Uno Zingaro Di Atlante Con Un Fiore A New York (73)

A really non commercial jazz-rock band (like Aktuala).

Bizarre avant-garde?

Air (93), Dreamfish (93), Silence (93)

A German guy turning out vast quantities of great electronic music. Some of it is in the realm of icky techno, but some, especially Air is beautiful ambient stuff rooted heavily in the Klaus Schulze/early Tangerine Dream school electronic progressive stuff. Silence is a more minimalist electronic project, and Dreamfish has some fantastic music, but the music is marred by some idiot blathering cheesy and assinine "poetry" texts over the best track on the LP: the 28 minute spacewalk entitled "Hymn." Out of the bunch, Air is most recommended.

Napoli Centrale (75), Mattanza (76), Qualcosa Ca Nun More (77)

Great first album of jazz-rock with popular music. All the songs are in neapolitan dialect.

Slow Motion (85)

Lots of albums, but only remember Little Hammers (I think that was it). Steel Drum player. More Latin/jazz/new-age than prog. Very mellow, at times a bit boring. It's one pan player and his band, so don't expect to hear what you'd hear down in Trinidad. :-) Actually, I would say NOT prog.

Bedside Companion (78), Dreams and Nightmares (79), Children of the Night (80), Decomposing (81) And You Thought You Were Normal (82), American Bandages (84)

Former violinist with Canadian group FM. His solo stuff is for the most part thrashy dance tracks of little interest to any self respecting prog-head.

[See FM]

Albert One (71)

Psych, features Jan Schelhaas of Caravan and Camel.

[See Camel | Caravan]

National Health (78), Of Queues and Cures (79), D.S. al Coda (82), Complete (90) (double CD compilation of all three albums)

This is progressive rock at its finest. Complex time signatures, great jamming, inclusion of rare sounds such as vocal harmonies without lyrics, cellos, multiple keyboards, etc... National Health is a spin-off band of Hatfield and the North, and they put out their 3 albums in the late 70's, early 80's. Very jazzy at times, hard prog rock at other times.

Stated simply: Get something from this band! National Health was the brain child of Dave Stewart (no, not of the Eurythmics) and Alan Gowan. The group developed in 1975 in response to the end of "thinking man's" rock music. In the liner notes for the CD, Stewart describes National Health as ."..a large scale rock ensemble playing intricate, mainly instrumental music," a far better description than I could derive. To paraphrase Stewart, the Ramones they are not! The music is strongly structured and composed, not at all free form, but not sounding forced, either. Within a composition, the music develops well and easily flows from one section to another, continuously developing the theme and sounding coherent the entire time. The first two albums represent the band during their peak, despite many troubles that beset the band and its members during that time (humorously elucidated by Stewart in the liner notes.) Song lengths range from eight seconds ("Phlakaton" - an obligatory drum solo, but far from what you would expect from such a solo) to 14'32 for both "Elephants" and "Tenemos Roads" (."..an epic about ancient civilizations on Planet Mercury..."), and intricate they are. To put on one of these tunes simply for background music is to do it and yourself injustice. The music is quite involved and complex - instrinsic, indeed! Both key modulations and time changes abound. I'm not sure there is a 4/4 time signature on any tune, and I know (from the liner notes) that part of "Elephants" has a moog solo over a 25/8 rhythm. Not a tune you tap your foot to while doing other things. One listen to "The Collapso" (or the even better "Apocalypso") will make you sit up and pay attention. "The Apocalypso" is one of my favorite cuts (most favorite goes to "Tenemos Roads") on the CD and also one of the least serious. It is a rewritten and extended version of "The Collapso," recorded in 1990. If there is an apocalypse, this is how it will sound and it *WILL* be fun. Though quite detailed, the compositions never made me feel like the musicians were just trying to fit in another note or move to another time signature "just because they could." National Health's third and final release, D.S. al Coda, is a tribute to Alan Gowan, who died in 1981. All compositions, with the exception of "Arriving Twice" and "TNTFX" (both by Gilgamesh, Gowan's prior band) were written by Gowan. These tunes are decidedly jazzier and noticably shorter, on average. Though "I Feel A Night Coming On" fits well in the old vein, these songs represent more the direction of Gowan and not National Health. I spend most of my ear time listening to the band's first two releases, however, because I feel they are much more involved than Gowan's compositions. This band and CD are currently on my all-time top ten and are there they are likely to remain.If you have ever listened to Egg or Hatfield and the North, you'll have a feel for the music style of National Health. If you haven't, then I strongly recommend that you get this CD, then pick up some Egg and Hatfield. Shoot, pick up nearly anything with Dave Stewart (with the possible exception of Stewart/Gaskin) on the keys. You will not be disappointed. -- Mike Taylor

Jazz-oriented outfit formed by ex-members of Hatfield and The North. Featured Phil Miller, Dave Stewart, Pip Pyle, Alan Gowen, Mont Campbell and others. The music is a powerful connection of jazz-rock and complex progressive stylings, with expanded lineups featuring woodwinds, horns, and voices. An outstanding example of progressive in the true sense of the word.

National Health were an offshoot of the "Canterbury scene," specializing in jazz-oriented progressive rock, taking the work of Soft Machine and the like to a more accessible level, and possibly comparable in style to Brand X.

