Bi Kyo Ran (82), Parallax (83), Who-Ma (88), Fairy Tale (89)

This band was a dead ringer for King Crimson in the Red period, they had every aspect of Crimson down cold, in fact on the first album you'd swear you're listening to Fripp and company until the guy starts singing in Japanese. The second album, titled Parallax is a little more original and mostly instrumental. There are also two live albums that pre-date the first album: these sound so much like Crimson it's scary!

Bi Kyo Ran are usually compared to Red-era King Crimson. While the guitarist, Kunio Suma, does a fine Fripp imitation, the rest of band fails to fully deliver the Crimso atmosphere. There are some aspects of the band that give them their own signature sound, including acoustic songs and Japanese vocals, with harmony! On Parallax, their second album, the rhythm section has improved (still mostly the same members) and the Red atmosphere they create is closer to the original thing. The band, however, still doesn't quite come across as a Crimson clone, as they retain enough individuality to give them a unique appeal. Featured on Parallax is the 21 minute "Suite Ran," which covers some blazing, Crimso-like passages to more pastoral settings. The closing section of the suite, "Crimson Children," has some gorgeous mellotron and guitar. When Crimson is invoked, it's not only Red but I was also reminded of In the Court of the Crimson King in a few places.

Bi Kyo Ran are a Japanese band whose music is very much in the area of King Crimson, circa Red. The guitarist does a mean, virtuosic, electric-Fripp imitation, with another gent contributing the Belew-influenced vocals. Despite the obvious imitations, the music is very well executed and stands on its own. Some of the pieces are reminiscent of the mellotron-backed Crimson of their earlier period, to complete the picture. Additionally, a violinist is also featured, who does the David Cross bit by interjecting screaming violin solos into some of the passages. All in all, Parallax is a fine piece of progressive rock, which should definitely appeal to those who enjoyed mid-period Crimson.

I'm not a big Crimson fan. Hell, I'm not even a small Crimson fan! You know, everybody has that one band that everyone else likes but they can't seem to click with. King Crimson is that band for me. I've been listening to them for many years and I still think they're a bit *ahem* overrated... So here comes Bi Kyo Ran from Japan. Described by an astute listener as sounding more like King Crimson than King Crimson, this three piece emulates KC so well that...you guessed it! I think they're overrated too! While not lacking talent, Bi Kyo Ran tends to meander a bit too much. I like chaotic music, but these guys are slow, slow, slow, when they should be fast, fast, fast. The band could use a shot of musical ex-lax to get things going. Vocals are in Japanese, but that's not a detraction at all. If they didn't sound to damn much like outakes of Red and Larks Tongue, I probably wouldn't be as harsh. At least KC had soul and creativity as well as knockout musicianship. Bi Kyo Ran fails in the first two but makes a noble attempt to compensate for it with the third. Now that I think about it, the ex-lax analogy pretty much sums up how Parallax sounds: constipated.

Life Line (86), Cloud Chorus (87)

US Guitarist that produced two albums in the mid-80's: Life Line and Cloud Chorus. Both are relatively low key projects featuring acoustic and processed electric, with guest musicians on other instruments. Very nice, very spacey, but the second one tends to get a little new-agey. Still not bad, tho.

Terminal Velocity (83), Astropop (83)

Okay, so they have a stupid name! BAS had one album titled Terminal Velocity in 1983, and there is as the 3 song EP from it titled Astropop. Their sound combines some elements of Camel, Floyd, and others. Lots of keyboards, guitars and Sax over a hard driving rhythm section, with very stylized vocals, sort of a Bowie meets Jim Morrison meets Roger Waters.

Swimmer (86), Creeping up on Jesus (88)

80's mainstream sounding pop band that occasionally gets a little progressive, and has gotten some airplay as a result. File with Toy Matinee, Icehouse, and the like. Not bad, but not really prog either.

Scottish players of American style pop-rock.

Biglietto Per L'Inferno (74), Il Tempo Della Semina (74, Released 92)

This is a hard-rock band, and the first LP (one of the best album of italian progressive) is really difficult to find.

Biglietto Per L'Inferno (Ticket to Hell) is an Italian six-piece symphonic prog band whose first release is rightfully considered one of the classics of Italian progressive. Instruments include the standard bass, drums, guitar, two sets of keyboards, vocals and flute. The music ranges from Tull-like heaviness (flute and driving guitar) to very symphonic PFM-like passages of piano, synth and guitar. The drummer mixes up the beat with excellent variety and is an integral part of the mix. The closest comparison would be to Semiramis with its heavy passages alternating with lyrical interludes. This album doesn't sustain the heavy intensity found on Semiramis's classic which gives Biglietto's release a more diversified feel. The 15 minute "L'Amico Suicida" is a prime example of the diversity and talent as the band rages through heavy passages (similar to Osanna, anotyher classic Italian band) through keyboard runs reminiscent of Le Orme's Contrappunti into quiet, vaguely bluesy guitar passages. The band lingers not in any of these areas, constantly driving forward and shifting gears reminding me of several Italian bands yet sounding like none of them. The diversity holds across the entire album so that it never becomes stale. Highly recommended.

[See Banfi, Giuseppe]

Kad Bi Bio (74), Sta Bi Dao Di Si Na Mom Mjestu (75), Eto! Bas Hocu! (76), Koncert Kod Hajducke Cesme (77), Bitanga I Prinzesa (79), Dozivjati Stotu (80), Uspavanka Za Radmilu M. (83), Pljuni Zapjevaj Moja Jugoslavio (??)

First two albums prog, later stuff more commercial.

Bikini (86)

Hungarian band. Sounds very similar to Omega, at least the 1986 album I happened to find in London. Not original for a second, but very pleasant listen.

Wolne Loty (86), Ucieczka Do Tropiku (87)

Bilinski is a Polish synthesist and composer, who paints colorful soundscapes with a strong rhythmic backing and soaring melodies. His style's nearest comparisons might be with Vangelis or latter period TD or such. He's got a mess of LPs and cassettes, some are more interesting than others. Of the two I know fairly well: Wolne Loty is his 1986 release and features a more classically progressive style, while Ucieczka Do Tropiku is from 1988 and has a more pop feel and some interesting effects. Both are 100% instrumental.

Atmospheres and Melodies Inspired by the Paintings of H.R. Giger (86)

This is a casette-only release from Auricle. Apparently taking over a year to complete, it is a synth/guitar/weird noise collage of sounds with each piece made to be evocative of a particular Giger painting. As those of you who know Giger's work will understand, this is pretty frightening stuff. Think of something like Tangerine Dream's "Rubycon" with the musical equivalence of cancer ... It tries to balance the horror undercurrent with noises reminiscent of mechanical things and throbbing machinery. Indeed, it's biomechanical music. Not a real noise jam a la Einstürzende Neubauten or minimal gut-wrenching horror music a la Nurse With Wound but pretty listenable and very powerful. Recommended for those who think EN and NWW are a bit too much. Great stuff. The people responsible for Biomechanoid are the Freeman brothers who have previously released on tape only under the moniker of "Alto Stratus." An outfit I've never heard but who are apparently in the space-rock genre. The Freeman brothers own probably the best progressive music outlet in the UK called "Ultima Thule" and do worldwide mail order. They also own the Auricle label which has put out material by Klaus Schulze and other luminaries, not to mention their own Alto Stratus and Biomechanoid stuff. They also own, edit, produce and contribute to a really good prog/alternative music magazine "Audion." Dedicated guys.

Reality Gates (76)

Electronic music.

EP (83), Magnetic Flip (84), Beat of the Mesozoic EP (86), Sonic Geology (88), Faultline (89), Pyroclastics (92), The Fossil Record (93)

First off, I must say that aside from The Fossil Record, I have not heard any of their other studio material. I have, however, seen them live a few times in the past year or two. The Fossil Record is a collection of studio material from the "early years" of Birdsongs that didn't find its way onto any of their albums. How does it compare to the rest of their work? Well, judging from their recent live performances, I would say they have matured quite a bit as composers, and their sound has also grown much fuller. Birdsongs play a unique, quirky mixture of minimalism, 20th century "classical," and prog. One can hear strains of Steve Reich, Stravinsky, Satie, Louis Andriessen, and Univers Zero running through their pieces, and they are not afraid to use a little musical humor on occasion. The music on this CD, however, betrays their influences as well as their "formula" a bit more than the material I've seen them perform live. Most of their pieces develop by taking a theme, usually melodic, and rhythmically and harmonically fragmenting and mutating it. This deconstruction works beautifully at times, but as with other musical "processes," the process can sometimes overshadow the music. I saw them perform a piece which was announced as a cover of a song off of The Yes Album, the challenge being to figure out which one. Though I am quite familiar with The Yes Album, I still couldn't figure out what song they were deconstructing. It didn't matter. The music stood on its own, apart from the clever process. Some of the pieces on The Fossil Record work as well as that one did, while there are others that don't. There are about 15 tracks filling up more than 70 minutes on the CD. The last track is a 23 minute piece called "To a Random"; a *very* sparse and atmospheric piece written to accompany a film of the same name. The rest of the songs are mostly in the 3-6 minute range. I am eager to hear some of their newer studio material, and I imagine albums like Faultline are probably in fact a better place to start for those new to Birdsongs. Nevertheless, this is a worthwhile compilation that will definately be of interest to fans of Birdsongs. And no matter what your tastes in prog are, don't miss these guys live if you get a chance to see them!

