Deeds And Talks (77)

Quirky prog mixing folk, Mediaeval traditional and classical music with blues, funk and other mainstream styles. Some bits remind of Jethro Tull minus the flute, others of Bob Welch-period Fleetwood Mac, still others indescribable. The funky "When Shall We Know?" sounds like Stevie Wonder circa Talking Book with a prog feel! Other tracks range from the bluesy ("Are You Turning?") to the symphonic ("Suit-Case"). An offbeat mix that grows on you. -- Mike Ohman

From Our Friends To Our Friends (76)

Prog rarity, private pressing.

Kafka's Musikanervosa is an album reputed to sound like U2.

Kaipa (75), Inget Nytt Under Solen (76), Solo (78), Hander (80)

One more Swedish truly symphonic band. I only have their 1976 effort Inget nytt under solen. The first side is definitely not bad music-wise, but here it definitely helps to not know Swedish - each time I listen to this I'm stuck between the choice of laugh or cry to these truly pathetic lyrics.

Kaipa was a Swedish band that released their self-titled debut album in 1975. Kaipa, by mid-seventies standards, contains music full of youthful exuberance while finding its roots in both classical and Swedish folk music. Kaipa, the band, rivaled their Anglo-Saxon contemporaries Camel. Their dual lead guitars are reminiscent of Camel's album Mirage. At other times Kaipa reminded me of efforts by other Scandinavian musicians such as Pluto and Pekka Pohjola. Kaipa grew on me. I found myself humming snatches of the songs hours later. Though singing in Swedish, Hans Lundin's voice is a pleasure to experience. His rich falsetto does not have that annoying shrillness of Jon Anderson's. The many Hammond organ riffs and the essentially instrumental songs beautifully combine classical music, popular folk melodies, and the best of English and Italian progressive rock. The outstanding track on the CD is the final song "Oceaner Foder Liv," a 9:29 extravaganza brimming with exquisite harpsichord solos, thunderstorms, weird voices, and gorgeous melodies. Though not the best progressive band or album of the seventies, Kaipa is an essential CD for the progressive rock fan.

Inget nytt under solen is sprightly Yes-influenced prog. Vocal quality varies from pleasant and clear-toned (as on "Ömson sken") to rather rough (as on "Hoppfullheten"). But the music is of consistently high quality, brimming over with bright keyboard themes expressed on organ, synthesizers and Mellotron, and anchored by the the acute guitar of Roine Stolt. One of the best from Sweden. -- Mike Ohman

[See Bodin, Tomas | Fantasia | Flower Kings, The | Stolt, Roine]

Gargula (94)

Brazilian symphonic rock band founded by Quaterna Requiem's ex-violin player, Kleber Vogel. Arrangements are similar to Quaterna Requeim's first album, but Vogel is not quite as good a composer as Wiermann. Still, it's a pretty decent album. Fans of Brazilian prog should check it out. decent album. Fans of Brazilian prog should check it out. -- Anthony Alumkal

Kaizen is the project of Brazilian violinist, composer, arranger and producer Kleber Vogel. The band includes keyboards, guitars, bass and drums and they are joined on Gargula by guests on flute, oboe, bassoon and cello. The use of acoustic as well as electric instruments ensures a certain equilibrium to the sound. The compositions, as well as the arrangements show strong classical influences but usually involve rock or jazz rhythms. In fact, the melodic and harmonic work stands out from fairly conservative rhythms. For symphonic rock and violin fans. -- Paul Charbonneau

[See Quaterna Requiem]

Kak (69)

Very rare psych. Heavy acid solos with a somewhat West Coast feel.

Don't Panic (90), Resistance is Useless (93)

New progressive rock band from Utah. Don't Panic starts out with a spirited instrumental which leads into what's probably the album's best track, "Between The Lines," that has a pop feel with clean vocals, laced with ripping guitar work. The rest of the album is mostly instrumental tracks, more typically progressive in style. Overall, good but not great.

Kalaban were a band from Utah who "enjoyed" the obscurity that characterised the American progressive bands of the seventies. The majority of the music on Don't Panic is instrumental (four of the six tracks), with a couple of tracks that clock in at over 12 minutes apiece. The up-front lead guitar reminds at times of Rush, but at times, the melodic lines recall UK and Genesis. In summary, the music is very much in the seventies progressive rock vein, though, perhaps, a bit more aggressive than prior Syn-phonic releases such as Cathedral, North Star, etc.

