Julian Cope presents Head Heritage

Hey Squid, horses for courses and all that. I'm glad the record's giving you so much joy, and I rather envy you in that respect!

I certainly won't argue with your comment regarding the positivity of '2032', nor indeed the kick I too got from hearing Mr Hillside back in the Gong fold, meagre though his playing contribution is to the record. It's just that, for me, the pleasure subsided after the first hearing. '2032' is not an unmitigated disaster by any means, but I really miss the power and dynamism that characterises the best Gong records of yore, e.g. that staggering moment halfway through 'A Sprinkling Of Clouds' when Pierre Moerlen lets rip and the guitar comes in (never fails to set my hair on end, that), or that magical glissando passage mid-way through 'Flying Teapot', etc etc. There are no such thrills on '2032', just nice tunes and lyrics which, while pleasant enough, don't pin me to the wall like Gong at their best. I feel a little ashamed to be damning heroes such as these with such faint praise (if that), but I do feel short-changed here. Maybe I'm expecting too much from musicians in their 50's, 60's and 70's, or maybe I'll be more impressed to hear some of these songs live. Whatever, I still very much look forward to seeing the band in concert in Manchester in a couple of months' time.

If I could put my finger on one vital ingredient that doesn't make the grade here, it's the percussion. Gong need something better than four-square drumming, and that's what prevails through most of '2032'. Messrs Pyle and Moerlen, you are sorely missed: rest in peace.