Birdsongs of the Mesozoic are one of those unclassifyable groups. I have two of their albums Sonic Geology and Faultline. SG is a compilation of their first three albums, with two bonus tracks. This is the one I would recommend people to start with. Their music is a mixed bag of punk, post-punk, progressive, avant-guard, and classical (there are probably several other styles thrown in for good measure). Their music is pretty much all electronic (I believe they had three keyboardists at one point).

[See Family Fun | Space Negros]

Birth Control (69), Operation (71), Hoodoo Man (72), Rebirth (73), Live (74), Plastic People (75), Backdoor Possibilities (76), Increase (77), Titanic (78), Live 79 (79), Deal Done at Night (80)

Sketchy German semi-prog band that had some ups but mostly downs. Backdoor Possibilities is yuck.

They play their own style of prog and some people definitely like it. Listen before buy.

Berlin's Birth Control got their start in the late sixties with a self-titled album. There are some obvious symphonic passages, but the album is for the most part psychedelic. Thanks to drummer/singer Bernd Noske, whose voice sounds remarkably like Jay Ferguson's, the band sounds at their most psychedelic a lot like Spirit. But keyboardist Reinhold Sobotta has apparently been listening to King Crimson's first album, or some other early prog album, as his two contributions to the album, both instrumentals, have a definite prog sound. His "Recollection" is largely in 5/4 and has a cathedraloid organ intro, while the ten-minute "Sundown" includes scoring for strings. The rest of the album is fine as psych albums go, except for a lame cover of the Doors' "Light My Fire." (a song I've never liked by a band I've never liked.) Noske and guitarist Bruno Frenzel formed the nucleus of the band which remained constant through all the different line-ups. Sobotta was long gone after the first album. The next Birth Control album, Operation, didn't appear until 1971. I haven't heard it personally, but someone who has told me it sounded like Deep Purple. WHether he meant the pre-HM Deep Purple, or the hard-rock DP we all know and some of us love I don't know. After hearing Hoodoo Man, I am inclined to believe the former suggestion though, as it features one track with church-organ (the title-song I think) and another based on a classical piece, both seem to be the sort of thing Jon Lord would have done before Deep Purple went the hard-rock trail. (Remember Concerto For Group And Orchestra?) For 1973's Rebirth, Birth Control too went down the hard-rock trail. There's still some prog leanings here, but most of it resembles Allan Holdsworth's work with the band Tempest. Notable tracks include "Together Alone Tonight," the only REAL prog tune on the album, and "Back From Hell," which includes a two-minute drum solo. On the other hand, "She's Got Nothing On You" sounds oddly like ZZ Top (!), thanks in no small part to new bass player Peter Foeller's blustery vocals. Also of note is the introduction on this album of keyboardist Zeus B. Held, who would become a prime mover in future band activities. I've heard two tracks from the live album. Apparently they come from the OPeration period. More improvisational than most of the music I've heard by them. One track features a tripped-out organ-solo reminiscent of Frumpy, and Noske going berserk on a number of percussion instruments. Plastic People is the first REAL prog album the band produced. By introducing synthesizers, string-arrangements (on "My Mind") and tricky rhythmic workouts exercised by the whole band (note "Tiny Flashlights" and "Trial Trip"), the sound grew exponentially. Even the lyrically inane "Rockin' Rollin' Roller" is enjoyable. However, I don't think it wise of them to choose Foeller to do most of the lead-vocals on this. His gruff singing-style may have been appropriate for the heavy stuff on Rebirth, but here it just doesn't fit in. Take for example the closing track, "This Song Is Just For You," which thanks to his vocalising, and a nifty horn-arrangement, sounds eerily like Chicago's "Make Me Smile"! Backdoor Possibilities was the band's crowning achievement, a concept album about a New York businessman who meets the Grim Reaper when he's stuck in a stalled subway train. Even if the concept is half-baked (they throw in a totally unrelated instrumental half-way through and then don't really follow up on the story well from there), at least the music proves to be engaging, to say the least. Not only do they expound upon the developments of the previous LP, but they also manage to include everything but the kitchen sink. Do you want Gentle Giant-ish madrigal singing? Listen to "Legal Labyrinth." "Futile Prayer" is a lush minor-chorded synth-epic reminiscent of early King Crimson, while the three-part instrumental "La Ciguena de Zaragoza" is highlighted by David Jackson-styled multiple sax-work. Produced by Caravan/Genesis/Van der Graaf Generator producer David Hitchcock, who clearly had at least something to do with the content of this album. Highly recommended. ...But not even David Hitchcocks production could save Increase. It's odd that the band's creative peak should be followed by its artistic nadir, but here it is. Desperately hoping for a commercial score, the band tries everything from a Roxy Music ripoff ("Until The Night") to a noxious disco song with unbelievably vapid lyrics. ("Get Up!," which is SO bad I was praying it was a parody). Except for two mediocre prog tunes ("We All Thought We Knew You," a tribute to the late Helmut Koellen, followed by "Seems My Bike's Riding Me," about the joys of motorcycle-riding...ironic because I think that it was a motorcycle accident that killed Koellen.) most of the album is devoted to vacuous pop-rock yuck. Would you believe a song titled "Skate-Board Sue"? Apparently the person who caused this was keyboardist Zeus B. Held, not surprising when you consider his subsequent career in the eighties, producing disco acts like the vile Dead Or Alive. (of "You Spin Me Round Like A Record" fame) Reportedly they went back to the hard-rock style on Titanic in 1978, apparently as a reaction to Held's machinations. He was dumped from the band after that album. (He made a solo album the same year. Titled Zeus Amusement, I'd steer clear of it even though I haven't heard it.) One more live album, Live 79 followed, apparently drawing mostly from Titanic. Birth Control made a new album with a new line-up for a new label in 1980, Deal Done At Night, antother one I haven't heard. That seems to have been the end of it, except for an obscure early 80's item on the likewise obscure Ohr Today label.

Bittova and Fajt (87), Svatba (87), River of Milk (91), Bittova (91), Bittova and Dunaj (??)

Bittova is violin and voice, Bittova and Fajt is folk/prog/gypsy.

This innovative Czech singer/violinist combines slavic folk music with minimalist jazz and classical for odd and often amazing effects. Kind of like a hyper Meredith Monk playing folk music, if such an image is even possible. Bittova weaves trancing repetative lines between her voice and violin. Her lyrics are beautiful (in translation on River of Milk) and the sound of Czech is quite enthralling. Pavel Fajt is a percussionist who brings out the best in his collaborations with Bittova. Bittova & Fajt is the finest CD in this lot--worth hunting down. They both appear in Fred Frith's movie (and accompanying soundtrack), "Step Across the Border." Everyone I know who's seen this film has immediately tried to seek any Bittova CD's they can get their hands on. Bittova & Fajt also appear on one of the Live at the Knitting Factory releases playing their excellent song "Strom." -- Jajasoon Tlitteu

Diary of a Blind Angel (92), Welcome to the Moonlight Circus (94)

Neo-classical metal similar to early Yngwie Malmsteen, but with good lyrics. The guitar and keys are incredible, Dream Theaterish sometimes, sometimes like Malmsteen or Johannson. excellent acoustic guitar interspersed throughout, and very exciting music everywhere. Everything is powerful and crisp, with near-flawless instrumentation and melodic vocals, which are sometimes mispronounced but still pretty good. Not a screamer, just a singer with a voice that i like but some people I know don't. Perfect for Malmsteen and Dream Theater fans. Lots of time changes and a sort of folkish, Marillionesque way of arranging songs. Neo-prog metal with a very dark atmosphere.

Open the Next Page (90)

Led by keyboardist Fumiaki Ogawa, this band plays something between a contemporary fusion and classic progressive, with thin stylistic threads to bands like UK, but with a very polished Jazzy feel throughout, maybe some Zappa influence, Pat Metheny; They sing ... in English, and you can understand the words. I only know of one CD Open The Next Page. Excellent new music.

Black Sun Ensemble (88)

US ensemble led by Jesus (now Dagan) Acedo and a fine guitarist if I may add. Unfortunately, their albums have been getting worse, and they do not show the talent like they did in the days of their self-titled debut or their second one.

Black Widow (70), Sacrifice (70), III (72)

A sort of very early prog with influences from jazz, blues and rock, though of little interest today IMO.

Hard rock/prog with satanic influences. Organ and flute instead of guitar.

Third album features guitarist John Culley, ex-Cressida. Supposed to be very satanic-orientated a la Dr. Z or Pathfinder-era Beggars Opera. They also apparently had a very over-the-top stage show. -- Mike Ohman

[See Cressida | Pesky Gee]

Blackthorn (77), II (78)

Prog folk, female vocals.

Dirt Box (72)

Hard rock/prog.

Crystal Machine (77), New Jerusalem (78), Magick (91?)

Gong synth wizard who has put out a few electronic albums.

Tim Blake was a member of the original Gong, who, in 1977, released Crystal Machine the first of his solo works. The music falls squarely in the category of electronic music, and is probably most similar to mid-seventies Tangerine Dream, in that it is not upbeat and rhythm-oriented a la Jarre, but more flowing and sustained, with slowly changing patterns of bass and melody over somewhat static backgrounds. New Jerusalem was released a year later, and features, to some extent, vocals. The tracks on this sound somewhat like Gong gone electronic, with a more beat-oriented approach to the music than Crystal Machine, with more than a passing similarity to Jarre in the non-vocal sections.

