Aardvark (70) (aka Put That In Your Pipe And Smoke It)

One-shot early seventies English band in the vein of some of the Vertigo swirl bands but not quite that good. Average rock with a slightly progressive edge.

Boring, fumbling, from 1970, when all bands tried and most of them failed.

Abacus (71), Just A Day's Journey Away (72), Everything You Need (72), Midway (73), Anyway We Can (76)

No details although I assume that they only border the progressive genre.

Gratuitous Flesh (84), The Dangers of Strangers (85), Gullibles Travels (87)

English eighties neo-progressive who supposedly have a CD Dangers of Strangers out now, but before were confined to cassette. No reports as of yet.

They have 3 albums out to my knowledge, originally only available as cassettes. Dangers of Strangers is an excellent progressive pop album, in the classic 80's british style: Lots of bright melodic hooks, excellent vocals, inventive arrangements, comparable to the likes of Misplaced Childhood or Nomzamo. The other album I've heard is Gullibles Travels which is a little pale by comparison, definitely not as inspired. The other album I've not heard is Gratuitous Flesh. I'm not sure what order they came out in, no dates are listed on the CDs.

[See Pallas]

Friends (72, as Friends), Timeless (74), Gateway (75), Sargasso Sea (76), Gateway 2 (78), Characters (78), Abercrombie Quartet (79), Arcade (79), Straight Flight (79), M (80), Five Years Later (81), Drum Strum (82, with George Marsh), Solar (83, with John Scofield), Night (84), Current Events (86), Witchcraft (86, with Don Thompson), Getting There (87), Abercrombie, Johnson, Erskine (89), Animato (90), We're Young (92), November (92), Speak of the Devil (93)

Abercrombie is most definitely a jazz musician. While he has done a lot of fusion stuff (especially during the 70's), he has also done a lot of straightahead jazz sessions. The Abercrombie record that I would expect to have the most appeal for "progressive rock" fans is Timeless with Jan Hammer on keyboards and Jack DeJohnette on drums, which many (including myself) consider to be a classic of its type. Guitar fans who are not particularly into jazz may also like Characters, a solo record with multiple guitars overdubbed on most tracks, and his two duo records with acoustic guitarist Ralph Towner, Sargasso Sea and Five Years Later. Other records that I particularly like are the first Gateway record with Dave Holland on acoustic bass and Jack DeJohnette on drums; Drum Strum, a duo (fleshed out with overdubbing) with drummer George Marsh; and Current Events, the first record by Abercrombie's regular late 80's trio with Marc Johnson on acoustic bass and Peter Erskine on drums. -- Dan Kurdilla

I have Sargasso Sea on which he duets with Ralph Towner. On this album, both play acoustic guitar, and Abercrombie adds some electric here and there. It took awhile for me to appreciate it. There is some great interplay between the two guitarists. Comparisons can be made to McLaughlin/Di Meola/DeLucia but more angular or modal. Another comparison would be Bill Connors's (guitarist with Return to Forever on one album) Theme to the Guardian. Abercrombie is usually considered a jazz guitarist and has worked with Jan Hammer and Jack DeJohnette (on Timeless), Billy Cobham, Gil Evans, Barry Miles, and several others. -- Mike Taylor

I have Timeless and Current Events, and I wouldn't call either of them particularly progressive on the whole. On the first, both of the Jan Hammer tracks are pretty jamming, but the rest are much more subtle. On the second, only "Clint" strikes me as even vaguely progressive. My impression from these two albums is that he's just another typical fusion guitarist who has a bent for songs that put me to sleep, and an occasional interesting track.

Typical of '70s jazz guitarists on ECM label, who participated in jamming on all other people's albums. Born 1944 New York, went to Berklee and studied jazz guitar, started career 1969, member of a lot of groups, just as everyone else in that style. Not interesting for prog people IMO, there is very little of composition in his musical style. Was however member of definitely important jazz/fusion groups, most important Cobham's Spectrum and De Johnette's Directions. Also two wonderful albums together with Ralph Towner, who is definitely IMHO interesting for prog people. Did little to renew himself as most jazz/fusion people struggle with.

Tunnel (71)

Between Dusk and Dawn (86), Nafas (88), Bukra (88), Roots and Sprouts (90), Al-Jadida (90), Blue Camel (92), Tarab (92), The Sultan's Picnic (94), Arabian Waltz (95)

I think many fans of "progressive" music may enjoy Abou-Khalil's music, though I see hardly any "rock" influence in it. He is (I believe) a Lebanese living in Germany, and plays the oud (a middle-eastern lute). His work combines middle-eastern music with jazz or (in the case of Arabian Waltz) European classical music. Nafas, Roots and Sprouts and Tarab are a bit closer to the traditional end of the spectrum, with middle-eastern flute and/or violin sharing the front line. Bukra and Al-Jadida straddle the line, with middle-eastern and/or Indian percussion juxtaposed with acoustic bass (played by Glen Moore of the group Oregon) and saxophone (by jazzer Sonny Fortune). Between Dusk and Dawn, Blue Camel, and The Sultan's Picnic are closer to the jazz end, with more jazz musicians (such as Charlie Mariano, Kenny Wheeler, and Steve Swallow) featured. Arabian Waltz is, believe it or not, a really nice record of string quartet with oud, tuba, and frame drums. -- Dan Kurdilla

Abraxis (76)

Cos' keyboardist's offshoot band.

[See Cos]

Abraxas (96)

Legendary Polish prog rock band existing on and off since 1985. Adam Lassa is the only original member remaining. Abraxas consists of the best tracks from the band's ten years history. The music in the vein of Marillion and Van Der Graaf Generator, and sometimes with a gothic rock influence. The music is is made with a powerful keyboard sound, wonderful guitar solos, and interesting vocals. Abraxas was one of the most popular prog CDs in Poland in 1996. Abraxas is great live band. Adam Lassa creates exciting music theater on stage, make-up, masks, etc. A very interesting group. -- Janusz Groth

Mike Absalom (71), Hector and Other Peccadillos (72)

In Search Of The Gods: An Experience in Sound and Music Based on the Books of Erich van Daniken (76)

A band about which not much is known (at least by me); I suspect they were a one-off. Prog fans might be suckered into buying their album In Search of the Ancient Gods because it features Bill Bruford on drums, but don't waste your money unless you're an absolutely fanatical completist. The album is basically New Age from before it was called New Age; lots of swooshy synths and the occasional moment that approaches mushy prog rock. Occasionally pretty, but not terribly inspiring, energetic, original, or complex. -- Greg Ward

UK progressive band (Paul Fishman - keyboards, flute, compositions; Philip Saatchi - guitar; John Astrop - bass) whose single album features Bill Bruford in a seminal hired-gun role. The music is 2/3rds uncomplicated, smooth, slightly jazzy, all-instrumental progressive rock and 1/3rd spacey synth music (some of which pleasantly recalls Klaus Schulze). Fishman's compositions aren't particularly memorable, the analog synths sound dated (this is both good and bad), Saatchi gets off a few nifty but too brief solos, and Bruford is his usual brilliant, dynamic self. To me, the most appealing aspects of the music are Bruford's exceptionally well-recorded drums, some of the more uptempo bits on side two, and some the solo synth stuff. Otherwise, much of it is too sappy and mawkish for my tastes. -- David Wayne

La Quatrieme Mouvement (80), Bis (82), Happy French Band (83), Live (85)

Jazz-oriented French fusion band led by guitarist Pierre-Jean Gaucher. The first LP (Le Quatrieme Mouvement) will be of interest to those who enjoy the more jazzy, improvised type of prog (e.g., Canterbury, RIO, etc.). The compositions are quirky, humorous and twisted, and Gaucher does not hog the solo spotlight. Instead, sax, and mallet percussion are prominent (as they are on all 4 Abus LPs that I own) and the overall effect is similar to Pierre Moerlen-era Gong. The following LP (Bis) is much more jazz-oriented, but will nevertheless please those listeners who are interested in superior fusion music. The third LP (Happy French Band) the weakest and least quirky, but is still worth having. The Live LP is a fine return to form, although they never again really did anything as unique and as wonderful ar their first LP. Several Abus members (drummer/percussionist Francis Verly and saxophonist Bobby Rangell) have acheived a modicum of prominence in the French jazz scene over the last few years. -- David Wayne

The Tale Of Ocean Waves (92)

Sounds like a mix of early Clannad, Oldfield, and pop music. Quite boring. I heard them live at Gothenburg Art Rock Festival '94, but went out after two songs. -- Gunnar Creutz

Accademia (81)

Accidente (??), Quebre Este Disco (8?)

