Though Prog Is Alive and Well in the 21st Century, I have decided to go back and "fill in" the years upon which the 21st Century is built--and not just the "classic" years of 1967-76. Each year will be given its own page, containing reviews of the albums I determine are worthy of recognition (both positive and negative). As usual, these pages will be works in progress, to which I'll be adding information as it comes my way.
My Favorite Albums of 1980:
1. U2 Boy
2. BRIAN ENO with Harold Budd Ambient Two: Plateaux of Mirror
3. TALKING HEADS Remain in Light
4. LARAAJI Ambient 3: Day of Radiance
5. GEORGE WINSTON Autumn
6. FLAIRCK Gevecht met de Engel
7. STEELY DAN Gaucho
2. BRIAN ENO with Harold Budd Ambient Two: Plateaux of Mirror
3. TALKING HEADS Remain in Light
4. LARAAJI Ambient 3: Day of Radiance
5. GEORGE WINSTON Autumn
6. FLAIRCK Gevecht met de Engel
7. STEELY DAN Gaucho
8. THE BUGGLES The Age of Plastic
9. AC/DC Back in Black
10. STEVE TIBBETTS Yr
11. KATE BUSH Never For Ever
12. BRIAN ENO & JON HASSELL Fourth World, Vol. 1: Possible Musics
13. GENESIS Duke
12. BRIAN ENO & JON HASSELL Fourth World, Vol. 1: Possible Musics
13. GENESIS Duke
14. ITOIZ Ezekiel
15. ANTHONY PHILLIPS Private Parts & Pieces II: Back to the Pavillion
16. PAT BENETAR Crimes of Passion
17. PERERIN Haul Ar Yr Eira
18. PETER GABRIEL Peter Gabriel ("Melt")
19. THE POLICE Zenyattà Mondatta
20. YES Drama
21. XTC Black Sea
22. HAROLD GROSSKOPF Synthesist
23. AL DI MEOLA Splendido Hotel
24. BARBRA STREISAND Guilty
25. IVORY Sad Cypress
23. AL DI MEOLA Splendido Hotel
24. BARBRA STREISAND Guilty
25. IVORY Sad Cypress
26. MIKE RUTHERFORD Smallcreep's Day
27. ZAMLA MAMAZ MANNA Familjesprickor
27. ZAMLA MAMAZ MANNA Familjesprickor
28. PRESENT Triskaidekaphobie
29. PETE TOWNSEND Empty Glass
30. BLUE ÖYSTER CULT Cultösaurus Erectus
31. LOVERBOY Loverboy
32. THE ROMANTICS The Romantics
33. JEAN-LUC PONTY Civilized Evil
34. BRAND X Do They Hurt?
35. ASIA MINOR Between Flesh and Divine
34. BRAND X Do They Hurt?
35. ASIA MINOR Between Flesh and Divine
36. THE PSYCHEDELIC The Psychedelic Furs
37. DAVID BOWIE Scary Monsters38. ORCHESTRAL MANOEUVERS IN THE DARK Orchestral Manoeuvers in the Dark
39. STEVE WINWOOD Arc of a Diver
39. STEVE WINWOOD Arc of a Diver
Honorable Mentions:
QUEEN Flash Gordon OSTSKY Sky 2
ULTRAVOX Vienna
YELLO Solid Pleasure
Five Star Prog Masterpieces
(Ratings of 100 to 93.34)
1. TALKING HEADS Remain in Light
Line-up / Musicians:
- David Byrne / lead & backing vocals, guitar, bass, percussion, keyboards, vocal arrangement, mixing
- Jerry Harrison / guitar, bass, percussion, keyboards
- Tina Weymouth / bass, percussion, keyboards
- Chris Frantz / drums, percussion, keyboards
With:
- Brian Eno / synthesizer, bass, percussion, keyboards, lead & backing vocals, vocal arrangements, producing & mixing
- Adrian Belew / guitar (Roland synth)
- Jon Hassell / trumpet & horn playing and arrangements (4)
- Robert Palmer / percussion
- Jose Rossy / percussion
- Nona Hendryx / backing vocals
1. "Born Under Punches (The Heat Goes On)" (5:46) (9/10)
2. "Crosseyed and Painless" (4:45) (9.5/10)
3. "The Great Curve" (6:26) (10/10)
4. "Once in a Lifetime" (4:19) (9.5/10)
5. "Houses in Motion" (4:30) (9.5/10)
6. "Seen and Not Seen" (3:20) (9.5/10)
7. "Listening Wind" (4:42) (10/10)
8. "The Overload" (6:00) (10/10
Total Time: 39:48
96.25 on the Fishscales = A/five stars; a superlative masterpiece of pop-oriented progressive rock music.
2. FLAIRCK Gevecht met de engel
This album notes the welcome of violin virtuoso Sylvia Houtzager as well as the disposal of any drumming. As usual, there are no vocals, but this is an absolutely brilliant display of tightly woven acoustic folk music of the ancient Celtic acoustic kind. As many many other reviewers have said before me, though this is all acoustic instrumentation, the music of Flairck feels and sounds like the most centered progressive rock music one can find. Full of a broad spectrum of sound dynamics, melodies, frequent variations in time and key signatures, and musicians who are definitely virtuosi of their instruments, this stuff rocks, it impresses, it melts your heart.
1. "Oost-west Express" (East-West Express) (4:49) opens with some fast finger-picking on steel-string guitar, joined by second guitar in the second round, panpipes in the third, violin in the fourth and the quartet builds, congeals, detonates, reels, keens, kneels, serenades, danses, and finally spins wildly out of control. Cool song with very diverse and yet very old-feeling folk roots. (9/10)
2. "De Vlinder" (The Butterfly) (7:25) opens with solo flute trilling and flitting before guitar and sitar join in and take over with a melody that is borrowed from a very famous Celtic folk song. At the two minute mark Uillean pipes take over and strings shift beautifully, effortlessly, to support/accompaniment. Then, at the three minute mark, the tempo suddenly shifts with the sudden and forceful arrival of the violin, speeding her way through an amped up variation on the same Celtic melody. Flute takes over with fast-strumming of 12-string for a bit before pipes and violin duet the melody lead with the same 12-string accompaniment. At 5:20 things slow down as the melody transposes into a different key and temporary minor version before returning to the with three different instruments maintaining their own version of the lead melody in speed-dial. Wow! The final 30 seconds of slow- down are almost necessary for cool down. (15/15)
3. "Voor Antoinette" (For Antoinette) (2:08) nice acoustic guitar duet with a lullaby feel. (4.5/5)
4. "De Stoomwals" (Steam Engine Waltz) (8:29) panpipes based, this one represents very simple traditional folk melodies that could come from the Andes, the Pyrenees, the Caucasus, or the Balkans. The guitars, harp and violins accompany throughout but rarely take the lead away from the panpipes. I don't know why some versions of this song lack the calliope- (and steam engine-)like multi-panpipes intro and outro. (17/20)
"Gevecht Met De Engel Deel I, II, & III" (22:37) by (43.5/45) = 9.67
5. "Gevecht Met De Engel Deel I" (8:25) opens with a flourish of multiple instruments bursting into a very Spanish sounding theme before breaking down after half a minute into a less cohesive, almost classical-sounding loose weave of the individual instruments. Spanish guitar moves into the fore solo, before flutes, violin and guitars come together for another, different frenzy flourish. At 2:00 things slow down into a delicate weave of gently picked arpeggio (sounding very GENESIS-like) setting the scene for a slow, plaintive flute solo. Spanish guitar and other guitar do some very interesting, technically challenging things in support, before the ensemble again rests for a slower Spanish guitar solo. Flute and violin join back in at the 3:40 mark, each carrying its own melody while gently- picked guitars support. At 4:32 a bass guitar enters and the rhythm guitars begin to strum more forcefully while violin and flute continue to play their separate-yet-interlaced (one mirroring the other) solos. After the six minute mark, the group amps up again--especially the strumming guitars--while flute and violin march on steadfastly. Guitars and bass settle back into the fold to support the powerful melody before a kind of Chinese weave of all the instruments (again, sounding very GENESIS-like) forms to play out to the end. Wow! It doesn't get much prettier or impressive than this! (19/20)
6. "Gevecht Met De Engel Deel II" (8:35) pastoral nylon string guitar opens this one before 12-string joins in and then harp. Gorgeous! After 90 seconds of this the classical guitar takes a more aggressive, Andalusian approach to the lead while 12-string and harp continue their beautiful support. At the end of the third minute all instruments drop away except for the classical guitar--doing the solo. In the fifth minute multiple bowed strings join in before classical guitar shifts its tone and force into a very Rodrigo-like (and then Mike Oldfield "Incantations 1") section. At the six minute mark flute enters with another very familiar Celtic melody while violin supports as guitars fall into accompanying roles. Classical guitar steps in to triplicate the lead instruments. What wonderful arrangements this quartet creates! Amazing! (20/20)
7. "Gevecht Met De Engel Deel III" (5:28) a kind of weave of several famous classical and folk styles and melodies-- from Beethoven to Romani to Rimsky-Korsakov to Ravel or Bizet. (9.5/10)
Total time: 44:03
Amazing compositions performed by top-notch virtuosi musicians. The only tiny complaint I have is concerning the borrowing of famous melody lines and playing styles from other European folk and classical traditions (even though they do it so amazingly well).
