Brothers Craig and Brian Herlihy form the nucleus of Yoke Shire, a younger vehicle for that Baroque rock sound made famous by Jethro Tull. With drummer Brad Dillon, guitarist Brian and lead vocalist and multi-instrumentalist Craig fashioned an album which maximizes the headphone experience through Craig’s engineering wizardry. A Masque Of Shadows originally appeared to rave reviews in 1999, and it’s very nice to see a band herald a penchant for things organic: all instruments, be they organ, analog synths, mandolin, flute, etc., were performed with the actual instrument, not digital sampling keyboards—to boot, the album sounds as though it were recorded in the 1970s.
Ten tracks long, Masque surprises with only four of the lot having sung lyrics. Craig tends to play it safe, vocally—imagine Davey Pattison, Eric Bloom or Gregg Rolie without some of their fire. In spite of its title or the band’s image, “Black Tower” doesn’t sound very medieval at all, just earthy hard rock and a finalé which sounds like vintage Santana, down to the guitar solo! “Shape Of A Dancer” is closer to vintage Blue Oyster Cult, save the harmonica and Buck Dharma’s distinctive guitar playing. Brian Herlihy is no slouch, and the Page~Barre~Iommi influences shine clearly. Craig’s mandolin, dulcimer & flute infuse “Magic Circle” with the jiggy strut one would expect of this trio—it’s very bright, unimposing, and energetic. Clutter is not of Yoke Shire’s shortcomings.
If you’re a sucker for a great rounded bass tone, “Maiden Voyage” is your song. Thick and chunky like homemade salsa, the Nuge wishes Craig could time travel to record the bass line for “Stranglehold.” The church organ flourishes—and that sounds like a Clavinet—really spruce up this tune. Let’s not let Brad Dillon leave emptyhanded—he’s a drummer of finesse who adds power where necessary without using up all of the oxygen in the room. I think a certain Mr. Barlow would consent. The nine-minute “The Brook, The Mirror and The Maiden” is the atmospheric extension (or continuation) of “Voyage,” in the order of a film score, with delicate orchestrations a la Vangelis, theremin, and harmony vocals by the Shires. The album’s title track finally comes in close to the end, and looks to be Brian’s calling card—some fine axework by he on the intro, in-through, and the resolution; the tune also rocks the hardest of any on the album. Fans of Tull’s Renaissance rock owe it to themselves to take a closer listen to A Masque Of Shadows.
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