Perhaps the pinnacle of Canterbury prog, National Health is composed mostly of ex-members of Hatfield & The North (guitarist Phil Miller, drummer Pip Pyle and keyboardist Dave Stewart), so not surprisingly continues to develop ideas started by that band. The first album is made up of four very long tracks. THe music is not unlike that on Hatfield's The Rotter's Club album. Of Queues And Cures is the band's classic. This one introduces bassist John Greaves (ex-Henry Cow) and cellist Georgie Born, and includes Caravan associate Jimmy Hastings on clarinet and flute and various other sidemen on horns and oboe. The mixture of symphonic, jazz and rock works excellently with shifting rhythms and melodies carried by Miller's simmering guitar and underpinned by Stewart's rich Hammond organ tone. "Squarer For Maud" includes an incredible cello solo at the end, as well as brilliant use of clarinets and oboe in a superb rock format. "The Collapso" is a great vehicle for Stewart's organ playing, and also includes a part for steel drums! On "Dreams Wide Awake", Stewart apparently broke the organ in the process of the psychotic solo at the beginning! Some of Pyle's most impressive drumming turns up on "The Bryden 2-Step (For Amphibians)". The album's only vocal track: "Binoculars", is graced by some heavenly Miller guitar fills. One of the classics of the Canterbury scene, a fine introduction. D.S. Al Coda is a tribute album to keyboardist Alan Gowen, an on-again-off-again member who played on the first album, and died just before the making of the third of leukaemia. It consists entirely of his compositions, mostly performed by the band live but never recorded, though two of the songs ("T.N.T.F.X." and "Arriving Twice") were previously recorded by Gilgamesh. Their most uneven album, yet it includes some fine tracks. "Flanagan's People"/"Toad Of Toad Hall" stands among the best National Health tracks, while "Shining Water" is an impressive exercise in controlled rhythm and dynamics. -- Mike Ohman

[See Arzachel | Egg | Gilgamesh | Gowen, Miller, Sinclair, Tomkins | Hatfield and the North | In Cahoots | Khan | Soft Heap | Stewart, Dave]

Natkaravanen (81)

Art-rock, said to resemble a heavy version of Kayak. Private pressing.

Magic Key (??)

20000 Miles Under The Sea (78), Space Storm (80)

Symphonic Prog.

Estacion de Sombra (8?)

[See Decibel]

Outer Space Connection (79)

Psychy Progressive Rock. Private pressing.

Tips Zum Selbsmord (72)

Very rare, high-selling LP (more than US$1000) of prog with savage guitar and sinister vocals.

Live (81), Castle in the Air (84), Disadvantage (85), Negasphere 1985-1986 (91)

Sounds somewhat like U.K. with a Japanese Bryan Ferry (based on my limited auditioning of Roxy Music) on vocals. More "wigged out" than U.K. but not bad.

This band was active during the mid 80's and a live set came out in 1991 titled Negasphere 1985-1986 which may remind of UK, Genesis, National Health, and even Zappa. The vocals are very affected, like fish or one of his many imitators. The recording is fairly substandard. Overall impression: Nothin' really special.

They have two mid-80's releases.

Neil's Heavy Concept Album (84)

This is an interesting curio. Neil is Nigel Planer, a British comedic actor who created his popular Neil character on the TV series "The Young Ones". Neil was a hippie who had in the series let out that Hawkwind and Marillion were his favourite bands, hence the thank-you credit to Planer in the liner notes to Marillion's Fugazi LP. Neil's Heavy Concept Album was done on the heels of the success of the TV show, and actually yielded a hit single in a reworking of the Traffic song "Hole In My Shoe". A number of Canterbury people (Pip Pyle I think, and several others) played on this, and there's apparently even a version of Caravan's "Golf Girl"! I've been looking for this for a long time. I've only heard one track, "Hole In My Shoe". -- Mike Ohman

Journey To The Centre Of The Eye (71), A Tab In The Ocean (72), Sounds Like This (73), Remember The Future (73), Sunday Night Live At The Roundhouse (74), Down To Earth (74), Recycled (75), Live In New York (77), More Live In New York (78), Magic Is A Child (78), Thru The Ears (78), Man In The Moon (80), Nektar (93, comp. from first three LPs),

Execellent euro-rock band on the verge of progressive that put out quite a few monsters including Tab In The Ocean and Remember The Future Went commercial-prog after RTF.

Germany's answer to such space rock groups as Pink Floyd and Hawkwind. Their 1974 tour included floating scenes from extraterrestial planets. Remember the Future is classic and should be in everyones library. Its a single song, two-sided composition with lush synthesizers and ethereal singing.

Nektar was a band of English expatriates living in Germany. Their earliest albums were hard rock that drew heavily from the space-rock and Pink Floyd styles of the same period, although by 73's Remember The Future, they had a powerful rock sound identifiably their own. After Sounds Like This, their albums were hit or miss: Magic Is A Child is one to avoid, yet Recycled, which preceeded it, is very intense, with synthesizers by Larry Fast. Ones I would reccomend are Recycled, Journey, and the LP version of Remember The Future (The CD is a keyboard heavy remix that buried the album's powerful guitar work - avoid it). More Live In New York is a good one as well. The Nektar compilation from 76 features the best material from Journey and Tab.

I have two very good albums by this four-piece. Personally, I prefer *A Tab in the Ocean* (1972), which is noteworthy not so much for complex rhythms or showy playing as just very well written music. They do an excellent job of making a 20 minute song all "hang together" very well, and every note is well thought out and carefully placed. I think in this respect they compare to Yes' considerable compositional skills (esp. Close to the Edge), but if what you're looking for is sheer virtuosity, look elsewhere. Remember the Future (1973), also comes recommended for the same compositional strength and cohesive group playing; it's just not quite as impressive as Tab. -- Greg Ward

One of the better known "German" bands, they even had a gold record in the US with Remember the Future. They started in England but moved to Germany for one reason or another. Their output has varied over the years. They started as a psych band, but other albums added some progressive elements. They were supposed to have a *wicked* light show. Remember the Future and Recycled are probably the best albums of interest to the progressive listener. Each is a conceptual album that is a nice blend of melodic guitar and keyboards with a vocal story. To my ears, they aren't readily comparable to anyone else. The music isn't overly complex, but generally satisfying. My personal favorite is Recycled. I also liked Down to Earth a great deal, but it has a flaw that always nagged at me. A circus concept, there was a "ring announcer" between each song that, for me, ruined the flow of otherwise decent music. Tab in the Ocean and Magic is a Child had shorter songs and were less satisfying. Start with Recycled or Remember the Future. Note that the CD mix of RtF buries the guitar and is not as good as the LP mix.