3. HAROLD BUDD & BRIAN ENO Ambient 2: The Plateaux of Mirror
One of my all-time favorite albums and most reliable meditation guides ever. Simply ingenious arrangements and Enossifications to Harold Budd's gorgeous piano music.
Line-up / Musicians:
- Harold Budd / acoustic & electric pianos
AND
- Brian Eno / performer, treatments, producer
AND
- Brian Eno / performer, treatments, producer
1. "First Light" (6:59) etherically floating with single notes floating above the most placid piano arpeggi ever (major seventh notes). (15/15)
2. "Steal Away" (1:29) (4.5/5)
3. "The Plateaux of Mirror" (4:10) hauntingly beautiful pastoral music from another planet. It sounds as if it could have been inspired by Boz Scaggs' "Harbor Lights." (9/10)
3. "The Plateaux of Mirror" (4:10) hauntingly beautiful pastoral music from another planet. It sounds as if it could have been inspired by Boz Scaggs' "Harbor Lights." (9/10)
4. "Above Chiangmai" (2:49) gorgeously evocative. (9.5/10)
5. "An Arc of Doves" (6:22) great title, perfectly captured by the effected piano and synth. (9.5/10)
6. "Not Yet Remembered" (3:50) another amazing title lived up to by its music--piano and voices.(9.5/10)
7. "The Chill Air" (2:13) feels like a (tape) reversal of the piano arpeggi of the previous song. (4.25/5)
8. "Among Fields of Crystal" (3:24) ingenious soundscape setting for the piano. (9/10)
9. "Wind in Lonely Fences" (3:57) another song in which the almost-eerie music is incredibly evocative of the title. (9/10)
10. "Failing Light" (4:17) a recapitulation of the opening song, only, an octave lower. Genius! Gorgeous! (10/10)
Total Time: 39:30
5. "An Arc of Doves" (6:22) great title, perfectly captured by the effected piano and synth. (9.5/10)
6. "Not Yet Remembered" (3:50) another amazing title lived up to by its music--piano and voices.(9.5/10)
7. "The Chill Air" (2:13) feels like a (tape) reversal of the piano arpeggi of the previous song. (4.25/5)
8. "Among Fields of Crystal" (3:24) ingenious soundscape setting for the piano. (9/10)
9. "Wind in Lonely Fences" (3:57) another song in which the almost-eerie music is incredibly evocative of the title. (9/10)
10. "Failing Light" (4:17) a recapitulation of the opening song, only, an octave lower. Genius! Gorgeous! (10/10)
Total Time: 39:30
93.95 on the Fishscales = A/five stars; a certifiable masterpiece of music that propels ambient and spacious aural instrumental music into its place among the rock'n'roll giants. Without Eno's Ambient Music series I feel there would be no David Sylvian, no Cocteau Twins, and a very different New Age music scene.
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
4. PRESENT Triskaïdekaphobie
Line-up / Musicians:
- Roger Trigaux / guitars, Fender Rhodes
- Alain Rochette / Yamaha electric grand piano
- Christian Genet / bass
- Daniel Denis / percussion
- Alain Rochette / Yamaha electric grand piano
- Christian Genet / bass
- Daniel Denis / percussion
1. "Promenade Au Fond D'un Canal" (19:15)
2. "Quatre-Vingt Douze" (15:36)
3. "Repulsion" (3:27)
Total Time: 38:18
90.0 on the Fishscales = A-/five stars; a minor masterpiece of avant-garde progressive rock music--a little more rock-oriented than the parent group and album, UNIVERS ZERO's 1313.
5. LARAAJI (with BRIAN ENO): Ambient 3: Day of Radiance
How Eno found and recruited collaborator Laraaji (born Larry Gordon, or "Larry G"), a homeless street performer (playing mostly hammered dulcimers and zithers at the time), is a story I've not heard in detail. I'm just glad he did as the album he produced of Larry's music is sublime and uplifting in ways that few studio recordings have ever been for me. Five songs, three "Dance" variations on Side One, all showcasing Laraaji's mesmerizing, meditative dulcimer styles, are organized brilliantly with the three "dances" offering three different tempos as well as three different relays of effects that Eno used to run his recording mics through. Side Two offers two electronically enhanced zither pieces, called "meditations," that are more befitting to the Ambient style Eno had been pioneering.
1. "The Dance #2" (9:15) fast and beautiful. (20/20)
2. "The Dance #2" (9:04) heavily treated, mid-tempoed, and slightly less happy (probably due to its increased use of the lower end). (18/20)
3. "The Dance #3" (3:14) slow and methodic, the wind down. (4.5/5)
4. "Meditation #1" (18:47) offering the kind of peaceful sounds and styles that foreshadows those of prolific 21st Century artist Stefano Musso (operating as ALIO DIE). Beautiful, if, like Eno's other Ambient series offerings, easily becoming background music. (35/40)
5. "Meditation #2" (7:53) very slow and New Age-y; sounding quite similar to some of the more contemplative sections of Pat Metheny's New Chautauqua, a solo album from the previous year. (12.5/15)
90.0 on the Fishscales = A-/4.5 stars; a minor masterpiece of Ambient Music and near masterpiece of progressive rock music.
4.5 Stars; Excellent Additions to Prog World
(Ratings 89.99 to 86.67)
6. ITOIZ Ezekiel
Itoiz is a prog folk band from the Basque Region of Spain. This is the folk side of prog folk, yet it has a very strong jazzy flavor with its flutes, fiddles, saxophones, and pianos joining the acoustic guitars, electric bass, drum kit, and, of course, vocals. Try listening to the following YouTube links: 2. "Ezekielen Esnatzea" (6:02); 5. "Ezekielen Ikasgaia" (6:30); 6. "Ezekielen Ametsa + Ezekielen Erantzuna" (6:10), and; 8. "Ezekiel: Ia maitasun kantu bat" (5:51).