Accidente is a relatively new Brazillian progressive instrumental band that draws some influence from the likes of Camel, Floyd and others, yet these influences have been combined into a very original whole that points to some new directions. Their album Quebre Este Disco contains six long tracks, musicianship is superb.

Ciguri (88, comp.)

Industrial music.

Acezantez (??)

Trotz-Rock (??)

De Homine Urbano (70), Green Man (71), Pictures From Cyclus 7 (76), Blå Som Altid (77)

Danish Band with strong hammond organ. "De Homine Urbano" was quite popular because it is said to be the first rock-ballet ever put on stage. The LP-version of it (you find it on the first side of their second LP), is not that impressive (normal rock, not really progressive), but the piece on the other side called "Little Things" is a great sidelong guitar/hammond jam. Their first (Green Man) is also not bad, but its rather a kind of psych-bluesrock. Both LPs have also been published as a double album in 1976. -- Achim Breiling

Nearly 20 years ago, I bought a double album containing Aches' first 2 albums De Homine Urbano and Green Man originally released respectively in 1970 and 1971. Ache were formed in 1968 and was at that time considered to be the Danish counterpart to Procol Harum. De Homine Urbano was the music for a ballet which were performed among others on The Royal Theatre (CPH.) and The Bolshoi Theatre (Moscow). Green Man contains the tune "Shadow of a Gypsy," which also was released on a single and made it to silver in France. In the late '70s, I found the sound old-fashioned (no synthesizers), so it went on the shelf in my collection. Actually the band broke up after the three releases (the single included), but was reconstructed in 1975. After the reconstruction they released two albums more Pictures From Cyclus Seven and Blå som altid (= Blue as Ever). After that they finally broke up. Though there was a reunion in 1985 from which there were no releases, as far as I know. -- Orla Hylleberg Eriksen

La Cite Des Dieux Qublies (78)

Violin driven symphonic rock from mid-70's France. They have only one album La Cite Des Dieux Oublies, which apparently was pretty rare until musea reissued it in 89. They have a knack for stretching three minute ideas into 15 minute tracks, and boring you to death with soloing/jamming in the process. I've heard this band compared to Wapassou many times, but to my ears, these guys are infinitely more boring.

These guys do sound a lot like Wapassou, but the integration of drums with a more Shylock/Arachnoid sound give this a much more original effect. A great album, but missing a little depth.

Acqua Fragile (73), Mass Media Stars (74)

Vaguely pop Italian progressive ensemble that sound very much likeChocolate Kings era PFM. Nice melodies, a hint of Genesis and short songs characterize this band. At least one of their albums is in English.

This band was a harder-rocking protege of PFM, with whom they were closely linked, in fact Acqua Fragile's lead singer Bernardo Lanzetti and Lyricist Marva Jan Marrow eventually joined PFM in time for their Chocolate Kings and Jet Lag albums respectively. Mass Media Stars is their second album from 1974, and might evoke more than just a passing comparison to the two aforementioned PFM albums; the sound is very colorful, loaded with guitar- keyboard interplay, excellent vocals (in English), with an excellent rhythm section. The lyrics tend to be a little lame, but the strong music more than makes up for it. I'm not familiar with their first album.

The second album of this band was produced by PFM, and all the songs are in English. The sound is like the first Genesis, and Gentle Giant and the vocals remember the sound of CSN&Y and thanks to the pretty voice, Bernardo Lanzetti was call the italian Peter Gabriel.

Acqua Fragile were a short-lived Italian progressive rock band from the early seventies, whose second release, Mass-Media Stars was also released domestically on vinyl. The music on this is very much in the PFM mold, in their style of the mid-to-late seventies, with English lyrics. This should not come as a surprise, though, since Bernardo Lanzetti (mid-period PFM lead singer) performs lead vocals, and production credits are given to PFM! Lanzetti's vocals are, at times, reminiscent of Peter Hammill, with an emotional delivery style.

Their first album was mediocre folkie music, which was only tangentially progressive. Lead singer Bernardo Lanzetti is one of the most bizarre vocalists I've ever heard, he sort of sounds like Gary Brooker being strangled! He harmonizes well, though. The vocal harmonies are the best thing about the first Acqua Fragile album, which overall most closely resembles Crosby, Stills and Nash. Mass-Media Stars is a considerable improvement over the first one, with fine keyboard work by Maurizio Mori, guitarist Gino Campanini playing some good solos as well as some beautiful mandolin here and there. And of course those pretty CSN&Y vocal harmonies. Lanzetti's voice hasn't got any easier to take, though, he's the one thing (aside from the really dumb English lyrics) getting in the way of an otherwise enjoyable LP. Lanzetti later joined PFM for their Chocolate Kings album. -- Mike Ohman

[See Premiata Forneria Marconi]

Aperis Nai Alla... (84)

Symphonic '70s-sounding prog.

Através de la Ventana (77), Fuera de la Ley (81)

Hard-rock prog.

Demo Tape (93?)

Advent is a trio from New Jersey whose members are Alan Benjamin on guitar, bass, keyboards and vocals, and Henry and Mark Ptak, both playing keyboards and singing lead. The traditional musical influences they cite are as diverse as church motets, sea chanties, Procol Harum and Gentle Giant. These qualities are evident throughout the songs found here, and digital synths and modern guitar tones add the contemporary touch to Advent's sound. For additional information contact benjamin@mars.superlink.net

The Watcher (92)

Some songs sound like Yes, others remind me of the latest version of Genesis.

Many reports say this one is pretty weak.

Many

Electronic artist

Humanum Est (74), Hand And Fuss (76), Turkis (??)

Jazz/rock.

Affinity (70)

Fronted by vocalist Linda Hoyle, supported by guitarist Mike Jupp, bassist Mo Foster, organist Lynton Naiff and drummer Grant Serpell, Affinity were one of several UK prog/jazz-rock groups signed up by the influential Vertigo Records. But altough the band's seven track debut was well received by the critics it didn't dissuade the group from splitting up soon after its release in 1970. Linda Hoyle continued to record for Vertigo, releasing the LP "Pieces of Me" in 1971, on which she was backed by Chris Spedding and Soft Machine members John Marshall and Karl Jenkins. The LP was a much more varied one than Affinity's, ranging from ballads to hard rock, and it was commercial success. Drummer Grant Serpell went on join Sailor, organist Lynton Naiff gigged with Toe Fat, the band led by ex Rebel Rouser Cliff Bennett. -- Andras Sumegi

[See Ice | Sailor]

Very powerful fusion with intense guitar, I've only heard two tracks by these guys, on Made in Japan's "Jazz Rock Sampler," and in fact I don't know if they have anything else out. Reminds me of stuff like Joaquin Lievano. Certainly one band worth watching for!

A killer Crimson/zeuhl/Fusion crossover band that has a couple of tracks on a compilation, but otherwise has no legitimately released material. I've heard a bootleg of a live show from '86 and they smoke! Unfortunately, they've broken up since, so I doubt we'll ever see a real album. -- Mike Borella

Overground Music (90), Megalazottak es megszomoritottak (92), Föld és ég (94), De Profundis (96)

Sound like Islands era Crimson and a must for all Crimson fans. Prog rock on classical instruments that manages to be a remarkable improvement on the early Crimson style rather than just a copy.

