Now (82), Traveller (83), Structures From Silence (84), Empetus (86), Western Spaces (87), Dreamtime Return (88), Desert Solitaire (89), Stormwarning (89), Australia: Sound of the Earth (91), Strata (91, w/ Robert Rich), Soma (92), World's Edge (92), Starflight I (??), Suspended Memories * Forgotton Gods (??)

Tied for best (with David Parsons) as the best 80's synthesist around. Try any of his stuff - Dreamtime Return is a classic and a great place to start.

An electronic innovator. With so much output in the Berlin school vein, Roach has performed some truly original and exotic music. Most of his music is very atmospheric, and makes you feel like your in an ancient civilization or walking on the Planet of the Apes.

Now and Traveler are two of Steve Roach's early eighties releases. The music is very much influenced by Tangerine Dream... driving, sequenced electronics.

Stormwarning was my first experiment with the LA based electronic musician. I don't know too much about him other than what people have told me. Stormwarning is a two cut CD of 50 minutes containing live performances from 1985 and 1987. My first impression is largely positive with a couple of caveats. His style reminds me of 1974-76 Tangerine Dream but less full. This would have to do with Roach being a solo act while TD had three members. The first piece starts with a moody, ominous keyboard presence before moving into the overlapping sequencer runs that dominate most of its 20 minutes and most of the other track as well. Music like this requires many listens to comprehend so I won't say much more except that the repetitive sequencers got dull after a while, but in general I enjoyed it. Upon recommendation of some friends and a few netters I picked up another Roach CD, World's Edge. So far I like this one the best of what I've heard from the musician. I have a feeling that in ten years Roach will get the respect that pioneer Klaus Schulze does now. Roach has taken the sound of Schulze, mid-seventies Tangerine Dream and early-to-mid Ash Ra Tempel and blended them with a large dose of originality and ethnic influences. His style includes lush multi-layered keyboards and sequencers topped off by aboriginal and tribal percussion. It works. The end result is beautiful, peaceful music, perfect to relax to. I appreciate the way I can listen to the CD(s) several times and every time hear something new. There is a *lot* going on, though some sounds are ominously low in the background and almost subliminal. World's Edge consists of two CDs in a single CD package. Both are 60 minutes or more in length (which sort of explains the extortionate price I got this for). The second CD is *one* track timing in at exactly 60 minutes. However there is one thing about this release that is a major pain in the ass (for me, at least). Some of those low, ominous, almost subliminal sounds that I described earlier hit at the natural frequency of the walls of my apartment. This causes everything to resonate like hell even at low volume! I ended up having to turn the bass bandwidths on my equalizer all the way down to avoid this. Other than that, I strongly applaud Roach's efforts. You'll be hearing about this man in years to come.

Steve Roach is one of the new generation of electronic composers who were influenced by the masters of the Berlin School of Celestial Studies but has expanded the vocabulary by the inclusion of various types of ethnic influences and exotic instruments. I have two of Roach's albums, Western Spaces and Stormwarning. Western Spaces is a collaboration with Kevin Braheny. This album represent's their attempt to sonically describe the vast spaces and dramatic beauty of the American Southwest. In my opinion, they did an admiral job. The music is very emphemeral and subtle, and shimmers like the heat of the desert sand. Stormwarning, on the other hand, is a one-man live recording and is similar to Klaus Schulze's Timewind or Tangerine Dream's Ricochet, defined by layers of synth textures over sequenced patterns. Either of these are recommended to fans of electronic music.

[See Braheny, Kevin | Rich, Robert]

The Roar Of Silence (91)

German five piece - two singers (male and female) backed by a trio of guitars keyboards and drums. English vocals, but strong deutsch accents detract from their effectiveness. The music wanders around between pop, sixties folk-rock (harmonies sometimes remind of Jeff Airplane), ballads, occasionally drifting into territory that is mildly progressive.

Earthbound (93), Brutal Architecture (96)

Storie Di Uomini E Non (73)

A jazz band. Not very intresting.

Durch Die Wuste (78), Jardin Au Fou (78), Selbstportrait (79), Selbstportrait II (80), Selbstportrait III (80), Lustwandel (81), Gift of Moment (84)

Ex-Cluster and just like them.

[See Cluster]

The Inevitable Chrystal Belle Scrodd Record (85), Belle de Jour (86)

Related to Steve Stapleton, both albums heavily involved hio. Fans of Stapleton/NWW should like this.

[See Stapleton, Steve | Nurse With Wound]

Book In Hand (92)

Rongey is a solo artist in the strict sense, his first album is primarily keyboards only, fairly reminiscent of the Tony Banks sound, with occasional drums, and vocals, all by Rongey. The material is very strong, well developed, and generally fairly interesting, but the vocals are feeble and frail, and tend to detract from the power of the music. Great musically, but needs some singing lessons. Second album is due out soon, so I'm told.