Don't be put off by the first 5-7 minutes of Don't Panic! My first impression was that it was a bit cheesy. The first two tracks do little to contradict this impression. However, given a full listen, Kalaban's debut is surprisingly solid. From Utah, this US band plays a guitar/keyboard oriented brand of progressive, somewhat similar to Dream Theater, but more emphasis on instrumental breaks. Influenced by Yes, Genesis and the like (who on the Syn-Phonic label isn't?), Kalaban makes as interesting addition to the growing ranks of new US progressive bands. While a strong debut, the writing and playing lacks a certain degree of maturity, though it drips with potential. The guitar tracks are very simple at some points, though they interplay well with the keys on the longer pieces. The drummer is quite good. He rarely plays a simple, straightforward rhythm. A mediocre bassist rounds out this four piece.

Crawling to Lhasa (74)

Prog private pressing.

Free Love (73)

A jazz-rock band. Really good album and keyboard.

Tangerine Dream (67), Faintly Blowing (69), White Faced Lady (unreleased third LP made it to CD)

Psych legends.

[See Fairfield Parlour]

People No Names (71?), Boogie Jungle (75), Abraham's Blue Refrain (77)

Heavy psych. People is one of Finland's rarest albums, Boogie is more mainstream, but lyrics (and some vocals) by Wigwam's Jim Pembroke. Electric guitar leads, flute, piano and acoustic guitar.

Kamaeleon (78)

Instrumental with jazz influences.

Kansas (74), Song for America (75), Masque (75), Leftoverture (76), Point of Know Return (77), Two for the Show (78), Monolith (79), Audio Visions (80), Vinyl Confessions (82), Drastic Measures (83), Best of Kansas (84), Power (86), In the Spirit of Things (88), Carry On (90), Live at the Whisky (92), KANSAS [boxed set] (94), Freaks of Nature (95)

A highly successful American band in the mid-to-late 70's, Kansas combined British-style progressive rock with elements of both early 70's heavy metal and classical music, while maintaining a hard rock edge throughout. Instrumentally, the music of Kansas is noted for the ubiquitous presence of violin as a lead instrument, dual lead guitars (ala Wishbone Ash), extensive orchestration and melodic interplay, and tight playing. Kerry Livgren's philosophical/spiritual lyrics are well-rendered by Steve Walsh's strong, smooth vocals, often sung in duet with violinist Robby Steinhardt.

Kansas started as a bar band in Topeka, Kansas in the early 70's. The original line-up, which remained constant for nearly ten years, featured Steve Walsh on vocals and keyboard, Kerry Livgren on guitar and keyboard, Robby Steinhardt on violin and vocals, Dave Hope on bass, Rich Williams on guitar, and Phil Ehart on percussion. Songwriting duties were shared by Livgren and Walsh, with occasional contributions from other band members.

Kansas' first album, the self-titled Kansas, features lengthy symphonic-style works such as "Journey from Mariabronn" and "Death of Mother Nature Suite," all with a strong heavy metal edge. Kansas also exhibited its bluesier side on tunes such as "Can I Tell You" and "Bringin' it Back," a J.J. Cale composition, notable as a rare song recorded by Kansas but not authored by a band member. The contrast between symphonic works and more earthy compositions would pervade many Kansas albums, with Livgren crafting epics of myth and search for ultimate truth, and Walsh portraying an angrier, more worldly view. The semi-acoustical ballad, "Lonely Wind," fit neither camp, but was the band's first single.

Their second album, Song for America, saw a softening of Kansas' sound, with more classical influences evident, but still betraying hard rock origins. "Song for America," "Lamplight Symphony," and "Incomudro-Hymn to the Atman" are lengthy, intricate pieces, while "Lonely Street" is straightforward blues, and "Devil Game" is a tightly wound, fast-paced rock shuffle, all sung with great emotion by Walsh.

The third album by Kansas, Masque, is lyrically quite dark. "Mysteries and Mayhem," a very fast-paced progressive piece in a hard rock vein, segues into "The Pinnacle". The compositions are based upon a nightmare that Livgren once had, while "Child of Innocence" dwells on the certainty of human mortality. "Icarus-Borne on Wings of Steel," is based on the Greek myth of Icarus, who flew too close to the sun and perished. Only in the reassuring "All the World" does good prevail.

