Favorite Albums from the 1970s

1970s Favorites

1. The Lamb Lies Down on Broadway—Genesis

2. Mëkanïk Dëstruktïw Kömmandöh—Magma

3. Don Juan’s Reckless Daughter—Joni Mitchell

4. Pieces of a Man--Gil Scott-Heron
5. Jan Akkerman—Jan Akkerman

6. Novella—Renaissance

7. Adventures in Utopia—Todd Rundgren’s Utopia

8. Aja—Steely Dan

9. Eli—Jan Akkerman & Kaz Lux

10. Hergest Ridge—Mike Oldfield

11. A Charlie Brown Christmas—Vince Guaraldi Trio

12. Ambient 2: The Plateaux of Mirror—Harold Budd & Brian Eno

13. America—America

14. Initiation—Todd Rundgren

15. Off The Wall—Michael Jackson

16. Animals—Pink Floyd

17. Nina Hagen Band—Nina Hagen Band

18. What’s Goin’ On—Marvin Gaye

19. Natural Elements—Shakti

20. The Geese and The Ghost—Anthony Phillips

21. Renaissance of The Celtic Harp—Alan Stivell

22. Ram—Paul & Linda McCartney

23. A Trick of The Tail—Genesis

24. The Stranger—Billy Joel

25. Rikkie Lee Jones--Rikkie Lee Jones

26. Selling England by The Pound—Genesis

27. UK—UK

28. Variaties Op Een Dame--Flairck

29. Tilt--Arti e Mestieri

30. The Mad Hatter––Chick Corea

31. Crime of The Century—Supertramp

32. Si on avait besoin d’une cinqième saison—Harmonium

33. Picchio dal Pozzo––Picchio dal Pozzo

34. Dark Side of The Moon—Pink Floyd

35. Venusian Summer––Lenny White

36. Todd—Todd Rundgren

37. A Tab in The Ocean—Nektar

38. Mais on ne peut pas rêver tout le temps––Laurent Thibault

39. Cosmic Messenger—Jean-Luc Ponty

40. Space Shanty—Khan

41. Caravanserai—Santana

42. Relayer—Yes

43. Romantic Warrior—Return to Forever

44. Hamburger Concerto—Focus

45. Babylon—Babylon

46. The Love Connection—Freddie Hubbard

47. Scheherazade and Other Stories—Renaissance

48. Vimana—Nova

49. I Robot—Alan Parsons Project

50. Gentle Giant--Gentle Giant

51. Foxtrot—Genesis

52. Fragile—Yes

53. Bundles--Soft Machine

54. Love Devotion Surrender--Cavadip Carlos Santan & Mahavishnu John McLaughlin

55. Trespass—Genesis

56. The Court of The Crimson King—King Crimson

57. The Following Morning—Eberhard Weber

58. War Babies--Hall & Oates

59. Butch Cassidy and The Sundance Kid soundtrack––Burt Bacharach

60. Déjà Vu—Crosby, Stills, Nash & Young

61. December—George Winston

62. Nursery Cryme—Genesis

63. Music for 18 Musicians—Steve Reich

64. The Pavillion of Dreams--Harold Budd

65. Postaeolian Train Robbery––Cos

66. Crac!—AREA

67. Chicago Transit Authority—Chicago

68. Innervisions—Stevie Wonder

69. Powerful People--Gino Vanelli

70. Kawana--Zao

71. Close to The Edge—Yes

72. Per un amico—PFM

73. Turn of the Cards—Renaissance
74. Moving Waves—Focus

75. Ptarmigan--Ptarmigan

76. Principe di un Giorno--Celeste

77. III--Focus

78. Adonis--Anyone's Daughter

79. Evening Star--Fripp/Eno

80. The Polite Force––Egg

81. Houses of The Holy—Led Zeppelin

82. Emerson Lake & Palmer—Emerson Lake & Palmer

83. Tales of Mystery & Imagination—Alan Parsons Project

84. Even in The Quietest Moments—Supertramp

85. Demons and Wizards—Uriah Heep
86. Shekina--Zao

87. Mother Focus––Focus

88. III—Focus

89. Incantations––Mike Oldfield

90. Spectral Mornings—Steve Hackett

91. Pamiec--SBB

92. In The Land of Grey and Pink—Caravan

93. Viva Boma—Cos

94. Peter Gabriel (1)—Peter Gabriel

95. One World––John Martyn

96. Boston—Boston

97. Prelude—Deodato

98. Third—The Soft Machine

99. Free Hand—Gentle Giant

100. Fish Out of Water--Chris Squire

101. Remember The Future—Nektar

102. Something/Anything—Todd Rundgren

103. Ashes Are Burning—Renaissance

104. Songs in The Key of Life—Stevie Wonder

105. BJ4—Bob James

106. L'araignée-mal--Atoll

107. Journey to The Centre of The Eye—Nektar

108. Celebrate Me Home--Kenny Loggins

109. Close to You--The Carpenters

110. Street Life--The Crusaders

111. Straight Ahead--Brian Auger's Oblivion Express
112. Secret Treaties—Blue Öyster Cult
113. Recycled—Nektar

114. Jesus Christ Superstar

115. Pollen--Pollen

116. Wind and Wuthering—Genesis

117. Moonmadness—Camel

118. Solar Music (Live)--Grobschnitt

119. Original Soundtrack—Godspell

