A Fury of Glass (83)

Said to be very evocative of the Swiss band Circus.

Labanda (80), Fiesta Campestre (Rockmeria) (81), Rural Tour (92), Danza de Entrenzado (??), No Todo Es Seda (??), others?

All instrumental Celtic folk-prog group. Labanda is straight-ahead Celtic folk and very well done. Fiesta Campestre is the one I recommend. Excellent mix of Celtic folk and prog including Camel-inspired guitar. All the musicians (seven of them) are world class. They play (apart from the usual instruments) bagpipes, violin , recorder, mandolin, etc. Rural Tour is a live album. -- Juan Joy

Celtic-type folk-rock from Spain. Much like a folkier, instrumental version of Horslips, incorporating lots of fiddle, gaita (Spanish bagpipe) and pennywhistle. Recommended listening: Fiesta Campestre. -- Mike Ohman

Live: On the Blue Light Pilot (82), No. 8 (84)

Polish instrumental progressive jazz-rock band, some albums are more jazz oriented, others lean to a fusion type sound with more variety of styles. The Blue Light Pilot is a live one, one of their very best.

The Laboratorium I know of is a Polish fusion band from the '70s whose charcteristic is/was an instrumental singer; that is he doesn't sing any words but plays with his voice. Despite the original approach there is something missing, as often is the case with jazz-rock and me.

No Pictures (78)

Rare private-label prog, compared to Camel.

White Bird (77), Inside Out (78)

Former Violinist/Vocalist for It's a Beautiful Day. These are of little interest except for Laflamme's excellent violin playing.

[See It's A Beautiful Day]

Lagger Blues Machine (72), Tanit Live (82), The Complete Works (94)

The Complete Works is Mellow Records CD reissue of Lagger Blues Machine and Tanit Live.

Lake (77), Paradise Island (78), Ouch! (80), Live (82), No Time For Heroes (84)

An excellent, but little known, German band who created both short songs with great hooks ("Crystal Eyes") and long, introspective pieces ("Between the Lines"). Fans of Yes and Genesis will love this band.

It's odd how the rumour mill works sometimes. Because this German band (with a Scottish lead singer and a Londoner on keyboards) recorded a ten-minute track, "Between The Lines," on their first album, people immediately assumed they were a prog band. Never mind the content, look how LONG it is! It MUST be progressive! If track length were the yardstick, I guess the Allman Brothers must be progressive because "Whipping Post" was so long. Lake seem to be emulating the West Coast studio pop sound (Eagles, Firefall, Pablo Cruise) more than anything that was going on in Germany at the time. Actually, taken for what it is it's okay, though the lyrics can be quite trite, and the hooks a little too obvious. "Between the Lines" is considered a rock classic in some (not necessarily progressive) circles; it sounds mostly like Steely Dan indulging in some extensive jamming and is indeed the best song on the album. Lake II, the follow-up, featured another long track, the seven-minute "Scooby Doobies." It was recorded in Colorado's Caribou Studios, produced by Chicago associate James William Guercio and featuring a guest spot by Beach Boy Carl Wilson! Paradise Island seems to be their crowning effort, melodies which are catchy yet subtle, colourful use of instrumentation (acoustic guitars on "Crystal Eyes," multiple electric guitars and tubular bells on "Paradise Way," etc.), and good musicianship. Thanks to some symphonic Oberheim synthesizer fanfares, the contemplative "Final Curtain" is the closest they've yet come to progressive music. 1980's Ouch!, also produced by Guercio, was the band's last album issued in the U.S. They followed it in Germany with a live album. If you've already followed them this far, I wouldn't suggest going any further. No Time For Heroes, recorded several years and many line-up shifts down the road, is pretty pathetic. The sound is basically faceless 80s pop, on the level of bad Toto at its best. And as for their forays into rap ("Scotsman") and disco ("Lady Divine"), just forget it!

Framed (79)

Lead guitarist/vocalist with the Strawbs during their most progressive period. His solo album Framed offers no evidence of his tenure with them. Just some plain old AOR rock. Forget it.

[See Fire | Strawbs]

Marscape (76)

Saxophonist Lancaster was a member of Blodwyn Pig. Their album Marscape was effectively the first recording by what would later become Brand X. Features Phil Collins, Percy Jones, John Goodsall, Morris Pert.

Jack Lancaster and Robin Lumley released a sole album (that I know of, anyway) called Marscape. Released just before Brand X's debut, Unorthodox Behavior, Marscape contains the core members of Brand X (Goodsall, Jones, Collins, Pert and Lumley) and Lancaster. As you would expect, the sound on this release is very much in the vein of Brand X except much jazzier thanks to Lancaster's sax and writing influences. However, there is excellent balance between all instruments and we are treated to excellent displays of dazzling musicianship from all members. As appropriate for the title, the music is also very spacious and celestial. Of course, this is recommended to all Brand X fans but fans of middle-period Soft Machine should also go for this. Good stuff.

[See Aviator | Blodwyn Pig | Brand X | Jones, Percy | Sun Trader]

Termination Point (85), Coming Forth in the Light (87)

Rather grating English electronic duo.

Synth space rock.

Riktig Äkta (92), Lonely Land (92, CD version of Riktig Äkta), One Man Tells Another (94), Unaffected (95

This is a Swedish band that sounds firmly planted in the 70's, with lush symphonic arrangements, Mellotrons, and an overall feel that may remind of the Italian scene or Van Der Graaf. Really good, but requires a few listens. Two versions exist, one has Swedish lyrics and is available only on vinyl. The CD version has English lyrics and a couple tracks of bonus material.

Lonely Land was released by The Laser's Edge, one of the two premier prog rock labels in the US (Syn-phonic is the other), and is the debut recording by a Swedish band who recreate the sound of the seventies, complete with the ubiquitous mellotron. However, the guitarist is significantly featured, and, with his electric lead style, helps modernize the sound. The combination of quiet, melodic keyboard passages and aggressive solo breaks lends a variety to the music that recalls some of the classic Italian prog rock groups of the seventies.