Kansas finally became a major attraction with their fourth album, Leftoverture, on the strength of the hit single "Carry On Wayward Son." "Carry On," with its heavy guitar riffs and high vocals, became a signature piece for Kansas. "The Wall," with its thickly textured sound and vaguely spiritual lyrics, remains a fan favorite. Perhaps the most bizarre piece is "Magnum Opus," a lengthy, mostly instrumental piece composed of six sub-sections with whimsical titles. "Leftoverture" represents the maturation of the band's sound--interlocking melodies, tight playing, and almost fugue-like sections combined into a crisp fusion of hard rock and progressive influences. Most reviewers of the time concurred, and while "Carry On" was becoming a hit, most of the album received heavy play on FM stations.

Having achieved stardom with Leftoverture, Kansas followed up with the even more successful Point of Know Return, spearheaded by the haunting acoustical piece "Dust in the Wind." "Dust in the Wind" portrays a bleak view of the impermanence of the world, while "Nobody"s Home," "Sparks of the Tempest," and "Lightning's Hand" dwell on the folly of man and the likelihood of his self-destruction. "Point of Know Return" saw Kansas move more towards shorter, compact songs, which still exhibit melodic interplay and Livgren's philosophical lyrics.

Kansas was always known for their tight live performances, and fans were gratified by the release of Two For the Show, a double-album live release. "Two For the Show" is an outstanding live recording of most of Kansas' best-known songs. Unfortunately, the CD re-release of this album required cutting one song ("Closet Chronicles" from Point of Know Return) to get everything onto a single compact disc.

Kansas returned to the studio and delivered Monolith, their first self-produced album. The opening song, "On the Other Side," has proved enduring, and "People of the South Wind" was a minor hit as a single. However, the album failed to hold the audience built through Leftoverture and Point of Know Return, as sales dropped.

A year later, the band followed up with Audiovisions, the last production of the original band lineup. The songwriting rift between Livgren and Walsh, evident on Monolith, was even more pronounced on Audiovisions. Livgren's recent conversion to Christianity was reflected increasingly directly in the lyrics of even minor hits like "Hold On," a mostly acoustic ballad, and "Relentless," a straightforward rocker. "No One Together," a holdover from Monolith, still demonstrates a progressive edge that by the time of Audiovisions was on the wane in Kansas.

In the interval between Monolith and Audiovisions, both Livgren and Walsh produced solo albums of modest success. Livgren's album, Seeds of Change, was effectively a Christian rock album with guest appearances from a diverse array of talent, including Jeff Pollard of LeRoux, Ronnie James Dio of Black Sabbath, Barriemore Barlow of Jethro Tull, and David Pack of Ambrosia, as well as members of Kansas. While content to let his guests supply most of the voices, Livgren did manage to make his vocal debut on the blues number "Whiskey Seed," proving that, as a vocalist, he was a heck of a guitar player. Walsh's solo effort, "Schemer Dreamer" was a much more straightforward rocker. It, too, featured a number of band and guest appearances, including Steve Morse of the Dixie Dregs. The title track received a reasonable amount of AOR/Top 40 airplay. While in hindsight the two solo albums clearly articulate the musical and lyrical differences between the two, at the time they seemed merely to be a typical indulgence of the era--the opportunity to work with other artists in a more casual atmosphere.

Citing artistic differences over the direction that Kansas should take, and hoping to establish a solo career, Walsh left the band just before the recording of their next album Vinyl Confessions. Walsh soon after founded a decidedly non-progressive rock band called Streets. He was replaced by John Elefante, a fine vocalist to whom fell the unenviable job of filling Walsh's shoes. Vinyl Confessions, under Livgren and Elefante's direction, had a strong Christian influence, which, coupled with Walsh's departure, alienated many long-time fans.

Robby Steinhardt left the band after the Vinyl Confessions tour. As Livgren went through severe writer's drought, most of the next album, Drastic Measures, was written by Elefante. The absence of Steinhardt's violin and Walsh's vocals and much of Livgren's creative impetus resulted in an album that seemed to many fans to be a Kansas album in name only. The Christian lyrics are only slightly more subtle than those on Vinyl Confessions, while musically the album is nearly straight-forward rock.

Kansas disbanded in 1984 as Livgren and Hope left to form the Christian rock band AD. The retrospective Best of Kansas release included one new song, "Perfect Lover," from the Elefante era.