120. St. Radigunds—Spirogyra

121. Talking Book—Stevie Wonder

122. Spectres—Blue Öyster Cult

123. "Orange"—Jeff Beck Group

124. Toto--Toto

125. Pretzel Logic--Steely Dan

126. Prologue--Renaissance

127. The Year of The Cat—Al Stewart

128. Harlem River Drive--Harlem River Drive

129. Quadrophenia—The Who 

130. L’isola di niente—Premiata Forneria Marconi 

131. 4 + 4--The Isley Brothers

132. Crisis? What Crisis?--Supertramp

133. To The Highest Bidder—Supersister

134. H to He, Who Am The Only One--Van Der Graaf Generator

135. Going for The One—Yes

136. X-Dreams--Annette Peacock

137. Imaginary Voyage—Jean-Luc Ponty

138. Moonflower—Santana

139. Tapestry—Carole King

140. Rust Never Sleeps—Neil Young

141. You Can't Tune a Fish, But You Can Tune a Piano--REO Speedwagon

142. One of These Nights—The Eagles

143. Thoughts--Zyma

144. Kings of Oblivion--Pink Fairies
145. Can't Buy a Thrill--Steely Dan

146. Ambrosia--Ambrosia
147. Octopus—Gentle Giant

148. What Were Once Vices Are Now Habits--Doobie Brothers
149. Stormcock--Roy Harper
150. Voyage of the Acolyte—Steve Hackett

151. Huascaran--Fermáta

152. Carpenters--The Carpenters

153. Seven Secrets—Fruupp

154. Down to Earth—Nektar

155. Flame--Ronnie Laws

156. Silk Degrees--Boz Scaggs

157. Dreamboat Annie--Heart

158. Please Don't Touch!--Steve Hackett

159. Heart String--Earl Klugh

160. Hydra--Toto

161. Focus Con Proby--Focus

162. Hoelderlin's Traum--Hoelderlin

163. Careless--Stephen Bishop

164. LegEnd--Henry Cow

165. Before and After Science--Brian Eno

166. Heavy Weather—Weather Report

167. Ahora Mazda--Ahora Mazda

168. Heads--Bob James

169. If I Could Do It All Over Again, I’d Do It All Over You--Caravan

170. Melos--Cervello

171. Erwartung--Eden

172. A Wizard/A True Star--Todd Rundgren

173. Ghosts—Strawbs

174. 801 Live--801

175. For Girls Who Grow Plump in The Night--Caravan
176. Alphataurus--Alphataurus
177. Private Parts & Pieces--Anthony Phillips

177. Encore (Live 1977)—Tangerine Dream

180. Pictures--Island

181. Elegant Gypsy—Al DiMeola

182. Streetlife Serenade—Billy Joel

183. Escenes--Gotic

184. Olias of Sunhillow--Jon Anderson
185. Three--Bob James

186. Blow by Blow--Jeff Beck

187. IV--Led Zeppelin

188. One of a Kind—Bruford

189. Outlands d'Amour--The Police
190. Force Majeure--Tangerine Dream

191. Les Porches--Maneige

192. We’ll Talk About It Later—Nucleus

193. Abraxas—Santana

194. Terje Rypdal—Terje Rypdal

195. Unorthodox Behaviour—Brand X

196. Realization—Eddie Henderson

197. Forse le lucciole non si amano più-Locanda Delle Fate

198. Ramshackled--Alan White

199. Contre-Courant—Opus-5

200. Fairyport—Wigwam

201. Product—Brand X

202. Drama—Yes

203. Carmel--Joe Sample
204. Looking Thru--Passport
205. Dreams--Dreams
206. II--Chicago
207. The Yes Album—Yes
208. Mwandishi--Herbie Hancock
209. Ys--Il Balletto di Bronzo
210. Present from Nancy--Supersister 
211. Love and Learn--Tom Powers
213. Maxophone--Maxophone
214. Inside Out--Eddie Henderson
215. Polar A.C.--Freddie Hubbard
216. Black Market--Weather Report

217. Court & Spark--Joni Mitchell

218. The Wall--Pink Floyd
219. New Chatauqua--Pat Metheny
210. Musicmagic--Return to Forever
211. Rockpommel's World--Grobschnitt
212. Univers Zero (1313)--Univers Zero
213. Hotel California--The Eagles
214. Acquiring The Taste--Gentle Giant
215. Cherry Five--Cherry Five
216. Elton John--Elton John
217. Future Legends--Fruupp
218. Celestial Ocean--Brainticket
219. We'll Talk About It Later--Nucleus
220. Mirage--Klaus Schulze
221. The Captain and Me--Doobie Brothers
222. Ragnarök--Ragnarök

223. Look at Yourself--Uriah Heep
224. Tommy--The Who

225. A Passion Play--Jethro Tull

226. Peter Gabriel (II)--Peter Gabriel
227. Crossings--Herbie Hancock
228. Red--King Crimson
229. Contaminazione--Il Rovescio della Medaglia
230. Enigmatic Ocean--Jean-Luc Ponty
231. Southern Comfort--The Crusaders
232. Garden of Eden--Passport
233. Ambient 1: Music for Airports--Brian Eno
234. Arbeit Macht Frei—AREA