1. "Ezekielen Prophezia" (5:10) (8/10)
2. "Ezekielen Esnatzea I" (6:01) Nice electric guitar solo. (8.5/10)
3. "Ezekielen Esnatzea II" (4:37) awesome plaintive pastoral opening with a weave of violin, guitar, keyboard and bass. Multiple voices work their way into the weave for a minute before a solo sax takes the lead and the weave smooths out and a blues-rock rhtyhm foundation takes over. Breathy, fast-flitting flute takes over at 2:45, Wurlitzer organ at 3:30. (9/10)
4. "Ezekiel" (3:01) excellent acoustic guitar picking opens this one until a stop at 0:40 signals the entry of the Etorkizuna Children's choir with support from strumming mandolin and picking guitar. Interesting, though the power and melodies of the choir are not as high until the softening and cheering in the third minute. Still, cool song. (9/10)
5. "Ezekielen Ikasgaia" (6:29) picked acoustic guitar is joined by piano (very well recorded, btw) before laying scant support for the operatic voice of mezzo soprano Itziar Egileor. Nice melodies and song arrangement. At 2:30 there is a radical shift into organ-rock band playing a soulful support to solos from alto sax, flute, and electric piano. At 4:27 we return to the opening section of acoustic guitar to support Itziar--this time without piano! Basss and violin and then drums join in as song gets very expressive, vocal becomes very jazzy with some very cool and unusual scatting. Very classy, polished song. Great sound engineering. (9.75/10)
6. "Ezekielen Ametsa" (1:52) solo acoustic guitar intro for a "little girl" vocal and child-like upper register piano support which then turns into Fender Rhodes rock band song to bleed into the next song. (5/5)
7. "Ezekielen Erantzuna" (4:17) carried over from the previous song, the Fender is strong but a very active rhythm section makes for an interesting contrast to the rather bland male vocal over the top. Acoustic guitar solo in the middle before vocals are doubled up for the second half. Now this is cool! Sax and organ join in for solo coupled with electric piano solo to close. (9/10)
8. "Ezekiel: Ia Maitasun Kanta Bat" (5:49) railroad noises before a violin defines the pace and melody for a bass-heavy folk reel. Violin, flute, and sax performing a wave to support the lead melody before cutting out at 1:02. Strummed guitar supports animated lead vocal from Juan Carlos Pérez. Bass and intermittent drum and cymbal support before flute-sax-violin weave fills the instrumental interludes between vocal verses. Weird electric guitar enters around 3:20, providing metronomic counterpoint to everything else going on. I find it annoying. Luckily, it leaves for the fifth minute. Screaming electric guitar solo starts at 4:40 and persists to the end over the jamming musicians beneath. (9/10)
Total time 37:16
89.67 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and a wonderful example of Prog Folk coming from the Iberian Peninsula, particularly refreshing for its representation of a very specific regional folk tradition (and language).
89.67 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and a wonderful example of Prog Folk coming from the Iberian Peninsula, particularly refreshing for its representation of a very specific regional folk tradition (and language).
7. IVORY Sad Cypress
A German prog band, late comers to the scene in 1979, founded by father and son Ulrich and Thomas Sommerlatte, the former of which was, at the time, 65 years old with 43 years conducting orchestras in the classical music scene before discovering the progressive rock scene. The "romanticization" of the "classic" prog music bands and albums was being born and launched nowhere with so much vigor as here, in Germany, by bands like Eloy, Neuschwanstein, and Anyone's Daughter, but there may have been no artist so eminently capable to sponsor this trend--both compositionally as well as through reputation previously earned--as Ulrich Sommerlatte; though imitative of bands like Genesis, The Strawbs, ELP, and even England, the maturity and sophistication in these compositions, their instrumental arrangements, and their sound engineering are most likely far beyond what you will hear from any other debut album.
Line-up / Musicians:
- Ulrich Sommerlatte / keyboards
- Thomas Sommerlatte / keyboards
- Christian Mayer / lead vocals, acoustic & electric guitars
- Goddie Daum / acoustic & electric guitars
- Charly Stechl / bass, flute
- Fredrik Rittmüller / drums
guest musician:
- Thomas Sommerlatte / keyboards
- Christian Mayer / lead vocals, acoustic & electric guitars
- Goddie Daum / acoustic & electric guitars
- Charly Stechl / bass, flute
- Fredrik Rittmüller / drums
guest musician:
- Antonio Ognissanti / latin vocals
SIDE 1
1. "At This Very Moment" (3:57) GENESIS styled with a Peter Gabriel like vocal, this is a gorgeously constructed and textured song with equally stunning sound engineering. (And the vocals are not as bad as other reviewers are saying!) (9/10)
2. "In Hora Ultima" (7:12) with lyrics sung in Latin! Impeccable sound and arrangement. Could be Hogarth-era MARILLION! (13.25/15)
3. "Sad Cypress" (8:34) this instrumental opens like a classical composition that has been transposed for rock/prog instrumentation. There is a drastic shift at the end of the third minute which leads to a Gabriel-era GENESIS song. (17/20)
SIDE 2
4. "Time Traveller" (4:15) jumps out straight into the S-bahn with clavinet, organ, and Moog supplying the feature instruments with the (now) usual stellar sound engineering. A slower section takes over in the second minute in which "Stagnation"/"Entangled"-like synth is in the lead. Interestingly, the supporting instruments shift and trade for a bit before a tempo shift leads to an ALLMAN BROTHERS-like theme. (9.25/10)
5. "My Brother" (13:52) A Foxtrot-era GENESIS epic complete with Gabriel-esque theatrics. Good but it feels as if its's been done before. (26/30)
BONUS TRACKS (from the 1992 CD release)
6. "The Great Tower" (9:44) opens with an excellent church organ intro section. Vocal sounds more like STRAWBS' Dave Cousins. As a matter of fact, the entire song has a much more STRAWBS-like sound and feel to it than the pre-established Genesis influence. (19/20)
7. "Incantation" (4:42) the most bouncy poppy prog song on the album. Again, this is so much more STRAWBS-like than Genesis. (I even hear a little ENGLAND in there!) (8.25/10)
8. "Construction N° 2" (2:29) an organ étude employing "pan pipes," "accordeon," and "nylon string guitar" sounds before finishing with a SynthAxe-like sound in the lead. (4.5/5)
9. "Barbara" (13:45) opens as a piano and flute duet until 0"49 when "strings" and voice enters. Similar to SUPERTRAMP's "Fool's Overture." At 1:38 shift to a still, slow and spacious section until 3:50 when bass pedals thrum into the soundscape. At 6:15 a "zither"-supported "flute" solo. At 7:00 the music intensifies. The Dave Cousins vocal sound is so strong! The music softens again in the ninth minute before an instrumental section with church organ takes the lead. At 10:35 everything falls away with an electric piano filling the space as if it's doing a classical concerto! Very cool!
7. "Incantation" (4:42) the most bouncy poppy prog song on the album. Again, this is so much more STRAWBS-like than Genesis. (I even hear a little ENGLAND in there!) (8.25/10)
8. "Construction N° 2" (2:29) an organ étude employing "pan pipes," "accordeon," and "nylon string guitar" sounds before finishing with a SynthAxe-like sound in the lead. (4.5/5)
9. "Barbara" (13:45) opens as a piano and flute duet until 0"49 when "strings" and voice enters. Similar to SUPERTRAMP's "Fool's Overture." At 1:38 shift to a still, slow and spacious section until 3:50 when bass pedals thrum into the soundscape. At 6:15 a "zither"-supported "flute" solo. At 7:00 the music intensifies. The Dave Cousins vocal sound is so strong! The music softens again in the ninth minute before an instrumental section with church organ takes the lead. At 10:35 everything falls away with an electric piano filling the space as if it's doing a classical concerto! Very cool!
This is such a powerfully emotional song (sad and nostalgic)! The writer/composer obviously loved this person very deeply. (28/30)
Total Time: 68:30
Total Time: 68:30
It is my typical habit of reviewing an album that was originally released on vinyl based upon its original track number, but there are the rare occasions, such as this, in which I have deemed the "bonus" material to be appropriate to include. The four bonus songs here have the unexpected distinction of being both obviously contemporary to the original tracks and being perhaps superior to the ones included in the original edit.
89.5 on the Fishscales = B+/4.5 stars; a near-masterpiece of neo-progressive rock music and an album not to be missed for it's finely crafted, richly textured, well-produced songs.