Symphonic prog band. Long tracks and complex arrangements are characteristic of all their for albums (to date), of which I have Föld és ég (Ground and Sky) and De Profundis. In addition to the common instruments such as guitar, synths and drums they play a wide variety of classical instruments (cello, violin, piano, trumpet, horns, winds, flute to mention but a few). In certain tracks they use exclusively classical arrangements, which gives their music a chamber-like character. If one claims that they are King Crimson-influenced, yes, it is true, and they never denied it. (In fact, the band started its career with the live performance of Crimson's first album, and I can tell you it was astonishing.) This group, however, is far from being a Crimson clone. Lyrics in Hungarian (except Overground Music, which are in English), but do not be afraid; they don't use it extensively. And anyway, you can enjoy the marvellous Hungarian language. My personal favorite is De Profundis, a concept album in 74 minutes. The music is rather dark (my wife actually calls them "Happy Dance Boys") with some gothic elements, and After Crying play it as an orchestra and not as individuals (here you can strongly feel their classical training). On De Profundis, a dozen of other musicians play on classical instruments, helping out the six-membered band. Definitely not an "easy" music, but it is well worth trying. I strongly recommend it to anyone who likes music that makes you think. -- Csaba Nemes

De Profundis by the Hungarian band remains true to a very classical approach that still dominates the rock elements. The extremely rich instrumentation features keyboards and cello but also includes flute, guitar, trumpet, drums, vocals (in Hungarian), oboe, bassoon, clarinet, etc... Many tracks are in the chamber music format but others, more busy ones, include a more important symphonic delivery. The compositions are original, production is excellent, arrangements are rich, tasteful and performances reflect a strong classical training. The mood is often solemn but will certainly satisfy those who are seeking a serious dose of symphonism. -- Paul Charbonneau

Paradise of Replica (??), Editions (??)

After Dinner can produce both incredibly fragile and awesomely strident musical passages. In their quietest compositions one gets a sense of ancient Japanese musical "styles" (as in Shakuhaci or solo Koto), though with a thoroughly modern tonality. Of their more strident pieces, Rick Brown of V-Effect/Fish & Roses/Timber/etc. described them as one of the more controversial bands to have performed at the Mimi festval in France. As this seemed entirely improbable, I asked him why. His response was that they were a "guitar band". IMHO this does a great disservice to their creativity, though they can produce some scorching guitar work. On Paradise Of Replica, instrumentation includes vocals, percussion, indian harp, chinese dulcimer, glockenspiel, various keyboards, sorobatone (?!), guitar, toms, tung-siao (?), japanese oboe, charango (?), cello, tenor sax, violin, and volleyball. There is a WONDERFUL picture on the back of the CD of Haco (photo) sitting at a piano (drawing) that is pouring forth music pages that form a dragon. On Editions, the combo of Recommended studio/live releases, the bands are made up as follows: studio: 17 people; live: 11 people. The prime instigators seem to be Haco (Vox, keyboards & volleyball) and Tadahiko Yokogawa (bass, violin, mandolin, vox). After Dinner also generate very strong moods in their music, and I have been told they have a fairly theatrical presence onstage.
An extemporaneous description of the song "Re": The music rises slowly, sparsely. A man's voice very haltingly, almost sadly, attempts to define a space within this sparseness. Suddenly the music changes. Violin comes in almost folklike, and triangles start surrounding its repeated melody. Then the violin starts to improvise. There is still a sadness underlying the somewhat happy surface of the music. The male voice seems to be trying to describe a place which cannot really be described. "Soon I will tell you all of this, all for you." The song ends. The song after "Re" is called "Kitchen Life." After the sparse elegance of "Re," it just sort of staggers in and never really gains a (physical) sense of balance. This "lack of balance" is an excellent example of After Dinner's ability to create the different moods I mentioned.
After Dinner are a difficult band to describe because their music covers stylistically such a wide range. One might be tempted to call them classical, while definitions like sparse, loud, dynamic, mysterious, enchanting, minimal, or even orchestral come to mind. They are a quite unique band in my opinion, and while their music could be used for background, I inevitably find myself drawn away from whatever I was doing to end up simply listening. -- David Bryant

Signs Of Change (77), Laser Love (79), 80-F (80), Batteries Not Included (82), ATF (82), Der Kommisar (82)

Their indie debut, Signs Of Change, was a snappy album of melodic prog similar in style to England's Garden Shed. Despite an undercurrent of "born-again Christian" themes in the lyrics, it's a fine album, with good organ and synth work from keyboardist Peter Banks (no, not that one). Later (major-label) albums go for a bouncy synth-pop approach, leaving prog in the dust. The next two albums were good of their kind, though, but the band reached their musical nadir (yet commercial high point) with "Der Kommisar" from ATF, an obnoxious cover of a song originally done by Austria's much-reviled Falco. -- Mike Ohman

Another Beauty Blooms (86)

They have a very dark progressive-meets-modern pop styled EP titled Another Beauty Blooms. That was from around 87. Never heard of them again.

Trouble (70)

Prog/jazz in the vein of Ben or Nucleus, has been compared to Burnin' Red Ivanhoe.

Alter Pfarrhof (7?), Erinnerungen An Eine Positive Phase (77)

Agamemnon Parts 1 and 2 (81)

Rare Swiss symphonic band who put out at least one album called Agamemnnon Parts 1 and 2 Average yet enjoyable synth music.

Open Up Your Eyes (and see the world go round and round) (93)

The leader of the band is Magnus Andersson, who plays keyboards and sings lead vocals. There is also the keyboardist Mats Öberg on vocals, the drummer Morgan Ågren (both have played with Zappa), a string quartet, and six more people. It is a intriguing mix of everything, with very nice melodies. Almost like a progressive musical. -- Gunnar Creutz

[See Steensland, Simon]

Showing Paces (92), Rituals (96), Scarab (96)

I was curious to hear Ageness after reading some good reviews. Unfortunately none of those reviews mentioned much about the band's sound. They relied on labeling Ageness "good" and "great" instead of describing what the music is like. I was very disappointed in hearing Ageness. If someone had said that they were a Marillion-style neo-progressive, I wouldn't have bothered.

Ageness is mildly interesting as progressive music, falling into the Pendragon/IQ/Jadis category. However I'd refer to them as stadium rock, an attempt of the sound of these bands, as well as Asia and Rush. I understand that many people like the neo-progressive genre, and that's fine. Maybe there should be a warning label on albums like this so when someone calls such a band "progressive" we'll know what they mean.

Ageness is not particularly talented and the vocals are outright poor - something like those of Pendragon, but worse. Guitar and keys spend most of the time hitting power chords and building sugar-coated rhythms. The drums play an ominous *boom* *thud* *boom* *thud* while backing the vocals, and do little more in the way of fills. This album is much more AOR than progressive and one should keep that in mind before purchasing.

Ageness make a great joke for your prog rock friends who break into hysterical laughter when they hear a Fish wannabe. This is where cheesy symphonics and pompous watered down "prog" rock rein supreme. I thought I'd die laughing.

I, for one, think that Ageness is not at all bad, if you're into neo-prog (a term, which sends disgust up and down many peoples spines, mouths and other organs). But then it's always easy to beat down a musical genre you don't like, right boys? Ageness' first album Showing Paces was good, though not great. There are a few really good songs on the album, though -- even one where the essence of Symphonic has been squeezed into a four-minute piece, suitable even for brave radio people to play! The lyrics on Showing Paces are the weak part of the album. They are bad. I mean, really bad. It's not that they lack point or anything, it's just that the guy who wrote them don't seem to know his English grammer very well. Listen with an open mind. The band's second album Rituals came out in early 1996, and it's clear that the band has learnt something between now and when Showing Paces came out. Gone are the grammatical horribilities, the playing is much tighter and the overall sound has really improved. Really recommended if you're brought up on Marillion, Yes and Rush and now want to expand your progressive horizon.For all you slaggers, give'm another listen -- Ageness is really good! -- Robin Llaurén

Malesch (72), Second (73), Last (77), Fragments (??)

Absolutely excellent early German space rock band who was slightly well known for containing Michael Hoenig in their ranks. Very much like your early Ash Ra Tempel - Guru Guru type bands except with a cultural influence.

A classic of the German space genre. Long extended guitar solos over a mesmerizing backdrop. Their aptly titled Last is considered by many to be one of the best live space albums ever. I don't know if I'd go that far, but it is a great album. Lots of acid-drenched guitar and electronics to really carry you "out there." It also features Michael Hoenig (soon to be with Tangerine Dream) on his first recording. One of the best in this area.