From the opening chords of Book in Hand, the influence of prime-era-Tony Banks is evident in the musical portfolio of Kurt Rongey. This is his first release and is a sophisticated and mature work that sounds like a restrained version of A Curious Feeling. Yet, the underlying compositions are all very well constructed, with numerous little nuances and non-standard time signatures that are very compelling and satisfying. The mood of the music is generally low-key, but at moments the tracks are punctuated by ominous piano chords and moog-like keyboard leads that recall some of the more adventurous passages of mid-period Genesis and Yes. At other times, the influences of the "ambient" crowd, such as David Sylvian, creep in, making for a very varied listening experience. The CD is accompanied by a book that contains the lyrics amidst a variety of abstract illustrations by Rongey. In many cases, well composed music is ruined by self-indulgent vocalists, but in this case, the vocals are subdued and pleasant enough to add positively to the overall effect.

Rongey's Book in Hand caught me totally by surprise...described as a Tony Banks meets Kit Watkins keyboardist's solo album, I wasn't inclinded to bother. At first listen I found the Tony Banks comparisons accurate. And since I don't care for Banks' style I didn't particularly care for the first couple of songs though I noticed that his rhythm section was more interesting than Banks' efforts. However when I heard the third song's rolling keyboards and inspired synth leads I perked up. After many listens I have to say that I like Rongey a lot. His style has grown on me. While a couple of tracks couldn't be considered progressive except by the most liberal definition of the word, several bring a unique touch to the genre. The title track (10 minutes) is particularly good. Rongey is an independent US musician who could use support.

Kurt Rongey is a solo keyboardist and drummer who has released just one album to date, the excellent Book in Hand. All music is played by Rongey with the exception of a bit of electric guitar on one song played by Bill Pohl. The song are very thoughtfully composed and arranged. His compositions and textures sweep you over dark, haunted moors; carry you playfully across sunny meadows; and walk you down shadowy corridors of odd time signatures and eerie atmospherics. I get the feeling this is what fans wanted from Tony Banks' solo albums. To be sure, Rongey's style reveals the influence of Banks but Rongey's artistic vision is much darker. He also uses counterpoint extensively on several songs. Quite frankly, I think Rongey is the better composer, at least when compared to Banks' writings since about 1976 or so. Rongey pays much more attention to detail and nuance which I think lacks severly in Banks' solo material. And that's just the keyboard work. Rongey is also a tasteful (and VERY good) drummer who showcases this particular talent on "Indefensive Emblem" and a couple of other tracks Otherwise, he uses his drumming know-how to program the drum machine to good effect. Rongey sings on several tracks in a quiet and unassuming style. Sometimes the vocals could use a little more "gusto" but usually it fits the moody nature of the music very well. The CD comes with a glossy 8.5 x 11 booklet with the lyrics scrawled amidst impressionistic or abstract sketches, also by Rongey. Definitely worthy of any good prog collection; highly recommended.

Roots Of Consciousness (93)

These guys inhabit that area of progressive rock that tends to make me cringe. Influences? Rush, Marillion, maybe even Be Bop Deluxe. This type of music is more in an "art rock" vein - very vocal oriented (and in that Fish kind of vein), straight song structure, little or no depth of sound, cliched ideas, and when they do tend to broaden themselves instrumentally it seems forced rather than natural. Take "Put You Away" which sounds like an updated version of late seventies/early eighties Rush with annoying "Cygnus X-1" like narration. One thing I do like about some neo progressives is the lushness of some of the music, yet Roots seem to be lacking heavily in this area. A lot of their music reminds me of stuff like the Ventures ("Candleabra") trying to do progressive rock. I suppose this is a more unique approach than the average neo but it still doesnt sound good to my ears. I doubt this will be high on many lists.

Zillion Tears (90, EP)

Japanese hard-rock progressive along the Rush/Dream Theater axis, approaching metal at times. Symphonic keyboards. Female singer has a ultra-high pitched voice which, coupled with the Japanese lyrical stylings, becomes unbearable.

All female band with a rather good vocalist, though her squeaky voice is probably an acquired taste. Only one proper release, the 1990 mini-CD Zillion Tears, plus more songs on compilations as well. Mellotron and grandiose orchestral digi-synths make for a big keyboard sound. The guitar is crunchy and loud, but I'd hardly term this "prog-metal" (too keyboard-based). Not exactly on the level of Arsnova's Transi, but had they made another album, IT could have been. -- Mike Ohman

[See King's Boards]

Ross (74), The Pit And The Pendulum (75), Are You Free On Saturday Night (77), Restless Nights (78)

Prog band led by guitarist Alan Ross.

Jin-zo-ni-n-gen (78, released 9?)

Early Japanese group with a hot instrumental progressive sound that takes its influences equally from rock and fusion. Lots of blistering guitar/keyboard interplay and tight compositions. Apparently they never recorded an album proper, but some live tapes from '78 were excavated from the vaults and released as Jin-zo-ni-n-gen, which has very poor sound quality overall (like a typical 70's live bootleg), but the exceptional performance shines through. No Vocals. Some stolen ideas, like parts of the last track that do sound remarkably similar to the instrumental opening of "Can You Understand" by Renaissance.

