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Wardenclyffe Tower


Download links and information about Wardenclyffe Tower by Allan Holdsworth. This album was released in 1992 and it belongs to Jazz, Rock genres. It contains 8 tracks with total duration of 43:12 minutes.

Artist: Allan Holdsworth
Release date: 1992
Genre: Jazz, Rock
Tracks: 8
Duration: 43:12
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No. Title Length
1. 5 to 10 5:36
2. Sphere of Innocence 5:58
3. Wardenclyffe Tower 8:44
4. Dodgy Boat 5:37
5. Zarabeth 6:31
6. Against the Clock 4:58
7. Questions 4:07
8. Oneiric Moor 1:41



This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work. One very obvious oddity is the strange and ill-advised ending to the opener, "5 to 10," which concludes with a toilet flushing and an annoying voice-over. Mistakes in judgment aside, there is something formless about this album, something that blurs the tracks together in a meaningless way. Holdsworth has always been more of a distinctive than a strong composer, and the batch of tunes that he contributes here is not very compelling. The title track, with its power-chord verse, and his collaboration with singer Naomi Star, "Against the Clock," are his strongest moments. The presence of Hunt's "Dodgy Boat" helps but it is not enough to elevate this album to the level of Holdsworth's past successes. This is not to say that there is not meaningful music on Wardenclyffe Tower, because there is. "Against the Clock," which features not only Star's voice but also the drums of Vinnie Colaiuta, is one such success. Holdsworth makes use of the SynthAxe guitar synthesizer on several tracks on Wardenclyffe Tower, the most effective use of which is here, where his solo emerges from empty space in a constantly accelerating fashion, like a boulder rolling down a hill (although Holdsworth's ascending line sets forth the impossible scenario of falling upwards). All in all, however, there is a lack of dynamic movement in the soloists and the compositions in general. Of value to Holdsworth completists, but not of much interest to casual fans.