235. Another Green World--Brian Eno

236. Pyramid--Alan Parsons Project
237. Discreet Music--Brian Eno
238. Piano Man--Billy Joel
239. Frampton Comes Alive!--Peter Frampton
240. In A Glass House--Gentle Giant
241. Goodbye Yellow Brick Road--Elton John
242. Ash Ra Tempel-Ash Ra Tempel
243. X--Klaus Schulze
244. Halloween--Pulsar

245. Sweet Baby James--James Taylor
246. Aqualung--Jethro Tull
247. Sextant--Herbie Hancock
248. Battlement--Neuschwanstein
249. Of Queues and Cures--National Health
250. The Six Wives of Henry VIII--Rick Wakeman

251. Reviure--Atila

252. The Rotters' Club--Hatfield and the North
253. Tarkus--ELP
254. The Low Spark of High-Heeled Boys--Traffic

255. Angelic Music--Iasos

256. Malesch--Agitation Free

257. Hosianna Mantra--Popul Vuh

Under-Rated Albums Rescued from The Vault: SANTANA's Caravanserai

SANTANA Caravanserai (1972)

This is an album that, while known, is still far from being appreciated to the degree I think it should be. Carlos Santana and his band broke into the rock, album, and radio fray with their self-titled debut in 1969, followed it the next year with another high-spirited African-Latin infused radio friendly album, Abraxas, and then somehow floundered a bit with 1971's III. The band was showing signs of the influence of the jazz-rock fusion that was hitting the West Coast via Monterey Jazz Festival appearances by the likes of experimental jazz musicians like Dave Brubeck, Dizzy Gillespie, Don Ellis, Ornette Coleman, and Miles Davis from 1966 through 69. Gone is bass player and engineer Don Brown, enter young bass phenom Doug Rauch to go with Davadip Carlos and drum kit stalwart Michael Shrieve to go with an expanded ensemble of multiple keyboard players (4), multiple percussion players (5), and two guitar players (this would be Neil Schon's second and final album with Santana) and you have plethora of new ideas and influences--and collaboration was Carlos' new middle name! Heck, with the next album, Welcome, they're already officially calling themselves The New Santana Band--an album which also proves exceptional for its songwriting credits being spread around among six band members as well as two John Coltrane numbers and one from jazz fusion pioneer, flutist Herbie Mann. 

     What makes Caravanserai stand out so much for me is the easy, engaging melodies and grooves rising out of and above the busy, sometimes chaotic mix of sound. Keys, guitar solos, and chord progressions help invite the listener into each song as well as worm their way into one's brain. Where it falls short is in the vocals--both conceptually and execution but more in sound rendering. 

     It is so exciting to discover albums from 35-40 years ago that I'd never heard before and find myself totally blown away by the 'new' music I hear. Again, thank you Max and ProgArchivists: my world of music has never been so blown open. Caravanserai is an album whose first listen flooded me with such nostalgia; I had never before realized how much Carlos' guitar playing and his Latin rhythms and amazing organists influenced my core musical likes and values until I listened to this album. Hearing Song 2, "Waves Within" (3:54) (10/10), I was (and am each time I listen to it) overcome with a flood of emotion taking me back to the Eden that was my formative pre- and early-teen years. While I understand the derogatory comments bestowed upon the atmospheric "interludes" ("Eternal Caravan of Reincarnation" and "Future Primitive"), I love them and find them essential to the spiritual journey the newly spiritual Davadip is hoping to take us on.

     Through the years I have enjoyed many of the singers and lyrics of Santana songs, however, I quite agree that on this album their presence are, overall, IMHO, out of place with and even detract from the spirit of the rest of the music. And while many of Carlos's extended solos are backed by simple two-chord repetitions, the band is always jamming their hearts out--they're in the same cosmic groove that allows Carlos to soar--and soar he does: The man is a true master of 'stumbling' upon incredibly catchy, melodic riffs while negotiating the fret board at seeming break-neck speed. Amazing talent. Truly a god channeling the divine!

I agree with Sean Trane: the album finale, "Every Step of the Way" (9:02) escorts the listener to a divine orgasm. Turn this one up to 11! It deserves a 6/5!

Outstanding work from Michael Shrieve, Neal Schon, Mingo Lewis, Greg Rolie, and newcomer Doug Rauch (on bass)--not to mention the Devadip!

5 star songs: 2. "Waves Within" (3:54), 3. "Look Up (To See What's Coming)" (2:57), 5. "Song of the Wind" (6:08), 7. "Future Primitive" (4:13), 9. "La Fuente del Ritmo" (4:34), and 10. "Every Step of the Way."

4 star songs:  the true jazz introduction of 1. "Eternal Caravan of Reincarnation" (4:31) (8.5/10); and the three songs with vocals, 4. "Just in Time to See the Sun" (2:13) (8.5/10); 6. "All the Love of the Universe" (7:39) (8.5/10), and; 8. "Stone Flower" (6:13) (8.5/10).

95.0 on the Fishscales = A/five stars; an undeniable masterpiece of progressive rock music in the jazz-rock fusion subgenre.