Flower In Asphalt (78), Retreat (80), Square The Circle (86)

A german band very similar in sound to Camel right down to the Andy Latimer vocals.

This doesn't do them justice. Rousseau are a great symphonic band and have as many differences form Camel as simalarities. Try the great Flower In Asphalt.

The best, well, my favourite instrumental prog rock group. These guys are from Germany, and have released three albums of primarily instrumental progressive rock. The first one Flower In Asphalt, is completely instrumental, and is mildly unoriginal. A lot of the prog rock cliches are borrowed from Genesis and Novalis and the like, but have been used very creatively, sort of like the essence of prog rock. There's the usual string and organ backgrounds, but these guys have a great flair for clean melodic lines. The next one, Retreat, is better than the first, with a couple of vocal tracks, not bad, though the lead vocalist does sound like he has a bit of a cold ! The rest is superb stuff, with a flute playing a fairly major lead part. This band can be compared to some Camel, and a new French band (musician), J Edhels. Their latest album is called Square The Circle, and I haven't had a chance to listen to it yet.

This German band comes as close to being a complete Camel clone as you can get - right down to the Latimer like vocals. There is a slight Genesis influence evident in their music. Despite their lack of originality, they are still a very good band, and all three of their releases would be welcome additions to any Camel fans' collection. Square the Circle or Flower In Asphalt are good starting places, with the latter being their only all instrumental effort.

Very mellow stuff, at least on the Flower in Asphalt CD. No vocals. Flutes. A cross between Camel and Solaris. Not quite as good as either of those bands, though.

What started essentially a clone of Camel's snow goose period, this german five-piece became more interesting as time went on, their best album being the last Square The Circle, with it's very colorful melodies and delicate arrangements. Mostly their material is instrumental, the last two albums have a few vocal tracks each. The first album is VERY Camel derivative, and in general not that interesting.

Retreat is the second release by Rousseau that has been reissued on CD by Musea, and features the very melodic, Camel-influenced brand of progressive rock of this German band. The lineup includes a flautist who injects mellow flute leads into keyboard-laden passages, augmented with understated guitar and percussion. On this release, though, the guitar work is more prominent, and adds some punch to the mixture. This is a quintessential work of mellow, German progressive rock from the seventies, in the vein of bands such as Novalis, SFF, etc. The music is primarily instrumental, with three of the ten tracks featuring vocals in English.

In Time (84, w/ Kit Watkins), Reaching Beyond (92)

Roussel was the drummer in the original lineup in Heldon for the first album Electronic Guerilla, and made guest appearances on some of the follow-on albums. In 79 he joined Happy The Man, and since then has been working with Kit Watkins on various projects, or more recently as a solo artist. His latest album Reaching Beyond is brimming with percussive based electronics, very progressive at times, poppy at others, but always interesting. Comparisons ? maybe a paralell with Pete Bardens solo work. It's good and highly recommended.

Coco Roussel has been a drummer with Heldon and Happy The Man, and, on Reaching Beyond, ostensibly a solo work, but with Kit Watkins on keyboards, he creates a set of instrumental tracks that employ MIDI and digital technology to their fullest. Apparently, much of the music was composed by Watkins and Roussel trading MIDI data by mail and laying down their tracks separately. The end-result is very much along the lines of their previous collaboration, In Time. However, with Roussel in the driver's seat, the music has a more melodic and accessible aspect, and should appeal to those who enjoy Watkins' solo works and upbeat keyboard rock music.

[See Heldon | Happy the Man]

La Bibbia (71), Io Come Io (72), Contaminazione (73), Contamination (English Version) (75), Let's All Go Back/Anglosaxon Woman (75)

These guys released an album in English called Contamination which is taken from their third album Contaminazione, a classical rock album based on the life and works of Bach. This is a really good one, although nothing like their first one, a heavy album without the keyboards on their later ones called La Bibbia a concept work based on the early parts of the Bible. Their second album has not been reissued as of yet.

I've heard about 3/4 of Contaminazione--great, great stuff. They combine Bach motives, orchestral instruments, pipe-organs, choral voices, rock sections with guitar, synth, etc. And they do it all very well. Any fan of symphonic prog would be very pleased with this. -- Mike Ohman

Contaminazione is killer, one of the strongest classical oriented progressive albums ever made. La Biblia sucks.