British band that lived and recorded in Germany, and included two (British) members on lights and visuals (Apparently Nektar live was quite an impressive spectacle, hence their surprising popularity). Journey To The Centre Of The Eye is a mindblowing epic with lots of echoplex guitar and dual mellotrons which is quite in tune with the Krautrock stuff going on around them, yet is definitely British. The reverb guitar cascades often remind me of Ash Ra Temple or early Tangerine Dream, whereas the lush mellotrons and often intense tones make me think more of King Crimson. An impressive debut. A Tab In The Ocean on the other hand, is mostly simplistic hard rock with the odd boring slow passage that tries to be "atmospheric". "Desolation Valley" may have been a very effective live number, it certainly deserves better than the lackluster treatment it's given here. The 17-minute title suite does have some nice moments though, sometimes reminding of Genesis. Remember The Future is infinitely better, still emphasizing Roye Albrighton's guitar, but given more of an intense progressive style to work with. The way dreamy, meditative passages with gently arpeggiated guitar build slowly into surging rockers make this one very exciting and highly recommended. Watch out for the CD issue, it was remixed, de-emphasizing the guitar (what's left??) and adding superfluous synth (there was NO synth on the original). I haven't heard it, but everyone I know said it sucks. Down To Earth flirts with a slightly more commercial, song-oriented style, but has some very good tracks, especially the excellent "That's Life". Derek Moore's bass playing here sends shivers up and down my spine. Since it seems keyboardist Alan Freeman is as unwilling as Tony Kaye to use synths, the guest appearance by synth wizard Larry Fast on Recycled is a godsend. This is them at their progressive best, jamming away hot with intensity, the interplay between Roye Albrighton's guitar and Freeman's organ and piano is a wonder to behold, Fast's textured, symphonic synths being the icing on the cake. Moore seems to have found greater confidence in his playing, the power-riffing style first essayed on "That's Life" is dripping at the edges of this, especially on the climactic "Marvellous Moses". An absolutely indispensable album for any prog collector. Magic Is A Child followed the departure of guitarist/lead singer Albrighton to join Snowball, his replacement being David Nelson of Man. It's supposed to be the most commercial album yet, but not really bad. I haven't bothered to get it. Nelson is also apparently on the two Live In New York albums. Albrighton rejoined for Man In The Moon, which I have NEVER seen, but is supposed to be the band's worst effort. -- Mike Ohman

[See Quantum Jump | Snowball | Synergy]

Northern Dream (71), Sound On Sound (79), Quit Dreaming And Get On The Beam (81), Sounding The Ritual Echo (81), Das Kabinett (81), La Belle Et La Bete (81), The Love That Whirls (82), Chimera (83), Savage Gestures For Charm's Sake (83), Vistamix (84), The Summer Of God's Piano (84), The Chamber Of Dreams (84), Pavilions Of The Heart And Soul (84), A Catalogue Of Obsessions (84), The Two-Fold Aspect Of Everything (84), Iconography (86), Getting The Holy Ghost Across (86), On A Blue Wing (86), Map Of Dreams (87), Chance Encounters In The Garden Of Lights (87), Optimism (88), The Strangest Things (89), Duplex (89), Chimes And Rings (90), Nudity (90), Heartbreakland (90), Details (90), Simplex (91), Luminous (91), Blue Moons And Laughing Guitars (92)

Guitarist and songwriter extraordinaire from solo efforts to Be-Bop Deluxe to Red Noise. Cannot recommend him enough.

[See Astral Navigations | Be-Bop Deluxe | Rain Tree Crow]

Nemo (73), Doin' Nuthin' (74)

Weird French prog founded by Francois Breant and other ex-members of Ergo Sum and Cruciferous. Albert Marcoeur guested on Doin' Nuthin'.

[See Breant, Francois | Cruciferius | Ergo Sum]

Neo (80)

Obscure French fusion band that are in the spacey vein, and sound very much like Carpe Diem, Quantum, Wlud or even possibly Allen period Gong.

Neon Rose (73), 2 (74; a.k.a. Reload), 3 (75)

Prog.

Neptune's Empire (71)

Prog. Private pressing.

The Tree (78), Head In The Sand (79)

Private issue symphonic prog.

In the Following Halflight (81)

Fantastic rare early eighties symphonic progressive band that put out a highly regarded album Into The Following Halflight. The track on the Past Present Future compilation is excellent.

I've only heard their stuff from the Syn-phonic sampler Past Present Future. Great instrumental music, very nice mellow guitar work. One album, I think, called In the Following Halflight, which is supposed to be released on CD any time now...

Corroded Paths (92)

British style fusion band a-la early Brand-X. Excellent rhythm section, ripping guitars, and plenty of original ideas. Decent first effort.

This five-piece fusion outfit hails from the British Isles, led by guitarist Tim Crowther and drummer Steve Clarke. The band is rounded out by Ted Emmett (trumpet), Pete Jacobsen (keys) and Laurence Cottle (bass). Their music is filled with energy and melodic intensity, based on strong rhythmic foundations courtesy of Clarke and Cottle, and polished with brilliant solos from the other three. This is an impressive debut offering, striking a natural balance between structure and improvisation, complexity and accessibility; all are exceptional musicians, and depending on who's leading at any moment, the sound can be covering almost anything from a hard-edged style comparable remotely to mid-period Return to Forever or the current edition of Brand-X, to the more lucid and pervasive jazz stylings offered by the likes of Scott Henderson, Allan Holdsworth, or Bruford in his "Feels Good To Me" days. The writing duties are split between Crowther and Clarke, who tend to showcase the opposing aspects of the band's sound - Crowther, who penned five of the albums eight tracks, concentrates more on the melodics and savor, while Clarke tends to focus on the rhythm and punch. One of the album's most memorable tracks is "Dial Direct," a hard driving funky-at-the-bottom track with some punchy guitarwork that will make Goodsall fans stand up and take notice. "Corroded Path," a Crowther tune, kicks off evoking the same spirits, but yields to some sweet melodic interplay between flugel and guitar. "L21" employs a bit of the Steve Morse touch as it winds through a series of changes and a tasteful keyboard solo followed up with guitar pyrotechnics, covering a lot of territory within four and a half minutes. "No Laughing Matter" strolls through a series of tight turns, all in the jazzier stream, slightly reminiscent of Tribal Tech circa Nomad, although throughout the keyboards are used more freely without guitar dominating the overall mix. In summary, Network's debut is like a breath of fresh air, going beyond the usual technical experience, hinting at new levels of the jazz-rock artform.