Imagine a Winter night of bitter cold, the wind howling and screaming across the frost-bitten land. Inside a tavern, dozens of lit candles on tables and counters provide ambient illumination. The sweet scent of Cannabis wafts serenely through the air. A small audience of quiet and appreciate folk sit mesmerized, entranced by the aura of a dark, quiet music. Creating this atmosphere is Landberk. The first thing that caught my attention about Lonely Land was that it very successfully captured the feel of 1970s Scandanavian Prog in 1992. Usually, I attributed part of the "unpolished" feel of early Scandanavian Prog (Wigwam, Supersister, etc.) to the recording process. This album, however, is recorded very well yet it still exudes an aura of 1974. The music is instrumentally dark and darkly powerful. There is a sublime intensity to the music that really grabs me. English vocals (on the CD version) are sung against washes of haunting mellotron on most songs. Some songs, such as "Waltz of the Dark Riddle" intertwine mellotron, piano and subdued guitar. Some songs features accordion (e.g., "The Tree") but mellotron and guitar rule the day. Rather than a burning flame of aggression, Landberk's music has a smoldering intensity underpinning all the songs that occasionally bursts forth in brilliance, as in "Pray for Me Now" and the cover of T2's "No More White Horses." It's hard for me to believe this was recorded in 1992. The LP version, Riktig Äkta, has Swedish vocals, lacks the cover song, and a different mix (no sitar) on the title track. I have the CD and strongly recommend it to fans of the Scandanavian scene. Not everyone will agree. I think I'm one of a core group of people in the US who really like this album. I mean, *REALLY* likes this album. Maybe it helps to have a good imagination.
With One Man Tells Another, the wind has grown colder and more bitter, the music darker and more painful. Real pain comes across in Patric Helje's vocals -- with a voice not unlike U2's Bono -- whether it is the introspective "Mirror Man," the letting go of "Rememberance" or the loneliness of "Valentinsong." There are several references to ice, cold or winter, such as the opening line of "Kontiki," which reads "Pain fills my soul, I am turning cold." This line sets the dark and somber tone of the lyrics throughout the album. Nowhere has the mellotron sounded so melancholy, its mournful tone sometimes felt more than heard, other times wailing forth in morose agony. The bleak cold of the lyrics is offset by the warmth of Reine Fiske's electric guitar, which tone I simply adored. Whether it was the chunky chords of "Mirror Man" or the rounded, bluesy tone heard in most songs, Fiske's tone was gloriously analog; you could practically hear the springs in the reverb and the amp tube that was close to blowing, as his solos swirled back and forth between the speakers. Fiske's guitar is dominant throughout, while Simon Nordberg spent most of his time on mellotron and organ, and, occasionally, piano. Stefan Dimle's bass was solid underneath without calling attention to itself, and Jonas Lidholm's relaxed (but hardly slack) drumming helped keep the music easy-going, despite the darkness of it all. Of those who heard Lonely Land, if you did not like it, One Man Tells Another will probably not change your mind. If, like me, you liked their debut, then you'll probably like this album equally as much, maybe even more. Like Lonely Land, this is an album that touches on a personal level. I can't wholesale recommend it to just anyone because not everyone will get into the painful lyrics or dark, but not complex, music. But once again, Landberk has put together an album works wonderfully for me. If you did get into their debut release, then you will, in all probability, get into this release as well. -- Mike Taylor

Just got Lanberk's new One Man Tells Another. It's good. Rather different from their debut though. They no longer sound convincingly "70s. The lyrics on "Remembrance" seem to be either pretty bad or have lost something in the translation! Overall, it's much more modern sounding ... the guitars keep this from getting in the way though as they are still firmly in the '70s They still have the magic and when the mellotron starts, it's great although it could have been mixed up a bit. "Kontiki" has a really heavy riff ... a bit of a suprise! "Valentinsong" is superb and quite beautiful. Well worth the money ... buy it.

Riktigt akta is their outstanding best album IMO. Sadly it is sold out, what a shame! The English lyrics on Lonely Land was written three days before they went into studio, so they have not the same depth and feelings as the Swedish lyrics have. The differences between Riktigt akta and Lonely Land are very huge. Riktigt akta is an absolute brilliant album, Lonely Land is just a not so good remix with not so good lyrics. The guitarist Reine Fiske is an excellent musician. His way of playing guitar can be so despaired, tortured and full of grief. He is actually the only guitarist I have heard that are able to make me cry. -- Gunnar Creutz

Lonely Land was the first release from these five young Swedish musicians on vocals (in English), keyboards, guitar, bass and drums. The style is straight out from the '70s with a natural (live) sound that relies on gloomy atmospheres rather than technique and production. The arrangements are simple and the use of keyboards is limited to organ, mellotron and piano. The tracks usually include obscure introspective texts and are developed in acoustic as well as electric contexts. This quality production is rather simple, in a style that certainly evokes the early '70s. -- Paul Charbonneau

[See Steensland, Simon

Solitary Witness (92), Infinity Parade (93), The Vision Pit (96)

New UK neo-progressives, featuring a bunch of veterans of the 80's movement. It's generally a cut above most of the other crap on the SI label, these guys are capable of eschewing the poppy sound of bands like Jadis, IQ, Pendragon and so on, but do end up falling back on the commercial stuff occasionally.

Infinity Parade, in my opinion, has only two good tracks out of seven, "Ta' Jiang" and "Solitary Witness" (which was the name of their first CD). The lead singer on this CD is Damian Wilson, who is/was the lead singer with Threshold. -- Steve Puccinelli

[See Threshold]

Westrveg (88)

Norwegian synthesizer duo, with guest musicians on guitars, woodwinds, etc. Their music is rock propelled with influences from Norwegian folk and classical music, the synth work sometimes taking on the Michael Garrison wall-of-sound feel, with the finesse of early Vangelis.

Langsyne (76)

Langsyne were a German progressive folk band in the vein of Magna Carta in their Lord of the Ages period. Lyrically it can get weak at points, due to the lyricist/vocalist's strained use of the English language, but it's still bearable. The instrumentation is interesting in that they don't have a drummer - there is no percussion aside from a single drum in some songs and the glockenspiel. Heavy use of the guitar, both 6 and 12 string, and things like sitars and recorders thrown into the mix, as well as a heavy organ presence (and for some reason, whenever I hear the organ on this album, I can't help but remember Tangerine Dream's first two records, even though the music is nothing like them). I have a copy from a CD on Lost Pipe Dreams records, but I don't know whether it was a reissue of an LP, or another one of those lost, unreleased 70s prog gems. What I do know is that the disc is limited to something ridiculous like 500 copies. Overall, recommended listening. Neat cover artwork too.

Natural States (85), Desert Vision (87)

David Lanz is a new age pianist, Paul Speer is a jazz guitarist. The two albums Natural States and Desert Vision mark a half way point between new-age and progressive, musically evocative with long spacy passages, occasional fiery guitar passages, and excellent interplay between these two guys and the various guest musicians. Both are good, but different from one another. Start with DV.

Gilbert Artman's Lard Free (73), I'm Around About Midnight (74), Lard Free (77)

French Avant-Garde, with Gilbert Artman, who also did much session work, including Clearlight, Delired Chameleon Family, etc.

This Band was mainly a project by Gilbert Artman (synths and keybords), but there is also a strong guitar and drums here. The music could best be compared to Heldon. The first one has shorter pieces and is more experimental jazzrock, whereas on the second (apeared on the French Cobra label) you find long organ/synths/guitar jams (tree pieces). Very nice, defenitely recommended for those interested in frensh prog and fans of Heldon! -- Achim Breiling

[See Delired Cameleon Family | Urban Sax]

Vita Sul Pianeta (73)

Mysterious band somewhere between a vangard and hard rock sound.