Contaminazione is one of those CDs that experienced prog music listeners claim that no collection is complete without. While I could name at least a dozen that I consider "more essential" than Contaminazione, it remains one of the best progressive offerings ever recorded. RDM is short for the band's full name, Il Rovescio della Medaglia (yes, that means they're Italian). A rough translation to English is, "The other side of the coin.." Go figure. This and the album's being influenced by Bach's "Well Tempered Clavier" doesn't clue me on to any global concept, though it has the trappings of a concept work. Breaking from the progressive tradition of long tracks, Contaminzaione is less than 40 minutes in length but is made up of 13 tracks. Some of the titles are in English though all vocals are in Italian. A keyboardist's dream, RDM uses guitars, violins as lead instruments as well, though their keyboard and piano workouts dominant most of the themes. They have a rich, full seventies sound, coupled with classical orchestration. RDM is "classical rock" in the sense of ELP's Works Vol. I, though with the proficiency that that band had on their earlier releases. The orchestration works surprisingly well, blending with the traditional rock arrangements. Vocals are multitracked, choral in arrangement. However they have a progressive rather than choral feel to them. Heavy guitars and a tight rhythm section round out an excellent release. Contaminazione will appeal especially to ELP fans. Other Italian bands such as Maxophone and PFM also contain some of the same elements that make this CD worthwhile.

I have one RDM album, Contaminazione, which is most often cited as their classic release. The 36 minute album (with the 13 songs flowing together) is somehow derived from Bach's "Well-tempered Clavier" (harpsichord). If I made the translation right (doubtful), the title alludes to them contaminating a few ideas taken from the prelude and fugue of this particular work by Bach. Too bad Emerson doesn't 'fess up like this! As you'd expect, the music is very keyboard heavy though you'll also hear guitar and violin here and there. There's also a fairly strong vocal presence. One of the singers sounds a bit like John Wetton and there are several instances of vocal harmonies. Also appropriately, there exists plenty of counterpoint between all instruments and a strong classical aura to the entire album. There aren't too many albums where you'll hear a single electric guitar emerge out of a string quartet! Quite varied, original and excellent. Highly recommended.

Roxy Music (72), For Your Pleasure (73), Stranded (73), Country Life (74), Siren (75), Viva! Roxy Music (76), Greatest Hits (77), Manifesto (79), Flesh and Blood (80), The First Seven Albums (81, boxed set), Avalon (82), The High Road (83), The Atlantic Years 1973-1980 (83), Heart Still Beating (90), The Thrill of it All (95, boxed set)

In 1972, when the first Roxy Music album came out, it was unlike anything that came before. Ten years later, there were scads of different bands attempting to emulate Roxy's style, and often failing miserably at it. That first album introduced the sublime talents of Bryan Ferry, Brian Eno, Phil Manzanera and Andy Mackay to an unsuspecting world. Eno was using his synth like no one else, not only as a lead instrument, but primarily as a sound-processor, interacting with what the other members were doing. His presence is deeply felt on the debut, which also displays Ferry's highly stylized vocals. They make prog-rock with the emphasis on rock, and yet they essay auditory landscapes such as "Sea Breezes" as well. For Your Pleasure brings Ferry's songs closer to the fore, but Eno's sound distortion is still all over, note the hypnotic "The Bogus Man", the reverb-laden title-track and most notoriously the powerful "In Every Dream Home A Heartache", with lyrics about an inflatable sex-doll! For Stranded, Eno was replaced by teenage keyboard/violin prodigy Eddie Jobson. Not surprisingly, the emphasis is more on songs than the freaked-out craziness of the Eno albums, although there is a definite offbeatness to much of the music here. Jobson had settled cozily in for Country Life, best remembered by prog-heads for the amazing "Out Of The Blue", which houses one of Jobson's most breathtaking violin solos. The surging "The Thrill Of It All", and the weird "Bitter-Sweet" are other peaks. This is probably the most stylistically diverse of all their albums. If you can't picture Ferry singing the blues ("If It Takes All Night"), or Manzanera wielding a steel-guitar ("Prairie Rose"), or ever longed to hear this band do a chamber-like number with harpsichord and oboe ("Triptych"), this album may be for you. Siren is undeniably their best, leading off with their biggest hit ever: "Love Is The Drug". What's more, the next song--"End Of The Line"--may be their most wonderful ballad. It leads directly into the mesmerizing "Sentimental Fool", which is followed by the aptly titled "Whirlwind", etc. One song that's sure to please is the swirling synth maelstrom of "Both Ends Burning", which many an 80's synth band tried to imitate, but never equalled. One of my personal favourites is the closing number: "Just Another High", a perfectly appropriate closing number for the album. If you only get one Roxy Music album, this may be the one to get. Greatest Hits includes two very good singles ("Virginia PLain" and "Pyjamarama") otherwise not available on LP. Viva Roxy Music is a live LP comprising mostly more prog-orientated (i.e., longer tracks) like "The Bogus Man". I haven't heard it yet. The reunion albums are far more pop/dance music orientated and far less inspired. Best from this period: Avalon. Worst: Flesh + Blood. -- Mike Ohman

[See 801 | Eno, Brian | Manzanera, Phil | Quiet Sun

RSC (84)