Neu (72), Neu 2 (73), Neu 75 (75), Two Originals of Neu (77, first two LPs on 2LP set), Hallogallo (80, first LP reissued under different title), Black Forest Gateau (82, comp.)

Spinoff of Kraftwerk, who started out in a much more adventurous style at first. Like Henry Cow, all their albums are easily findable as all the covers are variations on the same theme. NEU! is a duo of Michael Rother (guitars, keyboards) and Klaus Dinger (bass, drums, vocals, guitar and piano). The debut is a fascinating work of experimental Krautrock. The hypnotic "Hallogallo" is the most like Kraftwerk, but the emphasis is on guitars, not keyboards. The guitarwork can often be spellbinding, note the beautiful "Weissensee" and the heavy-metal-bordering-on-white- noise "Negativland". Required listening for Krautrock fans. I haven't heard NEU! 2. By the time of the last studio album, NEU! '75, they seem to be repeating themselves, note the similarity to "E-Musik" to "Hallogallo". They also add some punky new-wave overtones on "Hero" and "After Eight" (screaming vocals and raggedy guitars). Most memorable is the almost catatonically s-l-o-w moving "Leb'wohl", featuring some vocal mumblings by a most obviously stoned Dinger. Best song: "Seeland", which recalls the soaring guitarwork of "Weissensee". Black Forest Gateau is a British compilation drawing entirely on the first and last LPs. -- Mike Ohman

[See Düsseldorf, La | Kraftwerk | Phantom Band]

Quasar 2C361 (78), Vuelo Quimico (78), Digital Dream (80), Visitor (81), Chromium Echoes (82), Invisible Views (83), Heritage (84), Alma (87), Supranatural (87), From Madrid To Heaven (87)

The most well known Spanish electronic ensemble led by Michel Huygen. Great Klaus Schulze music, with a lot of acoustic guitar which adds a twist. Any of their first few are great, especially Quasar 2C361.

What started out as a three piece synthesizer band led by Michael Huygen has pretty much ended up being his own one-man project. "Psychotronic" music is what he calls it, basically a modern hard-synth driven style with occasionally poppy overtones, I wouldn't call this "space" music as it lacks much of that gentler atmospheric touch and subtlety. More comparable to Michael Garrison's harder edge. Sometimes it works fairly well, and other times the result is rather dull. Heritage is one of the better ones.

Spanish duo of Michel Huygen and Carlos Guirao. Chromium Echoes is Schultze-like electronic music and features some non-instrusive vocals on one track.

Numerica is a 1990 work from one of Spain's premier electronic space music artists. Fronted by Michel Huygen, this contains what he refers to as "psychotronic" music. The music is less upbeat than Tangerine Dream and the like, though it has those moments too. The emphasis is on more free flowing chord textures, similar in style to Richard Burmer, but with an undeniable European sensibility.

Battlement (78)

Neuschwanstein was a german band who's sole surviving artifact is their incredibly powerful album Battlement, originally released on the Racket label in 78. The sound on the LP could be described as Planets period Eloy meets Moonmadness period Camel, with a touch of Machiavel thrown in too. Lots of mellotrons, acoustic and electric guitars, unique keyboard work and plenty of interesting and colorful melodies, with a big pedal-bass sound. The vocalist sounds remarkably like Peter Gabriel; lyrics are all in english. The album has six long tracks, although musea has added one extra track for the CD reissue. The original mix was just a little on the bassy side, so with good intentions, Musea brought the band's guitar player in to remix the album. Unfortunately, most of the bass has now been mixed out, and the vocals have been brought further to the forefront, giving the album a whole new character sounding more like Genesis than any of the aforementioned bands. I must admit I'm somewhat disappointed with the remix. Still, for anyone not already familiar with the LP, this CD reissue should be acceptable.

Battlement is classic progressive rock from a German band whose symphonic keyboard-laden sound is well in the vein of mid-period Genesis, with the addition of tasteful flute interludes a la Camel. The vocals are in English with nary a trace of an accent, and a bonus track is included.

Battlement presents a band who's music necessarily evokes the Gabriel era Genesis. The singer's voice (in English) as well as the arrangements are very similar. The use of flutes and acoustic guitars is a bit more sustained though. The compositions are usually text-based but all include tasty instrumental passages. A production that proudly captures the essence of the sound, the style and the era. A disc that will certainly charm the nostalgic but that may be offensive to purists. -- Paul Charbonneau

Black Hole Star (74), Tales From The Blue Cocoons (75)

A Man spinoff.

Haven't heard much of 'em, but didn't like what I heard.

Decent Man spin-off with appearance by Nektar's vocalist/guitarist. Some songs are great, some suck.

This offshoot of Man had two albums, neither of which exists on CD. My favorite is Black Hole Star. The other is Tales From the Blue Cocoons. Anyone who likes Man would probably like these albums too.

[See Man]

A New Idea of Heaven (91)

This short lived band released only one album (a 70 min.CD) to my knowledge, of which the first half was pop oriented mildly progressive tracks with nice male/female vocal harmonies, vaguely reminiscent of Cocteau Twins. The last half gets more interesting and is more instrumentally oriented, full of fire. Two members of this band later went on to form Lives and Times.

[See Lives and Times]

Senza Orario, Senza Bandiera (68), New Trolls (70), Concerto Grosso N 1 (71), Searching For A Land (72), UT (72), Concerto Grosso N 2 (76), New Trolls Live (76), Aldebaran (78), New Trolls (79), F.S. (81), America O.K. (83), Tour (85), Amici (88), and at least 27 singles.

A prolific Italian band whose every release was something different. In release are their horrible 60's beat debut Senza Orario Senza Bandeira as well as the packaged Concerto Grosso Per 1 and 2, complete with orchestration and also resembling 60's music although more in the style of Hendrix or the Moody Blues.