Circle Logic (??)

Last Turion are a German band whose release adds another notch into the neo-progressive scene, very competent music reminiscent of bands such as Marillion and Chandelier.

Passeo Secundum Mattheum (72), Papillon (73), Aquile E Scoiattoli (76), Vampyrs (77), Live (??)

A trio, their great first, an album called Passio Secundum Mattheum is in the vein of Le Orme etc. but is much more varied and probably one of the best of the genre. Various styles are experienced and the resulting whole is very rewarding. Their second was also reissued in Japan, Papillon - also very good.

Very powerful classically inspired italian mid-70's band. Musically speaking probably close to RDM, but with more variance of style, more heavy and experimental. Highly recommended. The live album may be a recent recording by a reformed group. Start with Passeo.

Italian keyboard trio whose first album is supposed to be the best, but I haven't heard it yet. Papillon reveals a band that is somewhat ELP influenced yet unique, with a stronger jazz feel and creative use of orchestration a la P.F.M. The title track is in the twenty minute range and goes through various phases, the vocal sections sometimes being unbearably cute with childrens' choruses and the like, but the instrumental passages revealing the symphonic/jazzy mixture working its magic. The sixteen-minute, three-part "Patetica" quotes from the oft-quoted "Spring" concerto by Vivaldi, but otherwise is quite original symphonic prog. The two short songs give bassist/singer Oliviero Lacagnina an opportunity to stretch out on guitar. Aquile e Scoiattoli followed a dramatic lineup-shift after which only drummer Alfio Vitanza remained. Now a four-piece of guitar/bass, drums and two keyboards, surprisingly the style hadn't changed significantly except to incorporate more guitar. Note the title-song, the first half of which is all guitar and resembles acoustic Genesis, or the beautifully melodic "Menestrello", which is not unlike the lighter moments of P.F.M. or Il Volo. This album features a twenty-plus-minute epic entitled "Pavana", which is probably the reason most of you will want to buy this. Another fave song of mine: "Vacche Sacre--Falso Menestrello". My one complaint would be the screechy string-synth they use, which at times resembles the horrible Polymoog on Tormato. Still, excellent and rewarding, melodic Italian prog. Just recently released was Vampyrs, the band's previously unreleased fourth album. Supposedly more pop orientated. -- Mike Ohman

This very Italian trio barely enjoyed any success in America during the '70s. The members essentially consist of keyboardist, guitarist and drummer but their versatility assures the presence of bass, violin, flute and vocals. The compositions on Passio Secundum Mattheum, in a rock opera format, have a religious theme that is well served by the classical influences. Arrangements vary from acoustic tracks with mellotron to heavier passages with drums, guitar, organ and synthesizer. Despite an early '70s sound, those who know what to expect from the classic italian style will not be disappointed. The Italian "classic" Papillon is amongst those that were re-edited with English vocals during the '70s. The variety of arrangements is undescribable and involves elements of classical (baroque), folk (medieval), jazz (trio) and rock (ELP). The performances show deep classical and jazz roots in contexts that range from acoustic to electric. This impressive production (for a trio) posses all the qualities to please fans of Italian symphonic rock from that era. By the time of Aquile e Scoiattoli, the band only includes the original drummer. He is joined by a bassist/guitarist, two keyboardists as well as guests on flutes, violins and saxophone. The style retains its deep classical influences and its mixture of smooth, acoustic (vocals in Italian) and heavier moments with drums, bass, organ and electric guitar. The result is a symphonic rock with strong keyboard presence and the typical Italian touch. A production that deserves attention from fans of the style and era. -- Paul Charbonneau

Laura (80), Colis Postal (81)

Tears Are Goin' Home (73)

Brain-label commune band.

Storytime (86), From the West (87)

Former keyboardist with the Dixie Dregs. His album Storytime features Dregsmen Rod Morgenstein, Steve Morse, Dave LaRue, plus Jeff Berlin, Steve Smith and others. One vocal track. More laid back than the Dregs, and keyboard oriented.

Lavitz is a well respected fusion keyboardist best known for his work with the Dixie Dregs though he has also played with the likes of Jeff Berlin, Scott Henderson, and Steve Smith (on the fine Players album). While Lavitz is an excellent player, his compositional skill are weak, hence his two albums aren't too exciting. They're in a style similar to the Dixie Dregs albums that feature Lavitz except the focus is naturally on the keyboards. Enjoy his work with the Dregs, instead.

[See Dixie Dregs, The]

[See Fripp, Robert]

[See Fripp, Robert]

Leb i Sol (78), 2 (79), Rucni Rad (79), (Infinity symbol) (81), Sledovanje (81), Akusticna Trauma (82), Kalabalak (83), Zvucni Zid (86), Kao Kakao (87), Putujemo (89)

The second album is slightly funky, very tight fusion. The drumming on several tracks is nothing less than spectacular. The possessed riffing of Garo Tavitijan is comparable with Western fusion drummers of the echelon of Pip Pyle, Furio Chirico and Billy Cobham. The songs themselves are rather short, featuring light vocalizing, but centered around economical soloing and tight group interplay. The end result is consistently jazzy and often complex, with the odd foray into Tako-esque jamming (e.g.: "Aber Dojde Donke). Their first and third albums are said to be worthwhile as well, the 1980s material tending to be commercial rock. -- Mike Ohman

Sung-Woo Lee (92)

Korean guitarist Sung-Woo Lee recently released his debut album. I'm not able to glean much information about the album as the liner notes are entirely in Korean and I can't tell from the layout if there are more musicians or if Lee plays everything. The titles on seven of the eight songs have Korean titles. The second song is titled "Duan Allman" (sic). Lee's style is very much in the vein of Mike Oldfield though with a spaciousness that probably accounts for the Pink Floyd comparisons I've seen. The album is roughly 60 minutes of laid back guitar over various patterns and rhythms. Often, like Oldfield, the guitar disappears into the mix and, though you can easily pick out the different instruments, the music becomes very textural. The main draw back is the simplistic rhythms but still I think many of you would like this album. This release seems to have been a bit overlooked.