Under-Rated Albums Rescued from The Vault: XTC's Mummer

XTC Mummer (1983)

"Until early 1982, our work was like black-and-white TV. Mummer was the first in full color -- bright sky blue," -- Andy Partridge.

Virtually every band that avoided the punk rock explosion of the mid- to late 1970s seemed unavoidably attracted to the many new and exciting computer- and midi-affected technologies exploding into the consumer market at the end of the decade and in the early years of the 1980s. Not so relative newcomers Andy Partridge and his Swindon mates calling themselves XTC. The Wiltshire lads kept their heads down and fought off the mainstream pressures developed by their early success. We should have seen it coming in the lyrics of their early hits. Songs like "This Is Pop?" "Making Plans for Nigel" "Life Begins at the Hop," "Towers of London," "Sgt. Rock (Is Going to Help Me)," and "Generals and Majors" all did little to express their open suspicion and disdain for money-motivated pop culture. And then comes a UK Top 5 album in 1982's English Settlement. Andy just wanted to make the music that he wanted to make, not what the labels and managers were telling him to make. Thus, with 1983's Mummer we find the band going against all contemporary conventions, moving deeply into the musical tastes that they held dear: they crafting an almost-folk-rock album!
     Mummer was released a full 18 months after English Settlement. It contained many acoustic-oriented and specifically-English perspectives and phrasings, not what the popular fan base that their record company had built for them was expecting. The album was a disaster from the popular sales and charting point-of-view. Because of the long delay to release and the rather drastic and unexpected change in musical style, loyal fans actually thought that the band had broken up or drastically reformed their lineup. The album even took the critics by surprise earning mostly tepid to mediocre reviews. What the plebes new little of at the time was that leader Partridge had suffered a mental breakdown--much over the pressures of conforming to record label demands and expectations as well as to crippling stage fright when performing live. When Geffen Records decided to value Andy's BEATLES-like genius and temperament, the album was released. While Andy was later quoted to have said, "Until early 1982, our work was like black-and-white TV. Mummer was the first in full color -- bright sky blue," I think both English Settlement and even 1980s Black Sea showed some glimmers of full-spectrum light. Still, Mummer was the first uniquely Andy Partridge album the band had been allowed to release. Andy is credited to writing al but three of the album's 16 songs. As is so often the case, the most melodic and easily accessible songs just happen to be the three that Colin Moulding penned, yet Andy's quirky all-English music and lyrics are charming--they are gems for their off-beat, angular styles and expressions. With the knowledge of Andy's psychological challenges, the lyrics and music take on an even more admirable and appreciable bent. 
     No, Mummer is not a perfect album. It is not a concept album. It feels much more like a band's first album--a collection of diverse and personal songs that might come from a span of four or five years. And yet there is definitely a feeling of release, of relief, of freedom and creative devil-may-care. I like it!

Lineup/Musicians:
Andy Partridge -- guitars, voices
Colin Moulding -- basses, voices, composer of songs 2, 5, 8
Dave Gregory -- guitars, voices
     with:
Drums -- Peter Phipps (3 to 10); Terry Chambers (1, 2)
Steve Nye -- Mellotron (5), synthesizers (2)

Gavin Wright -- Strings (4)

Phil Thornalley -- Strings (4)

1. "Beating of Hearts" (4:01) from the start we get the obvious message that this music is not going to be normal--and nowhere near the techno-pop soundscapes that were dominating the radio (and video) waves at that time. Heck, this song is not even "normal" for any era of music that has ever occupied the public imagination! There is a slight feel and sound of familiarity to the BEATLES' psychedelic music, but Andy and company have taken it far beyond what George and the Fab Four ever conceived. (9/10)

2. "Wonderland" (4:43) Another distinctly odd song that happens to have (thanks to Colin Moulding) some unmistakably catchy melodies and sounds. Still, the latest technologies taken in directions that no one else was taking them. This one was even released as a single. (10/10)

3. "Love on a Farmboy's Wages" (3:58) Another of the singles released from the album, this song takes us back to the supremely odd and angular world of Andy Partridge--though with a much more familiar folk-feeling to it. Lyrically, Andy takes us deep into his usual perspective of the injustices of social inequity. (9.5/10)

4. "Great Fire" (3:47) opening with grating guitar strums and mechanical drums (the birth of Industrial Pop?), by the time we shift into the first chorus the music it feels much more folk rock based. In the post-second chorus movement strings and orchestral instruments give this a BEATLES/ELECTRIC LIGHT ORCHESTRA feel and sound. This is perhaps the song that comes closest to their previous work. Good song but not as memorable as the others. (8/10)

5. "Deliver Us From The Elements" (4:34) opens with a bouncy Jew's harp sound before guitar arpeggi and drums enter. Colin's voice in the lead gives this song a different feel and sound while the background music goes psychedelic creep in a kind of Wizard of Oz way--proving that Colin Moulding was not all about just fluff and beauty. (8.5/10)

6. "Human Alchemy" (5:11) opens like music that would be fitting for a horror film soundtrack--with a Rasta-beat! The entranced of the theatric, multi-voiced vocals do nothing to dispel the original impressions. Synth use during the chorus are the first and only instance of similarity to any of the contemporary techno-pop artists churning out the hits at this time. The drum play is quite similar to those that the WOMAD-obsessed PETER GABRIEL demanded of his drummers in his third and fourth eponymous solo albums (which validates the XTC connection to the 1982 WOMAD album release). (8.5/10)