[See Delired Cameleon Family | Gong]

Blåkulla (75)

Heavy symphonic prog, compared to Yes.

Puristsirup (91), Wire Stitched Ears (95)

Blast is a quartet consisting of Frank Crijns (electric and acoustic guitar), Edward Capel (alto and sopranox sax, bass clarinet), Dirk Bruinsma (baritone sax, bass, vocals, organ, tapes) and James Meneses (drums, percussion). From the Netherlands, Blast have been around since the mid-1980s, but have only managed to release two albums, both in the 1990s. The first, called Puristsirup, was released privately by the band in 1992. Wire Stitched Ears, on Cuneiform, is the band's sophomore effort. I'm afraid I'm going to have to take the easy way out of this review by quoting from the press literature. Music this complex and detailed often escapes my limited descriptive vocabulary, and there is no need to duplicate the perfect description already provided. The band is quoted as describing their music as "chamber music for rock instrumentation." This description is aptly applied to Henry Cow and Univers Zero, and Blast are indeed comparable on different levels to these two bands. The literature clarifies further: "...they integrate free improvisations. Ranging from atonal coutnerpoint ot improvised explorations of aural texture, this music includes polyrhythmics, intricate band precision, intoned absurdist lyrics, and noise from tapes and prepared instruments. Blast's sound is both dense and kalaeidoscopic." Their sound is also a difficult listen upon the first few attempts, which afficianados of avant-jazz/improv will appreciate. A perfect example of Blast's style is the eight minute "Seisomograph '93." The song ranges from what sounds like free-form, total band improvs, to very directed rhythmic ostinati over which are paired alto and baritone sax phrases or extended and intertwined sax blows. "Pain of Fear" and "Welter" have "intoned absurdist" vocals, which happen to remind me of an anemic Frank Zappa singing like Dagmar Krause! (Really, I don't mean that in a bad way.) The middle of "Welter" is quite intricate, with the drums taking one meter, the guitar a second meter and the sax and clarinet a third. At least that's how it sounds to my ears. At the moment you expect the instruments to fly off in chaotic patterns, they come together as a cohesive unit. "Pastorale" has what sounds like gibberish vocals (they could be a real language) sung by guest Emanuela Cavallaro, beneath which are some weird tape effects and some floor shaking (organ pedal?) bass notes. If you've read this far, then you most likely have a firm idea of Blast's improvisational chamber style, or were suitably intrigued by Cuneiform's description, in which case you are urged to give Blast a chance. This is concentration music; don't pay attention and you're apt to change to something else. Pay close attention and you'll slowly begin to unravel the details and will be well rewarded. -- Mike Taylor

Kew Rhone (76, with John Greaves), The Naked Shakespeare (83), Knights Like This (85), Downtime (89), King Strut (90), Unearthed (94, with John Greaves), Just Woke Up (95)

Blegvad is a creator of clever, quirky pop songs, very creative and idiosyncratic but within the short song format. Those who are looking for displays of instrumental virtuosity will not find them. Those who require straightforward song lyrics may also be disappointed - while many of Blegvad's songs are well-told stories, many others are elaborate word-playing that will not appeal to everyone. I particularly enjoy and admire Kew Rhone (which includes playing by Carla Bley and Michael Mantler, at whose home studio it was recorded). Here the song lyric as word game is taken to a fascinating extreme, and the arrangements and playing are great. I also recommend Downtime - most of the songs are relatively straightforward, but very good with nice backing by Chris Cutler, John Greaves, and others. -- Dan Kurdilla

Flat, spineless Canterbury-singing with some moments now and then.

[See Slapp Happy]

The Rise and Fall of Passional Sanity (92)

Blezqi Zatsaz is the work of excellent Brazilian keyboardist/composer Fabio Ribeiro and his arsenal of analog and digital keyboards. He is joined by guitarist, bassist and drummer. Symphonic arrangements and classical influences are prominent while the sound ranges from typical symphonic rock to electronic music (Jean Michel Jarre style). The rich sounds of the keyboards handle most of the melodic and harmonic work while the rest of the band takes care of the rhythm. Easy listening instrumental music that should reach a large audience. -- Paul Charbonneau

[See Desequilíbrios]

Debut At Dusk (87)

One of the earliest American neo-prog bands.

Poa (73)

The LP, called "Erba" in Greek, is very interesting for the flute and the keyboard and the problem is the vocals. All the member of the group are singing but there isn't a really singer.

Blocco Mentale is an Italian five piece consisting of the usual drums, bass, keyboards, guitar as well as sax, flute and occasional harmonic. All five members contribute to the Italian vocals. Like many Italian symphonic prog bands, the music on their sole release (Poa) is very melodic and draws many influences from PFM. The sax lends a different air than PFM as does the use of five singers, though I wouldn't label the music as vocal dominant because there are many long instrumental passages. There are occasional heavier moments that recall to mind bands like Il Balletto di Bronzo though quieter PFM-like passages are the norm with plenty of flute, acoustic guitar and mellotron. Some of the vocal passages tend to drag down the music a bit (preventing this from being a true classic) but the instrumental passages are where the band really shines forth. Electric guitar and Hammond organ trade licks with the sax over a solid rhythm section. Overall, this is a good album and one that fans of melodic symphonic prog should enjoy. However, if you don't have some of the truly classic Italian symphonics, such as PFM's Per Un Amico or Semiramis's Dedicato a Frazz, you should get those first. Save this one for later explorations.

Ahead Rings Out (69), Getting to This (70)

Blodwyn Pig was the band started by Mick Abrahams after he left Jethro Tull. Influences are similar to early Tull: jazz, blues, but very little trad folk. Saxes and other woodwinds play a prominent role here, played by Jack Lancaster, who would later surface in the Brand X clique. There are two albums from around 1970/71 Ahead Rings Out, and Getting to This. Anyone who enjoys the first few Tull albums should have no trouble with these.

Circa 1970- From what I recall, they played a blend of rock and Jazz. Really good driving rhythm and sax with some horns, excellent band.

Bluesrock with some good moments and riffs here and there, though small amount of prog in it.

Contrasts (69), Rebirth (70), Reflections on a Life (71), Blonde on Blonde (72)

Folk/Prog/Psych.

Land of the Midnight Sun (86), Timeless Flight (??), Shoreline (??), Sierra Passage (??)

Colorful new-agey stuff more in the vein of Lanz and Speer's Desert Vision, Land of the Midnight Sun is supposedly a musical tribute to the picturesque beauty of Alaska. Musically synthesizers predominate throughout, but there are some drums, guitars and such.

Bloom (79)

Solo effort by Didier Malherbe aka Bloomdido Bad de Grasse.

[See Gong]

Bloque (78), Hombre, Tierra Y Alma (79), El Hijo del Alba (80), Musica Para La Libertad (81), Grandes Exitos (8?, comp.)

Spanish progressive band that had an album Hombre Tierra Y Alma that echoes strongly of the 70's italian scene with a strong folk-influenced feel in a way similar to Banco or PFM. Highly recommended.

A Spanish Progressive band with a few albums out. The only one I've heard is their third, El Hijo Del Alba. At the very beginning it sounds like it might be a little bit weak, along the lines of Synergy or something, only much less interesting. However, this is quickly left behind and the album becomes much more interesting, at least in its variety. Bloque blend synth and Spanish vocals with electric and acoustic guitar (lots of electric) in a wide variety of styles. Vaguely Celtic folk melodies, acoustic ballads with melodic guitar solos that make me think of a Spanish Allman Brothers (for lack of better comparison), heavy riffing with feisty guitar solos like many a UK rock band (say, a cross between Thin Lizzy and Black Sabbath), upbeat rock 'n' roll songs with backing horns, driving passages that remind of the Italian band Osanna and much more: these (inadequately) hint at the diversity of styles heard on just the first side of the album. The band sure can't be faulted for standing still! The second side is more Progressive (also more better, to use a cajun phrase) with several songs (mostly guitar excursions, some synth) held together by a recurring theme stated by keyboards and guitar. The problem is that the album as a whole doesn't sound cohesive but instead like a mere collection of songs. The first side fails to build excitement and anticipation for the second side--instead, I become confused as to the purpose and direction of the band. Too, the bassist and drummer play in a simple rhythm without much variation which fails to draw me into the music. Not bad, but I can't seem to get real excited about this particular album. However, it is enough to make me curious about some of their earlier albums. Basically, if you can find it at a deal, snatch it up. But there are several other bands more worthy of your long green if you are still exploring or on a limited budget.

Bloque is certainly one of the best groups to come from the '70s Spanish scene. Their style is best described as guitar-oriented melodic prog rock. That is not to say that they do not use keyboards, but certainly the guitar is the focal point. Vocals are in Spanish, of course. Their best is Musica Para La Libertad which includes the incredible instrumental track, "Tau Ceti," which is guaranteed to make guitar fans drool. El Hijo del Alba is also excellent. If you are still hungry, get the second one. Their first is rather poor and only for completists. -- Juan Joy

We Are Ever So Clean (??), If Only For a Moment (69)

Seminal psych with two lead guitars.

[See B.B. Blunder]

Blue Chip Orchestra (88), Danube (??)