Changing Time (96)

Lefty's Head is Kevin Kmetz (guitar), Jim Foster (drums) and Tracy Miller (bass, vocals). Changing Time wastes hardly a moment of it's all-too-short 33 minutes. Packing nine songs into that time, Changing Time offers an upbeat set musical variety. Their style touches down in many areas but the strongest influence seems to come from a jazz and fusion base. Comparisons? The first thing that came to mind was Bruford (the band) without keyboards. Perhaps Xaal without the zeuhl influences. UZED with emotion? Ultimately, I think I settled on Xaal for the best comparison. They even have guest trumpet on a song or two. You have three talented musicians (Kmetz has been featured in "Guitar Player" magazine) with great instrumental rapport playing a complex, jazzy fusion, and drawing from such diverse musical sources as funk, blues, classical and folk. Other than the short length of the album, the only other drawback I could find was the vocals. Of course, I've never been a fan of vocals, anyway, so it's easy for me to find a flaw in that department. In this case, the soft vocal style was somewhat discordant with the music. Miller's voice reminded me of Eric Johnson on his early records, when it seems like he's singing because it's expected but he'd much rather be playing. Only two of the songs have vocals, though, so my complaint is mostly insignificant. You can hear too much good instrumental playing to worry about a few minor vocals. Recommended. -- Mike Taylor

Light In Extension (91)

Boring neo-prog. Vocalist is good, but she sounds too much like Annie Haslam. The band sounds like a bunch of third rate Marillion wannabees, trudging along an already well-travelled path. Little originality, and the drummer is especially annoying. One to avoid.

Legend are a new band out of the UK, whose music is best described as a combination of Renaissance and Marillion, in that a female vocalist is featured amidst musical accompaniment by a keyboard/guitar-led section. The music is less laid-back than Renaissance or Epidaurus, and features a Steve Rothery-like lead guitar to a good extent. In that sense, another point of comparison, Arrakeen, springs to mind. With all the above comparisons, it should be quite clear what the music is all about, so I will conclude my description.

The Concept of Our Reality (95)

On my first listen to this CD, two bands came to mind: Rush and Dream Theater. They follow a similar philosophy of creating complex, intense and ever changing music. Although they have many quiet and relaxed moments, they also have some very heavy moments. Generally they are heavier than Rush, but not as heavy or intense as Dream Theater. The songs rance from just over four minutes, to just under twenty minutes. They have the long intrumental sections similar to Dream Theater, but they use more complex chords. The thing that makes them sound most distinctive is vocalist Melissa Blair. Because of the female vocals, I'm sure they'll be compared to Renaissance, but Blair draws most of her influence from standard rock such as Pat Benatar and Heart. If you like intense prog in the Rush / Dream Theater style, I think this album is definitely worth it. -- Rob Devereux

Lehmejum (93)

This Brazilian trio plays in a format, and with an energy that compares to ELP. In fact, the work of the keyboards (lots of organ and piano), bass and drums as well as the live energy is typical of such infernal trios. In the case of Lehmejum, the music is completely instrumental and rhythms are often jazzed up. They actually describe their style as ranging from hard symphonic to jazz-fusion. Some rhythms and themes are also latin jazz flavoured. A spectacular performance on keyboards with driving rhythms. -- Paul Charbonneau

Mind And It's Likeness (??), Natural History (??), Transluscent..(??), Memory (??), Closed System Potentials (80)

Ambient ala Brian Eno.

Vero (77), Monitor (81)

Ex Il Balletto Di Bronzo.

[See Balletto Di Bronzo, Il]

Integrati...Disintegrati (77)

Obscure. Acoustic and electric guitar in complex blend with synths, vibraphone, organ, flute, and oboe.

Lethe (81)

From the ashes of Mirror came this band, not to be confused with the '90s Italian band of the same name. This Lethe made just one album, but what an album! It starts off very much on the slow side, with a gentle oboe/piano/acoustic guitar etude, which begins to wear out its welcome about half-way through. But things pick up with the second track: "Averbury Circle," in which a typical prog arrangement with guitar and flute is juxtaposed against a creepy piano part seemingly lifted from a Fellini film! Sounds like what the result would be if Samla Mammas Manna attempted to make a symphonic prog tune! The two long pieces that make up the balance of the LP are a good deal less outré, yet are still excellent, instrumental prog on the level of Atlas' classic Blå Vardag. -- Mike Ohman

[See Mirror]

Heartquake (88), Bee Yourself (90)

Italian band who's sound is sometimes reminiscent of Trick of the Tail period Genesis, although on the second album they have much more of their own sound. Their musical approach has an ofttimes jazzy feel, with a lot of (sensible) tempo and dynamic changes from heavy to light, occasional odd time signatures, and very unpredictable and unique melodies. Vocalist Alex Brunori has a voice similar to Stanley Whittaker of Happy The Man, which may have also lent some influence. The net result is a very original sound that gets better with each listen. Heartquake is a little weak, but does show the band off to a good start. The second album packs much more power, spirit and originality.

Bee Yourself is the second release from the Italian progressive band, Leviathan. Their sound has matured well, and is manifested in strong, well composed tracks. The music is quite well within the neo-progressive realm, with fluid interplay between keyboards and guitar, and well-formed melodies. The vocals are in English, but are not obtrusive. This will probably appeal to those who like the eighties prog revivalist bands such as Marillion and Deyss.

[Leviathan have underwent several personnel changes since Bee Yourself and a new album is expected in the first half of 1996.]

Leviathan (74)

Hard rock/progressive from mid-70's. Kansas-like.

Musica E Parole (75, aka Libra), Winter Day's Nightmare (76), Schok (79)

The second album is the English version of the first one. Acoustic and rock songs. The third album is a soundtrack.

[See Goblin | Logan Dwight]

Lied Des Teufels (73)

[See Hanuman]

One Mind (87)

Bay area fusion guitarist, his album One Mind features Steve Kindler on violin and Steve Smith on drums, it also relies heavily on electronics, played by Kindler and Lievano. This is an outstanding guitar album, not for pyrotechnic whizz-bangery, but more for the spirit and emotion, akin to a Carlos Santana without all the latin baggage.

[See Zazen]

A Life After Death (74)

Two-keyboard prog band.

Lift (77), Meeresfahrt (78), Spiegelbild (81), Nach Haus (8?)

Though starting off on a sour note with the harmonica-blues of "Wir fahr'n über's Meer", Meeresfährt is really a high-quality prog album. On "Tagensreise" they essay a choral type of vocal sound to aim at a full sound, and they succeed admirably. But it is on the 15-minute title suite where they reach their apex, exploiting the dual keyboard lineup to its fullest. It's on a par with the best of Stern-Combo Meissen. -- Mike Ohman

[See Karat]

Caverns Of Your Brain (74)

If you love Yes, buy the Lift CD Caverns Of Your Brain one of the truly ultimate USA prog bands ever. This New Orleans progressive band, covered "Whipping Post" in their heyday and were almost signed to a major before the labels lost interest in progressive music.

Excellent example of the early seventies progressive scene. Featuring incredible keyboard work that is very reminiscent of early Wakeman (Strawbs, Fragile, Six Wives) as well as Tony Banks circa "The Knife."

Mid-70's progressive group from Louisiana, their Caverns album features four extended tracks that may remind of early Yes, but with plenty of their own ideas thrown into the mix as well. Not a clone, but a further refinement/ development on that basic style.