7. "Ladybird" (4:32) is one of the more catchy, engaging "pop" songs that Andy Partridge ever penned. Full of melody and quirk, the song retains enough of Andy's signature angularities to ensure it's failure as pop hit. And yet, it's a great jazzy song! (9/10)

8. "In Loving Memory of a Name" (3:16) opening with an organ, we are duped into thinking this might be something more proggy, but then the full band comes in with a bouncy pop-jazz. Nice melodies. (It's Colin's, for God sake!--though Andy sings it.) And great musicianship and song production. (9/10)

9. "Me and The Wind" (4:16) intricately interesting musical construct with an almost-abrasive (yet confident) vocal. Kind of like an étude in classical music theory. Kind of a cool song if you don't expect pop music. (8.5/10)

10. "Funk Pop A Roll" (3:01) the one and only song on the album that I never cared for--despite its BYRDS-like use of electric 12-string guitar. I do know many people who love this song for its lyrics. (7.5/10)

This is, in my humble opinion, the first of a string of seven masterfully creative albums that Andy, Colin, and Dave did over a ten year period: Mummer (1983), Big Express (1984), 
Skylarking (1986), Oranges & Lemons (1989), and Nonsuch (1992) plus the two psychedelia-era-BEATLES-esqe DUKES OF STRATOSPHEAR albums (1985 & 1987). 

87.50 on the Fishscales = B+/4.5 stars; a near-masterpiece of innovative Crossover progressive rock music.

Under-Rated Albums Rescued from The Vault: OZRIC TENTACLES' Jurassic Shift

OZRIC TENTACLES Jurassic Shift

Producing albums since 1985, Ed Wynne and company (aka OZRIC TENTACLES)'s 1990 and 1993 albums, Erpland and Jurassic Shift, respectively, achieved the blend of quality production, recording, composition, and performance to elevate the band into the pantheon of 'significant' progressive rock musicians. Categorized a "psychedelic/space rock" band because of their jam band instrumental approach and heavy reliance on synths, "world" percussives, rhythms, instruments and sounds, and Ed Wynne's guitar soloing, the Ozrics are so much more. (The reputation of their live concerts does seem to draw similarities to those of PHISH, GROBSCHNITT, or THE GRATEFUL DEAD.)
     Jurassic Shift is my favorite OT album, a 4.5 stars, near masterpiece of progressive rock music. Published in April of 1993, this modern world instrument- and synthesizer-infused jazz-rock fusion band from the UK led by guitarist/multi-instrumentalist Ed Wynne had just come off the release of their second live album after eight studio albums in eight years. With JS it seems that the band had made the complete synthesis, balance, and maturation of their spacey sound with pristine sound reproduction and production.

Line-up / Musicians:

- Ed Wynne / guitar, koto (3), bass (8), keyboards, programming, Fx (samples, atmospheres), producing & mixing
- Joie Hinton / keyboards, Fx (samples, atmospheres)
- John Egan / flute
- Roly Wynne / bass (1,3)
- Zia Geelani / bass (3,5,6)
- Merv Pepler / drums, ethnic percussion (2)
- Marcus Carcus (Diess) / ethnic percussion
With:
- "Generator" John (Schuchard) / tambourine (2)

1. "Sunhair" (5:43) from the opening percussive synthesizer sequence I knew that this was going to be a band I like and that this song album and song were to be amazing. Once full band joins in there are sections of Japanese garden-like sounds, odd crowd/bird sounds, swirling synth solos and wailing rock guitar soli all alternating in perfect time durations. Awesome opener! (9.5/10)

2. "Stretchy" (6:51) here the band puts on display the unique way in which they have incorporated the awesome array of synthesizer sounds and capabilities becoming available at the beginning of the Nineties--many of which were rather unfortunately relegated to the realms of New Age and Buddha Lounge/World Music. The song cruises along at a fast pace from the get go with a vast array of synth sounds being incorporated over the driving drum and bass play. Great tune for moving! (9/10)

3. "Feng Shui" (10:24) opening with flute soloing meditatively over garden-like synth washes and incidental percussives until a synth sequence and drums and bass enter at the 1:30 mark establishing a Lots of Holger-Czukay-like radio samples woven into the tapestry. At the end of the third minute some really gorgeous synth chords enter before leaving to isolate the bass and Jamaica-like drum/percussives in order to throw a veritable flood of idiosyncronous synth-generated spacey-"jungle" sounds at us. Koto takes the lead within the mix for the sixth minute. Then a more familiar organ-like synth bumps some chords at us during the seventh minute before devolving into more synth soloing from some odd & delay/echoed synth sound. The 8:00 mark sees a dramatic shift into high octane power rock with a whole change in tempo (faster) and style. For creativity this is an astonishing song; melodically it may be found lacking a bit. (8.5/10)