A later incarnation of Bognermayr/Zuschrader. They have released two CDs so far, both of which feature highly orchestral work, and are excellent. The second one was released just a couple of months ago. Their interpretation of "Bolero" on the first one is very listenable, if somewhat trite.

The back of Blue Chip Orchestra CD claims they are the first digital philharmonic. BCO has impeccable sound quality, and some convincing electronic orchestrations, but as a whole it doesn't compare to classical music (if this is the intention). The darker passages are the more interesting, and I think the music might have been more effective if it wasn't broken up into smaller pieces separated by the sound of pages flipping.

This is Hubert Bognermayr and Harald Zuschrader, ex-Eela Craig. I heard one track, "Bolero Carmin". Sounds like an attempt to mix latter- day synth music with acoustic, classical instrumentation. Not unlike labelmate Matthias Thurow's work, but not quite as good as that. -- Mike Ohman

[See Eela Craig | Bognermayr and Zuschrader]

[See Modry Efekt]

Just For the Money (??), Intermediary (??), Free Delivery (??)

Just For the Money - a must have. A few atonal pieces plus the classic "Timing" You probably heard this one (Change now....)

Blue Morning (73)

These sound like Soft Machine.

[See Soft Machine]

Blue Motion (80)

Blue Motion is a trio consisting of excellent percussionist Fritz Hauser, and two keyboard players, Stephan Ammann and Stephan Grieder. Their sole, self-titled album consists of 12 tracks, two long tracks (12+ minutes) and several shorter sketches. The short sketches range in length from 37 seconds to a little over four minutes, with most around 1.5 minutes. As you might imagine, with this line-up the musical focus is on interplay between all three musicians. The sketches are suggestions of brief musical ideas but don't have time to develop anything more than a theme statement and short variations. The two longer works show a well developed sense of style and interplay. Hauser is an excellent drummer and xylophonist. His playing is an excellent counterpoint to the interplay of the two keyboardists. Alternating between piano and synth, the sound is sometimes comparable to a stripped down version of Kenso, while other times they sound more classical in nature. The music may not be to everyone's taste. I personally enjoy this album a great deal but others think the lack of development in the sketches brings down the quality of the album as a whole. If you're looking for something unique, and enjoy good keyboards and a quality percussionist, you would do well to look into this album.

[See Circus]

Karawane der Mystiks (??)

An Ordinary Night in My Ordinary Life (96)

[See Flower Kings, The | Kaipa | Samla Mammas Mannas | Stolt, Roine]

Bodkin (72)

Heavy underground prog.

The Body Album (81)

Juex De Nains (86), Carillons (87), Ritual (88), Nomades (94)

Before going solo, Jean Pascal Boffo was the guitarist for Michel Altmayer's French band Troll. I'm not positive, but I don't believe Troll ever recorded while Boffo was a band member. Boffo's first solo release, Jeux De Nains, was the first ever release by Musea. Nomades is Musea's 100th release! It's also a bit odd for a Musea release as the CD was released in a digipack rather than the usual jewel case. Boffo's releases have all generally been different and this album is no different. Previous albums have been mostly acoustic guitar or electric guitar combined with synthesizers, or even a small orchestra on Rituel. The ten tracks on Nomades. The ten tracks on Nomades are a conceptual representation of the desert nomads and caravans of the Middle East and Eastern Asia. As such, the music on Boffo's fourth release is full of Middle and Far Eastern themes. Upon first listen, I thought, "yah, it's okay." Upon second listen, I thought, "hey, this is pretty good." Now, I think it's a damn fine album, full of shifting textural layers of electric guitar, violin and soprano sax, upon a base of typically Middle Eastern style percussives. Reflecting Boffo's roots, there is also a fusionesque edge to his guitar tone and fine solos. While the sinuous themes of "Snake's Dance" or "L'oeuf du Desert" can be appreciated by many Prog fans, this album is subtle enough that it can even be played during dinner for your non-Prog friends, or even your parents! That is not to say the 47 minutes of music on this CD is mere light jazz dinner music, as that would be far off the mark. The incorporation of jazz into Mid-Eastern themes is generally unique within Progressive realms, though sometimes reminiscent of David Torn's excellent Cloud About Mercury. The intertwined melodies of the three main instruments are subtle and require several listens to unravel and should delight fans of the above mentioned Torn album as well as many other Prog fans. Nomades is an extraordinary (as in out of the ordinary) album that fans of guitar-based Prog should find genuinely pleasing. Carillons, from 1987, is quite a different beast, still jazzy but without the oriental themes. Long time associate Herve Rouyer is the drummer, while Denis Batis plays synths, and Carlos Pavicich plays bass on four of the seven tracks that feature the low-end guitar (Boffo handles the other three). Ten songs range from 3:13 to 7:04 minutes and total more than 44 minutes of music. Like Nomades, Carillons, Carillons took some time to grow on me, though I think I still prefer the unique Middle and Far Eastern textures of Nomades. The cover and inside of the Carillons booklet are colorful fantasy illustrations, with faeries, elves and pixies, which sets the playful mood for this album. You'll hear dancing synths and joyous guitar in a jazzy, instrumental matrix. Nowhere is this more evident than in "Joyeuses Paques." The music is lighthearted but not light weight. When Boffo dons the bass guitar, the music takes on a zuehlish tinge underneath, perhaps reflecting his stint with Troll, while Pavicich's bass work is more melodic. Songs without bass, such as "Conte a rebours" and "Le retour des nains" enhance the magical world inhabited by such playful imps, though some bottom end is still provided from the keyboards. Boffo's guitar is heard throughout, very melodic and reserved, remaining an essential part of the mix, rather than a flashy solo artist on top of a backing band. Jean Pascal Boffo has not stood still in his musical career. He explores different styles, themes and contexts. From what I have heard so far, he has always been successful. I hope Boffo retains his artist integrity and sense of exploration for many future albums. -- Mike Taylor

Boffo was the guitarist with the legendary French zeuhl band Troll. He's released three solo albums to date: Jeux De Nains is predominantly an acoustic guitar album, with bass and synth added on some tracks, evoking a Magmoid feel. His second Carillons is the electric facet of his sound, the spotlight being shared with keyboardist Denis Batis, producing a more sophisticated and energized sound with soaring melodic guitars. His 3rd album Rituel, originally released in 1988, was remastered for CD, with three bonus tracks. Three distinct faces of his sound are represented here: The album opener is the stunning 23 minute three part symphonic title track, on which JP abstains from reliance on synthesizers, and uses a small orchestra to achieve his ends instead. The result: positively mind-shattering. The balance of the tracks fall into the acoustic guitar category reminiscent of his first album, or shorter Guitar/Synth driven progressive pieces that remind of his second. Musea promises his long awaited 4th will be out in 93.

Rituel is Boffo's third release, and the CD has 5 additional tracks not featured on the original LP. The closest comparison would be to Steve Hackett, in terms of the guitar sounds and melodies, which are aided on this release by symphonic, orchestral keyboard backing and a full array of wind instruments, especially on the three-part title track. Other points of comparison would be Anthony Phillips, especially to his later, more heavily orchestrated works, and, to some extent, Gandalf, the Austrian synthesist/guitarist, whose latest release, quite coincidentally, featured Steve Hackett to a good extent.

On Nomades, this excellent guitarist plays an electric jazz music with mid-eastern flavoured themes. Drummer (and percussions), saxophone player (soprano) and violinist are added to his solid work on guitars, bass and programming. The neatly crafted exotic melodies are developed progressively, as the intensity of the rhythmic section increases. The rich and dynamic production brings out all the nuances of the performances. Despite showing undeniable energy and becoming quite busy at times, the music has a mellow feel can curiously evokes the demeanour of a camel! -- Paul Charbonneau

[See Altmayer, Michel]

Computerakustische Klangssinfonie (??), Erdenklang (??), Berg Predigt (??)

In the mid to late seventies, these guys were part of a very symphonic, progressive rock group called "Eela Craig." Their music was very lush and majestic, build on a foundation of keyboard sounds. They released five albums, none of which are available on CD, which are now collectors items of some value, commanding upto $30 for the last four and upto $500 (!) for the first self-titled one. After the dissolution of Eela Craig, in the early eighties, B and Z got together and released three (?) works, the first one of which was the first ever release on the Erdenklang label. It was called Computerakustische Klangs- sinfonie, and featured synthesized instruments playing acoustic sounds. A couple of lesser known works were also released, both of which have very religious overtones, much like gospel music and chants played to the backing of keyboards. There is a fair bit of spoken prayer in these two, which tends to make them somewhat unaccessible to the average electronic aficionado. Later, they named themselves the Blue Chip Orchestra, and have released two CDs so far, both of which feature highly orchestral work, and are excellent. The second one was released just a couple of months ago. Their interpretation of "Bolero" on the first one is very listenable, if somewhat trite.