Top-flight German space-rock featuring synthesist Michael Hoenig and future Ashra guitarist Lutz Ulbrich. Both Malesch and Second are excellent space excursions worth taking, featuring droning and warbling synths, wailing guitars and the like, but with a strong rock rhythm section giving it more drive than your average space-rock band. Malesch has a strong Middle-Eastern feel to it, incorporating some taped street-sounds apparently recorded live in Cairo into the music. Second is more Euro-folk inflected, with a stronger use of acoustic guitars and (on one track) bouzouki! I haven't heard Last. If I had to compare them to anyone, it would be Ash Ra Tempel, but they really defy comparison. -- Mike Ohman

[See Ashra | Hoenig, Michael | Tangerine Dream]

Pinturas y Espresiones (??)

Large '70s underground prog band did classical/Latin folklore pastiche on one hand, Floydian guitar-driven space rock on the other. Their album Pinturas y Espresiones is diverse and fascinating. -- Mike Ohman

Live in Montreaux (75), Agora (76)

A jazz-rock band.

Supposedly excellent.

Aguaturbia (70), Hermoso Domingo (7?)

Wild fuzzed-out wah-wah guitar psych with over-the-top female vocals.

Erosion (??)

Ahora Mazda (??)

Misty Circles (9?)

Supposedly avant progressive.

Ride on a Camel (78) (recorded as Tenchi-sozo before first official release, released 91), A Story of Mysterious Forest (80), Hat and Field (87), Marine Menagerie (91), Five Evolved From Nine (93)

This band is nearly 100% instrumental, and their sound is very close to bands like Caravan, Camel and Soft Machine. Ride On a Camel is a live one, and while the performace is exceptional, the recording quality is only a little better than so-so. Marine Menagerie contains studio versions of most of the better material on the first, plus some new material as well.

There was a band called "Tenchi Sozo" (which means "The Creation") in the late 70s. They played Canterbury progressive Jazz-Fusion as heard on Ride on a Camel which was recorded as a demo tape in the late 70s. The members were: Yozox Yamamoto on guitars, Kikuo Fujikawa on keyboards, Masahiko Torigaki on bass, and Hiroshi Natori on drums. In 1980, they changed their name to "Ain Soph" replacing the keyboard player, and released the 1st album A Story of Mysterious Forest as the 2nd album on the King Nexus label. (The 1st album of the label was Novela). The new keyboard player Masey Hattori left the group and formed a Fusion band "99.99" and Ain Soph seemed to have broken up. Around 1986, the original keyboard player came back and a new drummer Taiqui Tomiie, who was a member of Bellaphon, joined. The quartet released their 2nd Hat and Field. The bassist Masahiko Torigaki played on the 1st album of Bellaphon titled Firefly in 1987. From 1991, they released albums constantly: Marine Menagerie as 3rd, and Five Evolved From Nine as 4th album.

Breathtaking instrumental progressive from Japan. From the really short, Mahavishnu-type fusion rifferama of "Crossfire" which opens A Story of Mysterious Forest, you know you're in for an enjoyable ride. There's a definite jazzy undercurrent to a lot of this, but the players surprise you with sudden symphonic interjections with baroque harpsichord and swirling mellotron. Keyboards are certainly centre stage on this album, the synths are always tasty. The drummer also bangs out the complex rhythms imaginatively and effortlessly. Altogether, I think the word classic describes A Story Of Mysterious Forest accurately. I've heard a bit of Marine Menagierie, but I don't remember much about it, except that I wasn't anywhere nearly as impressed with it as A Story Of Mysterious Forest, which is definitely the one you should start with anyway. I think a lot of people will like it.

Ain Soph are a recent Japanese band with several albums to their credit. I have heard one cut from Ride on a Camel. The album is well-named as a tribute to Camel and this is reflected in the music. This album was poorly recorded before their first LP, suffers from a great deal of hiss and is not really representative of their style to come. I will say, however, that as a tribute to Camel, the song is very nicely played, with strong Camel influences but also a spark of originality. Although I have not heard it, I understand Hat and Field to be a similar tribute to Hatfield and the North and the Canterbury scene.
A Story of Mysterious Forest opens with an excellent fusion vamp in the vein of Mahavishnu Orchestra and Arti E Mestieri, with great guitar and synthesizer playing, as well as some fine drumming. This sets the stage for the next couple of songs, which are very jazz and fusion driven progressive songs, albeit with a more laid-back groove. Soon, the mellotron enters and you are treated to some very satisfying, smooth and intelligent progressive rock/fusion. The music shifts seamlessly between fusion and classical progressive passages that are pastoral and spacey or driving and intense. In particular, the title track is well-named; the extended spacey suite tells of a fog-shrouded forest's mysterious qualities. The cut also contains a few surprises, which I leave for you to discover. In short, A Story of Mysterious Forest contains excellent musicianship, flows extremely well and is highly recommended.
Five Evolved From Nine starts a little weaker, if only because of my preferences. Their style is still very jazz-inflected but now has a "contemporary jazz" feel, at least for the eight minutes of "The Two Orders of Image." In addition the band seems to lack some of the intensity and drive they displayed on A Story of Mysterious Forest. The musicianship is still of the same high caliber, however, and the album abounds with excellent playing from all musicians. One fine example is "Ancient Museum," which starts a little stiff but, suddenly, the groove clicks and a jammin' guitar solo emerges. In fact, the quality of the music improves and remains generally excellent for the remainder of the album. Another good cut is "The Valley of Lutha," which opens up with a clear-toned jazz guitar solo, then a more distorted fusion guitar solo, which then gets into an interactive jam between guitar, piano, bass and drums. Overall, Five Evolved From Nine is a very good and very solid album, much better than many popular prog bands. I simply do not think it is up to the consistent standard set by A Story of Mysterious Forest. -- Mike Taylor

Ain Soph are a post-Canterbury Japanese quartet who have certainly paid their dues, and whose Hat and Field album marks their return to the progressive/jazz scene from a six year hiatus since their 1980 classic A Story Of Mysterious Forest. The music on Hat and Field is perhaps more subtle and subdued than their recent work, 5 Evolved From 9, but is also more consistent. While they are still guilty of occasionaly dabbling in virtually new age territory, it works better on this album because of the more mellow atmosphere. Which is not to say they don't heat it up -- on "Suite: Hat and Field" there is some blazing guitar/synth harmony lines which surprise the listener with their intricacy and accuracy. The drummer and bassist take more of a supporting role than is usually heard in this style, but they do it well. The drummer is light and quick, and the bassist moves nimbly through rapid chord changes to provide a solid rhythmical backdrop for the lead lines to work against. Fans of Chick Corea, Caravan, Pat Metheney, and National Health will all find a lot to enjoy on this album, which is overall more solid than anything Ain Soph have done since. Furthermore, for symphonic or neo-prog fans wanting to explore new realms, Hat and Field represents the Canterbury genre very well. -- Dan Casey

[See Bellaphon | Heretic]

Diluvium (73)

This one is pretty dated for its time. Rather punkish in parts, put altogether a sort of Amon Düül (circa Wolf City) / Pink Floyd blend.

Underground heavy psych with organ and guitar.

Paradise Moves (82)

British neo-prog band from the early eighties.

K2 (??)

Ex Colosseum II keyboard player, has a lot of ties to regular rock musicians.

Very Wakemanesque.

Played with Rainbow among others.

Don Airey: ex-session keyboardist with Ozzy Osbourne and Whitesnake, among others. Not a very good keyboardist, and not a very good songwriter. Basically, it's pompous keyboard rock/metal - not a good mix.

"The music portrays both the savage mystery of the mountain and the tragic events of the 1986 expedition ..." is an excerpt from the sleeve notes for K2. This is a symphonic, Wakeman-esque, keyboard extravaganza led by accomplished keyboardist Don Airey (Colosseum II, Deep Purple, etc.). Combined with some narration, this is certain to appeal to those who enjoyed the earlier efforts by Rick Wakeman. It also features Gary Moore, Cozy Powell, Colin Blunstone (Alan Parsons Project), and Chris Thompson (Manfred Mann's Earth Band).

