, which remind a bit of Steely Dan, and the immaculate Prodigal three part vocal harmonies. All the while Mike Wilson’s bass literally breathes in the backdrop and helps highlight the depth to the Prodigal production in the process.
You would think any song with a title such as “Fire With Fire” would be a barnburner but such is not the case in that albums third track is actually one of its lightest. The song also serves to give prominence to the layered Prodigal vocal melodies - some of the best in the business in my opinion - over a foundation of pleasing acoustic guitar and piano to make a near ballad statement. An almost Country & Western flair asserts itself (by no means a bad thing).
Album returns to heavier territory on “Sleepwalker”. The keyboards and drums initiating the song are soon joined by restive rhythm guitars, which gradually push to the front of the mix until impetus culminates for the convincing ‘sleepwalker, big talker, night rocker, stop your sleeping’ refrain. In between, Field’s lays down some tasty licks and chops of a bluesy quality.
Closing out side one is second AOR-ish track, “Want You Back Again”. Entirely fronted by Fields, whose easy going middle register delivery is akin to Boldman’s but not quite as powerful, the song resolutely trends to keyboards and bass as the signature Prodigal vocal melodies again make a decisive statement. Topping things off is a cool saxophone solo to close things out.
Five songs in and Prodigal runs the gamut from heavy rocking to AOR to acoustic back to heavy rock and AOR. Second half brings similar levels of variance, beginning with short interlude piece “Prodigal” that runs its minute to acapella vocals that are soon joined by acoustic guitar (for some reason I am reminded of the opening seconds to Styx’s “Renegade”). Ensuing cut “I Don’t Know Who You Are” kicks in at once as a short (two and a half minute) but punchy rocker that maintains an effervescent tempo in consolidating jamming piano with pronounced rhythm guitars. The Prodigal progressive leanings manifest from how I consider both side two opening cuts to be one extended song as opposed to separate despite their differences.
“Need Somebody To Love”, revisiting keyboard driven AOR territory, reflects upon the calm, reticent and relaxed. An almost solemn feel projects as the song wafts through its laid-back verses, with the dignified aspects heightened as it gains initiative for the further forthright trending refrain. Ample doses of heartfelt groove rise to the surface, referencing the presence of another audible bass line.
“Busy Man” is albums lone track in which I struggle. As is often the case, it does not necessarily come down to musical quality but rather direction in that I am out of sorts with the pop-funk underpinnings, which come across somewhat awkward for my taste- I am reminded of early Sweet Comfort Band of which I am not a fan. It is not all bad, however, in that I enjoy the duet between Boldman and Workman, with former taking verses and latter chorus.
“Hard Bargain” gets things back on track. What we have is a pensive and edgy classic rocker, mid-paced with its driving keyboard line, which recalls of Straight On era DeGarmo & Key, but also touching upon the blues with its accenting of the soulful and grainy. One of the albums stronger melodies almost helps lend an accessible radio friendly feel.
“Prodigal (Part two)”, final short introductory piece, is carried by keyboards and acapella vocals as rain pours in the background. It almost gives lends a ‘rock opera’ feel in transitioning to closing cut “Sidewinder”.
What we have in “Sidewinder” is the Prodigal progressive magnum opus, a majestic seven minutes of pomp and splendor intrinsic to hard rocking guitars, lighter piano, technical drumming and enough maze-like time signatures to turn the head of the most staunchest Kansas devotee. In fact, the keyboard work throughout would do Kerry Livgren proud, particularly during the first instrumental break, which touches upon the sublime aura of “Ground Zero” off Livgren’s 1980 solo release Seeds Of Change. A second instrumental run closing out the final minutes comes across every bit imposing. If Prodigal happened to record an entire album in such a direction, I would not complain.
Retroactive bonus tracks include an outtake to “Invisible Man”, which pretty much stays true to the original but without the dramatic shouted backing vocal exchange at the end, and a version of “Hard Bargain” with a guitar solo, which makes one of the albums stronger tracks even better! Every bit notable is a live rendering to an unreleased song, “One More Time”, innate to an abundant commercial melody and upbeat tempo of every bit the uplifting form. I am surprised the group did not professionally record it in that it is that good. Finally, “Sound Sheet Magazine Ad” encompasses radio sound bytes of various Prodigal songs such as “Busy Man”, “Sleepwalker”, “Invisible Man” and others. You also have a short interview clip with Boldman, who goes into detail regarding the meaning behind “Invisible Man”.