8. ANTHONY PHILLIPS Private Parts & Pieces II: Back to the Pavillion
Line-up / Musicians:
- Anthony Phillips / vocals, Classical, 12-string & electric guitars, piano, Polymoog, ARP 2600, co-producer
With:
- Rob Phillips / oboe (11)
- Mel Collins / flute (13)
- Mike Rutheford / bass (1-i,1-iv)
- Andy McCulloch / drums, percussion
With:
- Rob Phillips / oboe (11)
- Mel Collins / flute (13)
- Mike Rutheford / bass (1-i,1-iv)
- Andy McCulloch / drums, percussion
- N.O.R. Side
1. "Scottish Suite" (15:15) (26.25/30):
- i) Salmon Leap (2:46) (4.25/5)
- ii) Parting Thistle (2:26) (4.5/5)
- iii) Electric Reaper (3:03) (4.25/5)
- iv) Amorphous, Cadaverous And Nebulous (4:53) (9/10)
- v) Salmon's Last Sleepwalk (2:07) (4.25/5)
2. "Lindsay" (3:50) beautifully melodic solo piano ballad. (8.5/10)
3. "K2" (8:53) slow moving sustained synthy organ chords with keyboard-generated flitting angel noises over the top. (17/20)
4. "Postlude: End Of The Season (0:32)
- S.O.R. Side
5. "Heavens" (4:22) more church-like synth-organ music. (8.5/10)
6. "Spring Meeting (3:52) outstanding solo classical guitar piece. (9.5/10)
7. "Romany's Aria" (0:50) reversed electric guitar vignette (4.5/5)
8. "Chinaman" (0:41) solo 12-string theme. (5/5)
9. "Nocturne" (4:05) solo classical guitar piece--slower, more cerebral, than the previous one. More of an étude of style and technique. Beautiful. (9.25/10)
10. "Magic Garden" (1:56) solo piano piece. Again like an étude. Ant sure can find odd but beautiful chord combinations and melodies. Like a keyboard version of "Tibetan Yak Music." (5/5)
11. "Von Runkel's Yonker Music" (0:41) a variation on a familiar theme from The Geese and the Ghost. (4.5/5)
12. "Will O' The Wisp" (3:30) heavily-flanged slow down-strummed 12-string guitar chords. Experimental and étudinal. (8.75/10)
13. "Tremulous" (1:06) 12-string with Mel Collins' flute. another outtake from The Geese and the Ghost? (4.25/5)
14. "I Saw You Today" (4:34) sensitive solo 12-string with Ant's plaintive singing. A longing love song to two friends from his past. There's a lot of very real-feeling emotion packed into this simple song. (9/10)
15. "Back To The Pavilion" (2:51) quiet solo piano, bass chords and treble single notes, then turning full-bodied. Definitely original though taking inspiration from so many classical pieces and styles. (5/5)
Total time 56:58
89.29 on the Fishscales = B+/4.5 stars; a near-masterpiece of truly sensitive, emotional and personal progressive rock music. Beautiful.
9. YES Drama
As everyone else says, "This is probably one of Yes's most underrated albums." The addition of New Waver's THE BUGGLES's Geoffrey Downes and Trevor Horn gives the band a transfusion of new life (as well as a pre-written song in "Into the Lens"). The vocal harmonies have never been better. Steve Howe has never been better. The band's power and pace is present from the album's opening measures of "Machine Messiah." Yes, songs like "Man in a White Car," "Run Through the Light," and the New Wave-y, straightforward "Does It Really Happen?" are oddities for Yes, but they are experiments that prove offsetting for the other heavier songs. Plus, they are previews of the ASIA to come. "Machine Messiah", the awesome "Tempus Fugit", and "Into the Lens" are Yes classics--songs for the ages.
Line-up / Musicians:
- Trevor Horn / lead vocals, fretless bass (5)
- Steve Howe / electric & steel (4) guitars, mandolin (5), backing vocals
- Geoff Downes / keyboards, vocoder (4), Fairlight CMI synth (2)
- Chris Squire / bass, piano (5), backing vocals
- Alan White / drums, percussion, backing vocals
- Steve Howe / electric & steel (4) guitars, mandolin (5), backing vocals
- Geoff Downes / keyboards, vocoder (4), Fairlight CMI synth (2)
- Chris Squire / bass, piano (5), backing vocals
- Alan White / drums, percussion, backing vocals
1. "Machine Messiah" (10:27) (17.75/20)
2. "White Car" (1:21) (4.5/5)
3. "Does It Really Happen?" (6:34) a song that I didn't really think much of at the time of release that now stands up surprisingly well over time. (8.75/10)
4. "Into the Lens" (8:31) nice spectrum of discipline and sensitivity on display for this one. The genius and talent of Trevor Horn/The Buggles are felt on this one. The new quintet at their best. (18.25/20)
5. "Run Through the Light" (4:39) too sappy--especially the main rhythm track. (8/10)
6. "Tempus Fugit" (5:14) who couldn't love that rolling bass line? or those lead guitar riffs? (9/10)
Total Time 36:46
88.33 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music blending the best of prog virtuosity and leading edge pop-synth technology. Despite the lineup change (the shocking absence of Jon Anderson), this is still Yes and it's still an excellent addition to any prog lovers music collection.
10. BRUFORD Gradually Going Tornado
The third release of the Bruford jazz-fusion project sees the absence of departed guitarist (extraordinaire) Allan Holdsworth--which meant a drastic lowering of expectations for all prog fans.
- John Clark / guitar
- Dave Stewart / keyboards
- Jeff Berlin / bass, lead vocals
- Bill Bruford / drums, cymbals, co-producer
With:
- Georgia Born / cello (2)
- Barbara Gaskins / chorus vocals (8)
- Amanda Parsons / chorus vocals (8)
1. "Age Of Information" (4:41) rather pop-oriented prog with some of Bill, Jeff, and Dave's most straightforward instrumental play I've ever heard. Jeff Berlin as a lead vocalist leaves much to be desired and the guitar play of newcomer John Clark is barely recognizable. Luckily, the instrumentalists start to "color outside the lines" a bit in the song's second half, but those vocals are really a downer. (I'd MUCH rather have the much-maligned Annie Peacock on the mic.) (8.7/10)
2. "Gothic 17" (5:07) Guitar! Impressive in a Holdsworth-like way--and Jeff Berlin's funky bass is prominent--while his vocal is definitely being molded into a John Wetton/UK-like delivery form. Bill and Dave are good but never demanding our attention, but John Clark does a super job! (8.75/10)
3. "Joe Frazier" (4:41) now this is the Bruford we've come to know and love! (I'd heard this song before on the Master Strokes 1978-1985 album.) Bass and keys entwined in a demanding race against doubling Bill's time. John Clark's wailing Allan Holdsworth-sounding guitar enters in a solo capacity in the second minute followed by a pretty impressive bass solo from Jeff. Clark retorts with his own guitar pyrotechniques before yielding to Dave Stewart for a bit as Jeff's bass continues to wow and astonish throughout. Bill is just solid, driving, keeping fairly straight time throughout. More Dave Stewart but man is Jeff impressive! (9/10)
4. "Q.E.D." (7:46) a keyboard oriented instrumental showcasing Dave Stewart's Herbie Hancock/Joe Zawinal chops. Matter of fact, the song overall has a very distinctive WEATHER REPORT "Birdland" sound and feel. Though this is Dave's showpiece, there are some nice John Clark moments as well. It is, however, kind of sad to me to hear the band imitating other bands since I've grown so accustomed to Bill always paving the way with absolutely new and fresh creations. The well must be running dry. (13.125/15)
5. "The Sliding Floor" (4:58) a return to the vocal mic for Jeff over some pretty descent mostly-original music. All of the instrumental performers (and performances) are of quite a high level on this one (which helps me get through the challenge of "enjoying" Jeff's vocals). (8.75/10)
6. "Palewell Park" (3:57) a beautiful song duet based around some serene Dave Stewart piano work and embellished by Jeff Berlin's extraordinary bass play. (8.875/10)
7. "Plans For J.D." (3:50) If I try to forget that this is the jazz-rock fusion combo known as "Bruford" I could maybe appreciate these songs for their pop-orientations. They could be Squeeze, 10CC, ABC, XTC, ELP, or even The Manhattan Transfer. Still, this is by far Jeff's best vocal on the album. (8.66667/10)
8. "Land's End" (10:20) Bill's attempt to bring some UK and/or National Health back into the Bruford sound. The incredible, song-changing presence (and effect) of two-thirds of The Northettes doesn't hurt! John Clark's guitar soars and delights despite his conforming to the sounds expected of the "Allan Holdsworth replacement." The pace picks up with a motif change at the end of the third minute but then slows down and empties out at the end of the fourth--to make way for a pensive Dave Stewart piano solo. The rest of the band rejoins at 4:56 to present more "vintage" UK/Bruford-like music featuring some great, upbeat Jeff Berlin bass play and solid (and iconic) Bill Bruford drumming. Keys and electric guitar perform their own little magic throughout the seventh and eighth minutes (especially John Clark) before The Northettes and Bill mark a transition at 7:45. The new motif has organ and piano, hand claps, steady, coordinated bass and guitar chord play while Bill drives it forward. At the nine-minute mark a Bruford drum bridge brings the band round for a reprise of the opening theme and palette (with The Northettes in cahoots). I wish Amanda and Barbara could have had a little more room for improvisation, but I'll always take them in any form and dosage that I can! A solid prog epic sans vocals. (18/20)
Total time 45:20
Total time 45:20
I had not actually ever heard, much less acquired, this album until today (November 25, 2023). Though I still hear the stellar (perhaps unsurpassed) talents of each of the four instrumentalists working on this album, there is a disappointment factor emanating from the vocals as well as from the "borrowed" themes and sounds employed by the band for some of the songs (something they'd never really condescended to doing before).