[See Colosseum II]

Clockwork Revenge (77)

Airlord are a symphonic prog band with influences that are identifiable but combined to make the band fairly unique sounding. The first and last track are the most Genesis sounding, featuring an excellent bassist and drummer. On the title track of Clockwork Revenge, the singer sounds like Peter Gabriel, sped up. In fact, the entire track sounds like Genesis on speed. Most songs contain scorching guitar solos contrasting with symphonic layers of keyboards, often with many changes in direction. "Pictures in a Puddle" is a short acoustic guitar piece with a hint of mellotron, with an electric guitar solo in the middle. This tune has some similarities to Nektar. In fact, the singer reminds me most often of Roye Albrighton, Nektar's lead singer. There are strong guitar solos in most songs, with other influences ranging from The Moody Blues to Jefferson Airplane, maybe even a bit of the spaciness associated with German syphonic bands such as Novalis. However, the strongest comparisons are to Nektar. A couple of songs, while not bad, aren't particularly engaging, giving the album an uneven quality. Overall, though, it's pretty decent and worth picking up if you can find it. -- Mike Taylor

Weird Australian band with strong Genesis influence and a lyrical penchant for surrealism and twisted irony. The title song, for example, is about an army of wind-up toys attacking an old woman. Music reminds me of Split Enz circa Mental Notes (tortured vocals and all) minus the wacky British music-hall influences. -- Mike Ohman

Akasha (77)

Very obscure Norwegian progressive in the symphonic / electronic mode. Their only album, is keyboard dominated and is a fine example of euro-styled symphonic progressive. The vocalist is almost a Greg Lake carbon copy.

Akasha's self-titled album, originally released in Norway on BAT records, is one of those records that sells for mega-bucks in collector circles and makes mellotron fans drool with childish delight. A quartet, Akasha consisted of Sverre Svendsen (vocals, mellotron), Kjell Evensen (drums), Arild Andreassen (bass) and Jens Ivar Andreassen (guitars, mellotron, synth, piano, organ). Mellotron fans will hve no doubt noticed that two mellotrons are credited but Svendsen only uses his on one track, "Light and Darkness." Akasha consists of eight tracks, lasting anywhere from two to eleven minutes. Most are 5-6 minutes. The eleven minute "Isle of Kawi" is the opener, and is enough to to send 'tron fans into raving fits, as it is featured prominently amidst the abundant synth work. The synth and mellotron are the dominant instruments, in that order, while the guitar plays a secondary role. Jens Andreassen exploits his synths to the fullest, wrenching out many "experimental" type analog sounds and noises. Just listen to "Bondage" or "Electronic Nightmare" to hear what Andreassen does with filters and oscillators. Titles like those just mentioned, as well as "Death Hymn" and "Light and Darkness," combined with a "dark" production give Akasha's music a distinct Scandinavian feel. The production also gives it a bit of a dated sound, which is why I never fully got into the album. Akasha could have recorded this in 1971 and got away with it, perhaps, but not late 1976. While I worship at the alter of the 'tron and have a particular fondness for Scandinavian prog, Akasha never caught on with me for one reason or another. But, if your mouth is already watering from reading about some of the key elements Akasha offers, then you need to be contacting your favorite prog dealer. -- Mike Taylor

Profile (72), Guitar For Sale (73), Tabernakel (73), Eli (77), Jan Akkerman (78), Aranjuez (78), Live (79), 3 (79), Transparental (80), All in the Family (81), Can t Stand the Noise (83), It Could Happen to You (85), The Complete Guitarist (86), Pleasure Point (87)

Akkerman and Van Leer were the two main guys in Focus (Guitar, and Keyboards/ Flute/Vocals respectively). They released one album together in 1985, long after the breakup of focus titled Focus. This is a very jazzy album, not like the band Focus at all, but still very worthwhile iff you're into the jazz side of things. Akkerman also has several solo albums out under his own name, one of the better ones I remember is Tabernakel.

A superb Dutch (ex-Focus) guitarist and lutist whose solo albums have never measured up to my expectations. Profile, Akkerman's second album, is his best. Side one of Profile is an improvised Mahavishnu-styled jam with fellow Focus members Pierre van der Linden (drums) and Bert Ruiter (bass). Unlike a lot of the early attempts at "rock-jazz" recorded around this time (i.e., side two of Peter Banks' first solo album), what I hear on Profile is vital, visceral, inspired and rewards your rapt attention. Side two of Profile consists of several shorter tracks - some solo lute and guitar pieces, a couple of Focus-inspired tunes with van der Linden and Ruiter, and an odd bluesy tune which would have been at home on a Harvey Mandel record. Tabernakel is a respectable followup to Profile, but suffers a bit from the same sort of fussiness that made Thijs van Leer's solo albums such tiresome affairs. Side one of Tabernakel features several short Baroque and Baroque-inspired tunes with Akkerman playing mostly lute and acoustic guitar, accompanied by drums (Ray Lucas or Carmine Appice), bass (Tim Bogert) and a small chamber ensemble. Some of it works and some of it doesn't. Side two is an improvement, as Akkerman gets to stretch out on electric guitar for about five minutes with Bogert and the highly overrated Appice (who couldn't carry Pierre van der Linden's drumsticks!). Then, the choir and chamber ensemble return and the atmosphere becomes rather stuffy. During the early 1980's, Akkerman flirted briefly with fusion. Jan Akkerman's eponymously-titled first album for Atlantic is a good example of his jazz playing and, while pretty subdued and mellow in spots, is his best recording since Profile. It Could Happen to You, recorded in 1982 but not released until 1985, is a somewhat inferior followup. Akkerman's brilliant solos ride over static Euro-funk grooves, but interaction with the other players is minimal. Kenneth Knudsen contributes some tasty, but too brief, synth solos, and the drums and bass are steady and funky. A point of reference here would be mid-1980s Miles Davis (e.g. "You're Under Arrest"). Not a bad album, just a bit disappointing. -- David Wayne

Focus is the most recent release by the duo who were the core of the group that introduced the concept of yodeling into the progressive rock genre. It is an all-instrumental piece of work, from 1985, and now out-of-print, featuring Akkerman on guitars and synths, and Van Leer on a variety of keyboards and flutes. The music is similar in style to some of Ronnie Montrose's more melodic instrumental works, and includes crisp electric guitars over a tight rhythm section and full synth chords. The highlight is the 10+ minute track "Beethoven's Revenge (Bach-One-Turbo-Overdrive)," which is a fast-moving, rhythm-driven piece, topped off with Akkerman's nimble fretwork multi-tracked over a melange of keyboard and bass sequences, almost like Tangerine Dream meets Al DiMeola!

Born 1946 Amsterdam. Studied classical guitar at the conservatory. Took off with the group Brainbox in 1968-69 I think and thereafter joined Focus in 1969. Drummer P van der Linden from Brainbox followed into Focus 1970. Akkerman was with Focus until 1975, and in parallell made some solo albums. In 1976 he worked with singer Kaz Lux, also from Brainbox and they made two albums. Later concentrated on solo stuff. According to a Dutch friend of mine, he has got enough money and can do absolutely what he wants and don t care about the public. That seems true because his production is terribly uneven. The best is fantastic, the worst is to be ashamed of, especially because of his uncritical use of drum machines. All his solo records combines fusion, funk, rock and classical elements. Focus is IMO one of the best prog groups ever, and Jan Akkerman will therefore be of interest to prog collectors. He mixes styles, and there are definitely prog elements in all his records.

For prog collectors, his work with Peter Banks of 1972-73 may be of interest (where also Steve Hackett, John Wetton and Phil Collins participated). Akkerman also has played on many jazz albums with various people.

Profile is genuine, with one classic / prog side and one side that I only want to forget, gruesome fuzz-jamming. Tabernakel is an almost all-classical record and quite good at that, Eli is fusion and half of it is very good, half of it terrible because of Kaz Lux. Jan Akkerman is fusion again, and half of it very good while the rest is boring because of his lack of talent with the drum machine. Aranjuez is a wonderful reworking of older and newer classical pieces for electric guitar and symphony orchestra, incredibly arranged by Claus Ogerman. One may discuss whether the reunion of Akkerman and van Leer should be classified as solo or a Focus album, it is however, apart from the terrible drum machines his best effort in the 80s. All in the Family from 1981 is a flop, I can t believe it is Akkerman, while Pleasure Point from 1987 contains really fine things.

[See Brainbox | Focus]

Akritas (73), Sentinel At The Edge Of The Universe (7?, may be same as first album)

One of the very few true Greek progressive bands, in fact, Akritas' only album (I think) is written completely in Greek, from the song titles to the band members. The music? Almost in the Italian vein as far as refinement, yet showing a great diversity of styles as in the case of Gracious! or others who mixed styles from swing jazz to Osanna-like rock fusion.