Originated in New Orleans. Lift is a good American progressive band who recorded on album's worth of material in 1974 that was never officially released until Syn-phonic released it on CD. The music is keyboard dominated. At times you will be reminded of Tony Banks and other times you'll be reminded of Emerson or Wakeman. The music is pretty good for a first attempt. Four long tracks that are well developed. These guys might have really been something had things worked out. Overall, this is solid music and definitely worth an audition. It's not as strong as Mirthrandir, but much better than The Load.

"Earnest" is the best way to describe this early 70's New Orleans outfit. The boys were only teenagers when they made this ambitious album, and you can just tell they really loved Yes. Yet its not so much a ripoff as a tribute. In that respect, its a charming work, full of youthful enthusiasm, and yes, good playing. No flashy solos like Wakeman, but lots of tasteful, driving keyboards ala Tony Kaye. Just listen to "Simplicity" and you'll be taken by its deceptively simple melodicism. Or the melancholy guitar solo on "Caverns." In fact, if you love Yes but sometimes wish they'd loosen up a bit, this album may be for you.

Story Of Moses (72)

Prog.

Light of Darkness (71)

British band but album was released from Germany, hence most people think they are a German band.

Feeling (??)

Dreamy Floydian sounds.

Ici Et Maintenant (88) Modular Experiment (??) Analogues Cities (??) Tycho Brahe (??)

Excellent new French electronic band, whom Paul Haslinger has purportedly joined (of Tangerine Dream).

Long, moody electronic pieces. It didn't hold my interest very well, an it doesn't sound to me like old Tangerine Dream, which I have heard some people claim. They make an appearance on Hector Zazou's "Sahara Blue."

Lilental (78)

Includes members of Kraan and other Krautrock stars.

[See Kraan]

V.C.U. (We See You) (75)

Prog/Rock.

New Atlantic (76)

I think Limbus, Limbus 3, and Limbus 4 are all related.

Cosmic Music Experience (69)

[See Limbus]

Mandalas (70)

[See Limbus]

Limelight (80)

Power trio in Rush vein, but with mellotron and keys for prog feel.

I En Aldelles Speciell Tid... (84)

Swedish keyboardist/composer, his album I En Aldelles Speciell Tid... features a full band (guitar, cello, saxes, bass, drums), and musically it falls on the classical/jazz side of the progressive spectrum, sometimes reminding of certain Almqvist or Pohjola tracks (waltz and tango type stuff). It's a very interesting album, definitely worth a listen. Instrumental.

Gothic Impressions (94), Rondo (95, EP), Bilbo (96, with Björn Johansson)

Pär Lindh has long been involved with the Swedish progressive rock scene, working for a couple of years with an early formation of Manticore and also helping Änglagård on pipe organ at Progfest '93. More importantly, Lindh founded The Swedish Art Rock Society in 1991. Festivals sponsored by this society are an important part of the '90s Swedish prog scene, of which Änglagård, Anekdoten and Landberk are a part. Previous to this decade, Lindh spent much of his time involved with various prog and rock bands in the '70s and pursuing a career as a classical keyboardist in the '80s. Most of the music on Gothic Impressions was written by Lindh in the '70s but the music had to wait until the '90s, when Lindh established the Crimsonic Label, to be released. Lindh eschews digital synthesizers, prefering instead to create his music on piano, church and Hammond organs, harpsichord, Mellotron, Clavinette and various analog synths. Lindh also plays bass and drums on several of his songs. On various cuts, Lindh is helped out by a cadre of Swedish musicians, including four members of Änglagård (no more than two appear together on any one song), Roine Stolt (of Kaipa/Flower Kings fame), various guitarists, vocalists and the Camerata Vocalis choir. With a title like Gothic Impressions, you can imagine the style of music heard on this album. "Dresden Lamentation" opens the album with a somber statement about "what once was Europe's most beautiful baroque city." Lindh's haunting keyboards are supported by bassoon, flute and tubular bells. After two minutes, the pace rapidly and seamlessly shifts into "The Iconoclast." Using church organ and an arsenal of synths, Lindh blends classical artistry with the driving force of rock, influenced as much by Bach as by ELP (but without the over-the-top pyrotechnics of the trio). Speaking of ELP, Lindh pays an (intentional or otherwise) homage to "Tarkus." One section of "The Cathedral," the album's 20 minute centerpiece, runs quite parallel to "The Battlefied" section of ELP's epic. Elsewhere in this song, Lindh alternates dazzling displays of dexterity with tender passages of subtlety and sensitivity. The bass and drums, provided by Johan Hogberg and Matthias Olsson of Änglagård, provides listeners with a certain familiarity, and are an excellent foil for Lindh's more intense keyboard work. Vocals are heard on three of the six songs. The vocal passages of "Green Meadow Lands," sung by Mathias Jonson and punctuated by flute and Mellotron, invokes comparisons to the Moody Blues. In contrast, vocals by Ralf Glasz on "The Iconoclast" and "The Cathedral" tend toward gothic classicism. Another feature of the album, one that also reflects Lindh's classical training (and perhaps an indirect reflection of Emerson's influence), is his rendering of Mussorgsky's "Night on Bare Mountain." More faithful (and less adventurous) than Emerson's reading (some would say butchering) of Mussorgsky's "Picture's at an Exhibition," Lindh's interpretation of this classic work fits in well with the overall flow of the album and is an appropriate and welcome inclusion. Gothic Impressions should appeal to all who enjoy the marriage of classically-styled keyboards in a prog-rock setting. -- Mike Taylor

Pär Lindh project is a talented Swedish band who have released one full-length album called Gothic Impressions and a mini-CD called Rondo. The band which has changed from alot to five people has a unique style. As a Swedish band they have a Swedish touch, but blends both early Baroque, Bach as well as postromanticism, avantegarde and the symphonic rockbands of the early seventies. Pär Lindh writes and play the keyboard in the band (includes Mellotron, Hammondorgan, churchorgan, old LSE Syntheziser). He has a long career as church-organist, a solo harpsichaordist, touring classical pianist and much more. The music are on a very high class. I think the debut-CD by this band is the best to come out from Sweden in a long time, although I prefer Änglagård. But the to bands have much incommon. Except the likeness in music, four Änglagård-members play on the first record, including Mattias Olsson which do some exelent drumming. There are many other talented people on Gothic like: Roine Stolt, Bjorn Johansson and Jocke Ramsell. The two highlights on Gothic Impressions are the song "The Cathedral," a epic 20 minute symphonic masterpiece and a rework on Mussorgsky's "Night on Bare Mountain." Superb and very mighty. Just thinking about that piece makes me shiver. Rondo is a mini-cd including four songs. First "Rondo," the classic song played by the Nice. Then there is a drum solo-song by Pär, that shows us that he can handle the drums as well as the keyboard. The third song is a staightforward jazz song. The last song is inspired by Tarkovsky's dynamic film "Solaris." A mellow mellotron musicexperience. I love it. We have to watch out for this band in the future. -- Tobias Broljung