In the liner notes of the album by this Polish seven-piece, the band apparently credits Kansas, Styx and ELO as influences. Don't let that scare you away, they're actually quite good. With prominent violin and dual keyboards, they're certainly worth looking into. True, the longest track is only 5'30, but the energy this band packs into each song is well worth it. The singer doesn't mug annoyingly and try to steal the spotlight, and his voice is not at all unpleasant. Besides the singing, violin and guitar do a good job carrying the melodic lines, while piano, synth and string-keyboard form a sonic bed beneath them. The drums effectively riff along with the melody, accentuating it well. The overall effect is somewhat like Dawn-period Eloy or Hall of Floaters-period Omega, but with violin. The album is dominated by high-energy rock, with the exception of two tracks: the haunting "Aneks Do Snu," and the sublime instrumental "Dzien Na Ktory Czekam." In short: you could do lots worse, like Styx. :-) (Note that the Farfisa listed in the instrument credits of this album is not the 1960's Italian answer to the British-made Vox Continental, but rather the "string-organ" made in the 1970s.)

Stonehenge (91), Burning Stone (92)

Japanese duo consisting of a drummer/vocalist and a bassist, who both use various sampled sounds as well to augment their aural assault. Imagine Üdü Wüdü period Magma mixed with industrial noise-rock, with lyrics sung in some unknown language, and you get the picture. Drummer Tatsuya Oshida is obviously under the influence of Magma's Christian Vander, but the grating industrial side to their approach takes the style one step further, into the realm of bands like Shub-Niggurath, but with more rhythmic power. Anyway, needless to say, these guys may not be for everyone.

The fact that this Japanese duo records for Shimmy-Disc should indicate its inevitable art-punk leanings. And its true that Ruins thrives on noise and warp speed. But that's only part of the story. Any punk band that sounds this much like Magma can only be described as progressive. Consisting of a Vander-ized vocalist/drummer and a versatile six-string Rickenbacker fuzz bass monster, Ruins puts out music that is at once breathtakingly complex (rhythmically), insanely cathartic (vocally), and emotionally driving (riff-wise). The album Ruins suffers from muddy sound, but there's definately a lot going on there. The vocals are yodeled/screamed like Klaus Blazquiz being chased with a knife, and the rhythms stop and start at blinding speed. Burning Stone is worlds better (and one of my all-time favorite albums!). The sound is much clearer, allowing the crunching riffs and syncopated rim-shots to shred your speakers. The music moves effortlessly from white noise to open spaces with great effect. Each track takes a different approach to this formula, and whatever they try seems to work. Standout cuts are the dream riff of "Zaska Coska," the drum extravaganza "Spazm Cambilist," the relentlessly driving "Vexoprakta," and the closer, "Dapp." The latter is especially interesting; no drums, just repeated marimba figures interlocking with a weirdly distorted high-pitched bass part and eerie effects. Definately surreal. Go pick this album up. Better yet, get a friend to help. This album is so heavy, you'll need help picking it up.

Early Japanese band with male vocalist, who appear to be influenced by the '70's italian scene more than anything else. I don't think they ever had an album, but appear on some japanese compilation tapes and discs.

Rumplestiltskin (70), Black Magician (71)

Early UK five piece of vocals, guitar, bass, organ and drums. Bluesy rock like Savoy Brown, May Blitz, Rare Earth, John Mayall, etc. The bassist was well known session man Herbie Flowers who was also bassist for Sky. The vocalist is Peter Lee Stirling who has several albums from the early to mid-60s released under his own name. The first album is good bluesy rock with longish organ and guitar solos but nothing particularly progressive about it. Black Magician was released on Bellaphon, the same label as Nektar. I haven't heard it though.

[See Sky]

Rumplestiltzen Commune (??)

Prog.

Runt (70), The Ballad Of Todd Rundgren (71), Something/Anything (72), A Wizard A True Star (73), Todd (74), Initiation (75), Faithful (76), Hermit Of Mink Hollow (78), Back To The Bars (78), Healing (81), The Ever Popular Tortured Artist Effect (83), A Capella (85), Nearly Human (89), 2nd Wind (91), No World Order (93) + Compilations/Anthologies