Every once in a while -- maybe once a year -- I'll discover an album so fantastic that I can't stop playing it. In the 1970's, it was material by ELP and Yes. The early 1980's introduced me to The (Dixie) Dregs... an instant love affair. I learned about Gentle Giant and Allan Holdsworth in the mid-80's, and most recently I've found PFM, Art Tatum, and Caravan. My "album discovery of the year' for 1992 is UT by the New Trolls. It is spectacular! Recorded and released in 1972, it is available on CD in both Italian (Fonit Cetra CDLP 430) and Japanese (number unknown) pressings. The following is a detailed review of the album. First, an overall impression: WOW. This is an impressive piece of work. The performance is excellent, and the music is quite varied in style. If you like ELP, Gentle Giant, Peter Gabriel's Genesis, PFM, and Yes, you will probably love this album. And interestingly enough, it has turned several die-hard heavy metalheads into New Trolls fans. It's rare to find a band with such versatility. They play intricate counterpoint and beautiful melodies with ease... and yet they can rock as hard as any heavy metal band. Their style is a blending of many others, but it sounds original. I have heard that the various New Trolls albums sound wildly different, and some are pretty poor. So, if you have previously heard NT and disliked them, I recommend giving UT a listen anyway. BTW, if you like UT, I also recommend that you check out their Concerto Grosso No. 2. Overall, it's not quite as good as UT, but it has some real standout moments. I just bought it, and I've been humming it for a week.

They started as a rock band (like Hendrix, Vanilla Fudge). The best album is Concerto Grosso Part 1 with a mix of classical and rock music. From the album Aldebaran the sound became more commercial (like Bee Gees).

The New Trolls are a band whom I understand have gone through a couple thousand different permutations and musical stylings. (Hallmark of a classic progressive band....change lineups and music with the weather....ala King Crimson, Yes, Gong) Their classic is generally regarded to be UT I would have to agree. While I do not possess any other of their disks, this one is definately classic. Very much in the symphonic vein, I find this to be a disk that grows on me with each listen. I hear something new everytime. The vocals are in Italian. However, they are appropriate and while some foreign vocalists can grate that never happens here. Those that enjoy some of the less mainstream Tull will definately enjoy this. All in all, a must.

New Trolls were an Italian band whose output has been quite inconsistent, in that they have released hard rock, pop ballads, and progressive rock works. As far as their prog rock releases are concerned, their highlights were UT, and the two separate albums, Concerto Grosso Part 1, and C G Part 2. The Italian CD reissue combines both of the latter into one CD, which, in addition to the high quality of the music, also offers good value for money. On to the music... The compositions are all motivated by classical music motifs, and are entitled "Allegro," "Vivace," and so on. However, the presentation is in a rock format, and the group has achieved this very well. This is prime classical rock, accompanied by an orchestra conducted by Luis Bacalov. The only comparison I could possibly make would be to Ekseption, but this music is far beyond the lightweight classical-based songs of that band. In short, if the idea of classical music within a rock context appeals to you, this release will definitely not disappoint.

I recently picked up their highly regarded 1972 release called UT. This album is an amazing amalgam of progressive rock covering a wide variety of styles yet it remains cohesive rather than schizophrenic. There are references to several of the "big names," including Yes, ELP, Genesis, King Crimson, Focus, and the general 1970s Italian progressive scene, including PFM but the music is uniquely their own. Musical energy is abundant as is complexity and variety. Though there is plenty of excellent, melodic keyboard work there does seem to be a slight emhapsis on the driving, high-energy guitar. The Italian vocals aren't harsh in any way and shouldn't be a detraction. This album is highly regarded for a reason. Get it!

I have a tape copy of UT. The first half is rather ELP influenced yet original, with strong organ work and is quite good. The rest of the album essays several different styles and is mediocre. "C'e Troppa Guerra" is a heavy-metal song that for the most part resembles Black Sabbath, but it includes some dynamics that make it somewhat interesting. "Paolo e Francesca" is a pleasing David Bowie soundalike, but I'd hesitate to call it progressive. It seems to have the same chord progression as one of the songs from Space Oddity, perhaps the beginning of "Unwashed And Somewhat Slightly Dazed". -- Mike Ohman

[See Ibis | New Trolls Atomic System]

New Trolls Atomic System (73), Tempi Dispari (74)

An offshoot of The New Trolls who's self-titled is one of the best out of Italy ever. Also related to Ibis.

The first LP is a classic rock. The second one is a jazz music and was not interesting. When the band was dissolved, Renato Rosset went to play with Nova Tullio: De Piscopo is now a famous soloist.

New Trolls Atomic System were a splinter group off of New Trolls. They released two very different albums. So different that it's hard to believe they came from the same band. Because there is little or no information on the Korean CD reissues, I can't be sure they are the same band! New Trolls Atomic System is most similar to UT, which isn't too surprising, I suppose. Strong synth work can be heard played with an ELP-like energy. But they don't sound like ELP. In fact, the opening song, "La Nuova Predica di Padre O'Brien," reminds me more of Museo Rosenbach jamming with Ian Anderson. Yes, there's some distinctive flute that instantly recalls Jethro Tull to mind. Now and then we're treated to heavy guitar licks along with searing saxophone in a rollicking frolic of rock cum progressive. The seven songs average a little over six minutes each. Tempi Dispari is *very* jazzy. It contains two songs, each about 16 minutes. Yes, it's a short album. The first is titled "7/4" and the second is "13/18." I guess that gives you an idea where they're coming from. "7/4" is definitely in that time, at least in sections. I don't know about "13/18" because I didn't know /18 existed. It think it's a typo because the song is subtitled "trediciottavi" which means 13/8. Anyway, the music is instrumental and characterized by sax, organ and guitar taking turns at the solo spot, like most jazz music. The musical foundation is a mix of jazz (mostly) and rock (occasionally) though not fusion. "7/4" follows this pattern but ends up in a fairly progressive jam. "13/8," at the beginning, sounds like mere noodling while trying to get something together. Once together, it sounds vaugely like a Soft Machine jam with added guitar. Both songs are often very spacious and sometimes even spacey. I like New Trolls Atomic System better though this is worth an occasional listen.