4. "Half Light in Thillai" (5:36) this one opens with sounds and style that are very familiar to me for my obsession with all things the Brothers Gordon (Steve and David) founders of Sequoia Records and musicians behind many of the great New Age yoga and drum circle/dance albums of the 1980s (the Inner Music and Sacred Earth Drums series') as well as bands like DEEP FOREST. Slow, methodic and aboriginal, the rhythm tracks allow for some nice flute, guitar, and synth incidentals. The final minute and more finds some excellent acoustic guitar work. (8.5/10)

5. "Jurassic Shift" (11:06) simply the best song on the album and the most truly prog of them all with some outstanding electric guitar work--both lead and rhythm--over the amazingly engaging groove coming from the rhythm tracks. This is where we get served notice that Ed Wynne is a guitar god--eleven minutes of such service! The quiet middle section is quite reminiscent of some Al Di Meola's softer stuff--like from Scenario on.  (10/10)

6. "Pteranodon" (5:41) takes us back to a Jurassic-kind of time with heavy, plodding bass and drum lines supporting long sustained decaying synth "screams." The island/jungle/tribal-like percussives only add to the effect as do the "alien"-like synth ejaculations in the second half of the second minute. Searing electric guitar solo opens the third minute before relinquishing its lead to more of the synth (and violin?) ejaculations and "screams." Again, from a creativity aspect, this song is incredible! AND it hits on all cylinders with the engaging groove and story being "told." (9/10)

7. "Train Oasis" (2:46) opens with a quickly established PAT METHENY GROUP-like groove (though using a synthesizer for bass). Creative midi-synth soloing on multiple levels (tracks?) and nice chord progressions and melody constructions. (9/10)

8. "Vita Voom" (4:48) Timbales and bass & guitar open this one presenting an almost punk/techno pop beat before incidental samples are thrown at us from the computer keyboard. At the end of the opening minute the lead electric guitar gives us a little more structure with its ostinati. Flute gets a turn to shine in the third minute--though its treatments sometimes almost obscure it. Spanish-flavored acoustic guitar is added and then Spanish-flavored lead electric guitar wails over the now distinctly Latin-infused song. (9/10)

89.375 on the Fishscales = B+/4.5 stars; a near-masterpiece of innovative progressive rock music. 

Under-Rated Albums Rescued from The Vault: PICCHIO DAL POZZO's self-titled debut album

PICCHIO DAL POZZO Picchio dal Pozzo (1976) The Canterbury Scene of experimental psychedelic-jazz fusion music was thought to be a distinctly (almost exclusively) British artistic expression, though there were many Continental (and even American) bands dabbling in the sounds, styles, and humours coming from Daevid Allen, Robert Wyatt, Richard Coughlin, Richard Sinclair, Kevin Ayers, Mont Campbell, Dave Stewart, and the other Canterburians. Even Italy, birthplace of these late-comers to the prog scene, had had a few bands exploring the Kentish soundscapes--most specifically DEDALUS--but none so completely and thoroughly committed to the essence of Canterbury music as 1976's self-titled release from PICCHIO DAL POZZO. This debut album caught everyone by surprise for its unmistakable Canterbury feel and familiarity--and this from a group of Italians! I mean, Dutch, French, and even Belgian and German 'members' of the Canterbury Scene might be understandable: they are, after all, just across La Manche from County Kent and its historic cathedral town of Canterbury. But Italy?!!

1. "Merta" (3:18) Whenever this song comes on my iPod playlist (which is quite often) I find myself thinking that this is a Robert WYATT song! The vocals, unusual weave of instruments, lack of drums, and Andrea BECCARI's odd horns sound just like something RW would have done in his SOFT MACHINE/MATCHING MOLE days. (10/10)

2. "Cocomelastico" (4:25) is another song that always tricks me into thinking I'm listening to SOFT MACHINE. I love the way the horns play off of each other, and I love the odd synth playing far in the background throughout. Even the odd vocal is not unlike some of the Spanish stuff Robert Wyatt has done. The laid back, jazzy feel placed within the bar/cantina setting is brilliant. Just like the Softs or Caravan! Awesome song that I could listen to forever! (10/10)

3. "Seppia" (10:17) opens with some TANGERINE DREAM-like repeating synthesizer arpeggio which is soon joined by some oddly treated tuned percussion. When the vuvuzela-sounding horns enter with the big bass notes and, eventually, a kind of hypnotic driving rhythm, it's as if the band is trying to either drive the listener crazy or display what a drug trip or psychotic breakdown might feel like! It's actually quite fun--and very much like the feel and effect of a GONG or even Robert WYATT song. The band must have had a lot of fun doing this one. Wild, cacophonous, and random. Then there is a flute-filled break in the music, with a visit to a barnyard, followed by a pretty foundational weave of arpeggios from two electric guitars while a woman recites something dramatic over the top. Horns and then electric piano and tuned percussion then join in before some "Wah-wah" vocals enter the weave with several woodwinds. Gorgeous!
     This song unfolds similar to, though the opposite of countrymates YUGEN. (9/10)

4. "Bonfoncio" (0:53) sounds more like an alien listening to (and playing along with) the opening of PREMIATA FORNERIA MARCONI's Per un amico.