[See Eela Craig | Blue Chip Orchestra]

The Man Who Was Boiled in Lead (85), Hotheads (87), From the Ladle to the Grave (89), Orb (90), Old Lead (91), Boiled Alive (92), Antler Dance (94), Songs from The Gypsy (95)

Boiled in Lead (BiL) is a difficult band to categorize. They've variously described themsleves as "Celtic Rock," "Folk Punk," and "Celtodelic World Beat Rock and Reel." Based on their most recent tour, I'd describe them as Celto-Balkan-American alternative folk metal with a virtuosic edge and an irreverent sense of humor. If you can envision a cross between Fairport Convention, 3 Mustaphas 3, the Replacements, and Frank Zappa, you might have an idea of what BiL is like.
Originally from Minneapolis, Minnesota, BiL got their start playing rocked-up versions of traditional Irish folk tunes. Their first two albums, The Man Who Was Boiled in Lead and Hotheads (both are long since out of print, but are now available on the the compilation disk Old Lead), consist of fairly straightforward Celtic rock with a bit of a punk edge. From the Ladle to the Grave is a more diverse and musically sophisticated album. largely as a result of their a drummer, Robin 'Adnan' Anders, who is technically impressive and has an extensive background in a variety of world musics. Unsuprisingly, From the Ladle to the Grave moves into new territory, showing a good deal Eastern European, Middle-eastern, and African musical influences in addition to the Celtic elements. Don't be misled, however, into thinking that this-era BiL sounds anything like, say, Peter Gabriel or other world-rock artists. In spite of these new directions, BiL retained it's rogue-folk edge and tongue-in-cheek humor. This trend continued with Orb, which took the band even further into Balkan music and included a couple of tunes from Scandinavia and Thailand, Both of these mid-period albums feature some precise playing, complicated rhythms and time signatures, and some wonderful work on fiddle and percussion.
After the release of Orb, the band went through another set of personnel changes, resulting in noticeable shift in musical direction. Most significantly, singer/guitarist Todd Menton left and was replaced by Adam Stemple, who brought to the band a distinct bluegrass/country influence. (This change left bassist/dulcimerist Drew Miller the only original member of the band.) With the new lineup, BiL released Antler Dance in 1994, which was a return to the raw edge that characterized their earlier albums: lots of distortion and feedback and a little less variety in their use of traditional instruments. Songs from The Gypsy is a major change in direction for the band-- or at the very least, an unusual detour. The album is really a song cycle based on a novel by Stephen Brust called The Gypsy. (Brust wrote the lyrics for the album as well.) Most of the music, written entirely by Stemple is an unadventurous, yet sound, bluesy folk rock, although there are one or two songs on it that incorporate Hungarian folk melodies and feature some great fiddle-playing by Josef Kessler. The album is strangely humorless for Boiled in Lead. There are few songs on it that display any sort of wit or irreverence, either musical or lyrical-- with the possible exception of "Ugros," which features a clever, but bombastic violin solo.
For prog fans, I'd recommend From the Ladle to the Grave as a first buy, although Anter Dance wouldn't be a bad pick, so long as you don't mind that it's quite a bit harder and a lot less Celticky than most of their other stuff. (But if you're into heavy metal middle-eastern music w/ raunchy guitar, psychedlic dulcimer, tastefully unrestrained bodhran-playing , and wild Gypsy fiddling, all with a bit of a Southern twang, it's definitely the album to get first.) If, on the other hand, you tend to prefer relatively traditonal British Isles stuff, Old Lead might actually be the best starter and Orb wouldn't be bad if you were interested in their ventures into other folk traditions. -- James Chokey

Psychedelic Underground (69)

Love is the Law (69), Solid Bond (70), Others

Sixties mix of jazz, blues and rock which made the foundations for lots of 70s music, and as such important, though today of small interest for prog lovers.

Solid Bond featured Jack Bruce, Ginger Baker, and John McLaughlin at same time.

[See Gun]

Bonfire Goes Bananas (74)

Wonderful, all-instrumental jazzy progressive rock band. I'm not sure if they are Belgian or Dutch in origin, but their 1974 album Bonfire Goes Bananas (recorded in Brussels, but my copy was issued on Dutch EMI) is a real stunner, and still sounds fresh, inventive and frisky 22 years later! Although their music is almost certainly influenced by Hatfield, the Softs, and perhaps other 'Canterbury' bands, Bonfire's sound is very original and rewarding on its own terms. The playing is superb throughout, and compositions (mostly by keyboardist Frank Witte) are tricky, convoluted, full of musical puns, but are still very tuneful. Highly recommended! -- David Wayne

Ahead (96)

Andrew Booker is a one-man Progressive Rock Band. Imagine modern Tangerine Dream going back in time, and teaming up with the more Progressive moments of Mike Oldfield's Crises-era. This will give you an instant idea of what Andrew Booker sounds like. Andrew sings all the vocals, plays all the drums, programs all the keyboard sequencing, and writes all his own songs and lyrics. He's an independant monster!!! If you like Tangerine Dream ('80s and '90s era), The Ozric Tentacles (without guitar), and '90s originality; Then Andrew Booker's "Ahead" is a must have!!! Andrew Booker is THE "Progressive Rock" sound of the future. -- Julian Belanger

Au Restaurant d'Alice (70), Le Jour Ou Les Vaches... (74), Clochard (76), Dans Quel Etat J'erre (79)

Symphonie Catastrophique (from Dans Quel Etat J'erre) is fairly descriptive of their style. Actually, this is quite good. King Crimson meets Zappa meets Univers Zero with highly emotional French vocals a la Ange. Not as inaccessible as you may think. Powerful and certainly interesting music, well worth a listen. -- Juan Joy

The Continuing Story of Counterpoint Parts 1-4 (??), Parts 5-8 (??), Parts 9-12 (??)

Minimalist work ala Steve Reich and Philip Glass.

Exprime la Naranja (79)

Excellent fusion.

Eduardo Bort (75), Another (??)

The first album is excellent progressive rock highlighted by Bort's monster chops on the guitar. The only weak point are the vocals in broken English. It is definitely worth having. I was made aware of the existence of a second release (title unknown) by Lost Vinyl's president. He described this second effort as in a Latin-rock vein a la Santana, and not at all progressive as the first one. You have been warned. -- Juan Joy

Eduardo Bort is a Spanish guitarist whose musical influences appear to be from the psychedelic bands of the late 1960's. As I am not "up" on many of the psych bands of that era, it is hard for me to make comparisons; however, the over all sound is more in the direction of psych/prog than straight psych. There are definite progressive overtones with some synth and mellotron work scattered throughout the album. But the focal instrument is Bort's electric and acoustic guitar. Bort makes a fine psych guitarist, which is to say that he plays the psychedelic guitar style very well, though he is nothing exceptional overall. If you like fuzz guitar, you'll like this. He sings in English, but with a strong Spanish accent, making it rather hard to understand what he's saying. Overall, I found this to be an enjoyable album. It's not a disc I play often but it definitely has its moments and is worth keeping in my collection. -- Mike Taylor

Fiction and Several Days (95), Astronomy Made Easy (97)

A Virginia based instrumental band featuring violin, guitar, bass and drums. The name is pronounced Booed Dee-un. The band sites King Crimson and Mahavishnu Orchestra as influences. At the two shows I've seen, they also sounded a lot like the Dixie Dregs, with a bit of Kansas and Rush thrown in. Their Fiction and Several Days CD gives a good idea of how they sound, but their live shows are where they really shine. They play well together, and each member also plays a great solo or two. They throw in time changes, sudden stops, varying musical styles within a single song, the whole works. Occasional musical quotes keep things interesting - at the last show I saw, the guitarist played a bit of "Day Tripper" and the theme from "The Munsters" during his solos, and the whole band abruptly shifted gears at the end of the first set and played bits of Abbey Road. If you get a chance to see these guys live, don't pass it up. -- Robert Eichler

Brilliant four-piece fusion in the vein of Mahavishnu Orchestra, whom occasionally run into Red-era King Crimson while burning up the guitar and violin fretboards. Great bass work, great drumming, all with the intensity of top-notch '70s fusion. Both are highly recommended. -- Mike Taylor

This American band is formed by four excellent young musicians playing guitar, violin, bass and drums. The style on Fiction and Several Days owes more to 70's style fusion than to any other type of rock. Simple production and limited range of sounds give way to the originality and intensity of the compositions. Violin guitar and bass trade complex melodies sustained by varied, just as complex and sometimes furious rhythms. A jazz-rock fusion with a fairly heavy sound, complex arrangements, changing rhythms and plenty of energy that make it very demanding to the listener. -- Paul Charbonneau

Photo Musik (78)

Very Hillage inspired French musician who hails from the excellent Clearlight. HIs solo album Photo Musik is like a slightly pop version of spacey Gong. Its rather good, though.

[See Clearlight]

The Dancer (77), Electric Glide (78), Step Out (80)

Ex-guitarist from Isotope. His album, The Dancer is competent enough, but lacks the interesting writing that made Isotope so good. -- Mike Ohman

Guitarist out of Isotope, a fusion group with Canterbury ties (Hugh Hopper was their bassist for a while). Prior to Isotope, Boyle was in Brian Auger's Trinity and also recorded with Stomu Yamashta (featured soloist on Come to the Edge, Freedom is Frightening, and Raindogs). His first solo album The Dancer is very good jazz-fusion, with backing from luminaries such as Simon Phillips (drums), Brian Auger, Robin Lumley (Brand X), and Rod Argent, as well as most of Isotope and Pacific Eardrum (the latter another UK fusion group which featured ex-Matching Mole keyboardist Dave MacRae). For obvious reasons, The Dancer sounds somewhat like the final Isotope record (Deep End), but is less quirky than anything Isotope ever did. Simon Phillips is simply awesome on this record!!! Boyle did at least two more records. Electric Glide was a somewhat less interesting followup to The Dancer. Although there are some blistering fusion tracks on Electric Glide, the music is clearly taking a turn to the commercial (jazz-funk) realm. Supposedly, there is another release after Electric Glide which was very commercial, with vocals, etc. Gary Boyle is still active in the UK jazz scene, and did a tour with bassist Eberhard Weber in the early 90's. -- David Wayne

[See Isotope]

Decent new electronic musician who made the fantastic "Western Spaces" with Steve Roach. Haven't heard anything by him that has impressed me that much yet.