[See Ibis | New Trolls | Nova]

New York Rock and Roll Ensemble (68), Faithful Friends (69), Reflections (70), Roll Over (71), Freedomburger (72)

New York band that included a oboe player and cellist. First three LPs are apparently the artiest, with baroque pieces adopted to rock, poetic lyrics and the like. Later albums apparently rockier with shorter songs, but still incorporating the classical instrumentation. -- Mike Ohman

Newcross (86)

Good unique Californian progressive band, who have been quiet since the release of their self titled EP.

California 3 piece band, probably now defunct. Sound compares favorably to an experimental UK, singer even souns like Wetton. This 5 song mini-LP was the only thing they ever put out - on the "Rain of Thought' label. Quite good.

Bayou Moon (85)

Work Resumed on the Tower (84), Letters Home (86)

The spinoff of The Art Bears. See Art Bears for a vague description.

Another Henry Cow/Art Bears connection. More simple and gentle on your ears.

Another good Henry Cow spinoff. Robert Wyatt sings on Letter Home.

[See Art Bears | Henry Cow | Slapp Happy]

Grupo NHU (78)

Prog.

In Sheltered Winds (86)

Although the cover art and the fact that Peter Nicholls is the lead vocalist/lyricist on this album might lead one to believe this is a lot like IQ. Well...not quite. There are no keyboards and the music is very low-tech. The guitar is jangly and very Byrds-ian, pretty much homogeneous sounding throughout the album. There are some askew time-signatures but no real solos or jamming or anything. Nicholls' vocals and lyrics are very apparent, but for the most part this sounds like a mediocre band with Nicholls singing. You'll be far more satisfied with The Wake. -- Mike Ohman

Niagara (71), S.U.B. (72), Afire (73)

Prog, featuring Danny Fichelscher of Amon Düül II and Popol Vuh. First album is apparently all percussion.

[See Amon Düül II | Popol Vuh]

The Thoughts Of Emerlist Davjack (67), Ars Longa Vita Brevis (68), Everything As Nice As Mother Makes It (69), Nice (69), Five Bridges (70), Elegy (71),...plus countless best-of compilations and repackagings.

Predeccessor to ELP and Refugee. Much more classical and symphonic than ELP in some respects, though some may view it as more pompous and pretentious. Foundations of Emersons style and ELPs future were laid here and in particular on the song "America."

Keith Emerson's first prominent band, The Nice had a bad reputation in the USA. Mr. Emerson played an arrangement of "America" (from West Side Story) and he kept burning American flags. This tune, along with another Nice gem, "Rondo 69" (I don't know what the "69" is for were played by ELPowell and ELP for encores during the last two tours. Anyways, the music has a very strong classical influence...much more so than ELP. In fact, most material was with an orchestra. There were the usual long pieces, most notably "Five Bridges." The definitive album, Keith Emerson and The Nice has most of their noteworthy material including America. The album is live and features some truly brutal keyboard torturing. If it's a cheap CD, pick it up. Otherwise, you can find a greatest hits CD with everything on it for about $2.

Best known as Keith Emerson's "first band," the early 4 piece band consisted of Emerson, Brian Davison (drums), Lee Jackson (bass and vocals) and Davey O'List (guitar). O'list quit after the first album, and they went on as a 3 piece. Jackson has to be the absolute worst vocalist ever to record, I mean this guy positively cannot sing, period. Fortunately, by Nice and Five Bridges the emphasis was mostly on instrumental stuff, although it still seems every song would still be destroyed at some point by Jackson's awful crooning. Musically, lots of Dylan covers, butchered classical pieces, like that.

Keith Emerson fans take note! In case you didn't know, this Emerson was one third (or one fourth, depending on which album) of The Nice before he was the E of ELP. The Nice's music is a really quirky late-60's sort of mix: some incredible powerhouse instrumentals, some beautifully played, almost heartfelt songs, and some very fun(ny) pop. IMHO, their albums got better as they went along. The Thoughts of Emerlist Davjack has some great moments (particularly the title track and the rather pretentiously psychedelic "Dawn"), but is easily surpassed by Ars Longa Vita Brevis. This latter album was an important step in the development of the pompous art-rock Emerson later made his fame and fortune on, as it has one of the earliest side-long prog pieces I've run into; what's more, they split this one into "movements"! Amazingly enough, too, Emerson actually credits most of the composers of the various "cover" pieces - Bernstein and Sibelius get full credit for "America" and the Intermezzo from "Karelia Suite," and Bach is *almost* credited for the theme borrowed from his Brandenburg Concerto No. 3. (I.e. the liner notes say they borrowed from this Concerto, but never actually mention the name of J. S. Bach. Guess you're just supposed to *know* who wrote the Brandenburgs.) Their third album, Everything as Nice as Mother Makes It, is absolutely superb. (Note that this one was re-released by Columbia in 1973 under the title "Nice"; the contents and liner notes are the same, but the original has lots of cool pictures.) It still has the same strange mix of styles as the other two, but everything is just GREAT! If you only get one Nice album, get this one. (But Ars Longa is also very much worth having, as are the two live/compilations, Elegy and Five Bridges, whose CD reissue is a little complicated but they do exist.) Note to vinyl hounds: gobs of crusty old "Greatest Hits" (or what-have-you) collections of The Nice exist, and some of them have weird/rare versions of several songs. Worth a few bucks if you find 'em in a used record store.