88.28 on the Fishscales = B/four stars; a surprisingly not bad contribution to the music scene for 1980; definitely an album that most prog lover's will find much to enjoy.
11. PETER GABRIEL Peter Gabriel (3) ("Melt")
NO CYMBOLS! I read that BRUFORD and COLLINS were going nuts--it was so hard for them to not hit cymbols. There are so many great reviews above. I have very little to add. Does anyone remember the gorgeous song "Shossalosa" on the 'B-side' of the "Biko" EP? Some of the songs here do not stand up as well over time (IMO), but the creative, innovative genius behind this album cannot be denied. I like the comparison to TALKING HEADS' Remain in Light, for "'Melt'" is definitely on a creative par. Only, Remain in Light stands up better over the years. I also agree with the reviewers' averages: This album rates right up there with Passion and Us as Gabe's three best solo albums. Plus he actually got Kate to sing with him! This is also the album that "invents" the gated drum effect. And previews Gabe and Kate's infatuation with drum machines and the Fairlight CMI.
- Peter Gabriel / lead & backing vocals, piano, synth (3,4,7,8), bass synth & whistles (7), drum programming (10)
With:
- Kate Bush / backing vocals (2,7)
- David Rhodes / guitar, backing vocals
- Robert Fripp / guitar (2,4,8)
- Dave Gregory / guitar (4,5)
- Paul Weller / guitar (6)
- Larry Fast / synth, bass synth (7), synth bagpipes (10), programming
- Dick Morrissey / saxophone (2,3,5,9)
- John Giblin / bass
- Tony Levin / Chapman Stick (4)
- Jerry Marotta / drums, percussion (7,8)
- Phil Collins / drums (1,2), drum programming (1), percussion (5,10)
- Morris Pert / percussion (1,2,9)
- Steve Lillywhite / whistles (7), producer
- Hugh Padgham / whistles (7), engineer
- Peter Vogel / Fairlight CMI sampler
With:
- Kate Bush / backing vocals (2,7)
- David Rhodes / guitar, backing vocals
- Robert Fripp / guitar (2,4,8)
- Dave Gregory / guitar (4,5)
- Paul Weller / guitar (6)
- Larry Fast / synth, bass synth (7), synth bagpipes (10), programming
- Dick Morrissey / saxophone (2,3,5,9)
- John Giblin / bass
- Tony Levin / Chapman Stick (4)
- Jerry Marotta / drums, percussion (7,8)
- Phil Collins / drums (1,2), drum programming (1), percussion (5,10)
- Morris Pert / percussion (1,2,9)
- Steve Lillywhite / whistles (7), producer
- Hugh Padgham / whistles (7), engineer
- Peter Vogel / Fairlight CMI sampler
- David Ferguson / vocals - screeches (10)
1. "Intruder" (4:53) (8.75/10)
2. "No Self Control" (3:56) (9/10)
3. "Start" (1:21) sax! No vox! (4/5)
4. "I Don't Remember" (4:42) (9.25/10)
5. "Family Snapshot" (4:29) (8.25/10)
6. "And Through the Wire" (4:58) (8/10)
7. "Games Without Frontiers" (4:07) Kate! (9.5/10)
8. "Not One of Us" (5:21) (8/10)
9. "Lead a Normal Life" (4:15) awesome minimalism! (9/10)
2. "No Self Control" (3:56) (9/10)
3. "Start" (1:21) sax! No vox! (4/5)
4. "I Don't Remember" (4:42) (9.25/10)
5. "Family Snapshot" (4:29) (8.25/10)
6. "And Through the Wire" (4:58) (8/10)
7. "Games Without Frontiers" (4:07) Kate! (9.5/10)
8. "Not One of Us" (5:21) (8/10)
9. "Lead a Normal Life" (4:15) awesome minimalism! (9/10)
10. "Biko" (7:27) (14/15)
Total Time 45:29
Total Time 45:29
87.75 on the Fishscales = B+/4.5 stars; a near-masterpiece of innovative Crossover prog.
12. GENESIS Duke
This was my brother's favorite Genesis album, so I rode on his enthusiasm into the concert to see this tour. The album is good, just not as great, as intricately detailed and full of quirky/unexpected moments as 70s Genesis.
It starts off fairly promising with 1. "Behind the Lines" (5:30) (8.5/10)and the powerful drum play of Phil. It's kind of like a Broadway overture in that it introduces several of the themes from later songs. (BTW: in case you didn't know, this is a concept album.) But when things calm down for vocals all of the power comes apart and the new "pop" Genesis rears its head.
2. "Duchess" (6:25) (9/10) is definitely one of the highlights of the album for me with its (then) experimental electronic percussion leading into the album's best vocal section. It all kind of goes down hill from there.
4. "Man of our Times" (5:36) (7/10) has some incredible chord structures from Tony Banks but that's about it.
5. "Misunderstanding" (3:15) (8/10) I have to admit is a rather catchy pop tune.
6. "Heathaze" (5:01) (8.5/10) gives us Phil's singing at his best: tender delicate singing--and nicely accompanied by Tony's electric piano.
7. "Turn It On Again" (3:44) (8/10) is yet another nice pop tune--and a concert favorite. The following four songs are throw-aways, but the final two, the (mostly) instrumental
11. "Duke's Travels" (8:39) (9/10) and 12. "Duke's End" (2:07) (9/10) are quite nice.
The overall effect of the 55 minute album definitely makes me feel like I just listened to the recording of a Broadway show. The music is okay--though I find the mix of the tracks a bit quiet and muddy. Phil's singing keeps getting more confident and central to the music and his drumming is still outstanding but the movement towards a pop audience has become apparent. A good album that stands up fairly well over time but it is not consistent with its quality, shows a definite decline in the complexity of the music, and lacks as many high points as four star albums.
87.39 on the Fishscales = B/four stars;
13. ANYONE'S DAUGHTER Anyone's Daughter
The German band's second release after the wonderful 1979 debut, Adonis. The music feels a bit more RUSH-like in trying to access a larger audience though still possessing the endearing CAMEL and GENESIS sounds and stylings (as well as some near-disco driving rhythm tracks.)
Line-up / Musicians:
- Harald Bareth / lead vocals, bass, glockenspiel
- Uwe Karpa / guitars
- Matthias Ulmer / keyboards, piano, vocals
- Uwe Karpa / guitars
- Matthias Ulmer / keyboards, piano, vocals
- Kono Konopik / drums
1. "Swedish Nights" (4:52) (9/10)
2. "Thursday" (3:59) RUSH mixed with STEVE HACKETT's "Spectral Mornings." Nice. (9/10)
3. "Sundance of the Haute Provence" (3:39) (8.75/10)
4. "Moria" (3:52) (/10)
5. "Enlightenment" (5:01) piano and Harald's voice. Nice two tracks of lead guitar work in the middle instrumental section. (8.75/10)
6. "Superman" (3:56) (/10)
7. "Another Day Like Superman" (8:03) delicate sound palette of electrified mediæval sounds over which Harald (and Matthias in the background) sings. Nice, innocuous, like a 1960s folk ballad until it kicks into a full blues rock jam for the middle section. For some reason the final section in which the song returns to the delicate opening motifs is much better recorded than the opening. (13.25/15)
8. "Azimuth" (1:27) (/5)
9. "Between the Rooms" (4:22) GENESIS-like picked electric guitars (including 12-string) with various keys and bass and cymbal play worked into the weave for the first minute. When things congeal for the singing part (in the second minute) it sounds like NICK BARRETT and PENDRAGON! Gorgeous soundscape! It would seem that guitarist Uwe Karpa was HIGHLY affected by Steve Hackett's album from the year before, Spectral Mornings. (9/10)
Total Time: 51:58
87.31 on the Fishscales = B+/four stars; an excellent addition to Prog World's lexicon of late classic/early neo-progressive rock music.