Walsh, Ehart, and Williams re-founded Kansas in 1986, adding acclaimed guitarist Steve Morse, and bass player Billy Greer from Walsh's now defunct band Streets. Their release Power saw Kansas re-enter the spotlight, as the soft ballad "All I Wanted" received extensive play on Top-40 radio. Pieces such as "Musicatto" and "Taking In the View" recaptured a touch of the progressive feel of earlier Kansas, but overall Power had a strong pop flavor to it.

In the Spirit of Things is Kansas' only attempt at a concept album, detailing the destruction of a Kansas town by a flood. While not commercially successful, Morse's guitar work and Walsh's vocals recaptured the interest of some early Kansas fans, although "In the Spirit of Things" sounds nothing like early Kansas. "Bells of St. James" and "Rainmaker" are notable tracks.

Once again, the members of Kansas "retired." A second retrospective "best of" album called Carry On was released but contained no new material. However, in 1990 a German promoter made an offer to the group to reform and play some shows in Germany. Initially the reunion band included all the original members except Steinhardt, along with Billy Greer and Greg Robert (who had been a session player for Power and In the Spirit of Things) on keys. After a short time, Livgren and Hope dropped out, and Steve Morse came back aboard.

The reunion was originally a temporary deal, but the group enjoyed the European shows and decided to start touring the U.S., in early 1991. Since then, Kansas has toured fairly steadily, playing small-to-medium venues all over the country. Livgren was with the group during their European tour, but dropped out of regular touring at some point early in the U.S. tour, though he has made several guest appearances since then. In April of '91, Kansas added violinist/guitarist David Ragsdale. After a few months of U.S. touring, Morse dropped out, leaving the band with its current lineup.

In 1992, Kansas released their second live album, Live at the Whisky, recorded in April of that year at The Whisky, a Los Angeles club, with Livgren guest-starring on two tracks. In July 1994, Kansas released a 2-disc (or 2-cassette) boxed set, entitled KANSAS. It consists mainly of remastered "greatest hits," some unreleased live tracks, and a new studio song, "Wheels," written by Livgren.

In June 1995, Kansas released their first new studio album in seven years, entitled Freaks of Nature, on the Intersound label. Freaks of Nature, strikes a balance between covering new ground while simultaneously attempting to return to Kansas' progressive roots. Ragsdale's violin is featured prominently, and Ragsdale receives writing credits on many songs. The complex arrangements and instrumentation are reminiscent of Point of Know Return or Masque. Some listeners claim similarity to groups like Dream Theater. Kerry Livgren contributed the song "Cold Grey Morning." "Desperate Times" is the first single to be released from Freaks of Nature,. The album has been very well received by Kansas fans. -- People of the South Wind (Kansas Mailing List)

Kanzeon (80)

Instrumental symphonic in vein of Outer Limits, Kenso, and Mugen.

After the Storm (94)

This Quebecois band offers a high quality melodic rock. After the Storm features guitarist, keyboardist/singer (in English), bassist and drummer. A guest keyboardist also contributes. The music is an efficient blend of catchy melodies and dynamic rhythms. Simple compositions, quality performances and superb production evoke the type of music we should be hearing on the radio between Saga and Queensryche tracks. A complete success in an easily accessible style. -- Paul Charbonneau

Karat (77), Uber Sieben Bruecken (79, Der Albatros), Schwanenkönig (80), Der Blaue Planet (82, aka Modra Planeta), Die Sieben Wunder Der Welt (83), Live (84), Fünfte Jahreszeit (8?), Im Nächsten Frieden (??), Karat (91), Die Geschenkte Stunde (95)

Karat hail from East Germany. Der Albatros appeared in 1979. It was their second album. The original East German title of the album was Uber Sieben Bruecken, only it was changed for West German release. The title song of Der Albatros proved that this band can do absolutely beautiful symphonic prog in the spirit of Novalis, Grobschnitt, et al. Unfortunately, I guess they had to please everyone, being East Germans. Thus as an album, Der Albatros is remarkably uneven. Consider the A-side suite of songs, opening with the Eloy-like "Introduktion," which is followed by the light prog of "Koenig der Welt" which is in turn followed by the two minute "Blues," then there is the hard-rock of "Wilder Mohn." You get the basic idea. Still, for fans of well-made melodic light-prog who don't mind a little straightforward rock mixed in, Karat may be for you. In 1980, Karat issued Schwanenkönig. Although there was no real grand epic like the eight minute "Der Albatros" on this album, there were a lot more truly progressive shorter songs. "Magisches Licht," "Tiefsee," "Le Doyen I and II" and the title song are all magnificent dreamy prog-tunes full of rich synth-textures and sheets of cascading guitar. There are a couple of more upbeat prog-rockers in "Tanz mit der Sphinx" and "Das Narrenschiff," but vocalist Herbert Dreilich tends to grate on the rockier tunes, his voice is much better suited to ballads. Still a bit uneven, note the six-minute "Mitternacht-Blues," but fans of Novalis, Tabula Rasa et al should like Schwanenkönig as well.