Yes, Emerson played keyboards in this band. Unfortunately, there's nothing else to recommend it. Thoughts Of Emerlist Davjack introduces horrible vocalist Lee Jackson who has no sense of pitch or phrasing, and clumsy guitarist David O'List, who stumbles through every solo as though he's forgotten how to play. Over all this, Emerson thrashes away like he's not conscious that there's a band backing him at all. As for progressive-ness, well if you think that taking a song in 9/8 (Dave Brubeck's "Blue Rondo A La Turk") and playing it in a straighter 12/8 ("Rondo", for which Emerson gets the writing credit) is progressive, go ahead and get this album. Ars Longa Vita Brevis definitely benefits from the lack of O'List's presence, but is really psychedelic, not progressive. Still, it's probably their best album. The self-titled album which followed seemed to signal the beginning of a dearth of originality and imagination: 70 percent of the music consists either of covers or is based on the works of others. Even the "originals" are old, "Azrael Revisited" is a new version of an old Nice song. The downward spiral continued for their subsequent albums apparently hitting rock-bottom with Elegy, which some have called the worst "progressive" album of all-time. Needless to say I haven't bothered to check it out! Only a terminal ELP fan need bother. This band doesn't begin to approach anything nearly as interesting as ELP did, though. -- Mike Ohman

[See Emerson, Lake and Palmer | Jackson Heights | Refugee]

[See Ibis]

Dziwny Jest Ten Swiat (67), Sukces (68), Czy Mnie Jeszcze Pamietasz (68), Enigmatic (69)), Niemen Enigmatic (71), Niemen Vol. 1 (72), Nimen Vol. 2 (72), Strange is This World (72), Ode to Venus (73), Russiche Lieder (73), N.AE. (74, aka Niemen/Aerolit), Mourner's Rhapsody (75), Katharisis (75), Idee Fixe (76), Best of Niemen (78, '60s singles collection), Postscriptum (79), Przeprowadzka (82), Terra Deflorata (89)

A Polish singer who got very popular in Poland with Beatles-type of songs, but who evolved into a true searcher in experimental lands. Niemen Vol 1 for instance is avant-garde jazz. Katharsis is almost only synthesizers. Best of Niemen is 60s pop, Niemen Engimatic is one single and one double album of good jazz-soul-rock, Niemen Vol. 1 and Nimen Vol. 2 are both experimental and feature SBB, Niemen Aerolit is typical jazz-rock.

Czeslaw Niemen started in the '60s as a singing organist, very much in the beat-pop mould. His early '70s output (from Vol. 1 through to Ode to Venus) is of paramount interest to prog collectors as they were recorded with the band that later became SBB. In 1974, Niemen formed his own prog rock band called Aerolit. He began playing synths extensively. The 1974 album, whatever you call it, is an interesting blend of fusion, electronics, and bluesy vocal wailing. Though credited to N.AE. (i.e.: Niemen and Aerolit), N.AE. and the very electronic Katharsis is virtually a solo album, a mainly instrumental tour-de-force in which Niemen plays all the instruments himself. Many, many layers of synth form the basic backdrop of sound, plus some Mellotron for added texture, bits of "musique concrete" and a touch of 12-string. Oh, and some impassioned vocals, which make this truly a sort of catharsis, as it's dedicated to a drummer friend of his who recently had died. Working with a band again, Idee Fixe is a real all-out production: a double LP which originally came with a 7-inch EP (which was missing from my copy). It's a kind of bridge between the fusiony style of N.AE. and the very electronic Katharsis. On it, Niemen works with a poet; the poetry is translated into English for all to enjoy. -- Mike Ohman

"Audion" sez best is '72-'76, including a period of space fusion and the radical synth/mellotron work, Katharsis.

[See SBB]

Mournin' (72)

Progressive German hard rock.

Planetary Expedition (80), Hallucinatory Executions (81), Poltergeists (81), Shadowless Veil (83), 2031 A D (84), Ombra (84), Cybersun 231 (84), Space Ritual At St. Mary's (86), The Largo Tree (86), Shadows Of Light (87), Barriers (92)

Great dreamish cassette-mostly trio who have put out classic tapes like the highly recommended Ombra and Largo Tree.

Barriers is another in a long line of excellent Nightcrawlers releases. This double cassette comes packaged in a unique double sized hard plastic case. Something I've never seen before. It allows for larger Jon Alderfer cover art but the size makes it difficult to store. The Nightcrawlers (Peter Gulch, Tom Gulch, and Dave Lunt) recorded Barriers from February to June 1991. Where their previous music took inspiration from Tangerine Dream Lazarus, Voices of Ether, Random Chances, Rapid Rover, Barriers, Feathery Dusk, Strange Attractors, and Broken Symmetry all pay homage to Klaus Schulze's recent efforts without being monotonous. Each track is relatively short (5 to 14 minutes in length). It isn't until we get to Parallel Worlds that The Nightcrawlers break a new barrier. Here we have a definite non-Tangerine Dream, non-Klaus Schulze inspired upbeat piece that even has a melody! Did I detect a similarity to that late 70's band Earthstar? The remaining tracks (Twisted Spaces, Collapsing Waves, and Electro Evolution) are minimalist, abstract electronic excursions that evolve into "classical" teutonic e-music. Barriers is a cassette album that will certainly please all fans of cosmic e-music.

I've heard only their self-titled release. They apparently have several cassette releases. Nightcrawlers is pretty decent electronic music and is very similar in style to Klaus Schulze circa Timewind and Tangerine Dream's Phaedra or Quichotte (without the guitars). Good rhythms though nothing that hasn't already been done.

[See Goricon | Kolab | Xisle]

Nightrider (79)

Nightrider is another in Musea's series of French progressive reissues. Nightrider was a French 6 piece band from the late 70s with the English vocalist Bob Salazar, 2 keyboards, guitar, bass, and drums. Musea kicked out the jams on this CD: original cover art; a 12 page booklet with photos, history, and lyrics; and a color picture CD of Nightrider in concert. Nightrider, like Kansas, crossed 70s hard rock with progressive music producing exquisite instrumental breaks featuring Herve Guido's and Frederic Rossini's elaborate keyboard chops and John Woolloff's tremendous electric guitar licks. Unfortunately in 1979, French sales of their album were low. Nightrider eventually broke up in 1981, never to release another album. If you long for those days of Kansas or Styx styled progressive rock, Nightrider is for you.

Nightwalk (80)

Atmospheric Norwegian synth music. Cassette-only release.