Keyboardist Pär Lindh uses analog instruments (organ, Moog, mellotron) to capture the essence of the '70s sound. He is joined on Gothic Impressions by various Swedish talents on vocals (in English), bass, guitar, drums, harp flute, choir, lute and bassoon. The compositions, as well as the performances, show deep classical root (various era) and themes suggest Gothic or medieval inspiration. Arrangements vary from acoustic folk to heavy symphonic rock in a style that necessarily evokes the acrobatics of a Keith Emerson. A brilliant tribute to an era where just about anything was possible for a keyboardists. The Bilbo collaboration Lindh and Björn Johansson features a versatile duo that uses a great variety of instruments. To the multiple keyboards, guitars, bass, drums, percussions and bassoon are added guests on oboe, flute and female vocals (in English). The music is inspired by fantastic themes with a strong medieval flavour (Lord of the Rings) and shows varied but very appropriate arrangements. A disc where the constant symphonism of the keyboards compliments the baroque sound of the woodwinds as well as the more imposing sounds of electric instruments. A production with strong classical influences where the stronger moments are not always the most explosive ones. -- Paul Charbonneau

Gothic Impressions is a very good symphonic progressive rock album with Pär Lindh playing a lot of church organ and mellotron. Some Änglagård members plays on this album. -- Gunnar Creutz

[See Manticore]

Lisker (79)

Basque Prog.

Little Free Rock (70), Time of No Consequence (71)

Early power trio, hard rock/prog.

Rattlebones (92)

Lives and Times is Richard Wileman (guitars/keyboards/perc), Teresa Griffin (bass), and Lorna Cumberland (lead and backing vocals), an outgrowth of the New Idea Of Heaven project (see elsewhere). The album is dominated by Cumberland's voice, which has a mysterious Kate Bush type feel. Wileman's Guitars and keys propel it well, and give most tracks a strong progressive foundation, but never come out front to dominate. My only gripe is the drum machine that makes many of the tracks feel over-programmed.

[See New Idea of Heaven, A]

Let: From Experience To Experience (78), Mysterious Dream (81)

The sound is a mix of vangard, jazz and popular music.

To Allen Ginsberg (72)

The lyrics are from the poetry of Allen Ginsberg, the sound is folk.

In Concert (80?)

Symphonic from 79/80.

Coïncidences (85), Brussels (87), Friendships (8?), French Guitar (89), 5th Edition (90)

After the break-up of Coincidence, Jean-Pierre Llabador bounced back with his first solo album Coïncidences, which also featured Coincidence drummer Joel Allouche. Musically, Coïncidences is very pleasant listening, and recalls the ECM recordings of the Pat Metheny Group. Jean-Pierre Llabador has done at least one more solo recording following Coïncidences, and Allouche is currently a sought-after session drummer who has appeared on CDs by Marc Ducret and Nguyen Le, among others. -- David Wayne

[See Coincidence]

Lluis Llach a l'Olympia (73), I si canto trist (74), Viatge a Itaca (75) Les seves primeres cancons (77, recorded '67 to '69), Campanadas a mort (77), El meu amic el mar (78), Maremar (85), Astres (86), Sommiem (79), Verges 50 (80), I amb el somriure, la revolta (82), T'estimo (84), Geographia (88), Torna Aviat (91)

From Catalonia. Llach is a musical chamelon who mixes "progressive" with folk, new age, chanson, ballads and more. For the "progressive"-minded, Astres and Torna Aviat are probably the most interesting.

Praise The Load (76), Load Have Mercy (unreleased 2nd, due on Laser's Edge '93)

Fairly mediocre prog rock, rescued from oblivion by The Laser's Edge. Most of the tracks on Praise The Load sound as if they could use some vocals: as instrumentals they just don't have what it takes to be more than backing tracks. Two classical covers ("Brandenburg #3,""William Tell Overture") are notable exceptions to the overall boredom of this album.

The Load were formed in the early seventies, and originally recorded Praise the Load in 1976. They are a trio of keyboards/guitar/drums, and the music on their album is finely crafted keyboard rock, in the tradition of Refugee and, to some extent, ELP. There are a couple of arrangements of classical music, namely the 3rd Movement of Bach's "Brandenburg Concerto," and Rossini's "William Tell Overture," which give an indication of the band's direction. Overall, the music is very well executed, and is primarily instrumental.

Okay American prog with classical influences. The keyboard player, Sterling Smith, seems to have definitely enjoyed the baroque era of classical music, as his playing is full of Bachisms. Indeed, they cover Bach's 3rd Brandenburg Concerto to pretty good effect. He's a very fast and nimble player, ala Wakeman, but as a whole, the band isn't that hot. One cut, "Dave's A Song" is really nothing but a 2-chord boogie with a pseudo-prog break in the middle. There's much better US prog, but then again, there's worse. The CD for Praise the Load was released by The Laser's Edge. Their unreleased 2nd, Load Have Mercy is due on the same label in '93.

Time Flies (71)

Keyboard-based prog.

Forse Le Lucciole Non Si Amano Piu' (77), Live (93, recorded ??)

Forse Le Lucciole Non Si Amano Piu' may be one of the best progressive albums recorded. A seven piece - complete with dual guitars and dual keyboards, that takes the best from all of the best progressive bands - most notably PFM, Pink Floyd, and Yes - sounds nothing like any of them, yet is consistently one of the most beautifully crafted albums ever, rivalling any of the progressive greats. If it weren't for peoples attitudes to foreign lyrics, this could have been listed with the recognized classics of the genre. It is of equal stature.

Locanda Delle Fate were another of the Italian progressive rock bands who released one classic and slipped into obscurity. However, unlike many bands whose releases deservedly go nowhere fast, this release is a fine piece of work. The music is lush and full, featuring seven members, centred around keyboards and piano. The best comparison would be to PFM in their better moments, with Italian vocals that are not intrusive. There are half a dozen classic Italian CDs that have been released as Japanese pressings, which are essential additions to the collection of serious prog-heads, and this, in my opinion, is one of them.

One of my favorites. Progressive music doesn't get much better than this. No one in the band stands out but they work so amazingly well together. The vocals are great and the interplay contains enough counterpoint to match classical music.

Italian seven-piece featuring drums/vibraphone, bass, two guitarists, two keyboardists, and lead vocals. Their sound models the best aspects of early PFM (1st two albums) into a more rock sound, not in the way PFM did (by assuming the stylings of Yes, ELP and later Genesis), but by expanding upon the very essence of that sound. This is by and far one of the most spirited examples of the 70's italian progressive scene. Vocals are great.