Karat is an East German band that scored notable success ouside its homeland, particularly in West Germany. The band began life in 1975 as a spin-off of Panta Rhei, the influential East German combo whose singer, Veronika Fischer, went on to have a succesful solo career in East (and after 1980, West) Germany. After some early personnel changes, a five-player line-up emerged: keyboardist and composer Ullrich "Ed" Swillms, singer Herbert Dreilich, Bernd Römer (guitar), Henning Protzmann (bass), and Michael Schwandt (drums). Karat's eponymous first album, released in 1977, was fairly generic hard rock, although it contained the standout "König der Welt" (King of the World), which pointed the band in a more progressive direction. The band's second album, Über Sieben Bruecken (Over Seven Bridges) established Karat as a top act. Tracks like "Gewitterregen" (Thunderstorm) and the eight-minute "Albatros", with its provocative lyrics ("the albatross knows no borders"), are classics of East German rock. The title track "Über sieben Br;uuml;cke müßt du gehen" (You Must Cross Seven Bridges) was an enormous success; obliquely, it's about the drudgery and the difficulties of East German life. The song became well known abroad, thanks to a 1979 cover version by West German singer Peter Maffay. Karat built upon its following in both Germanies with 1980's Schwanenkönig (The Swan King) which shows influences as divergent as Roxy Music and Yes, and the band was allowed to perform in the west. The follow-up Der blaue Planet (The Blue Planet, 1982) made Karat a household name in West Germany, selling in the hundreds of thousands, more than any other East German artist had or would. Its title track is still an FM staple. The album closes on "Wie weit fliegt die Taube?" (How Far Does The Dove Fly?), which incorporates words from the book of Genesis. 1983's Die Sieben Wünder der Welt (The Seven Wonders of the World) updated the Karat sound slightly with electronic drums and Fairlight synthesizers, but contained memorable tracks like the acoustic "Mir zwingt keiner auf die Knie" (No-one can force me to my knees). Swillms (and Protzmann, who joined Lift) left after "Sieben Wünder" but Karat continued to score hits like "Die Glocke Zweitausand" (The 2000 Bell, 1986), which featured Silly vocalist Tamara Danz. In 1989 Karat recorded a new version of "Über sieben Brücken" with Maffay, which appeared on the album ...Im nächsten Frieden (In the Next Peacetime). German unification was as bad for Karat as it was for most other East German bands, as their fans rushed to the western artists they were now able to see up close. The band's self-titled 1991 effort, recorded with the help of British musicians, went almost unnoticed. But after their initial fascination with the west was over, eastern Germans returned in droves to the music they'd grown up with. Karat's back catalog was re-released on CD in 1993. The band opened for Elton John at his 3 October 1994 Brandenburg Gate concert. The following summer, they released the album Die geschenkte Stunde (The Given Hour) and celebrated their 20th anniversary at a sold-out open-air concert in Berlin's Karlshorst stadium. In 1996, Karat appeared at an outdoor festival alongside the eastern acts Die Prinzen, Die Puhdys, Selig, Extrabreit, and Stern-Combo Meissen at the Waldbuehne -- in what used to be West Berlin. -- Simon Bone

[See Lift [Germany] | Panta Rhei]

Hyvaa Joulla (??), Maanitus (??)

Finnish prog-folk.

Chris Karrer (80)

Amon Düül II leader.

[See Amon Düül II]

Karthago (71), Second Step (73), Rock and Roll Testament (74), Live At The Roxy (76), Live (76)

I have Second Step. Features keyboardist Ingo Bischof before he was in Kraan, which is the main reason to own this. It gets off on an amazing start with the jammin' "Pacemaker," but tails off pretty much afterwards. Much of the music is blues-rock with light prog touches, but not "heavy" like many such bands of the time tended to be. Singer/guitarist Joey Albrecht has a MUCH bigger voice than his soft, boyish looks would indicate. The most progressive songs ("'Oberbaum' Bridge" and the jazzy "Crosswords and Intermissions") feature lead vocals by Bischof, whose voice reminds me of Mike Howlett's vocals on Gong's Shamal album, but with a thick German accent. One thing that gives this band distinction is the inclusion of a Latin percussionist, who they don't use anywhere near enough. Nice enough, but overall nothing essential. Kraan fans may still be interested, and if there are any of you who actually LIKED Cherubin, Randy Pie et al, these guys may well be the best of the lot. -- Mike Ohman

[See Kraan | 2066 And Then]

Space for Truth (??)