9. "Between the Rooms" (4:22) GENESIS-like picked electric guitars (including 12-string) with various keys and bass and cymbal play worked into the weave for the first minute. When things congeal for the singing part (in the second minute) it sounds like NICK BARRETT and PENDRAGON! Gorgeous soundscape! It would seem that guitarist Uwe Karpa was HIGHLY affected by Steve Hackett's album from the year before, Spectral Mornings. (9/10)
Total Time: 51:58
87.31 on the Fishscales = B+/four stars; an excellent addition to Prog World's lexicon of late classic/early neo-progressive rock music.
14. KATE BUSH Never for Ever
Kate's inclusion here on ProgArchives is, to me, questionable and certainly debatable, but her penchant for creating many quirky, unusual, technology-leading "experimental" songs does make her a progressive artist--as are Brian Eno, Roxy Music, Talking Heads, Peter Gabriel, Tears for Fears, Cocteau Twins, David Sylvian, and The Cure. Never For Ever is the first of her masterful, "ground-breaking" albums--though often her quirk and charm is a little over the top for me (I find her videos sometimes embarrassingly cheezy/corny or melodramatic--and often her song topic choices). But, the Fairlight experimentation, the incredible vocal performance on "Blow Away (for Bill)" (10/10) and the rest of the album's unusual, quirky, and highly original songs make this one a great one. Though I consider it essential in one's Kate Bush collection, I do not consider this an essential masterpiece of progressive rock music.
Line-up / Musicians:
- Kate Bush / lead & harmony vocals, piano, Yamaha CS80 synth (1,4), arranger & co-producer
With:
- Brian Bath / acoustic (3,4,10) & electric (1,6,7,11) guitars, backing vocals (6,10)
- Alan Murphy / acoustic (4,10) & electric (1,2,6-8,11) guitars, bass & backing vocals (10)
- Paddy Bush / balalaika (1), sitar (2), koto (4), psaltery (5), harmonica & saw (6), talkbox (7), mandolin (10), bass vocals (2)
- Max Middleton / Fender Rhodes (1,3,5,6,11), MiniMoog (5), string arrangements (3)
- Duncan Mackay / Fairlight synth (4,10)
- Mike Moran / Prophet synth (5)
- Larry Fast / Prophet synth (11)
- John Giblin / fretted (1) & fretless (11) basses
- Del Palmer / fretted (5-7) & fretless (3) basses
- Preston Heyman / percussion (2,3,5,6), drums (3,5-7), backing vocals (6)
- Stuart Elliot / drums (11), bodhrán (10)
- Morris Pert / timpani (4), percussion (11)
- Kevin Burke / violin (7)
- Joseph Skeaping / viol, string arrangements (8)
- Adam Skeaping / viol, string arrangements (8)
- Gary Hurst / backing vocals (1)
- Ian Bairnson / bass vocals (2)
- Roy Harper / backing vocals (11)
- The Martin Ford Orchestra / strings (3,6)
With:
- Brian Bath / acoustic (3,4,10) & electric (1,6,7,11) guitars, backing vocals (6,10)
- Alan Murphy / acoustic (4,10) & electric (1,2,6-8,11) guitars, bass & backing vocals (10)
- Paddy Bush / balalaika (1), sitar (2), koto (4), psaltery (5), harmonica & saw (6), talkbox (7), mandolin (10), bass vocals (2)
- Max Middleton / Fender Rhodes (1,3,5,6,11), MiniMoog (5), string arrangements (3)
- Duncan Mackay / Fairlight synth (4,10)
- Mike Moran / Prophet synth (5)
- Larry Fast / Prophet synth (11)
- John Giblin / fretted (1) & fretless (11) basses
- Del Palmer / fretted (5-7) & fretless (3) basses
- Preston Heyman / percussion (2,3,5,6), drums (3,5-7), backing vocals (6)
- Stuart Elliot / drums (11), bodhrán (10)
- Morris Pert / timpani (4), percussion (11)
- Kevin Burke / violin (7)
- Joseph Skeaping / viol, string arrangements (8)
- Adam Skeaping / viol, string arrangements (8)
- Gary Hurst / backing vocals (1)
- Ian Bairnson / bass vocals (2)
- Roy Harper / backing vocals (11)
- The Martin Ford Orchestra / strings (3,6)
1. "Babooshka" (3:20) (9/10)
2. "Delius (Song Of Summer)" (2:51) (5/5)
3. "Blow Away" (For Bill) (3:34) (10/10)
4. "All We Ever Look For" (3:48) (8/10)
5. "Egypt" (4:12) (8/10)
6. "Wedding List" (4:15) (8.25/10)
7. "Violin" (3:15) (8.25/10)
8. "Infant Kiss" (2:50) (9/10)
9. "Night Scented stock" (0:51) (4.25/5)
10. "Army Dreamers" (2:58) (8.5/10)
11. "Breathing" (5:29) (8.5/10)
Total Time: 37:23
86.75 on the Fishscales = B+/four stars; an excellent addition to any prog lover's music collection.
Other Excellent Prog Albums
(Ratings of 83.34 to 86.67)
15. ZAMLA MAMMAZ MANNA Familjesprikor
This may be the final album by a band in disarray, but somehow they're still able to put together some incredibly tight performances of highly demanding compositions.
Line-up / Musicians:
1. "Five Single Combats" (5:52) (8.75/10)
2. "Ventilation Calculation" (5:05) a top three composition on the album because of the balanced contributions of all of the instruments and fairly decent recording and mix. Unfortunately, it sounds like an American (Allman Brothers) farewell song. (9/10)
3. "The Forge" (5:04) a solid and decent, hard-driving jazz-folk rock fusion song. I love the prominent/featured performance of the accordion. My second top three song. (9/10)
4. "The Thrall" (Live in Strassbourg and Charleville, France) (5:05) opens as if it was faded in, mid-song, during an improvisational section of another song. Weird with little substance or and no apparent cause or aim. (7/10)
5. "The Panting Short Story" (3:52) far more sedate and straightforward (and melodic) than is typical of SMM/ZMM but still complex and tight. (8.5/10)
6. "Pappa (with right of veto)" (Live in Sülfeld, Germany) (4:27) rock and roll! (on the bluesy side) which then turns into a kind of comic parody of Slavic (Russian) folk music. Interesting. The animosity between the two countries persists. (8.75/10)
7. "The Farmhand" (7:33) no tradition or institution (or trade) is off limits from the barbs of sarcasm of these guys. Like the soundtrack music to a comic silent movie of the 1920s.(13/15)
8. "Kernel in Short and Long Castling" (5:40) music to be taken seriously--due to the extraordinarily tight musicianship, broad dynamics, and effective expression of a central mood--but also due to the best sound engineering of any song on the album. My final top three song. (9.25/10)
Total Time: 42:38
- Eino Haapala / guitar, vocals
- Lars Hollmer / keyboards, accordion, vocals
- Lars Krantz / bass, vocals
- Vilgot Hansson / drums, percussion
With:
- Hans Bruniusson / drums & marimba (6)
- Lars Hollmer / keyboards, accordion, vocals
- Lars Krantz / bass, vocals
- Vilgot Hansson / drums, percussion
With:
- Hans Bruniusson / drums & marimba (6)
1. "Five Single Combats" (5:52) (8.75/10)
2. "Ventilation Calculation" (5:05) a top three composition on the album because of the balanced contributions of all of the instruments and fairly decent recording and mix. Unfortunately, it sounds like an American (Allman Brothers) farewell song. (9/10)
3. "The Forge" (5:04) a solid and decent, hard-driving jazz-folk rock fusion song. I love the prominent/featured performance of the accordion. My second top three song. (9/10)
4. "The Thrall" (Live in Strassbourg and Charleville, France) (5:05) opens as if it was faded in, mid-song, during an improvisational section of another song. Weird with little substance or and no apparent cause or aim. (7/10)
5. "The Panting Short Story" (3:52) far more sedate and straightforward (and melodic) than is typical of SMM/ZMM but still complex and tight. (8.5/10)
6. "Pappa (with right of veto)" (Live in Sülfeld, Germany) (4:27) rock and roll! (on the bluesy side) which then turns into a kind of comic parody of Slavic (Russian) folk music. Interesting. The animosity between the two countries persists. (8.75/10)
7. "The Farmhand" (7:33) no tradition or institution (or trade) is off limits from the barbs of sarcasm of these guys. Like the soundtrack music to a comic silent movie of the 1920s.(13/15)
8. "Kernel in Short and Long Castling" (5:40) music to be taken seriously--due to the extraordinarily tight musicianship, broad dynamics, and effective expression of a central mood--but also due to the best sound engineering of any song on the album. My final top three song. (9.25/10)
Total Time: 42:38
There's something missing in the music on this album. Heart or soul. The fact that the band had to cull two songs from live performances is, to my mind, indicative of a band on their last legs.
