Gazeuse!
Studio album by
Pierre Moerlen's Gong
ReleasedLate 1976
RecordedSeptember 1976
The Manor Studio
GenreJazz rock[1]
Length39:46
LabelVirgin
ProducerDennis MacKay
Pierre Moerlen's Gong chronology
Gazeuse!
(1976)		 Expresso II
(1978)
Professional ratings
Review scores
SourceRating
Allmusic[1]

Gazeuse! (French for 'Sparkling!', 'Fizzy!' or 'Effervescent!') is the seventh album released under the name Gong and the de facto debut album by Pierre Moerlen's Gong. It was released in late 1976. The title was changed to Expresso for the U.S. release.[2]

The album features an all-instrumental jazz-driven sound,[1] notable for the prominent use of vibraphone, and has little to do with the psychedelic space rock of Daevid Allen's Gong, even though the two bands share a common history. Although the album was issued by Virgin Records under the "Gong" name for contractual reasons, and the name "Pierre Moerlen's Gong" would not be adopted for a couple of years, the lineup involved and the nature of the music are that of the Moerlen-led band.

Writing credits are split between Moerlen and guitarist Allan Holdsworth, except for the final track, which is by early Magma and Flying Teapot bassist Francis Moze.

The cover art is done by Jacques Moitoret.[3]

Track listing

Side one
  1. "Expresso" (Pierre Moerlen) – 5:58
  2. "Night Illusion" (Allan Holdsworth) – 3:42
  3. "Percolations (Part I & II)" (Moerlen) – 10:00
Side two
  1. "Shadows Of" (Holdsworth) – 7:48
  2. "Esnuria" (Moerlen) – 8:00
  3. "Mireille" (Francis Moze) – 4:10

"Shadows Of" is a reworking of Allan Holdsworth's "Velvet Darkness" from his 1976 album of the same name.

Personnel

Pierre Moerlen's Gong

References

  1. 1 2 3 Ross Smith, David (2011). "Gazeuse! - Gong | AllMusic". allmusic.com. Retrieved 24 June 2011.
  2. ↑ "Gong: Gazeuse!". www.discogs.com. 1976. Retrieved 4 June 2017.
  3. ↑ "Jacques Moitoret". Discogs. Retrieved 6 November 2023.
  • Macan, E. L., Macan, E. (1997). Rocking the Classics: English Progressive Rock and the Counterculture. Germany: Oxford University Press. p. 243
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