Onze Danses Pour Combattre La Migraine (77), Un Peu de L'âme Des Bandits (79)

A very interesting international collective led by Belgian keyboardist Marc Hollander (Cos), Aksak Maboul is not easily pigeonholed or described due to constantly shifting personnel and musical focus. The first LP (Onze Danses pour Combattre les Migraine) is a masterpiece. The pieces range from Satie-esque to structured Zappa-inspired rock, to very loose improv-jazz, and the execution in these diverse musical areas is extremely successful. Overall, the music has a certain lightness and humorous approach that I find all too rare in most prog and jazz. The second LP has more of a "band" feel and the music is more dark-sounding and very comparable to late-period Henry Cow which makes sense because Chris Cutler and Fred Frith are on every track. Others featured are members of Univers Zero (reedist Michel Berkmanns), and John Greaves' "Parrot Fashions" band (cellist Denis van Hecke). The last recordings by Aksak Maboul which I have heard are on Made to Measure, Vol.1 on the Crepuscule label. The LP is a compilation (including bits by Tuxedomoon and Minimal Compact, among others), and Aksak Maboul takes up about 1/2 the LP. Here, the music is VERY different, and for lack of a better term I would describe it as "minimalist rock". In short, the Aksak Maboul contribution to Made to Measure Vol. 1 is not at all like their previous efforts, and is not really "prog rock," but still has merit on its own terms. -- David Wayne

Changed spelling to Aqsak Maboul for ...Des Bandits, which also featured Chris Cutler and Fred Frith of Henry Cow. -- Mike Taylor

[See Cos | Henry Cow | Julverne]

Aktuala (73), La Terra (74), Tappeto Volante (76)

Asiatican and North African popular music.

Aktuala were an excellent Italian band following in the steps of Third Ear Band and Between, creating a very unclassifiable music using myriads of instruments in a very raga like method. One of the best of the Italian's and quite mesmerizing. Another pointer would be Andre Fertier's Clivage.

[See Capra, Vaccina Lino]

Alameda (80)

Brazilian Jazz fusion. Rather average.

Jean Pierre Alarcen (78), Tableau (80)

Alarcen was the guitarist in the one-shot french group Sandrose. After Sandrose he had two albums: JPA and Tableau. Tableau which is very symphonic, is basically one long piece spanning both sides of the album, vaguely comparable to stuff like The Enid, but a little more low key for the most part. Jean Pierre Alarcen is a more guitar oriented album with some fusion leanings, but not overtly so, which features excellent guitarwork and some brilliant writing. Both are available together on one CD.

[See Sandrose]

Alas (76), another?

Rare Argentinian band in a very jazz influenced progressive rock vein. Not too original but excels in parts.

Alas is much better than second. -- Tom (AshRaTemp)

Volo (??)

Albatross (76)

Albatross are yet another American band influenced by Yes and, to some extent, Genesis and Keith Emerson. Their playing is filled with heart and desire but not an abundance of originality. The usual battery of analog synths, including Hammond organ, ARP synth and Mellotron dominate the mix, punctuated by electric guitar. The opening track, the 14 minute "Four Horsemen of the Apocalypse," is very reminsicent of another American band, Lift. Three songs are in the 3-5 minute range, and a fifth comes in at more than eight minutes. To give them credit, the band move through a variety of moods in the long songs, from relaxed, light piano passages to energetic synth/guitar duels. Mark Dahlgren, the keyboardists, also displays a willingness to experiment with his synths, using unusual sounds in unexpected places, which helps lend some degree of originality. Other times, though, he pulls out some classic Emerson or Wakeman licks. The eight minute "Devil's Strumpet" is a perfect ELP/Yes hybrid with some refrains lifted almost directly from "Close to the Edge." The shorter songs are somehwat more accessible and natural less varied, making them less interesting to my ears. Overall, they're decent (and the LP is ultra-rare) but hardly essential. -- Mike Taylor

Seventies indie sympho-prog, not to be confused with guitar-psych band (on Reprise) of the same name. -- Mike Ohman

Il Grande Gioco (74)

A good rock band. I don't know anything else.

Survival Games (94), Albion (95)

Albion started in the late '80s when two teenage boys, pupils of the secondary school, started to play progressive rock. In 1993, they recorded their first song, "Scarecrow." It was a big hit on Radio Krakow. The next year, the Art Rock label released Survival Games on cassette (and released on CD in '95 by Mellow Records). Survival Games consists of nice neo-progressive songs, with English lyrics, good female vocals, and guitar parts very comparable to Steve Rothery's (Marillion) work. The production was rather poor, however, so next year Albion again recorded nearly all of the material from their debut album, plus three new tracks with Polish vocals. Albion is nearly one hour of high quality neo-progressive rock, in the vein of Marillion, but with their own style. Some short melodic songs and some longer atmospheric tracks like the ten minute "Golgotha." A very good album. -- Janusz Groth

Vampire State Building (71)

[See Faust]

Aleacion (86), Leyenda (90)

With a foundation of Mexican folk music, they have infused it with Jazz and world music, and come up with something pretty unique. The sound at times may remind of of a more folky answer to Paul Winter, but without all the excessive percussion and pseudo-cosmic self indulgence. The music is basically acoustic and instrumental, using violin, prehispanic flutes and percussion, ocarina, guitar, Sta huapanguera, bass, alto sax, drums and voices, with strong melodies drawn from mexican and pre-hispanic folk themes, with the jazz influence hitting strongest in the rhythm section, and a faint hint of RIO. Two albums exist, their self titled first from 86, and the more overtly melodic Leyenda from 90. Noisy LP pressings, though.

Musikaall (94)

Alembic Virtual combine metal and progressive influences. While not playing with the dexterous virtuosity of Dream Theater, Musikaall should find wide appeal among fans of the progressive metal genre. Alembic Virtual are a quartet: Tony Giuffrida (guitar), Peppe Capodieci (bass), Toti Valente (drums), Ega (vocals, keyboards). The music is dominated by Giuffrida's metaloid guitar work, laden with power chords, heavy riffs and speedy solos. Ega's keyboard work is typified mainly by chordal backdrops and brief fills. She is more important as the vocalist, belting out the English lyrics without trace of an accent. She's a good but not great singer. She's certainly not a screecher. Her voice is a tad hard when she's cranking out, while the softer moments just seem to lack in musicality. The production has tended to wet down her voice with noticeable reverb, perhaps to cover up some of these perceived flaws. Her voice is of little consequence, though, because it is the driving rhythm and metal guitar style that will attract head-bangin' proggers. Each of the six songs tend to follow the same pattern: build-ups of phased or flanged picking, breaking into lightning fast solos or power chords. The hard-rockin' rhythm section constantly pushes the band forward through many different meter and tempo changes. There is little to differentiate the songs from one another, other than the opening and closing tunes happen at a much faster pace than the middle cuts. I found this a little monotonous, but have to admit that I'm not a big fan of this style anyway. Those of you into Dream Theater, Magellan, Gerard and so forth will probably want to check these guys out. -- Mike Taylor

Surface Tension (77)

Delightful symphonic prog starring the classically-influenced dual keyboards of Mary-Jane Carpenter and Mary Hansen and the dulcet tenor voice of Joe Walmsley. Excellent Yes-influenced prog, highly recommended. -- Mike Ohman

Alex (74), That's A Deal (76), Alex Oriental Experience Live (80)

Breve e interminavel (96)

This Brazilian band features double-guitars, bass, drums and percussions. Occasional keyboards and vocals (in Portuguese) are also heard. The compositions, all written by the guitarists, serve as themes from which developments are often improvised. The important work of the electric guitars show Robert Fripp influences and rhythms are rock as well as jazz inspired. The few acoustic and vocal moments have a more folk flavour. In fact, the band often end up developing a high level of intensity where the heavy sound electric guitars dominates. A quality production with a structure that favours solid instrumental performances. -- Paul Charbonneau

Alice (70), Arrentez La Monde (72), La Mia Poca Grande (75), Cosa Resta un Fiore (78), Mi chiamo Alice (79), Caponord (80), Cosa Restra (81), Azimut (82), Falsi Alarmi (83), Gloielli Rubati (85)

Existed from 1970 up to 1985 at least according to Rock Record. Haven't heard it. I think the name comes from keyboardist / singer Alice Visconti, and the French group members from the first two albums was replaced with Italians.