Supremely talented singer/multi-intrumentalist/composer/producer. Runt includes nine minutes of "Birthday Carol", elsewhere varying through pop, blues, soul, hard rock, etc. Nothing on The Ballad Of Todd Rundgren is especially progressive, but it's still a beautiful, very personal album with Rundgren singing all the parts and playing everything but bass and drums. Something/Anything is a refinement of ideas borne out of both albums. It's a real tour-de-force for Rundgren, the first 3/4 of this one are just him playing everything himself. Best place to start for non-prog-heads, it contains his best-known music. A Wizard/A True Star finds Rundgren exploring new territories, with many short song ideas strung together. SO stylistically diverse here, he makes some of the Italian bands seem monochromatic. Synth-heavy instrumentals ("Flamingo", "Tic Tic Tic It Wears Off") and bombastic prog-inflected rockers ("The International Feel", "When The Shit Hits The Fan--Sunset Blvd." and the classic "Just One VIctory") appear alongside soul-orientated songs (the eerie "Sometimes I DOn't Know What To Feel" and a ten-minute medley of sixties classics), pop, rock and general weirdness ("Dogfight Giggle" being the most notable example in the latter category). A truly worthwhile album and one I give my highest recommendations to. Todd continues in a similar vein, stretching out over the length of a double LP, and definitely becoming druggier (Todd was taking a lot of psychedelic drugs at the time, and it shows). The soaring guitarwork on the instrumental "Spark Of Life" is one of the albums high points, the classic "Don't You Ever Learn" is another. Initiation has the distinction of being the longest single LP in music history--at 68 minutes! It's also perhaps, if not his best, certainly his most progressive. The B-side is comprised of the 36-minute instrumental opus "A Treatise On Cosmic Fire", again played by Todd alone, and featuring some of his finest guitarwork, not to mention synths all over the place. That was his last truly progressive album. Of his later work, Nearly Human is probably the best album (not prog at all, but comprised of some truly heartfelt, emotional songs), Hermit Of Mink Hollow the worst (really commercial and boring). Other albums of interest: A' Cappella (a weird high-tech all-voice album), Healing (which includes a side of thoughtful, meditative music reminding one of Eno) and No World Order (which incorporates rap into Todd's unique style and is surprisingly good). -- Mike Ohman

[See Utopia]

New Born Day (73), Ranshart (74), Let Your Light Shine (76), Inner Voice (77), Flying Colours (78), Hot Rhythms and High Notes (78), Hand Made (79)

This Norwegian band's original gimmick was that they sported two lead vocalists: one male and one female. Presumably they were aiming at a Jefferson Airplane sort of sound, but it was definitely based in the prog-rock of the era. The gurgling Hammond organ, the dual guitars and dreamy flute passages are the high points on the instrumental side. Gudny Aspaas is the better of the two singers. Rune Sundby's voice is frequently gruff, occasionally off-key, and always displays bad English pronunciation. But Aspaas impassioned wailing, while it may not be to everyone's taste, for me (anyway) is magical. Clearly R&B-influenced, when coupled with the organ and guitars, her voice makes the band sound strikingly similar to the French group, Sandrose. The rare second album, Ranshart, is quite excellent. Sundby is replaced by a different, far superior male singer. Mellotron and Moog are added to the keyboard rack, adding a decidedly symphonic feel to the music. It sounds mostly Yes influenced, but with male-female vocal interplay. Later albums feature a pared-down lineup: keyboards, bass, drums, one guitar and one female vocalist (not Aspaas). The style has turned to a bland, poppy jazz-fusion style with some pleasant, if slightly raspy, female vocals, and some truly laughable attempts at scat-singing. -- Mike Ohman

Rush (74), Fly by Night (75), Caress of Steel (75), 2112 (76), All the World's a Stage (76), A Farewell to Kings (77), Hemispheres (78), Permanent Waves (80), Moving Pictures (81), Exit: Stage Left (81), Signals (82), Grace Under Pressure (84), Power Windows (85), Hold Your Fire (87), A Show of Hands (89), Presto (89), Roll the Bones (91), Counterparts (93)

If you like science fiction/literary lyrics, the sound of a Rickenbacker bass, and agile lead guitar, the music of this Canadian power trio is for you. Don't be put off by Geddy Lee's screechy vocals and the group's occasional inclinations to heavy metal. This is progressive rock. Odd time signatures abound, Lee is a poll-winning bassist, synthesizers are used intelligently on all but the earliest albums, and the drumming of Neil Peart is, to many, the best there is. Start with Moving Pictures and Permanent Waves. If you don't think these are progressive...

They get slated a lot in prog circles, but this is mainly due to their fans who tend to get stuck in a rut when they find Rush and think nothing could ever compete. This is nonsense of course but Rush have made some fantastic music. I honestly think there's not a bad track on any album up until Presto. This, for me was the start of their decline. I was very disappointed with Counterparts ... their worst ever. Get *anything* other than the last 3 (even then, with the exception of Counterparts, they're ok). A great, great band that contains brilliant musicians. I know Peart's lyrics are pseudo-everthing garbage but the music is so good ...

