Without Daevid Allen, Gong lost their quirky character... but they didn't lose it immediately. Here, in the first post-Allen album, they achieved a delicate balance beween his whimsy and the serious skills possessed by the remaining musicians. Steve Hillage is half-out of the band, so there is also a balance between his beautiful and mostly acoustic contributions and the natural, woody sounds of the xylophone, saxophone & fiddle. Mike Howlett's not much of a singer, but sounds pleasant and sincere. Pierre Moerlen's drumming is perfectly assured. A beautiful album with some great playing and atmosphere. In some ways, the best Gong album ever made.

Shamal is one of the best album's Gong made. It was made in the transition between 'trilogy' Gong and Pierre Moerlen's Gong. A far more serious album than they had made before and yet with a similar psychedelic sensibility and spirituality to it.

The first track 'wingful of eyes' is a beautiful piece of psychedelia and progressive fusion. Steve Hillage plays some wonderful guitar and Mike Howlett provides vocals and bass.

Other highlights are Didier Malherbe's excellent Bambooji and Pierre Moerlen's 'Mandrake'. Although there is not a bad track on the album which seems to become more enjoyable each time I listen to it.

Brilliant album! But if you don't like Gong you won't like it.

Anyone remember a show on Radio 3 in the mid seventies hosted by Derek Jewel? Despite the "classical" nature of the channel, some wonderful "prog" and "jazz-rock" music was played on his show and, through this show and presenter, I discovered all manner of new music by the likes of Brand X, Isotope, Alan Parsons and this excellent outing by (post Daevid Allen) Gong.

The whole album has a lovely "flow" with superb musicianship throughout. The vocals here and there don't really intrude, the lyrics on the first two tracks having a true meaning which is beautifully integrated into the tracks themselves. "Chandra" was the first track I ever heard from this album and it still remains a favourite of mine.

As a gentle introduction to the "Gong" vibe, it makes a great start, bridging the gap between the "Fying Teapot" era and the jazzy, then more percussive releases that followed. I can't recommend it highly enough...

Missing the endearing lunacy of the Radio Gnome trilogy, "Shamal" is no less interesting. It places the emphasis on the band's ability to weave imaginative and original textures into layered rhythms. The result is an intoxicating excursion into jazz-rock. Gong always seem to be out on their own, no matter what approach they take.

They're at their best here on the instrumental passages as Mike Howlett's vocals tend to spoil the flow. "Wingful Of Eyes", which opens the album, is probably the weakest track for this reason, but touches of flute give notice of what is to come. "Chandra" is a delight, notably because of the intricate sax and from here on there's no stopping Gong.

As the album progresses, the percussion seems to contribute more and it comes in many layers and shades, from basic drums to xylophone. Indeed, Gong seem to own every known percussive instrument and use them to captivating effect. The rhythms are agile and intricate. If there is one thing that marks Gong out from the crowd it is their dexterity and ingenuity in using textures and timbres that don't occur to other artists.

Despite this serious development in their music however they retain a sense of humour, though it's more subtle. "Shamal" is not the easiest album to get into but it ultimately carries you away and bears many repeat playings.

Post Daevid Allen and featuring a cameo performance from the departing Steve Hillage this album moved Gong into a hippy-jazz fusion minus flying teapots and the stoned twee-ness of earlier albums. Pink Floyd drummer Nick Mason's production reveals an earnest musician-led experience with powerful rhythms and laid-back grooves. Though some of Mike Howlett's lyrics aren't in the same league as Allen's, Didier "Bloom" Malherbe's incredible sax and flute journies into a range of musical styles sourcing Arabian, Indian and French jazz. The highlight of the album is "Cat in Clark's Shoes" featuring the violin of Jorge Pinchevsky, a bass riff to die for and the self-deprecating climax reminiscent of Parisian cafes. This track has been latterley remixed and features on an album by the Thievery Corporation. A must for musicologists who never subscribed to the notion of never trusting a hippy.