[See Couer Magique | Magma | Suzan, Alain]

Electronic/space rock.

All Ice (72)

Prog quintet.

Magick Brother (69), Obsolete (71), Banana Moon (71), Good Morning (76), Now Is The Happiest Time (76), N'Existe Pas (79), The Australian Aquaria (90), Others

Daevid Allen, the inspiration behind Gong, has released a few solo works, involving musicians who participated with him on some Gong releases. Bananamoon is a compilation of Daevid Allen's works in his pre-Gong days, during which he teamed up with the folks who later went on to the first incarnation of Soft Machine. The featured musicians on this release include (in addition to Allen) Robert Wyatt, Maggie Bell, Archie Legget, and Gary Wright, and Hugh Hopper helped pen a couple of the tracks. The music is a loose blend of some bluesy influences with the almost avant-garde approach of the first few Soft Machine releases. The insert contains the story of Daevid Allen, written, in his inimitable tongue-in-cheek style, by John Platt. Now Is The Happiest Time Of Your Life was released in 1976, and features Daevid Allen with a variety of backup musicians, including guitarist Juan Biblioni who contributes high-speed Spanish-flavoured guitar passages, and a violinist. The music on this release is surprisingly accessible and sober, and is probably one of Allen's most "musical" releases. Victor Peraino (of Kingdom Come) plays keyboards, lending a polished sound to this work. The closest comparison would probably be to some of the later-period Kevin Ayers material, though the rear sleeve contains explanations and notes that would be at home on any Gong release, prefaced with "Greetings Gong chums and magick brothers and mystic sisters ...."

Could give you lot of details, since he already since 1961 played with other Canterburians. First album was Magic Brother in 1969 (with help of Gong members), and Bananamoon is from 1970 or 71, and reissued in 1975. They are very avant-garde. Obsolete is from 1971. Some records came out in the 80s, but I have not heard these. I found him uninteresting already in the 70s, though he is cult person with lots of influence on avant garde poetry and music. He left Gong in 1975.

Gong-leader during that band's fertile period. His first solo LP, Bananamoon, is pretty blues-orientated and not really worth bothering with except perhaps for the track "Memories," a Hugh Hopper composition featuring Robert Wyatt on vocals and guitar. Soft Machine fans take note. Now Is The Happiest Time is a good deal better, perhaps his best solo work. It covers a wide area of prog ground, and features the dual flamenco guitars of Juan Biblioni and Pepe Milan. No drums per se, just congas and other percussion by Sam Gopal. Best tracks: "Why Do We Treat Ourselves Like We Do?" and "I Am", the latter being a dreamy glissando guitar piece. "N'existe Pas" is supposed to be another great one. I've only heard part of it, with layer upon layer of glissando guitar. Worth further investigation. The only other one I have is Divided Alien Playbax 80, a discordant, experimental album of layered tape-looping serving as backdrop for Allen's sung/spoken poetry and guitar solos. Supposedly made during a difficult period in his life, and it shows. A powerful musical statement, but not for the faint of heart. I've heard a more recent album, can't recall the title offhand but it was released around 1993 sometime. I'd say this was another good one, though weird in some parts, repetitious in others. -- Mike Ohman

Magick Brother (aka Magick Brother, Magick Sister) is usually considered the first Gong album, but was originally released as an Allen solo effort.

[See Ame Son | Gong]

Alliance (91)

Instrumental progressive band based in Las Vegas, NV with sleight fusion leanings.

Light and Heavy Industry (??)

Scolopendra (72), Four 7" singles released before LP (70-71)

Patrizio Alluminio was the keyboard player for the trio Alluminogeni. Their brand of Italian classical rock was in the same vein as the other similar trios - Le Orme, The Trip etc and is recommended to fans of this genre.

Early 70's Italian organ based trio. Of their album Sclopendra: This stuff sounds VERY old, very proto-prog, and the keyboardist reminds me of the old hammond style typical of people like Lee Michaels in the sixties. Still not bad though, there's some very heavy jams and other interesting stuff.

After the four commercial 7," the album was really good and the sound is near to the electronic music. This LP was printed in very few copies so now is difficult to find it, and if you found it, it's really expensive.

Intorno Alla Mia Cattiva Educazione (74), Two 7" singles from 1965 and 1969.

Intorno alla mia cattiva educazione is a charming, palatable album; very representative of the '70s-Italian progressive rock scene. The closest comparison which comes to mind is Celeste.

Quite an excellent album, with a voice similar to Locanda Delle Fate's vocalist. With flute, one of Italian's hidden gems.

Intorno All Mia Cattiva Educazione is a very beautiful and expressive album of Italian symphonics. There are fourteen songs but all flow together (except for the break between sides one and two). Instrumentation consists of vocals, flute, sax, a variety of keyboards (moog and other synths, piano, Hammond organ), acoustic and electric guitar, in addition to the usual drums and bass. The vocalist sounds quite a bit like the singer for Locanda Delle Fate, another excellent Italian band. Musically, however, the music is more similar to Celeste or Quella Vecchia Locanda. Many passages of the Allusa Fallax album are gentle, with flute and classical guitar with either voice or harpsichord, for example, a trademark of Celeste's beautiful work. As the album progresses, the music builds in intensity, getting much more heavy and intense than either Celeste or Quella Vecchia Locanda. There are many good moog synth and guitar jams with good trapwork, and some very nice flute work. Some passages have a classical feel while other sections have a jazzier vibe. Each "song" averages about three minutes so the music feels as if it is constantly developing and moving toward the climax. This album seems to sit in the shadow of Celeste and Quella Vecchia Locanda, but it is easily of the same caliber and highly recommended. -- Mike Taylor

Don't let the short duration (between 1:40 and 5:45) of the 13 pieces shadow your curiosity about this re-issue of a what I would call an Italian must have of the seventies. Alusa Fallax do pack a lot in these time frames. Unfortunately no info about the band is provided - destiny seems to make it that these guys will remain anonymous, aprt from the credits of music writing. Complexity is on the menu, paired with a strong tenor/alto sax and flute presence, hot keyboard playing (piano and organ, with occasional strings and Moog), and the addition of passionate vocals that blends very well with the music (not of the grating kind.) Oftentimes fast-paced, the music also clears up for nice, of classical inspiration, passages, typical of the Italian lyricism. This album is clearly in the same league as Celeste's, QVL's, and the first Errata Corrige album, and although packing more punch, retains a overall light approach. Sound quality is fine. -- Alain Lachapelle

Alma Da Terra (83)

Hard Progressive with frenetic fuzzed-out lead guitar.

Nyanser (79), The Journey (80), Shen Men (84), Unknown Tracks (86)

Almqvist is a swedish jazz-rock guitarist. His first two albums are Nyanser and The Journey, from 79 and 80 respectively. These two are fairly low key, mostly quiet acoustic stuff. With 1984's Shen Men, he turned the energy level up and came up with an album that sounds very much in the melodic ECM vein, a-la Metheny or Dimeola, with a slight classical touch. His last album (to my knowledge) was in 86, Unknown Tracks featured the best two tracks from Shen Men (same versions - not re-recorded) and six new tracks; the 13 minute "The Blue Suite" is an acoustic killer. This last set was also released domestically (USA) on CD on the short lived Breakthru label.

Mar De Cristal (84), Sombras (86), Agartha (87), Ruinas Circulares (88), Temple Of Delphos (88), Aleph (??), Seven Spheres (??), Voyage to Ixland (??)

One of the most boring prog "bands" I have ever heard is Amir Cantusio Jr's Alpha 3. Cantusio has about seven albums out under the Alpha 3 name, and shows no sign of progress in any sense of the word. Music mostly electronic, without the aid of polyphonic synths, (a fact that hurts the music severely) Cantusio is a fine keyboard player but an average songwriter, and most of his albums are just this - average. If I had to pick my favorites, I would say Sombras or Agartha. I do think, however, that with some different equipment, at least the sound would improve. Mention must also go to the album Ruinas Circulares for its fantastic cover, and the debut Mar De Cristal for being one of the worst "progressive" albums I have ever heard.