Spacey prog ala Popol Vuh.

Karussel (79), Schlaraffenberg (8?), Entweder Oder (8?), Das einzige Leben (8?), Was kann ich tun? (8?), Cafe Anonym (8?)

Commercial prog.

Sõnum (81, EP), Poletus (83)

Latvian fusion featuring In Spe members. Their debut release, Sõnum, is a 7" EP. Poletus was compared by Audion to Modry Efekt, Fermata, etc., and is supposed to be very good. -- Mike Taylor

Katmandu (69)

Psych/prog.

Katharsis (75)

The same sound as Opus Avantra.

[See Krel | Nuova Idea | Opus Avantra | Premiata Forneria Marconi]

See See The Sun (73), Kayak (74), Royal Bed Bouncer (75), The Last Encore (76), Starlight Dancer (77), Phantom Of The Night (78), Best Of (78), Peris Cope Life (80), Merlin (81), Eyewitness (82), Kayak (89, comp.)

Two different phases: Early Kayak (See See the Sun, Kayak, Royal Bed Bouncer) and then a later period. The later stuff is definately poppy, but some of the early stuff is simply weird. There is also a Best of Kayak taking good songs from their first three albums.

Dutch pop-rock band that had some progressive tendencies. They seemed to be more at home in the short pop song format than on the longer tracks, where they seem to lose my interest. Their Best Of Kayak CD contains the best tracks from See See The Sun, Kayak and Royal Bed Bouncer. The US and UK versions of Starlight Dancer have only 5 mutually common tracks.

Kayak were a progressive band, whose later works, though "poppier," had a musical component that reflected the compositional abilities of the prime mover, Ton Scherpenzeel (later keyboardist for Camel). Phantom Of The Night and Starlight Dancer are two of their most popular releases. The underlying music has all the right "moves" that should turn on all the right switches for those who enjoy progressive rock. As far as comparisons go, I would place Saga, and to some extent, Supertramp, in the same camp. These are very broad comparisons, made more to reflect the group's approach than the music, but they should offer a good starting point for those who have not heard of Kayak or their music.

Dutch prog band that started out heavily in the Genesis mode with their first couple of albums, the self-titled one including the lengthy "They Get to Know Me" and "Trust in the Machine." But they were also developing a short-song style at this point, which ballooned into a full-fledged prog-pop style that (surprise!) actually works well. The Last Encore consists entirely of short symphonic-influenced songs a la Moody Blues, but with stronger Genesis and early King Crimson influence. Ton Scherpenzeel's keyboards are the dominant instrument, and Max Werner's biting Gabriel-influenced vocals are also prominent. The U.S. issue of Starlight Dancer actually takes only a few tracks from the European album of the same name. Most of the songs (all of the ones written by drummer Pim Koopman, in fact, who had left the band by then) come from The Last Encore, which was never issued Stateside. (The cover art is also the cover to The Last Encore.) It also appends the obnoxious disco single "I Want You To Be Mine," otherwise unavailable on LP. Phantom of the Night apparently is the result of a major image overhaul, with Werner hiding behind a drumkit for the most part, replaced at the mic by more conventional vocalist Edward Reekers. Also added to the band were two female backing singers, one of whom was Scherpenzeel's then-lover Irene Linders, who also wrote most of the lyrics. Overall, though the sound was different, the style hadn't really changed at all. The Best Of album anthologizes from the first three. -- Mike Ohman

[See Camel | Scherpenzeel, Ton]

Resa Mot Okant Mal (71), Kebnekajse II (73), Kebnekajse III (75), Ljus Fran Afrika (76), Elefanten (77), Vi drar vidare (78)

Swedish band who took much influences from Swedish folk music on their first album, but later they started to look at African music. They were counted to the "progressive" scene in Sweden in the seventies; however, you should be aware of that "progressive" in Sweden meant something different than elsewhere. Here it was a political label, rather than a musical, and many so-called progressive band sang poltical left-wing trash to bland music. Kebnekajse kept quiet, though. Nevertheless not overly interesting.