5. "Napier" (7:28) opens with multiple woodwinds creating sustained cords before relinquishing the reins to a circus band. The use of dissonance here is wonderful--very Robert FRIPP/KING CRIMSON-esque. Soon the circus band moves more toward a MIKE OLDFIELD medieval troubadour sound before everything drops out at the 3:00 mark for a little odd piano play. Organ-backed male vocal singing in Italian moves us into a new section?one that is much more Canterbury jazz with the awesome multiple horns all soloing and weaving with voices, cymbals, octave climbing bass notes and piano. Horns, cymbals and electric Rhodes piano take us through a full minute before the jazzy quintet plays out the final half minute (which is faded out rather suddenly--poor engineering). (9/10)

6. "La floriculture di Tschincinnata" (4:24) is a rapidly changing and diverse song that would be very fitting among the CARAVAN or SOFT MACHINE repertoire. Several really awesome melodies and chord progressions are explored here as well as some really fun crazed soloing--all at the same time--from the horn, Casio-sounding synthesizer, electric guitar, and drums--all while the bass keeps the steady time that provides the foundation for the song to rest upon. (9/10)

7. "La bolla" (4:31) repeats the Robert WYATT wordless vocal style that I heard in the album's opening song, "Merta"--creating over a melody line that is played over a repetitive JOHN COLTRANE-like piano chord progression--a melody line that will eventually become picked up by the horn and acoustic guitar before being woven in with the voice. (10/10)

8. "Off" (4:48) opens like another JOHN COLTRANE tune with harp-like arpeggiated piano play covered by mellifluous flute play. Absolutely gorgeous! At 1:56 a male voice enters up front and center singing more wordless "wah-wah"s into the tapestry. Gentle, beautiful, pastoral song that would be fitting if performed out-of-doors. Definitely one of my favorite Canterbury songs. (10/10)

Overall, this is an album of playful, gorgeous melodies, and fun, wild, and at times complicated jazzy instrumental weaves very much in the Canterbury vein of musical approach. Due to the joyful emotional reaction I get when each and every song comes into my ear, Picchio dal Pozzo has supplanted KHAN's Space Shanty as my favorite Canterbury Scene album. An amazingly excellent album that deserves far more attention and praise than it has received.

  

Under-Rated Albums Rescued from The Vault: PROGHMA-C's Bar-do Travel

PROGHMA-C Bar-do Travel

In this 2009 release from Polish band, PROGHMA-C, self-proclaimed “musical evolutionists," I have found my favorite metal album of all time. Most songs feel as though I’m hearing the rhythm section of TOOL with lead guitar work akin to U2’s THE EDGE Evans, keyboard work reminiscent of VANGELIS in his 70s, 80s, and ambient/New Age soundtrack era, and some of the most diverse vocal stylings I’ve ever heard on an album—coming from lone vocalist extraordinaire, Piotr 'BOB' Gibner. Gibner’s screaming/growling is actually fitting, melodic, and easy to decipher; his narration on “FO” is awesome, and his versatile singing voice crosses between that of MAYNARD JAMES KEENAN, MR. BUNGLE/FAITH NO MORE’s MIKE PATTON, and DEPECHE MODE’s DAVID GAHAN. In short, this is a sadly overlooked, under-appreciated album that must be rescued from obscurity. 

1. “Kana” (9:05)
opens with some odd electro/world sounds before an awesome mix-meter rhythm section settles in. The treated vocal has a very cool TED NUGENT feel to it until the growling begins. Around 1:30 the music switches to muted guitar/bass rhythm with ‘BOB’ Gibner’s vocals taking on quite a Maynard James style and feel. But it’s such an awesome combination! The “chorus” is really a full-frontal return to the opening themes. Then in one of the band’s trademark surprise twists, the lead guitar stars doing some Edge/Adrian Belew like playing. With the return to the B section I notice for the first time the David Gahan timbre in BOB’s voice. Such an awesome voice! At 4:22 another unexpected turn occurs with an almost POLOICE “Synchronicity” section—definitely a jazzed up, ANDY SUMMERs-like lead section. 5:05 we return to the original rhythm but broken down to such sparse sound with snare, hi-hat and guitar doing their syncopated odd metered rhythm. Then at 6:03 enter the eerily echoing and slow decaying slow guitar arpeggios—like something from an Eno Ambient album—and yet the metal rhythm section continues! This is simply incredible music! These guys truly are innovators and “musical evolutionists.”  I urge all of you to at least listen to this first song—it’s available on YouTube (as are all of the album’s songs as well as the album as a whole). (10/10)

2. “FO” (6:40)
opens with some awesome Edge-like guitar play before Gibner’s slightly treated voice begins reading/reciting a narrative in English. At 1:28, the music breaks, some odd percussives fill the space, then we return to the odd-metered syncopation and vocal narration for a little while longer, until at 2:08 the growl-screams take over. Then, surprise!—at 2:42 a soft, beautifully sensitive voice similar to that of MARIUZ DUDA takes over the singing. But this guy is better! He has such amazing control and the ability to do some shockingly subtle things with his vocal instrument! At the four minute mark we are treated to a bare-bones breakdown of the rhythm while a BLADE RUNNER-like horn-synthesizer slowly shifts its pitches while at the same time At 5:14 all but the drums disappear while a series of slowly strummed chords fill the center while odd spacey synth noises float around behind and around. Incredible song! Incredible ending! Another song I URGE you to listen to! (10/10)