Rush is the epitome of the "power trio." Through their 20+ year career, they've proved themselves to be the leaders at their respective instruments while creating incredible music. They've gone from Zeppelin-like rockers to 20+ minute epics to shorter, but still spectacular pieces of musical wizardry. One aspect of Rush that draws many fans is the well-written and deep lyrics, almost exclusively written by drummer Neil Peart. The music is generally created by bassist/vocalist/keyboardist Geddy Lee and guitarist Alex Lifeson. Geddy has been enshrined in many bass halls-of-fame, and Alex is generally accepted to be a "guitar god." Of course, Neil's thundering and mind-boggling solos also keeps him on top of drumming polls since the 1970's. The band's early days featured other members, but eventually settled into the Lee, Lifeson, and John Rutsey line-up. They recorded a single ("Not Fade Away"/"Can't Fight It"), and soon, a full LP, Rush. This LP boasted many classics like "Working Man" and "In the Mood," good rockers that seem to end shows brilliantly even 15 years after the LP was released. But due to some problems (one being health), Rutsey left the band and Neil Peart joined in 1974, solidifying the line-up for the next 2 decades and more. The next 2 efforts, Fly By Night and Caress of Steel, featured some short rockers as well as longer epic-like pieces, such as "By-Tor and the Snowdog." Some songs featured different segments, tied into the story written mainly by Peart. The music seems to be a transition between straight-ahead rock tunes and more complex progressive tracks. The LP that sent Rush over the initial hump was the epic 2112. The title track, "2112," written under influence of Ayn Rand and objectivism, became the masterpiece of Rush music. A 20+ minute piece, telling the story of a man who discovered music in a musicless and conformist society. Lyrically and musically, "2112" was a masterpiece. Other tracks from this LP seemingly acted as Rush's farewell to short rock songs. At the end of this tour, a live LP was recorded called All The World's A Stage. This featured much of the songs that made Rush a musical powerhouse in these early years. Now the second phase of Rush's career began, with the release of A Farewell to Kings. Classics like "Xanadu" and "Closer to the Heart" represented the softer and the extended pieces that Rush would be creating for the next few years. Synthesizers were now employed by the band, played in the studio and on stage by Lee. The band decided to remain a trio, as the chemistry was perfect. Longer, drawn-out pieces became the norm for Rush, offering intriguing time changes and chord progression, as well as demonstrating each musician's incredible skills on their respective instruments. The next release was Hemispheres. This LP contained 2 short tracks and 2 extended tracks. One of the shorter tracks became one of the fans' favorite: "The Trees." Now keyboards are becoming an integral part of Rush music. Every song now had a major keyboard part, but not intrusive into their music. The long pieces offered incredible musicianship ("La Villa Strangiato"), as well as a great story (in "Cygnus X-1 part II - Hemispheres"). In concert, the 2 parts of "Cygnus" were played together, creating another Rush epic. Sensing the effectiveness of shorter pieces, the next LP, Permanent Waves, offered mostly shorter pieces. "Freewill" became a classic overnight, and the "The Spirit of Radio" guitar lick became a favorite to guitarists all over the world. Two longer tracks, "Jacob's Ladder" and "Natural Science," were not as long as past pieces, but more concise and musically as intricate as their older counterparts. Then Rush recorded perhaps their most popular LP: Moving Pictures. Many classics came from this album, such as "Tom Sawyer" and "Limelight," though it did boast Rush's last extended epic, "The Camera Eye." This was the end of the second phase of Rush's career, one of transition from long epic pieces to shorter, more concise, and intricate songs. As at the end of all of Rush's phases, they recorded a live LP: Exit...Stage Left. This live LP almost fully representative of the shorter pieces of this phase, as well as some of the longer pieces (though avoiding the "Cygnus" series). The third phase of Rush began with the aptly titled Signals. The LP featured the new sound of Rush, a collection of shorter but punchier songs. Keyboards have become a very large part of the music, and the interplay of guitar, drums, bass, and keyboards became technically almost impossible to play live. But these are exceptional musicians.... The two LPs that followed, Grace Under Pressure and Power Windows, also followed nearly the same mold. Songs were shorter and often keyboard dominant, but are becoming technically incredibly intricate (such as "Big Money" and "The Enemy Within"). The third phase of Rush ended with the release of Hold Your Fire. The music has become so intricate, that some were almost impossible to pull off live. "Turn The Page" often gave Lee a headache, as it boasted a ridiculously-busy bassline along with a rhythmically-different vocal line. Keyboards took over much of the music, though the interplay between the instruments became utterly incomprehensible. Most of the songs did not function in 4/4, often switching between odd-times. And as in the end of all Rush phases, a live LP was released. A Show of Hands contained the stronger pieces from the phase, though suspiciously absent were songs from Signals. Moving to a new label, Rush embarked on their present phase with Presto. They sought to remove the dominance of keyboards in the music, and go back to a bass-drum-guitar sound. They welcomed this with harder but still intricate songs such as "Show Don't Tell" and "Superconductor." The recent two LPs, Roll the Bones and Counterparts, offered the same direction in music. Through the history of Rush, they have passed through many distinct phases. Every one of those phases represented a triumph in music, allowing the band to move on. Rush represents what three people can do together, working together for a common goal. Though each are incredible musicians and writers, the combination of the three creates a magic that we all know as Rush. Very seldomly in progressive rock does a band not go through member changes in 20 years. This is a testament to the chemistry that they created over the years, apparent in the slew of masterpieces. -- Mel Huang

Opera Prima (73)

Excellent early italian keyboard driven progressive, with vocals. Production is sorta substandard, par with some of the early Le Orme, etc. but despite this, the music really shines. Not to be overlooked.