Lyrically, the Prodigal press material sums things up best: “Where other artist bemoaned the struggles, pain and realities of life on this spinning globe, Prodigal placed themselves within that reality and expressed those struggles from one who is intimately aware and experienced with those struggles.” “Invisible Man” speaks on behalf of forgotten people, rejected by society:
I'm the one you never notice from your air-conditioned car
And with your stare you cut me but you never see the scar
You pass me on the corner, you'd never know that I was there
I live in quiet desperation on the border of despair
I'm the invisible man
Well I don't create disturbance, not a ripple in the pond
And if I were to die you wouldn't notice I was gone
Well I cry out in anger but no one seems to care
But why should someone care for me when I'm not really there
“I Don’t Know Who You Are” reflects the thoughts of a bewildered seeker:
I've seen you through a stained glass curtain but I don't know who you are
You spoke to me I know for certain, but I don't know who you are
I've got friends who speak of you as though you're there
But when the chips are down they just don't seem to care
I caught a glimpse of you last Sunday but I don't know who you are
Seems like you disappeared on Monday, and I don't know who you are
I've got friends who speak to you every day
But how can I see you when no one shows the way
You see, I've looked around after all these years
Holding back the doubts, holding back the tears
“Sleepwalker” focuses on pleasure seekers who go through life without acknowledging their need for something more substantial:
Well you're one of the walking wouded, shot in the heart
And the war games that you play have blown you apart
So you just get numb and your dreams become like ice
But the fire inside won't let you hide tonight
All your chidlhood dreams have faded, taken a ride
And your castles made of sand have turned with the tide
Well you made your plans and you thought you'd have your way, well okay
But you just didn't plan on growin' up someday
Meaning behind “Sidewinder” is self-explanatory:
You almost got me good this time with your subtle subterfuge
You had me buyin' all your lies tryin' to make me play the stooge
But now He's opened up my eyes to all your crafty schemes
And now He's ripped off your disguise, get your hands off my dreams
Well I might stumble, I might fall but a battle's not the war
Because His blood has done it all I don't need you anymore
He said to crucify my flesh and I know His words are true
And now that old man's put to death and His Spirit's comin' through
I always found it disappointing that Prodigal, for whatever reason, never became a household name in the same senses as contemporaries Sweet Comfort Band, DeGarmo & Key and Petra, whom (in tribute to the albums first sentence) potentially benefited from higher levels of recognition and commercial success on a comparative basis. Perhaps it comes down to longevity when factoring Prodigal recorded just three albums; Heartland Records folded subsequent to the release of Just Like Real Life, but you would think another label would have picked up Prodigal immediately. Prodigal presents with more than enough musical ability to compete with said contemporaries if not significantly outdistance them.
Hence, how does Prodigal hold up after 35 years? In terms of revisiting the album following a several decade absence, my initial thought is that it is ‘okay’ (75% grade) but came to better appreciate it with repeat listen (80%) to finally realizing the truth: the Prodigal songwriting is spot on (85%). That said, any album recorded in the early eighties has potential to sound dated, but as it pertains to Prodigal it is dated in the positive sense in light of the quality at hand. Enter the much-needed Retroactive re-issue, which comes highly recommended (with its improved re-mastering and packaging) if a fan of Prodigal or into any styles in which the group presents.
Review by Andrew Rockwell
Track Listing: “Invisible Man” (4:11), “Easy Street” (4:14), “Fire With Fire” (4:19), “Sleepwalker” (2:59), “Want You Back Again” (3:50), “Prodigal” (1:05), “I Don’t Know Who You Are” (2:43), “Need Somebody To Love” (4:05), “Busy Man” (3:35), “Hard Bargain” (3:57), “Prodigal (Part 2)” (:48), “Sidewinder” (6:43)
Track Listing (Bonus Tracks): “Sound Sheet Magazine AD” (6:21), “Invisible Man Outtake” (4:06), “Hard Bargain” (With Guitar Solo) (4:40), “One More Time” (Live At 5th Floor Studio) (4:14)
Musicians
Loyd Boldman - Lead Vocals & Keyboards
Rick Field - Lead Vocals & Guitars
Mike Wilson - Bass Guitar
Dave Workman - Lead Vocals, Drums & Percussion