Alpha III is in essence Brazilian Keyboardist Amir Cantusio, who's released a long string of excellent albums from 1984 to present. His work in general owes quite a bit to Genesis although there are many other influences present as well. Agartha (his 3rd) is clearly the most unique, and also the least traditionally progressive of the bunch; others include Ruinas Circulares, Temple of Delphos, Aleph, Seven Spheres and a mess of others that are more euro-prog influenced. Most are nuthin' special, save your money.

Alpha Centauri (76)

Alpha Centauri is yet another rarity dug up and released by Mellow. Their approach differs in some respects to the aforementioned French symphonic artists, but contains much of the same atmosphere. The band is driven by jazzy drumming and blues guitar, underneath which a keyboardist holds chords and a bassist plays some interesting lines. Their slow, minor-key approach reminds me vaguely of other French artists, in particular Asia Minor, though Alpha Centauri's overall feel is that of 70's prog. The vocals are choral at times and very low-key. Using the word 'depressing' to describe them would be inaccurate, but that may give you an idea as to what they sound like. Overall, I find this a good, but not great release. One of the complaints I have about this disc is its brevity. Only 29 minutes? Surely there are some unreleased or live tracks somewhere to append? -- Mike Borella

Contact (79)

Hard jazz rock.

[See Komintern | Pataphonie | Red Noise]

Alpha Ralpha (77)

An offshoot of the band Tai Phong.

Jazz/rock through symphonic rock.

[See Tai Phong]

Alphataurus (73), Dietro L'uragano (92, recorded 73)

A really original LP with some songs that remember the ELP sound with voice and keyboard in good evidence.

Alphatarus' debut is one of the monsters of Italian progressive with a heavy and bluesy feel similar to Il Balleto Di Bronzo, QVL although quite symphonic. Dietro... is a posthumous release oftheir unreleased second in a much more classical/symphonic realm. Demo sound quality but quite good.

Alphataurus is an Italian band who released a self-titled album in 1973. The music is more or less in the Italian symphonic style, closer to Banco perhaps, than PFM. The band uses lots of acoustic guitar for the rhythmic underpinning and behind the vocals, while organ and moog provide most of the melodic foundation. There is a little electric guitar here and there but it's not a dominant instrument. The organ/moog style is reminiscent of Banco, or perhaps Keith Emerson. There is a degree of "heaviness" to the music that vaguely recalls Museo Rosenbach. Occasional dashes of piano and vibraphone add a bit of spice to the mix. Five songs are on the album, ranging from a little over three minutes to around 12 minutes in length. Vocals are in Italian but not harsh or overbearing. A pretty solid album and worth checking out. -- Mike Taylor

"Coatlicue" Goddess Of The Earth (9?)

Mexican artist supposedly in the vein of Jorge Reyes.

Marks (72), The Mountain Queen (73) Nobody Can Wait Forever (75), Best Kept Secret (76), Live On Tour (76), Alquin Crash (77)

Innovative early Dutch progressive band sounding little like contemporaries Earth and Fire or Focus, but showing elements of Soft Machine, Pink Floyd, various fusion bands. Alquin mixes many of these elements in a fascinating way and are a band that deserves to be reissued on CD... And evidently the first two are available on one CD!

The Mountain Queen is the second album by this Dutch six-piece. The line-up consists of bass, drums, saxes/vocals/percussion, saxes/flute, guitar/electric violin/piano/vocals and keyboards. The songs have very long instrumental passages with prominent lead guitar, whirling Hammond organ, dual saxophones and (on "Mr. Barnum Jnr's. magnificent and fabulous city") electric violin. I can hear bits of Caravan, Pink Floyd, Roxy Music and Curved Air running through the album, but overall it's pretty original. The one drawback to this album is the vocals, mostly by Job Tarenskeen; they're remarkably wimpy and unconfident and there's no real vocal presence. Fortunately, the vocals are very incidental. Beyond the vocals, a fine and intensely rewarding album. Issued on CD only in tandem with the first album, Marks. For Nobody can wait forever, the band added full-time vocalist Michel van Dijk, who vocally resembles Rod Stewart a bit. The album adds more straight-ahead rock songs than its predecessor, ranging from blues-rock ("Mr. Widow," "Farewell, Miss Barcelona") to hard-rock. ("Wheelchair Groupie") The rest of the album has a more pronounced Roxy Music feel, thanks to the heavy sax-work, the Ferry-esque lyrics and the droning Moog synth on "Revolution's Eve." There's some fine soloing on this album, notably from Ferdinand Bakker on guitar and Ronald Ottenhoff on flute and sax. NOTE: Job Tarenskeen and Ferdinand Bakker from this band later appeared in a punk (!) band called the Meteors.

This band started in 1970, most of the musicians were students in Leiden, a prominent university city. Their first album was released in 1972 Marks, mainly instrumentals, a mixture of rock, jazz and classical music. The group quickly built up a following and in '73 the band went to the U.K.to perform in The Marquee and to appear on TV in the "Old Grey Whistle Test." Their second album The Mountain Queen was recorded in England and is one of the better progressive albums of the seventies. The music is similar to Marks and the album sold well. The band toured Germany and England together with Holland's top rock band, Golden Earring, and also toured France to support The Who. The band wanted to change their hippy image and add more rock 'n' roll to their music, with more emphasis on the vocals. One of Holland's best singers, Michel Van Dijk, is recruited and the third album is once again recorded in the U.K. This album, Nobody can wait forever, was also released in the States but a tour there was cancelled at the last minute. The album sold well and Alquin played lots of gigs, mainly on the European continent. In 1976, the last studio album Best Kept Secret was released, once again recorded in England. The style is similar to their third album, but with a slightly more funky sound. Another tour followed and a live album Alquin on Tour is released. In 1977 the band disbanded because of disagreements on musical style. Various members turned up in other groups, none of them progressive. Guitarist Ferdinand Bakker and drummer Job Tarenskeen formed The Meteors, a great new wave band. After the demise of Alquin the record company released Crash, a double album with some tracks from all of their albums. I can recommend this as a good overview, but their first two, Marks and The Mountain Queen will appeal most to the lover of progressive music. -- Hans Van Dongen

Fusion Americana (9?)

Excellent fusion-oriented band from Chile. Playing is tight and the songs are well developed, the lineup features guitar, soprano sax, drums and bass, with guest musicians on piano and synth. The sound has a slight latin feel, based around a sound which may remind of the early Pat Metheny Group. Their album Fusion Americana is a worthwhile find.

Altair (90)

A duo of keyboards and drums, the former of which is female and infatuated with Keith Emerson. While the compositions are not extremely derivative, they're not so great either. Lukewarm performances and production as well.

1 track on Musea's Enneade compilation, probably cassettes only other than that.

zeuhl related fusion.

Vol. II (87)

Altmayer was the drummer, singer (and leader) of the legendary French zeuhl band Troll, which also included Jean Pascal Boffo on Guitars, and featured a strong Magma influence. Unfortunately, that edition of the band disbanded before ever recording. This one is (to my knowledge) Troll's only recording from 1987, and features Violin by Nathalie Basset, Bass by Bernard Paganotti, and Vocals by Klaus Basquiz and Stella Vander, as well as other musicians. Altmater's Drums and Paganotti's monster Bass dominate, and tracks like "Igor" and "Breakdown" show just how brilliant these two guys are. On "Ankh - Carousel Celeste" BP demonstrates his chops on the chapman stick, and two tracks "Impressions for Tomorrow" and "Some Words about 'Trane" owe strong homage to John Coltrane. The album is split between vocal and instrumental tracks. The vocals (in English) are outstanding; this is one of the best releases Musea ever put out.

[See Boffo, Jean Pascal | Magma | Mandragore]

Altona (74), Chickenfarm (75), Hamburg Sightseeing (75)

Brass rock.

[See Thrice Mice]

MCs: Svet Ozveny (8?), Tension! (8?), Tachyon (8?), The Ritual (88?) featured on other Auricle samplers

Experimental electronic/other music by owners of Audion/Ultima Thule.

Alux Nahual (81), Hermanos de Sentimiento (??)

Drinking My Own Sperm (7?), Mums Milk Not Powder (??)