86.18 on the Fishscales = B/four stars; a nice contribution to a prog lover's music collection--especially if you like unusual, often humorous music from top notch musicians.
86.18 on the Fishscales = B/four stars; a nice contribution to a prog lover's music collection--especially if you like unusual, often humorous music from top notch musicians.
16. ASIA MINOR Between Flesh and Divine
Other reviewers have remarked on the sound and feel of this album being like a combination of early 70s GENESIS and CAMEL and I couldn't agree more. This is beautiful and often sophisticated music very close in feel and mastery to the models it seems to wish to emulate or perpetuate. The drumming is often worthy of superlatives while the keyboard player shows excellent instincts in playing mostly in a support role (but a very important support role, á la TONY BANKS).
Line-up / Musicians:
- Setrak Bakirel / lead vocals, guitars, bass
- Eril Tekeli / guitars, flute
- Robert Kempler / keyboards, bass
- Lionel Beltrami / drums, percussion
- Eril Tekeli / guitars, flute
- Robert Kempler / keyboards, bass
- Lionel Beltrami / drums, percussion
2. "Northern Lights" (7:51) The first 2:06 are quite calm and pastoral. Then all GENESIS/CAMEL breaks loose with a very up-tempo section. At 3:45 all sound drops out to be replaced by a new section of delicate electric guitar picking and electric keyboard. At 4:38 a foreign-accented male voice enters to sing in English as the tempo picks up a bit (drums and bass join in). Fuzz guitar solo. Return of vocal. Voice is like ELOY's FRANK BORNEMANN's singing with BRYAN FERRY's phrasing--the way he down-slides the endnotes of a phrase or word. (13/15)
3. "Boundless" (3:13) is a three-minute gentle ballad--singing from the start, ending with a drawn out, easy, repetitive electric guitar solo. Very nice construct. (8.5/10)
4. "Dedicace" (6:14) begins with the bass sound more familiar from RENAISSANCE over which a breathy flute is dancing. At 1:20 there is a very CAMEL-esque shift to a mid-tempo 'controlled jazz' section. At 2:15 acoustic guitar strums beneath fuzzy electric guitar and keyboard organ while bass and drums join in at a fairly quick pace as singer comes in singing in higher register than previous songs. Very "Lady Fantasy" feeling. 3:25 totally shifts to bucolic GENESIS section. Classic GENESIS transition stuff. Return to vocal with half the freneticism of the former section (sans acoustic guitar strumming). Another repeat of the slow instrumental transition to the fast strumming acoustic guitar section with singing to a rather abrupt end. (8.5/10)
5. "Lost In A Dream Yell" (7:46) begins with rain sounds, a few single random notes from treated guitar with vocal being most prominent feature--the bareness of which really makes obvious the awkward foreign accent. So ELOY! Rain and piano with electric guitar arpeggios interplay irregularly behind vocal until 2:40 when guitar arpeggios are left alone for half a minute while rain fall sounds gradually fade and synth strings and mellow flute join in. Slowly from far in the background, military drumming patterns begin to emerge and move to foreground. All the while flute continues to lead with beautiful melody. Really awesome drumming to tune into--four minutes of it! Song ends with same pattern playing out. (13.5/15)
6. "Dreadful Memories" (2:45) begins with an odd, almost spy-theme music led on a DICK DALE-like bass line over which haunting synth chords are washing in and out. The song ends with a weird cut out and echoed synth fade. (7.5/10)
Total Time: 34:01
Except for the last song, the music on this album is not very proggy. The Welsh tongue is interesting, the troubadour-like instrument choice enchanting, but it is the voice, that amazing voice of Nest Llwelyn that keeps me pushing repeat on the likes of "Titwrm Tietwrm" (9/10) and "Gloyn Byw" (8/10), and, to a lesser extent, "Royal Charter" (7/10)--though giving her the lead vocal, as on "Ni Welaf Yr Haf" (7/10) did not please as much as when she's the accompanist. And "Pan Ddaw Y Brenin Yn Ol" (10/10) the album's afore-mentioned finale, is IMHO a little prog masterpiece.
Line-up / Musicians:
- Arfon Wyn ab Eurig / guitars, vocals
- Charli Goodall / guitars, bass, vocals
- Einion Williams / bodhran, congas, bongos
- Aneurin Owen / flute
- Nest Llwelyn / vocals, keyboards
I like the flange effect on the strummed 12-string during the powerful centre of "Dechrau Y Gan" (7/10).
I love the electric guitar solo with pipes and channel-bouncing synth during the middle and end instrumental sections of "Can Y Melinydd" (7/10).
By the time "Royal Charter" rolls around I'm kind of getting tired of the style and format (just as I get tired of The Decemberists after a few songs). (Though I really like the Mike Oldfield-like electric guitar solo in Royal Charter.)
"Gloyn Byw" has a kind of Pink Floyd "Wish You Were Here" feel to it with Nest's awesome b-vox and plenty of Mike Oldfield electric guitar.
"Liongau Caernarfon" (8/10) has a very strong Moody Blues feel to it. Upbeat with a great acoustic-electric mix.
"Hiraeth Y Mor" (8/10) is a beautiful little Alan Stivell-like Celtic steel-stringed harp piece.
"Pan Ddaw Y Brenin Yn Ol" (10/10) is my favorite song overall for its 12-string acoustic guitar, whimsical piano, beautiful flute melodies and breathier vocal harmonies--as well as for the proggy synth and electric guitar and bombastic rhythm section in the second half of the song. Definitely the proggiest of all songs on the album.
Total Time: 36:49
Though this is a collection good music and fine performances, it is nothing extraordinary and, therefore, I cannot find myself awarding it anything more than three stars. Prog Folk lovers, however, will undoubtedly love this one.
2015 update: Over time and many more listens I have come to appreciate the Welch Folk traditions trying to be advanced here. I have gotten used to the recording, language and instrumental work to the point that I spin this album fairly often. I've decided that this warrants a promotion to the four star echelon.
Though this is a collection good music and fine performances, it is nothing extraordinary and, therefore, I cannot find myself awarding it anything more than three stars. Prog Folk lovers, however, will undoubtedly love this one.
2015 update: Over time and many more listens I have come to appreciate the Welch Folk traditions trying to be advanced here. I have gotten used to the recording, language and instrumental work to the point that I spin this album fairly often. I've decided that this warrants a promotion to the four star echelon.
18. RUSH Permanent Waves
Never a band that attracted my attention, I've long resisted listening to any of their post-All The World's A Stage albums just cuz I felt that I had "outgrown" their music (as I had Sabbath, Led Zepp, Heep, BöC, and all the heavier proto-prog rock bands of the 1970s).
