Another shiny object found in the detritus of the 70s: Fields, a trio led by keyboardist Graham Field that rolled deep in the waters of symphonic, progressive, and psychedelic rock. I was only made aware of them a month ago, and I don’t think I’m alone; how else to explain the existence of Feeling Free (The Complete Recordings 1971-1973) which – accurate to its title – collects the band’s entire brief output over two discs? There’s an interesting, “What if early ELP with pop hooks?” vibe to the music that works well, and while there’s nothing earth shattering to be found, it’s a solid compilation I’m glad to fold into my current rotation of classic prog and rock.

Despite two discs’ worth of material, in the band’s lifetime there was only ever Fields, the eponymous debut, released in 1971, and the 10 tracks that make up the record show just why CBS Records took a chance on the band. Graham Field already had a hit to his during his time with Rare Bird, having penned the tune “Sympathy”. And songs like opener “A Friend of Mine” and the regal “Not So Good” show the leader’s facility with both intricate arrangements with a catchy hook to hang the rest on. He’s ably abetted by Andy McCulloch on drums and Alan Barry on all guitars, mellotron and lead vocals. McCulloch was a known quantity, having played drums with King Crimson, but Barry was something new, and the way he complements Fields’s keyboards is exciting and playful.

That’s not to say Fields doesn’t experiment with the form, despite leaning on pop forms. “Three Minstrels” has some keen a capella work and medieval folk flair, and slides into the very space and ambient instrumental “Slow Susan” which sounds like the soundtrack to a 60s soap opera beaming directly into your brain. They’re fun, but I’ll take heavy organ rockers like “Over and Over Again” which channel both Keith Emerson and Jon Lord both in his big chords and solo runs.

By accounts the band was doing well, especially in Europe. But a change of the executive guard at CBS killed not only any momentum the band had gathered, but also shelved their completed sophomore album Contrasts: Urban Roar To Country Peace. And so the second disc gives us what could have been, except that because of all the problems and turmoil Alan Barry had already left soon after touring for the debut ended. Despite Fields remaining as the creative lead, new singer/bassist Frank Farrell doesn’t quite mesh the same way. His voice feels less assured, and despite being more up front in the mix the bass doesn’t have the same sense of exploration Barry’s did. There’s still a sense of grandeur to tracks like “Let Her Sleep” and the female-led “Storm”, and there’s even Zappa-inflected melodies that pepper “Music Was Their Game”. But the band feels like they can’t fill the air, leaving songs sounding like they’re alone in a too-large room.

It’s fun, though, and new enough to my ears to have a novelty. I’m stil listening to “Music Was Their Game” and get a TMBG vibe from it now. That bodes well for future listening.