I think all these people who call this band's album a "classic" are rather overstating the case. Nonetheless, it IS an excellent, but somewhat reserved set of melodic Italian prog tunes, often resembling P.F.M. or Il Volo. Vocally, the singer somewhat resembles Francesco Di Giacomo of Banco, but deeper and not quite as accomplished. The instrumentation includes dual keyboards and flute, and for the most part cruises along gently and pleasantly, but occasionally injects surprising bits of intensity that seem to come out of nowhere. There are also some good vocal harmonies that remind of Latte e Miele. A very good album, yet it lacks that extra "punch" needed to give it the "classic" label. -- Mike Ohman

Another great entry from Italy. Intricate and complex, melodic and enjoyable. Lead vocalist has a rough, but likeable voice. A very sophisticated work, it has a "jazz" sensibility to it, in that the ensemble really plays togther well - it's not a group of virtusos trading solos - but a group playing off each other.

Excellent Italian band who released one album in 1977. A largish band as it goes with two each of guitar and keyboards. Add a drummer, bassist, and vocalist and you've got seven guys with potential to do some complex music. And they do. This is another one of those albums that you have to listen to several times to fully appreciate the melodic interplay. I find these albums to be the most endearing over the long haul. Also relatively unique is that the members contribute rather than showcase. In other words, the entire musical piece and atmosphere is primary; standout solos are minimal. For that reason, upon first listen, you might want to pass the music off as uninteresting. Hardly so! Give it time and it will reveal itself to you. And you will be pleased. Musically, the closest comparison would be to Gentle Giant or Pablo "El Enterrador." Realize that these are vague comparisons. Locanda delle Fate is one of a kind. Highly recommended.

Forse Le Lucciole Non Si Amano Piu' allows the discovery of a typical Italian band of seven members on double- keyboards, double-guitars, vocals (in Italian), bass and drums. The style is a symphonic rock with arrangements and developments that make the most out of a rich and varied instrumentation. The delicate melodic work, shared by vocals, keyboards, guitars and flute, is supported by dynamic rhythms to create a sound that alternates from acoustic to electric. The tasteful double-keyboard work deserves the comparison to Banco as the overall performances to the rest of the Italian "classics." -- Paul Charbonneau

Prologue (88)

Lockwoods (77), Surya (79), New World (79), Eyeball (80), Live (81), Fasten Seat Belts (82), The Kid (83), Didier Lockwood Group (84), Out Of The Blue (85), 1-2-3-4 (87), Au Clair De La Lune (89), Phoenix (90) With C.Vander/B.Widemann/J.Top: Fusion (81) With C.Escoude/P.Catherine: Trio (83) With Blake/Urbaniak: Rhythm And BLU (??)

Lockwood was the violinist with Magma in the mid-70's lineup that recorded the live album, he also played with Gong, Clearlight, and Ceccarelli. His solo albums tend lean more towards jazz than rock, although Surya carries a lot of influence from Magma. Most fans of the Magma sound will enjoy it.

[See Clearlight | Gong | Magma | Widemann, Benoit | Zao]

Hungarian releases: Kepzelt Riport Egy Amerikai (73, with others), Ringasd El Magad (73), Bummm! (73), V (75), Mindig Magasabbra (76), Zene (77), Mindenki (79), other '80s releases
Other releases: Locomotiv GT (74), All Aboard (75), In Warsaw (75), Locomotiv GT (76), Motor City Rock (76)

Hungarian. Not progressive in my book, by any means. Remember that they were *huge* in Hungary. Ok, my main experience with them is a live album from Warsaw, and the first side has some interesting stuff (including Buddy Miles' "Them Changes" which they cover without credit), but the B side has some really sappy material. (And hearing the English version on the radio later didn't help). And I sampled another album of theirs, simply called Zene I believe, who found its way to Sweden, and that was nothing but pop.

Sounds a bit like early Steve Miller Band. Active from 1970 until 1992. Loski is your best buy. You may also want to check out Gabor Presser's solo career if you like them. There was a 1973 English version of Bumm.

Omega spin-off. Kepzelt Riport Egy Amerikai is a rock-opera based on events of the 1969 Altamont festival. Other LPs supposedly more blues rock orientated. -- Mike Ohman

[See Omega | Presser, Gabor; Ringasd El Magad is supposed to be their most progressive/psychedelic. By the '80s, they were pure pop/rock.]

Kollege Klatt (72), James Blond (73), Fette Jaehre (75)

German political-rock compared to Floh De Cologne, Eulenspygel, et al. w/electric violin and synths.

Time Flies (71)

Prog.

Smell of a Friend (88)

New York-based band led by ex-Slapp Happy guitarist Peter Blegvad and bass player John Greaves, formerly of Henry Cow and National Health. Also fearured in the band are Blegvad's brother Kristoffer on lead vocals and ex-Dizrythmia guitarist/flute player/vocalist Jakko Jakzyk. The music is a somewhat interesting mix of semi-complex progressive rock and adult pop that ends up sounding like a most unlikely mix of National Health and Prefab Sprout, but with the elder Blegvad's weird free-form poetry lyrics giving it a uniquely New York underground feel. One must respect them for being able to try such a combination and actually pull it off. -- Mike Ohman

Logan Dwight (72)

When the band folded, Federico D'Andrea went to play with Libra ... jazz-rock not very original.

[See Libra]

Lacrimae Rerum (85)

Very much like Hellebore, to whom they were related.

[See Hellebore]

Fata Morgana (90)

German synthesist. Quiet space music that goes nowhere. His 1990 album Fata Morgana works better than sleeping pills. Yawn!

Orchestra II (84), Orchestra V (??)

Mimi Lorenzini is a french Jazz guitarist who played with Edition Speciale. The album Orchestra V features Ann Ballester on keyboards, and Didier Malherbe on saxes and flute. Outstanding album of superb compositions and tight playing, comparable to Coryell, like that. May be too jazzy for some.

[See Edition Speciale | Triangle]

Lotus (75), Vera o'Flera (76)

Fusion prog.

Blues Helping (68), Form and Feelings (70)

Dave Edmunds' first band before going solo. Of prime interest is the second album Forms and Feelings, which is dominated by multi-layered rock guitar textures and blistering high speed solos. There are three covers of classical tunes: A ripping twelve minute version of Khachiturian's "Sabre Dance," Bizet's "Farandole," and "Mars" (from Holst's The Planets). Brilliant stuff.

Love Sculpture's Forms and Feelings, recorded in 1967, features Dave Edmunds on guitar and vocals, plus a drummer and bassist. The album is quite varied in style. Many songs are very Beatles influenced, especially the 7+ minute "Why" which sounds like something from the Revolver sessions though much longer. "Farandole" is an excellent, fast and furious guitar jam based on Bizet's classical piece. Edmunds simply cranks and plays in a style that's was quite different from most other guitarists at that time. They do a blistering cover of Chuck Berry's "You Can't Catch Me" and a short take on Holst's "Mars." The last track is the 11 minute "Sabre Dance" written by classical composer Khachaturian, which finds Edmunds going on a guitar solo that must put blisters on his fingers (to keep the Beatle influence going), though only over a very basic one chord rhythm. Pretty hot for 1967.