[See Roach, Steve]

In the Land of Power (90)

Excellent 5 piece synthesizer band from Arizona, their only CD to date is In The Land of Power. The music describes life in the desert from sundown to morning, in pulsating, shimmering electronics, magically spirited and intensely beautiful. Fans of Klaus Schulze, T.Dream and Michael Garrison will surely enjoy this.

Brainbox (70), Best of (72), Parts (72)

Pre-Focus Akkerman / van der Linden which sparks now and then.

A band from the Netherlands, Brainbox can be considered a precursor to the famous Nederlander band, Focus, as it featured both Jan Akkerman and Pierre van der Linden. Their self-titled first album covers a variety of styles of which only a few songs hint at what was to come with Focus. Overall, the sound has a psychedelic vibe. To give you an idea of the variety, two songs are basically straight-ahead electric blues. They do a cover version of Simon and Garfunkel's "Scarborough Fair" with acoustic guitar and flute. One song sounds like it could have come off of a Steve Stills album such as Manassas while two songs are a bit closer to Focus (circa In and Out of Focus) in nature with longer guitar solos and many flute passages. "Sea of Delight," the longest tune on the album, also starts out like another Steve Stills tune but soon goes off on a long psychedelic guitar exploration. Near the beginning it is very Byrds-like but it includes a few trademark Akkerman licks later heard with Focus. This long solo then settles into the spacey "guitar improv" which is soon followed by a drum solo before winding up with the final verse. If'n you are a fan of psychedelia or a Akkerman completist you will want to get this. Die-hard Prog fans need not apply.

[See Focus | Solution]

Healing of the Lunatic Owl (70)

Smile a While (72), Second Smile (74)

Canterbury inspired. Very good.

Cottonwoodhill (71, aka Brainticket), Psychonaut (72), Celestial Ocean (74), Adventure (79), Voyage (80)

Audion states that Brainticket's first Cottonwoodhill or on German CD as Brainticket" is the most psychedelic album ever released. Well, maybe, but this one drives me up a tree! The titled track sure is psychedelic and has this annoying and insistent theme that is a backdrop for swirly psychedelic effects and a woman's highly insistent voice that talks about anything from cosmic cliches to "Oh yes, and sex, I like sex!..." If I were to trip on this, I may end up jumping off of a cliff.... Their second Psychonaut is far more pleasant and an ethnic type of early German rock!

Yet another from the German space scene. I've heard half of Psychonaut the recommended starter album. Ethereal flute, other percussive instruments, and sitar help to set the mood for a cosmic journey, that's dashed with splashes of Hammond organ and nice vocals that are almost folk-like in quality. Great stuff.

Led by Swiss keyboardist Joel Vandroogenbroeck, Brainticket immediately established themselves as the ultimate freak-out band with their first album, Cottonwood Hill. Notorious for the 27-minute "Brainticket Pts. 1 and 2," a lysergic mix of weird sound effects, tape loops, paranoid female vocals, and electronic improvisation, all set to an insistent theme played on Hammond organ. One of the strangest and MOST drug-influenced things you'll ever hope to hear. Psychonaut tones things down a good deal, not unlike middle-period Amon Düül II, but lighter and more psych orientated. Sitars and flutes are used quite a bit. -- Mike Ohman

Brakaman (77)

Basque psych/prog.

Aloft in a Balloon (81)

Conceptual prog.

Unorthodox Behaviour (76), Moroccan Roll (77), Livestock (77), Masques (78), Product (79), Do They Hurt (80), Is There Anything About? (82), Xcommunication (92)

There are really 2 Brand X's...the one from the mid 70s and the 1992 Brand X. The original Brand X was formed by drummer Phil Collins, Guitarist John Goodsall, keyboardist Robin Lumley and bassist Percy Jones. With various personnel permutations, they made typical progressive rock albums... all worth hearing! The 1992 Brand X is Goodsall, Jones and drummer Frank Katz. This is a progressive/improvisational power trio, all of the great musicianship of the "old" Brand X and great new stuff as well. Percy Jones' fretless bass is certainly well worth a listen!

What started out as Phil Collins and friends having some fun while they were otherwise unemployed turned out to be one of the most influential fusion bands of all time. Initially featuring Collins on Drums, Robin Lumley on Keys, John Goodsall on Guitars and Percy Jones on Bass, the lineup always seemed to be in a constant state of flux. Livestock was their half-studio half-live album, and is generally regarded (along with the first) as one of their very best efforts. From Masques onward the band waffled a lot and lost a lot of the cohesion they had on the first three. A slimmed down version of the original lineup (Jones and Goodsall) reformed the band in 1992 with drummer Frank Katz and recorded a brand new album Xcommunication (clearly their best since Livestock), and went back on tour. A compilation album of their early stuff (Xtrax) also exists.

Perhaps not truly progressive, most progressive listeners seem to enjoy this band. Best known member is Phil Collins, but caveat emptor: Collins does little song writing and none of it sounds like anything Genesis had ever done or ever will do. This is top notch fusion, lead by the excellent guitar and bass of John Goodsall and Percy Jones, respectively. A good starting place is their live Livestock but all are excellent. High quality music from high quality musicians.

I broke a golden rule by getting Xcommunication. Due to the overabundance of really bad reunions, I tend to skip any sort of reunion recording. However, many people who's opinion I respect kept urging me to try Xcommunication. And my opinion? Hot Damn! Not only is Brand X back, they released a CD that is almost as good as anything they did in the 76-79 period. It's a musically uncompromising 45 minutes of instrumental progressive fusion. No hit singles, no ulterior motives, just good clean music. Brand X is now a 3 piece, with drummer Frank Katz joining Goodsall and Jones. Katz compliments the original Brand X style very well - he's a busy, irrhythmic player who rarely takes it easy with 4/4 time sigs. Goodsall burns the frets as quickly as ever, and Jones get his usual weird farting noises out of the bass. I'm especially impressed with Jones' playing. Chris Squire could take a few lessons from him (including some on motivation...). The product (ha) is a killer release, possibly the best prog rock of 1992 (though Xaal's On the Way is pretty damn good too). While this won't make me run out and buy every reunion album that's coming out, my golden rule has been broken.

Indeed, Xcommunication is the return of Brand X under the economical format of a trio. Goodsall (guitars) and Jones (fretless bass) are back with their distinctive styles and are joined on drums by the very efficient Frank Katz. Also, the addition of synth (midi) guitar partitions tries to compensate for the absence of keyboards. We then find a simplified version of the band's sound and the style remains a pretty heavy jazz-rock fusion with very lively rhythms. For jazz-rock fusion fans, old and new. -- Paul Charbonneau

[See Genesis | Intergalactic Touring Band, The | Jones, Percy | Quatermass | Nova | Sun Trader]

Impressions On Reading Aldous Huxley (72)

Spacy Krautrock.

Sons Optiques (78), Voyeur Extra-Lucide (79)

Breant is a keyboardist, loosely affiliated with the Magma crowd, who did two rather appealing solo records in the late '70s (1978's Sons Optiques, and Voyeur Extra-lucide in 1979, both on the Egg label). The basic sound of both records is somewhere between jazz-fusion and progressive rock. Although both LPs feature several notable guest musicians (violinist Didier Lockwood, saxophonist Jean Louis Chautemps, keyboardist Guy Khalifa, percussionist Albert Marcoeur, guitarist Jean-Michel Kajdan, and others), Breant's multi-keyboards are firmly front-and-center. To my ears, Sons Optiques is more impressionistic, less electronic, and is dominated by solo keyboards (mostly piano), while Voyeur is very synth-heavy, but has more of a "band" sound. Both records, while not the most stunning I have ever heard, definitely contain some fine music. Side one of Sons Optiques, in particular, has some lovely moments. I'd certainly recommend both records to Didier Lockwood fans, in particular, as he is a featured soloist on both. -- David Wayne

Sons Optiques was quite was good. Interesting, complex fusion. I seem to remember it having a few names in the lineup. Voyeur Extra-Lucide, however, is rather tame and mainstream by comparison. -- Mike Borella

I heard Sons-Optiques once. French synthesizer music with a heavy Magma feel to it. Not surprisingly, Klaus Blasquiz makes a guest appearance on this. Voyeur Extra-Lucide is supposed to be more accessible. -- Mike Ohman

[See Cruciferius | Ergo Sum | Nemo]

Partir pour Ailleurs (7?)

Rare keyboard progressive.

La Ofrenda (??), Jayeche (75), Hermanos (??), Estoy Como Quiero (??), En Concierto (??)

Vytas Brenner is a synthesist/pianist and Ofrenda is his band. Their style is a jazzy fusion with Latin and space-rock touches. Jayeche is an intriguing album, alternating dreamy synth-scapes with energetic, percussive fusion workouts. Surprisingly good, especially given the cheapness of the synth equipment. -- Mike Ohman

Sight and Speculation (7?), Clocks (7?), Earthbirth (77), Interlife (78), Eclipse (79), Guitar Trek (80), Others

Brett was the guitarist in Elmer Gantry's Velvet Opera, and later joined the Strawbs for their third album Dragonfly. All along the way He's released solo albums, mostly of folk-oriented instrumental guitar rock in a somewhat progressive vein. His best known are from the late 70's.