I have II and III. Either one is an excellent purchase but both together are a bit redundant. Kebnekajse start with traditional Swedish folk tunes and give them a progressive once-over. Of the songs on each of these, only one or two are original compositions. The instruments used are guitar, violin, congas, drums, and bass, and a few other assorted instruments. You can readily detect the folk roots but addition of the rock beat makes for vigorous and exciting listening. The music is very fresh and unique, particularly in comparison to other Swedish bands of the same era. The only drawback is that II isn't much different than III. The main difference between these albums are the two non-traditional (i.e., composed by band members) songs, which also happen to be long tracks. On these cuts, the band stretches out to show their chops. There are still some folk references plus some passages that are reminiscent of Focus. I'd recommend III for starters because of the excellent 13+ minute "Balladen om Bjorbar och Natmelor," a wonderful guitar showcase. If you can't get enough of the band after this, go for II. -- Mike Taylor

[Kebnekajse is the name of Sweden's highest mountain]

Kenso I (80?), Kenso II (82), Kenso (84), Music For Five Unknown Musicians (85), Self Portrait (87), Sparta (89), Yume No Oka (91). Live 92 (93)

Great symphonic fusion, reminiscent of Finch, Camel and even National Health (sounding little like any of them). Their third (Kenso) will surprise a lot of the eighties neo-prog fans.

Kenso III is another great example of progressive fusion. Very comparable to Finch though not quite on their level. Still though an excellant album.

Instrumental progressive fusion from Japan. Self Portrait is a compilation of the best of their first two albums (both very rare now, often commanding hundreds of dollars at auctions). The sound of this early stuff reminds me of a Japanese Happy The Man, with traditional influences and delicate melodic sublety, yet with plenty of fire. By the second album, and even moreso by the third, they gradually moved onward to a more direct fusion sound. Music For Unknown Five Musicians is a double-live set pulling material from the first three albums, plus a few new tunes. It is probably the best place to start. Sparta followed some personnel changes, and is probably the least impressive of the lot, but still quite good. The most recent album Yume No Oka finds them back in form, cohesive and colorful, this may be their best album yet.

Kenso's all-instrumental music is a combination of progressive rock and light jazz influences, perhaps in the style of Edhels and Minimum Vital, very crisply executed and energetic. Their first two albums were limited editions of 500, and are now nowhere to be found. The eponymous release is actually their third work, and shows off the style described. Music For Unknown Five Musicians is a double-CD set compiled from a 1985 live performance, and is fairly difficult to locate these days. It contains some material from their first three releases, plus some unreleased material. One of the tracks is entitled "Brand IX," and another is dedicated to Pat Metheny, which should give some indication of the band's direction. They also perform a cover version of a track composed by Flairck, a somewhat obscure, but very virtuosic, Dutch almost-chamber-rock band, and energize it with fiery leads and solos.

When I first heard their Music for Unknown Five Musicians, I thought they sounded like a Japanese version of Chick Corea's Elektric Band, but without Frank Gambale's lightning guitar runs and Eric Marienthal's saxophone. There are jazz elements to the music that make this a valid comparison. Additionally, titles such as "P.M. (Dedicated to Pat Metheny)" and "Brand IX" reveal jazz influences. However, the blend of keyboard dominated music with certain progressive elements also yields a Happy The Man aura about the music. I've also heard part of Yume No Oka and it's strongly in the fusion direction. Good stuff and well worth hearing. -- Mike Taylor

I tend to categorize this band with Iconoclasta, a progressive rock outfit that has been around for the better part of 10 years and hasn't sold out. Well, in all honesty, Iconoclasta has never matched the majesty of their first two releases, but Kenso has continued to put out quality fusion-oriented prog rock. From Japan, Kenso attacks you with a four piece barrage of complexities and musical subtleties wrapped up in a fusion package. They are unique - jazzy enough for the listener that admires that sort of approach, but they don't sound like the bands of the seventies. You can hear the influences of Hatfield and the North, Finch, and Focus, but Kenso takes new directions. Yume No Oka varies from slow, mellow, introspective pieces, to ripping cuts with everybody soloing at once. Fronted by excellent guitar work and keysmanship, the only weak point on the entire album is the drummer's annoyingly loud snare - which captures all too much of his attention when he's not doing fills or more complicated lines. The plodding snare-bass rhythms are in each track to a certain extent though the drummer shows he is capable of doing much more. If it weren't for this one drawback, Yume No Oka would be a truly excellent release. As it is, the album is very strong - one of the best by a continuing progressive band. Maybe not as outstanding as the live Music For Unknown 5 Musicians, but definitely an uncompromising and typical release for this band.