3. “Spiralling To Another” (9:31)
opens with some very spacey, etheric guitar play before the familiar syncopated, mixed-metered rhythm section establishes itself. Gibner’s voice enters with his Mariuz Duda sound—yet so much more sensitive and emotional. At 2:52 it gets heavy and the growling crashes into the field—but it never detracts or overwhelms the incredible music going on and lyrically can still be understood. Guitar chords strummed singly Then the music seems to ‘get stuck’ as guitar notes, bass line, cymbol play and choppy vocal play. A return to rapid rhythm sets up for guitarist Parweł 'SMAGA' Smakulski to do his awesome EDGE EVANS stylings. At 7:22 the full-force barrage of rhythms and growl/screams returns while SMAGA continues his trance-like guitar strumming. At 8:20 the music turns full metal, feeling like a TOOL song playing into infinity—then it stops! Another awesome song. While not quite as good as the first two, it too deserves a (10/10) in my opinion. (The other two should be turned up to eleven.)

4. “Spitted Out” (1) (3:20)
establishes itself with another heavy complicated rhythm—this one sounding/feeling quite like a FAITH NO MORE song. At 1:30 the vocalist enters with his growl/screams. 20 seconds later he switches to more normal screaming, again, not unlike the rap-styling of FAITH NO MORE’s MIKE PATTON, before returning to growls. (8/10)

5. “Spitted Out (Out)” (3:57)
is the album’s second (part? or version?) with this title. It starts out with a completely different sound—establishing a kind of KING CRIMSON “Discipline” weave amongst its musicians. Slowing down, breaking it down, speeding it up--the band toys around with the riffs and beat before letting the SMAGA break out with a proper metal electric guitar lead (the album’s first!) Though nothing earth-shattering, the guitarist’s confidence with bending the song’s key to his chormatically shifting scales is noteworthy and admirable. (9/10)

6. “So Be-live” (5:48)
opens with a fade in with electric (Fender Rhodes?) piano and jazzy bass and drums and finger icked electric guitar parts weaving into a slow and methodic tapestry. The whispery voice used by BOB is quite perfect for the litl and fluidity of the music. At 2:04 the music shifts toward the now more familiar TOOL-like rhythm structures. BOB’s “Duda voice” gives this section a very RIVERSIDE-like feel. But then--surprise!--the distinct shift to the DAVID GAHAN voice occurs as synth playing portamento in the background toys with the song’s mood in a VANGELIS-kind of way. Then—wow!--growl/screams take over and add an amazing intensity to this incredible song! (10/10)

7. “I Can't Illuminate with You” (2:29) 
opens with what sounds like a sustained note being bowed on the lowest ranges of a stand-up double bass. As the intro plays out it becomes evident—with the help of all the other BLADE RUNNER_llike “future”/space sounds—that the note is coming from a Vangelis-like synthesizer. The song, it turns out, is actually an intro to the next song, as it seamlessly bleeds into and becomes…

8. “Naan” (8:57)
opens with another syncopated mixed-meter rhythm but this time the VANGELIS-like keyboards and playful JAN AKKERMAN-like rhythm work of the lead guitar pronounce something new and fresh. At the one minute mark all instrumentation merge into a 30-second single chord. Awesome. Then BOB’s sensitive Duda Voice enters to break the spell. The ensuing music scape is TOOL-like yet flittering about are the EDGE-like guitar effects. The vocals which follow are unmistakably DEPECH MODE-like. What an amazing vocal talent!! And an amazing lyric! So powerful! Not Duda, Gahan, Keenan, or Patton could hold a candle to the light of this singer! At 6:28 there is a shift into a discordant chord sequence with a whispered voice and syncopated snare and bass section. At 7:25 the music has evolved inot full band paly again, with BOB’s “Maynard voice” taking over. Echoed growls belnding into the cymbol play are the last vocals to be heard in this one. Awesome! Again! (10/10)

9. “Army Of Me” (Björk Cover) (6:33)
opens with waxing and waning synth note—(sounds like a Prophet 5)
before the standard Proghma-C/Tool rhythm track establishes itself. Then the vocal is introduces—understated and delicate—before an absolutely stunning multi-tracked vocal chorus is unleashed on us. Alternating back and forth from controlled single voice to , passing through empty spaces and synth-solo-dominated sections, we are treated to a song whose original version is both lost to me and immaterial. This is an awesome song no matter who wrote it! (10/10)

I don’t think I’ve ever given out so many 10/10s in a review before, but that's how highly I think of each song; this is a reflection of how much I enjoy listening to this entire album. One of my all-time favorite driving CDs. I do also want to mention how incredible I think the mesmerizing and yet tight is the work of drummer Łukasz 'KUMAN' Kumański and his cohort on bass, Michał 'VASKI' Górecki: they carry out the complicated, sometimes breathtaking rhythms flawlessly. Mega kudos, boys.

96.67 on the Fish scales = a five star masterpiece. This is one of those times that I wish I could post a rating of 6 stars—to indicate something incredibly special. The band claim that their music is intended to contribute to “Enhancing the palette of our musical universe.” I for one think that they are succeeding in this capacity. This is fresh stuff!  HIGHLY RECOMMENDED to ALL progheads!