I have Interlife and Eclipse and they are superb all instrumental albums. Paul is a guitarist that started mainly as a folkie, but these two albums are definitely progressive. He mixes folk, symphonic rock, and a dash of fusion into mesmerizing pieces. He plays a variety of acoustic and electric guitars and is supported by a full band. The side-long title track on Interlife is a tour de fource of acoustic/electric guitar playing. Eclipse is as good or maybe better. The title track is one of the most beautiful symphonic rock pieces I have ever heard, complete with orchestra. Paul is an unsung hero. These two albums are worthy of anyone's collection. -- Juan Joy

Broselmaschine (71)

Rare folk-prog.

Wasa Wasa (69), Sing Brother Sing (70), Edgar Broughton Band (71), In Side Out (72), Oora (72), Bandages (75)

Edgar has been described by Rolling Stone Magazine as "the black sheep son of a black sheep family." Mum was the road manager, brother Steve (drummer on Tubular Bells) was the drummer. Various other people play on albums, Victor Unitt (guitar god after Clapton and Green fall off the map also of Pretty Things "Parachute" fame) adds his talent to several albums. Blues, space and poetry that J. Morrison would be proud of. Another Harvest label band with several covers done by Hipgnosis and engineered by Peter Mew (early Pink Floyd engineer). On the Glastonbury Faire compilation with an updated Fugs piece they title "Out Demons Out." Wasa Wasa 1969 First effort bluesy, funny antiwar ballad "American Boy Soldier." Definitely showing Howling Wolf influence (cf. "Evil"). Edgar Broughton Band 1971 One look at this cover and you'll never forget it. Leather texturized cardboard photograph of sides of beef with Edgar hanging upside down naked among them. Unitt is on this one. Their best album IMHO. In Side Out 1972 Another Unitt album. I haven't listened to it in some time but the weakest as I recall. More country sounding. More strange packaging, the cover is hinged to open from the left and right. Oora 1972 Unitt on this one. Another unusual cover, band photos and titleing printed on outer plastic bag. Bandages 1975 Mike Oldfield guests. From L.A. Women era Doors sound to uneasy creepyness. I think that is all the albums (my collection is all out of order after two hurried moves). Late 1970's saw a release in the Harvest heritage series "A Bunch of 45's" which I really would like to get. A friend bought the only copy I have ever seen and it had a few really great singles that were not released on LP's.

A Meal You Can Shake Hands With (69), Thousands On a Raft (??), Others

Early jazz / rock / blues, but no prog IMO.

Songwriter, wrote "Politician" w/ Jack Bruce; 1st album includes Chris Spedding on guitar and Dick Heckstall-Smith on sax.

Give Me Take You (68), Wilds Places (78), Streets of Fire (79), Music from the Travelling Man (85)

Browne, together with Peter Godwin and Sean Lyons comprised Metro. After Metro he produced two excellent solos (Wild Places,Streets of Fire) from '78 and '79, which were song oriented with great guitar, progressive yet very accessible, both style rich and diverse in influence. Wild Places would definitely be the one to start with. He also had a very old LP from 1968 titled Give Me Take You, which has recently been dredged up and reissued on CD. This one is pretty much a stinker.

For the most part, Streets of Fire and The Wild Places consist of dreamy, atmospheric, progressive pop which reminds me a tiny bit of Dire Straits. The prog content of these records would seem to be Tony Hymas' keyboards, and a few tricky time signatures. Frankly, this stuff would be really pedestrian if it wasn't for the backing band which also includes prog/fusion superstars Simon Phillips (drums) and John Giblin (bass). The saving grace of both records is that each contains a lengthy, completely wicked instrumental tune where Browne and Co. really cut loose! -- David Wayne

[See Metro]

Songs for a Tailor (68), Harmony Row (71), Things We Like (71), How's Tricks? (77), many others

Scottish bassist, cellist and vocalist most famous for being 1/3 of the heavy blues-rock supergroup Cream. Jack Bruce, while not a "prog rock" artist per se, deserves mention here for his many forward-looking solo albums, and for his involvement on numerous prog. rock and fusion records by artists as diverse as jazz drummer Tony Williams, Canterbury band Soft Machine (the Land of Cockayne album), and lyricist/producer Kip Hanrahan. His early solo albums (Songs for a Tailor and Harmony Row) are finely wrought blues- and jazz-inflected pop, and feature guitarist Chris Spedding (Nucleus), drummer John Marshall (Nucleus, Soft Machine), and guitarist Felix Pappalardi (Mountain). The all-instrumental Things We Like is an early (recorded in 1968, but in the can until 1971) example of jazz-rock fusion with guitarist John McLaughlin, drummer Jon Hiseman (Colosseum) and saxophonist Dick Heckstall-Smith (Colosseum). Predictably, Things We Like sounds a great deal like the first edition of Tony Williams' Lifetime, but without any keyboards. How's Tricks? is very different from the previously-mentioned albums, and spans a wide stylistic range from bar-band blues rock to fusion to semi- progressive. Here, Tony Hymas' symphonic keyboards and Simon Phillips' big drums provide the surface appearance of prog rock, but Bruce's vocals and songwriting are always very blues-derived which, from my perspective, keeps the music from sounding like honest-to-god progressive rock. (Interestingly, Hymas and guitarist Hughie Burns from the How's Tricks? band would go on to form the excellent progessive fusion band 'The Lonely Bears' with reedist Tony Coe and drummer Terry Bozzio in the late 1980s.) More recently, Jack Bruce has recorded solo albums with jazz-fusion artists such as Billy Cobham, David Sancious, Allan Holdsworth, David Leibman, Bernie Worrell, and others, for the CBS and CMP record labels. -- David Wayne

Feels Good To Me (77), One of a Kind (79), The Bruford Tapes (79), Gradually Going Tornado (80), Master Strokes (86, compilation)

Bill Bruford, drummer extraordinaire, is best known for his work with Yes and King Crimson. But his solo work as Bruford is not to be overlook. Combining the best of progressive (himself and Dave Stewart) and fusion (Allan Holdsworth and Jeff Berlin), he has created some excellent progressive fusion masterpieces. Any are good, but check out Feels Good to Me and One of A Kind. This is also a great place to check out Holdsworth's guitar style if you've never heard him before.

Bill Bruford is perhaps one of the most accomplished progressive rock and fusion drummers of all time. No doubt his tenure with great bands like Yes, King Crimson, Genesis, Gong, and UK would qualify him for the first, but his solo albums truly bring out the very best of his fusion side. Feels Good To Me and One Of A Kind were his first two, and probably his best, featuring Allan Holdsworth, Jeff Berlin and Dave Stewart. The Bruford Tapes is a live one from this same period, recorded for a radio show. His third studio album was Gradually Going Tornado, which seems to offer a little more variety than the first two. Master Strokes combines all the very best of the first three studio albums, plus some material from his two albums with Patrick Moraz, and is a good place to start for the uninitiated. Earthworks is his newest project, and branches out into some new uncharted areas for Bill; not his best, but that's just an opinion.

[See Holdsworth, Allan | King Crimson | Stewart, Dave | UK]

Via (90), Lyckliga Stjarna (92)

Bryngelsson was the longtime guitarist of the swedish group Ragnarok. His 1989 solo album Via is sort of an avant flavored jazz-rock affair, fairly unique, melodic, and progressive in the progressive sense of the word. Features Guitars, synth, saxes, oboe, cello, accordion and percussion. Really nice stuff, but a slow-grower and takes time to get to know. Not for the Marillionheads.

[See Ragnarok (Sweden) / Triangulus]

Anabelas (84)

Excellent Argentine ensemble who put out the excellent Anabelas. Just reissued by Music Hall so you should pick this one up. Crimsonesque progressive with a cultural influence.

Anabelas is an excellent album, featuring mature composition, great group playing, and a very nice sense of dynamics and texture. There is an intensity to this music which is controlled beautifully over the 3 long pieces (including a 20 minute instrumental) found on this CD. A solid, adventuresome rhythm section provides the foundation for the great contrapuntal themes woven by sax, flute, violin, and electric guitar. When I first heard this, I was immediately reminded of Magma. The expanded ensemble of Magma is here, along with the harmonically and thematically intricate compositions. Having said that, Bubu is far from a Magma clone. The thematic development is reminiscient of pieces like Kontark, but it is presented with more of a classical flavor, especially in the three and four voice counterpoint, than the jazzier intricacies of Magma. Perhaps most significantly, there is not the heavy, brooding mood that permeates many Magma works. Anabelas does have an ominous feel at times, but it is not nearly as overpowering as that of Magma. Ther are free jazz wailing sax outbreaks interspersed with quiet contrapuntal passages, and even an aggressive guitar lead or two. But, far from random, these events all fit nicely into the well planned thematic development and sense of forward motion which alternately builds, relaxes, and builds again through the final recapitulation of the main themes. No noodling, and very little soloing, to be found here. There are (Spanish) vocals on two of these pieces, and they are definately part of, rather than an excuse for, the music. I know that some folks aren't too fond of vocals in languages other than English, but these do not detract anything from the music. For those who are into more intricate prog, there is plenty of dissonance and structural complexity to delight. And for those who look for solid, thought-out compositions, this will not disappoint.