[See Sense Of Wonder]

Kerrs Pink (80), Mellom Oss (81), A Journey on the Inside (93), Art of Complex Simplicity (97)

Norwegian progressives, with a sound that may remind of Camel (circa Mirage) or elements of Pink Floyd (a Gilmour-like guitarist playing moody, spacy stretches), their material is instrumentally dominated, with a lot of interplay between the flute, guitar and two keyboardists. The vocals are excellent when present. Mellom Oss was almost entirely re-recorded for the CD reissue, thus the sound quality is astonishingly good. The 17 minute "Where Time Fades Away" features guest female vocalist. Start with either, both are excellent.

The immediate comparison to be made for this band is to Camel. From the opening notes of their eponymous first album, you will be reminded of Andy Latimer's melodic guitar style. Follow this with flute and the comparison is enhanced. Kerrs Pink, however, is far from a Camel clone despite the obvious influence. If it is possible, they are even more melodic than Camel and more spacious. Additionally, there's a feel thoughout the music that is uniquely Scandanavian, though I can't describe what it is. The few lyrics in the mostly instrumental work are in Norwegian. The solos are mostly guitar, though there a good amount of keyboard work. This is very relaxing and laid back music. -- Mike Taylor

Kerrs Pink fuses progressive rock and Scandinavian folklore just as Grieg married symphonic music and Nordic folk songs. The music also pays homage to bands like Camel and String Driven Thing. Kerrs Pink is Tore Fundingsrud (drums), Jostein Hansen (bass, guitars, and vocals), Harald Lytomt (guitars, flute, keyboards and bass), and Per-Oyvind Nordberg (keyboards). Mellom Oss is a reissue of Kerrs Pink's second album recorded in 1981 plus six previously unreleased bonus tracks. Mellom Oss was originally recorded on an old 4-track recorder. With today's technology and Kerrs Pink's improved studio they decided to rerecord the first six tracks making this CD a pseudo-reissue. Their seventeen minute opus from the LP, Mens Tiden Forgar ("While Time Fades Away"), is a remixed version of the original recording. The CD booklet, as always is true with Musea releases, contains extensive historical notes and English lyrics even though they are sung in Norwegian. Another highly recommended reissue from the European progressive archives.

Norwegian band that borrows ideas from Pink Floyd, Sebastian Hardie and Camel, and meld them into a uniquely Scandinavian style. The band includes flute, two keyboards and three (!) guitars. The use of keyboards (mostly organ and piano) is surprisingly subtle, the layered guitars (acoustic and electric both) give it a sometimes folkish feel. The flute often makes it sound like an instrumental version of Tabula Rasa. Overall very pleasant, while it doesn't blow you away with technical prowess, it eventually wins you over with its gentle melodicism. Mellom Oss adds some Norwegian and apparently Israeli (on "Trostevise") folk themes to arrive at a totally individualistic sound. Also many guest players, on viola, cello and female vocals. This one includes a 17-minute track. Both albums are excellent. -- Mike Ohman

Space Shanty (72)

Another of the ultimate classics is Khan's Space Shanty Consisting of Steve Hillage, Dave Stewart and two others, Khan's pre-Gong progressive rock is as intense and heavy as it gets, and has some of Hillage's and Stewart's best playing ever.

Their classic Space Shanty is simply a must-have album. Featuring the beautiful Hammond work of Dave Stewart and the spacey/bluesy guitar of Steve Hillage, these guys weave a musical web of intoxicating beauty that will place you at the hearth inside the shanty. Somewhat song oriented (six longish tunes), each song flows together and there is very conceptual feel to the album. There are recurring musical themes throughout and the album ends as it begins - on an instrumental freakout. Stewart displays his mastery of the Hammond by wrenching some of the most beautiful tones out of his organ, while Hillage's guitar swirls between the speakers. A MUST!!

Great early work by guys who would later define the Canterbury sound. Very heavy prog rock, but not in the way that King Crimson is heavy, more in a "psychedelic-heavy" mould. Only one release, Space Shanty.

[See Gong | Greenwood, Nicholas | Hillage, Steve | National Health | Stewart, Dave]