Nightwinds (79, released 91)

A combination of Aragon and Starcastle (ie not as dark sounding as Aragon, but more acoustic than Starcastle). Very good musically. Lyrics are good but the lead singer screetches once in a while (not like Aragon's heavy-metal screetching; more a this-is-a-little-out-of-my-range screetch). In fact like Aragon the vocalist takes some getting used to. They really show their roots: a song called The Curious Case of Benjamin Buttons is about a child born fully-grown who ages in reverse (sounds like Gabriel-era Genesis subject-wise). Plenty of great solo-synthing throughout (mostly analog stuff like ARP and Prophet with a Mellotron thrown in for good measure).

Actually, I'd give Nightwinds more respect than calling them anything like Aragon. For one thing they had a real drummer :-) and an absolute monster of a bassist. I'd compare them to Trick Of a Tail Genesis with a little Led Zeppelin thrown in to boot. I'd actually compare these guys to North Star a little as well. But these guys do verge commercial, and although the albim was recorded in 1979, they do verge neo-prog.

Nightwinds are an obscure Canadian band, whose self-titled release has been rediscovered and pressed onto a limited-edition CD. Musically, they are a symphonic prog rock band, fronted by keyboards, much in the style of mid-period Genesis, and characterised by very Squire-like bass. The keyboardist of this band is one-half of the duo Exchange, who have released a couple of electronic music works in the past couple of years.

Excellent canadian band rediscovered by the Laser's Edge. A sophisticated progressive rock, the sound may owe some influence to Genesis, Gentle Giant and other english bands of the period. The vocalist is stylistically unique and otherwise outstanding, and the band plays with energy and brilliance.

Canadian band that was *very* Genesis inspired. Songs like "The Pirates of Rebecca's Choice" and "As the Crow Flies" show the band using every Hackett and Banks trick in the book. The latter song is said to be an homage to Genesis. "The Curious Case of Benjamin Button" invokes memories of "Harold the Barrel." Basically, these guys will remind you of mid-period Genesis circa Trick of the Tail or Wind and Wuthering. The difference is that they have a Squire-like bass player. Other songs not quite so Genesis-like, but also not as engaging. Definitely better than some Genesis inspired bands I've heard, if you are a Genesis fans, give these guys a listen.

Most people discovered this band for the first time with the Laser's Edge re-issue of Nightwinds. The usual lineup of voice, guitars, keyboards, bass and drums offers a symphonic rock common to English and American bands from that era. The vocals are pretty ordinary but the instrumental work is solid. It is worth noting the superb work of the bassist who, at times, plays in a busy style like Geddy Lee or Cchris Squire. A familiar style, solid performances and a FM radio feel that make the listening even easier. -- Paul Charbonneau

[See Exchange]

Beyond The End...Eternity (71), Sixth Ear (72), Magnetic Web (73), Zero Gravity (7?)

Actually a duo of Moog synthesist Nik Raicevic and organist Pascal. Supposed to be quite weird. Nice sci-fi LP covers.

Voix De Surface (90)

RIO.

[See Debile Menthol]

Obus (74)

Heavy organ prog.

Nine Days Wonder (71), We Never Lost Control (73), Only the Dancers (75), Sonnet to Billy Frost (76)

Nine Days Wonder were one of the house bands on the German Bellaphon label alongside Nektar and Message, and their sound is rather similar to those bands. Well, sort of. Their self-titled first from 1971 is reported to be hard-rock orientated and not very progressive at all. Unfortunately, it's their most common album, though it does look nice with its gimmicky cut-out cover of dead fish by Hipgnosis. We Never Lost Control from 1973 does resemble Nektar a bit, but is pretty original. Walter Seyffer's voice is comparable to Roye Albrighton's, but is rather more urgent and highly strung. It may not sit well with everyone. The sound is mostly centered around the keyboards and discordant saxophones of Freddie Muenster. The jagged time signatures and occasional dissonances give the band's music a twisted edge, emphasized by the song titles and lyrics, which are some of the most hallucinogen-inspired gobbledygook this side of Amon Düül II. Sample lyrics (from "Andromeda Nomads"): "For even if they succeed in being the mouse in the elephant's trunk, they must wear their sneakers to keep him from sneezing." No kidding! The best songs include: the nine-minute "We Grasp The Naked Meat," which seems to have the most musical variation, "Days In Bright Light" and "Andromeda Nomads," which seem to showcase their strengths best. Also of note is "Fisherman's Dream," a mellow mellotron piece with soaring guitar, a pleasant diversion from the urgency of the rest of the album. Two more years later, the band issued a third album, Only The Dancers. There are apparently more than this, but I don't know what the other albums are called. Supposedly they mellowed out with time.

[See 2066 And Then]

Jouer Spielen To Play (93),others?

Three Italians (two guitars and bass) joined by Charles Hayward (Quiet Sun, This Heat) and Chris Cutler (Henry Cow) on drums. The music is strongly influenced by Hayward, so that the style is quite similar to his solo works. You will find here avantgarde rock ala Henry Cow, Fred Frith or This Heat, strong guitars and crazy improvisations. Brilliant stuff. Jouer Spielen To Play was recorded live on an Italian tour in 1991/92. They recorded also a first one with Henry Kaiser and Fred Frith somehow involved, but I don't know it. -- Achim Breiling

[See Henry Cow | Quiet Sun | This Heat]

99.99 (??), More of 99.99 (??)

Fusion.

Story of Simon Simopath (67), All of Us (67), Dedicated to Marcus III (69), Songs of Love and Praise (70), Local Anaesthetic (71)

Nirvana was mostly a duo of Patrick Campbell-Lyons and Alex Spyropoulos for most of five albums. Local Anaesthetic, however, was the work of just Campbell-Lyons. Like many of the early UK bands, the music is proto-prog rock with several extended guitar solos. The album roughly comparable to bands like Mayblitz, Pink Fairies, Gravy Train, etc. However, there is lots of piano work and they often draw from folk and jazz influences in addition to blues-based structures so the album isn't always straightout driving rock. It sounds a bit dated but overall I find this album surprisingly good. If you are into the early UK prog scene, Local Anaesthetic is well worth hearing. The earlier albums lean toward the pop end of the spectrum so prog fans will probably want to stick with Local Anaesthetic.

This is not an early incarnation of the '90s alternative band.