Terje Rypdal (71), What Comes After (73), Whenever I Seem to be Far Away (74), What Comes After (74), Odyssey (75), After the Rain (76), Waves (77), Rypdal, Vitous, DeJohnette (78), Descendre (80), To Be Continued (81), Eos (83), Chaser (85), Blue (86), Singles Collection (88)

Norwegian jazz guitarist that at times reminds of John Abercombie, but truly is in an unclassifiable subgenre of his own. Many albums. One of the best is supposedly Whenever I Seem To Be Far Away.

ECM-style jazz guitarist. Discography in reverse chron. order (newest first).

Undisonus/Ineo Rypdal-composed works; he doesn't play on them. Undisonus is a single-movement work for violin (Terje Tonneson(?)) and orchestra (London Symph, I think). Ineo is for female choir and chamber orchestra. Both are modern but beautiful - partic. one heart-rending choral part in Ineo. Often, the violin part sounds just like one of Terje's guitar solos!

The Singles Collection Terje and the Chasers (forgotten bassist's name; drums Audun Klieve; Allan Dangerfield on keyboards). Quite a departure for Rypdal, the pieces being much shorter and snappier than before, like rather bizarre pop instrumentals. "U N I" is amazing - like two quite different pieces playing at once - but it works!

Blue (Rypdal and the Chasers) Same bass/drums, no keyboards (except Rypdal himself). A mixture of old and new Rypdal.

Chaser Bass/drums as for Blue, Singles. Much harder, almost heavy rock at times - came as quite a shock to me, after:

Eos (Rypdal, David Darling) Electric guitar plus echoplexed cello (plus Casio)! This is one of my personal favourites, but apart from the first (blistering) guitar solo track, is nothing like the later stuff. Much more like his orchestral music, a bit like Eno or T.Dream (though that doesn't really do it justice). The track "Mirage" is a good example. Don't buy it without listening first - I mean that about it being nothing like the later stuff!

To Be Continued (Rypdal/Vitous/DeJohnette) A bit of a mixture, this. Some haunting, atmospheric stuff, some scorching guitar stuff (in DeJohnette's title track) and some amorphous rubbish (IMHO). Due to appear on CD sometime, I believe.

Descendre (Rypdal, Palle Mikkelborg, John Christensen) Again, somewhat mixed; generally cold and wintery (Yes, I know, I'm in danger of "Norwegian Wooding" here, but I can't help it -- I associate lots of Rypdal music with the countryside I used to walk through whilst listening to it!) But for me, there's enough here I like to make the rest worthwhile.

Rypdal/Vitous/DeJohnette The first album I heard (I was drawn to it by the sleeve!) I hated it at first -- all that "random" drumming! -- but somehow it haunted me until I found I could hardly go through a day without playing at least some of it. Again, very little in common with the Singles Collection, all sustained notes and fluttery percussion. But so good!!

Waves (Rypdal, Mikkelborg, Christensen (I think), Sveinung Hövenso (bass)) Actually, from this point backwards, the albums begin to have more in common with the Singles Collection. Here, again a mixture: the opening track (forgot title offhand) and "The Dain Curse" are like somewhat extended Singles, other tracks are more, well, spacious.

After The Rain (Rypdal solo, except Inger Lise Rypdal, vocals) This one comes not far after Eos, for me. Wailing guitar, piano/electric piano and string synth mainly. Very autumnal, and (like Eos) very consistent in style. Suspect never to appear on CD, alas.

Odyssey (Rypdal plus drums/organ/bass/trombone) Very cold and bare mixture of "jamzz-rock" and bleak mournful dirges. Believe it or not, I like it! This was released on CD after the success of his recent stuff, presumably because it comes closer to Chaser-style music than anything else he'd done.

What Comes After (Rypdal, Barre Phillips (bass), Christensen, others) Can hardly remember this one, other than there being about two shortish tracks that I like, and two longish ones I can't stand, and some others I don't like either.

Whenever I Seem To Be Far Away One side has two tracks performed by Rypdal plus jazz/rock ensemble. I find them unlistenable. Other side has Rypdal plus orchestra playing extremely bleak non-jazz, non-rock.

Terje Rypdal First (jazz) album. Very early sounding! Quite different from anything else I've heard him do. Mixture of jamzz-rock and swirling electric piano/oohing and aahing.

Oops! I do seem to have gone on a bit! But I really love this guy's music. I've not included albums led by other artists with Rypdal in the line up (the only one I can recommend is Barre Phillips' Three Day Moon, which might as well be another Rypdal album, rather like Waves).

Hope this gives some indication as to where to go from here! In general, try to hear 'em first, though Rypdal is definitely an acquired taste!

[See Sugarcane Harris]