Bubu are an outstanding representative of Argentinian Progressive Rock. The band touches across many different styles yet imitates no one. Bubu are a band to influence not to be influenced. As a matter of fact, fans of Atavism of Twilight will recognize some themes from Bubu's 19+ minute track, "El Cortejo de un dia Amarillo." There is, however,recognition of past masters, the most obvious being King Crimson and Magma. The Crimson influence is mostly through the guitar of Eduardo Rogatti which is Fripp-like in many places and is the closest this band comes to imitation. More obvious as an overall influence, however, is Magma as Bubu performs driving marches with dramatic vocals (often with no lyrics) and Wagnerian intensity. You can also hear shades of the Canterbury scene from Henry Cow to Soft Machine, Italian Symphonic, jazz, fusion, Stravinsky and much more. The music is not schizophrenic despite these seemingly very different styles; the band is completely focused and in control. There are seven band members plus an eighth listed as composer and arranger of this complex music. And complex it is. With violin, flute, sax, guitar, bass, drums and voice there are many different forms of interaction between instruments. The band switches from high intensity multi-layered and intricate themes to simple and sonorous violin passages. Bubu is a band to challenge your listening skills and is a great place to start to get into the more "adventurous" styles of progressive rock. Heartily recommended.

For ten or fifteen years I've been looking for something that uses jazz licks with rock structures as well as the best bits of King Crimson's Lizard do. I've bought God knows how many meaningless fusion CDs looking for the way I knew jazz-rock fusion should be, but I hadn't found anything remotely like what I wanted until last week, when I came across Anabelas by Bubu. It's quite varied music, with what sounds like free improv. for first few seconds followed by all sorts of progressive rock and jazz, but consistently interesting and a bit challenging without being inaccessible. This stuff is so good it's made me contribute to the GEPR for the first time! -- Jason Grossman

This Argentinean group plays very intricate and original music. The group features violin, flutes, saxophone, vocals, choir, guitar, keyboards and drums. Their music is characterized by the variety and interaction of the instruments. Their mix of smooth and melodic themes with more intense and dissonant ones is very effective. Influences are varied (classic, jazz, rock, folk) but make up quite an interesting blend, thanks to the audacious arrangements of composer Daniel Andreoli. Unconventional music of particular interest to those who like to experiment. -- Paul Charbonneau

Journey (79), Second Journey (83, released 92)

Symphonic progressive mixed with spacey electronics.

Budgie (71), Squawk (72), Never Turn Your Back (73), In For the Kill (74), Bandolier (75), If I Was Britannia, I'd Waive (76), Impeckable (78)

Budgie was a hard rock group they were out about the early and mid 70's, I forget the # of albums and names of albums they have and do not really know anymore about them.

Soft hard-rock of mid-70s of no interest for prog lovers IMO.

Dead Forever (72), Volcanic Rock (73?), Mother's Choice (7?), Only Want You for Your Body (7?)

Over the top hard rock/prog.

Pljuni Istini U Oci (75), Zabranejeno Plakatirati (77), Zivi Bili Pa Vidjeli (79), Ako Ste Slobodni Veceras (82), Nevino Srce (83)

Satirical prog.

Piece of Mind (71)

Ex-Roxy Music guitarist whose one album was released on the Ohr label in Germany.

Melos (recorded 71, released 90)

Previosuly unreleased early seventies Italian band, and an important album at that since it was one of the earliest classical rock bands. Japanese only and probably out of print.

Boring electonics. I fell asleep at the wheel to one of his cassettes...

On the Third Extreme is the third release by the American "new-ager," in which he combines the spacy, atmospheric style of his previous release, and of his popular collaborative effort with Steve Roach and Kevin Braheny, Western Spaces, with a more rhythmic approach to create a varied set of tracks. Overall, the music sounds like an introspective version of Yanni, and should appeal both to those who enjoy a "spacier" sound and to those who prefer the sound of other contemporary American musicians, such as David Arkenstone, David Lanz, etc.

Koksi Lady (69), M144 (69), Burnin' Red Ivanhoe (70), W.W.W. (71), 6 Elefantskovcikadeviser (71), Miley Smile (72), Right On (74), Still Fresh (74), Dansk Beat (75)

Excellent Danish progressive with tinges of jazz, which was later even more evident when two of the members formed Secret Oyster. A variety of instruments are used, including violin, flute, trombone, and sax, in addition to the regular fare of guitars, keys, etc. For the most part, they sound like Denmark's answer to Wigwam and Soft Machine. Great interplay between all the instruments. Their W.W.W. album has recently been released on CD. I hope the others soon follow.

Best Danish prog act, but a little bit more jazz and rock than prog, though quite listenable.

[See Hurdy Gurdy | Secret Oyster | Starfuckers]

The Kick Inside (78), Lionheart (78), Never for Ever (80), The Dreaming (82), Hounds of Love (85), The Whole Story (86), The Sensual World (89), The Red Shoes (93)

Kate Bush is best known a pop musician, but she has produced some experimental and avant-garde music that might well be called prog. Her first two albums, The Kick Inside and Lionheart, comprise melodically rich, tastefully arranged, lilting female vocals a la Joni Mitchell, Tori Amos, or Sarah McLachlan. On Never for Ever, Kate becomes a bit more experimental in her song-writing, but it's on The Dreaming that she really starts creating music that pushes the envelope of pop, incorporating complex song structures, unusual sounds and textures, distorted vocals, and a psychological heaviness that was generally absent from her previous albums. This album is hard-hitting and a marked contrast to the mellowness of Never for Ever. Kate's fourth release, the Hounds of Love, is really a two- part album. The first part is composed of five fairly poppish tunes (actually, "Mother Stands for Comfort" is pretty experimental), but the second half, entitled "The Ninth Wave" is a multi-part composition that many folks on a.m.p. and r.m.p consider to be a masterpiece capable of standing proudly alongside any other side-long prog epic. In this psychological/ mystical suite, Kate is probably at her most eclectic and experimental, drawing variously upon Irish, Asian, and classical influences. After Hounds of Love, sadly, Kate's music isn't likely to be of much interest to prog fans. The Sensual World has its moments (esp. the title track and "Rockets Tail"), but for the most part, it's a retreat from innovation into an uninspired "adult contemporary" sound. The Red Shoes is even blander and should probably be avoided by all but die-hard completists. As a good first-buy for a prog fan, I'd strongly reccomend The Dreaming, although Never for Ever or Hounds of Love would be good choices too. Those prog-heads who don't have a disdain for somewhat poppy stuff should definitely give The Kick Inside a listen, though. -- James Chokey

The American Metaphysical Circus (1969)

From the liner notes - "Joseph Byrd was born in Louisville, Kentucky. He is a descendant of the famous Byrd family of Virginia and he grew up in Tuscon, Arizona. During high school years, he played in country-and- western and pop music bands, but by the time he entered the University of Arizona he had begun playing vibes with a jazz group. After graduation, Byrd received Stanford University's Sollnit Fellowship for graduate study in composition. But Byrd chose to split for New York, where he had already begun listening to electronic music and meeting young, far-out Berkeley experimental composers. During his years on the New York modern music scene, Byrd worked as conductor, arranger, teacher, Associate Producerf for a record company, and assistant to critic-composer Virgil Thomson. He was also gaining recognition as one of the leading young experimentalists, and his works were being performed from Paris to Tokyo. Then Joe Byrd came out to U.C.L.A. and ended up living in one of the early Ocean Park beachfront communes with a group of Indian muscicians, artist and graduate students. While serving as a teaching assistant at U.C.L.A., he studies acoustics, psychology, and Indian music, but his interest inevitable returned to experi- mental and environmental music. By the summer of 1967, Byrd has dropped out of U.C.L.A. to become once more a full-time experimental composer and happening-producer. Today, Joe is a recognized composer and arranger who plays electronic music, organ, electric harpsichord and, occasionally, calliope.." (reprinted without permission)

[See United States of America]

Byzantium (72), Seasons Changing (72), Live and Studio (72)

Byzantium, a pastorial English prog rock band, released two albums in the UK for A&M Records...namely Byzantium and Seasons Changing. The later was by far the superior work, boasting intriguing songs and provocative arrangements. It was also housed in an elaborate foldout poster sleeve which is now exceptionally difficult to obtain in perfect condition. However, by far the most elusive Byzantium item is an album they self-financed and pressed privately in early 1972 titled Live And Studio prior to the A&M recordings. This too is a fine example of progressive musicality, possesing a rougher hue than their other recorded work. Byzantium's roots, and here I'm referring to at least two members, lay in the psychadelic folk sound of a little known combo called Ora, who recorded an elusive and highly priced rarity for the tiny Tangerine label in 1969. In addition, the group's main songwriter and vocalist, Chas Jankel, later recorded solo and during the late 70's was actually swept up in the bugeoning new wave scene being hailed in some quarters as Elvis Costello's equal! As a footnote, I actually saw Byzantium play live on a few occasions. Uninspiring and hippie like in their approach they seemed forever overshadowed by the more dynamic giants of the era such as Greenslade and, dare I say, Help Yourself. My fondest memory was watching them perform in the open air, London's Hyde Park actually, supporting Suppercharge, Gong and headliners Wigwam. -- Stone