- Alex Lifeson / 6- & 12-strings electric & acoustic guitars, Taurus bass pedals
- Geddy Lee / basses, bass pedals, synthesizers (Oberheim polyphonic, OB-1, Minimoog), vocals
- Neil Peart / drums, tympani, orchestral & tubular bells, timbales, wind chimes, crotales, triangle
With:
- Hugh Syme / piano (5)
- Erwig Chuapchuaduah / steel drums (1)
- Terry Brown / mixing, co-arranger & co-producer- Geddy Lee / basses, bass pedals, synthesizers (Oberheim polyphonic, OB-1, Minimoog), vocals
- Neil Peart / drums, tympani, orchestral & tubular bells, timbales, wind chimes, crotales, triangle
With:
- Hugh Syme / piano (5)
- Erwig Chuapchuaduah / steel drums (1)
1. "The Spirit of Radio" (4:56) tight, refreshing, radio friendly. The reggae section is weird--as is the solo section at the end. (8.75/10)
2. "Freewill" (5:21) Nice instrumental passage in the fourth minute, otherwise, a forgettable song. (8.75/10)
3. "Jacob's Ladder" (7:26) long, slowly developing introduction period before Geddy's singing joins in around 0:45. Thereafter, sounds like a song lifted by Spinal Tap for their 1985 mockumentary before switching to a little more disciplined version of a Led Zeppelin song for the instrumental passage in the second and third minutes. A sparse, slowed down passage in the fourth minute, which builds and eventually comes back to a protracted jam that ends with a return to Geddy's singing for the finish. Not bad. (13/15)
4. "Entre Nous" (4:37) a solid construct with little emotional impact until the instrumental section in the third and fourth minutes. (8.75/10)
5. "Different Strings" (3:48) one guitar being picked while Geddy sings. This sounds like a template and precursor to many of the hair band hit ballads in the 1980s. Greatly engaging chords, palette, and construct. My favorite song on the album despite the bluesy lead guitar solo at the end (that, interestingly, gets faded out). (8.75/10)
6. "Natural Science" (9:17) (16/20)
- i. Tide Pools (3.5/5)
- ii. Hyperspace (4.25/5)
- iii. Permanent Waves (8.25/10)
Total Time 35:25
All in all, an album of solid compositions, very solid performances, that definitely show the band's development and maturity as both instrumentalists and songwriters since their earlier days. But, in the end, this is not the kind of music that draws me in or even interests or impresses me. (I have, after all, heard lots of Yes, McLaughlin, Zappa, Area, PFM, Banco, and RTF. These guys are tight but nowhere near as impressive as the former. As we say, "Nothing to write home about.")
85.33 on the Fishscales = B/four stars; an excellent contribution to prog world and a solid indicator of this trio's evolution into the icons that they've become.
Other Highly Recommended Prog Albums
(Other albums recommended by prog lovers)
- Peter Hammill / vocals, keyboards, guitars, drums, arranger & producer
With:
- David Jackson / saxophones, flute (4,8-c,8-d)
- David Ferguson / synth & tambourine (4,6,7)
1. Golden Promises (2:56)
2. Losing Faith in Words (3:40)
3. The Jargon King (2:43)
4. Fogwalking (4:04)
5. The Spirit (2:38)
6. In Slow Time (4:07)
7. The Wipe (1:45)
8. Flight (19:38) :
- a. Flying Blind
- b. The White Cane Fandango
- c. Control
- d. Cockpit
- e. Silk-Worm Wings
- f. Nothing Is Nothing
- g. A Black Box
Total Time 41:31
JEAN-LUC PONTY Civilized Evil
- Jean-Luc Ponty / violin, keyboards & synth bass (3), orchestrations & producer
With:
- Joaquin Lievano / guitar
- Daryl Stuermer / guitar solo (5,7)
- Chris Rhyne / keyboards
- Randy "The Emperor" Jackson / bass
- Mark Craney / drums
1. Demagomania (6:25)
2. In Case We Survive (4:06)
3. Forms Of Life (4:48)
4. Peace Crusaders (5:38)
5. Happy Robots (4:14)
6. Shape Up Your Mind (5:15)
7. Good Guys, Bad Guys (4:41)
8. Once A Blue Planet (4:02)
Total Time 39:09
JETHRO TULL "A"
- Ian Anderson / vocals, flute, co-producer
- Martin Barre / electric guitar
- Dave Pegg / bass
- Mark Craney / drums
With:
- Eddie Jobson / keyboards, electric violin
1. Crossfire (3:54)
2. Fylingdale Flyer (4:36)
3. Working John, Working Joe (5:04)
4. Black Sunday (6:36)
5. Protect and Survive (3:37)
6. Batteries Not Included (3:53)
7. Uniform (3:34)
8. 4.W.D. (Low Ratio) (3:42)
9. The Pine Marten's Jig (3:28)
10. And Further On (4:22)
Total Time 42:46
Albums on the Fringe of Prog World
U2 Boy
Though I had heard several U2 singles on the radio while I was living in the UK during the fall of 1980 (I remember loving "I Will Follow" and "Out of Control"), I did not hear the full album until I returned to the U.S. in January. I'll never forget my first hearing of the album--on a midnight "album playthrough" on a radio station in 1980. I was mesmerized. I even remember saying out loud--for weeks--that these guys were going to be "the next Pink Floyd." I bought the album the next day, bought October the day it was released in 1981, and saw them live in concert in a small 2000 person venue in East Lansing, Michigan, in November of 1981. Amazing!
Musicians / Lineup:
Paul "Bono" Hewson - vocals, guitars
David "The Edge" Evans - guitars, keys, b vox
Adam Clayton - bass, b vox
Larry Mullen - drums, b vox
1. "I Will Follow" (3:37) (9.5/10)
2. "Twilight" (4:23) (10/10)
3. "An Cat Dubh" (4:46) (10/10)
4. "Into the Heart" (3:27) (10/10)
5. "Out of Control" (4:12) (10/10)
6. "Stories for Boys" (3:04) (10/10)
7. "The Ocean" (1:35) (5/5)
8. "A Day Without Me" (3:12) (8.75/10)
9. "Another Time, Another Place" (8.75/10)
10. "The Electric Co." (4:47) (9.5/10)
11. "Shadows and Tall Trees" (4:36) (10/10)
96.67 on the Fishscales = A/five stars; a masterpiece of music with a proggy feel and, without question, one of the best debut albums by any band of any genre ever!
STEELY DAN Gaucho
Along with the usual front men of Donald Fagan, Walter Becker, and producer Gary Katz, the usual line-up of all-stars contribute to this album on a song-by-song basis. The list is simply mind-blowing: Larry Carlton, Steve Gadd, Joe Sample, Tom Scott, Hiram Bullock, Anthony Jackson, Steve Khan, Chuck Rainey, Randy Brecker, Ralph McDonald, Valerie Simpson, Rick Derringer, Michael McDonald, Patti Austin, Rick Marotta, Bernard Purdie, Michael Brecker, Mark Knopfler, Rob Mounsey, Jeff Porcaro, Victor Feldman, Leslie Miller, Lani Groves, Hugh McCracken, and Don Grolnick. As usual, amazing sound engineering of these stellar compositions.
1. "Babylon Sisters" (5:51) (10/10)
2. "Hey Nineteen" (5:04) (9/10)
3. "Glamour Profession" (7:28) (15/15)
4. "Gaucho" (5:32) (8.5/10)
6. "Time Out of Mind" (4:10) (8.75/10)
7. "My Rival" (4:30) (8.75/10)
8. "Third World Man" (5:14) (8.75/10)
91.67 on the Fishscales = A-/five stars; a minor masterpiece of jazz-pop with a progressive bent toward jazz-rock-fusion.
AC/DC Back in Black
The only AC/DC album I've ever owned was eminently listenable, start to finish. The amazing opener, "Hells Bells" (5:10) (10/10) and the title song, "Back in Black" (4:17) (9.5/10) remain favorites to this day.
THE POLICE Zenyatta Mondatta
Lineup / Musicians:
Gordon "Sting" Sumner - lead vocals, bass
Andy Stewart - guitars, keys, b vox
Stewart Copeland - drums, percussion, b vox
1. "Don't Stand So Close to Me" (4:03) (9/10)
2. "Driven to Tears" (3:21) (9/10)
3. "When the World Is Running Down, You Make the Best of What's Still Around" (3:33) (8.75/10)
4. "Canary in a Coalmine" (2:24) (4.25/5)
5. "Voices Inside My Head" (3:51) (8.75/10)
6. "Bombs Away" (3:07) (8.5/10)
7. "De Do Do Do, De Da Da Da" (4:09) (8.75/10)
8. "Behind My Camel" (2:53) (5/5)
9. "Man in a Suitcase" (2:15) (4/5)
10. "Shadows in the Rain" (5:09) (9/10)
11. "The Other Way of Stopping" (3:21) (8/10)
86.32 on the Fishscales = B/four stars; a wonderfully innovative musical expression on the fringes of progressive rock music.
XTC Black Sea
The radio hit "Generals and Majors" (4:04) (9/10) was my introduction into the band. Their clever, intelligent, often biting lyrics and often angular approach to the delivery of pop music is what made me a fan and kept me buying their records through the 1980s.
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