Love Will Make A Better You (71)

Really wigged out Japanese psych band from 1971 that subscribed to the "wall of sound" theory. Featuring a flautist and two saxophonists in addition to the usual drums, organ, guitar, piano and bass, Love Will Make a Better You is a rather mixed bag of music, ranging from bluesy psych to free jazz excursions somewhere between Coltrane and Coleman. This wild use of horns and flute lends a very avant/prog aura to the album, particularly if it is viewed as a psych album. In comparison to the grungy, bluesy psych from Japan in the early '70s, Love Live Life + One were actually quite experimental. In fact, though they don't sound like them, I was vaguely reminded of the experimental side of the Soft Machine. The English lyrics are pretty hippie/trippy and aren't worth writing about other than a rather unique delivery style. Unless you know you liked wigged out psych with an experimental touch, try before you buy.

[See Foodbrain | Yanagida, Hiro]

Portobello (73), Chiaro (75), Lago de Vico (79)

Lucifer's Friend (71), Where the Groupies Killed the Blues (72), I Just a Rock'n'Roll Singer (73), Banquet (74), Mind Exploding (75), Good Time Warrior (76), Speak Me In (80), Mean Machine (81)

Lucifer's Friend is an often overlooked quintet from Germany. Their earlier releases are agressive and raw, not that unlike fellow countrymen Scorpions, Lonesome Crow or early offerings from Jane. Of the Scorpions, Jane, and LF, LF is the most progressive. The debut album, released in 1971, is somewhat influenced by the likes of Led Zeppelin and Black Sabbath. The opening track bears a striking resemblence to "The Immigrant Song," also the opening track of Zep's third LP. The album features a heavy sound with some fairly strong performances turned in by guitarist Peter Hesslein and keyboardist Peter Hecht. This is raw "recorded live in your garage" style music but it does show a band trying to find itself. The next release, Where the Groupies Killed the Blues is a bit more experimental. There are a few acoustic numbers, some strange sounds, and some more accessible songs. The album lacks consistancy and is a throw-away if not for the opening track and "Hobo." Both are good tracks and make the album worth owning, but at cut-out prices :-) The third album, I'm Just a Rock 'n' Roll Singer, is an attempt to get more mainstream and commercial. It is also a complete mess. The title track is a radio ready song, full of energy, horns, and a straight 4 time signature. The rest of the album sounds disconnected and shows a band that has lost itself. Banquet, the fourth release is their masterpiece. It is comprised of two 10+ minute tracks, each surrounded with shorter more accessible songs. One of the long tracks, "Spanish Galleon," features excellent guitar, bass, and keyboard work with a highly integrated 30 piece orchestra. The effect is incredible and it remains on my top ten list of progressive tracks. The next release, Mind Exploding, is the most produced album by the original lineup. While nothing spectacular on the progressive scale, it is a nice rock album and on par with what bands like Uriah Heep ("Return to Fantasy," "Firefly") were doing at the time. Unfortunately for Lucifer's Friend, this release did not catch on and it was time for some major changes. Lawton left to sing for Uriah Heep. He was replaced by former Colosseum II front man Mike Starrs. The next release Good Time Warrior was in the same vein as mind exploding and was met with about the same reception. One more attempt for commercial success was Speak Me In, released in 1980. Lawton returned after the demise of Uriah Heep in 1981 and recorded one last Lucifer's Friend album Mean Machine, full of loud bombastic pre-metal material. For many Mean Machine was the fulmillment of a promise made a decade before. Like all the releases that preceeded it, it went largely unnoticed. A few club dates and a few months later saw the end of Lucifer's Friend. Lucifer's Friend and Where the Groupies Killed the Blues are both available on CD. Lucifer's Friend features five bonus tracks, one of them from I'm Just a Singer and one from Banquet. The other three are unreleased instrumentals and oddly enough are the three best tracks on the CD. If they had continued in that direction, maybe they would have enjoyed success. Lucifer's Friend is recommended and is a good starting point with the band.

I'm only including this review of I'm Just A Rock and Roll Singer because I saw it listed in the survey, and because it was my misfortune to purchase this dog. It's not even tangentially progressive. Lucifer's Friend was a German/British hard-rock band whose highest aspiration it seems was to sound just like Uriah Heep. (And in fact, vocalist John Lawton was the replacement for David Byron in said band) In that endeavour they succeeded beyond their wildest dreams, so that in itself should be enough condemnation for anyone! But Lucifer's Friend apparently were not content to be merely bad, they seemed to want to be the worst band in the world. So a few tracks have horns a la "Bloodrock," while the six-minute "Song For Louie" is an absolutely pathetic attempt to sound progressive by gussying up a laconic blues number with a middle-section which includes every synthesizer cliché in the book. It ends up sounding like Gravy Train doing a Pink Floyd rip-off. I recall someone telling me their album Banquet was pretty good, but I only need to be burned once to know how fire feels. Stay well away.

Banquet is said to be Lucifer's Friend's best release, so it's the one I checked out. If this is their best, there's no point in getting any others. Banquet consists of several short songs, somewhat commercial in nature and two longer songs that are the standout tracks, though there is still a commercial nature. Lots of horns and strings and a "groovy" mid-70s rhythm reminded of bands like Lighthouse, Three Dog Night, Chicago, Blood, Sweat and Tears, and so forth. I admit that some of the compositions are nice and there are some excellent solos and arrangements *but* basically this mid-70s AOR rock that doesn't excite my senses very long or very much. I can recommend it only to members of the '70s Preservation Society.

[See Colosseum II | Pink Mice]

Luna (81)

[See Osanna]

Lunar Chateau (94)

Suite for Electronic Accordion (73), Midnattstimmen (7?), Cosmic Love (7?), Ralph Lundsten's Universe Featuring The Andromeda All-Stars (77), Robby The Robot (??), Alpha Ralpha Boulevard (7?), Discophrenia (??), Paradissymfonin (80), The New Age (??), En Sommarsaga (??), Flygniva 450 (??, soundtrack)

Prolific Swedish composer began his career with unusual experiments in sound (e.g.: Suite for electronic accordion). Later he built his own electronic studio called "Andromeda Studios," which featured huge, custom-made modular synths. Paradissymfonin is typical of music from this period, a simple theme, gradually becoming more twisted as the piece progresses, acoustic instruments (and voices) perverted weirdly by his synthesizers. Imagine Mike Oldfield slowly going mad in the studio as the other musicians can only look on in horror as they play and you're beginning to get an idea. On the Featuring The Andromeda All-Stars album, he's a bit toned-down: much of what's here is definitely weird, but there's lots which can be termed beautiful as well. -- Mike Ohman