The World Will End On Friday (77), Anything Wrong? (79)

German, Sky-label prog, compared to Pink Floyd.

Anything Wrong? consists of six songs between 4 to 7 minutes in length. They play a symphonic music close to the Swiss band Galaxy and Austrian band Eela Craig with some influenses from German bands Novalis, Jane and hints of Anyone's Daughter. Shaa Khan's music is good but not great. The music is very melodic with some nice interplays between guitar and keyboards. They have their good moments but overall nothing special. The band consists of five members that plays the usual instruments: guitar, drums, keyboards, bass and they have a singer that sings pretty well. -- Andre Hagberg

Shadow Gallery (92), Carved in Stone (95)

This great band is the second one to put out an album on the Magna Carta label, Magellan being the first with Hour of Restoration. This is not the only similarity. They bring a heavier brand of progressive much like Magellan, quiter acoustic parts being mixed with some heavy metal-like guitar riffs. The lead vocalist/producer/keyboard player/lyricist-etc. Carl Cadden-James sounds on certain songs a lot like Geoff Tate (which certainly is no criticism, on the contrary). The 17-minute epic "Lady of the City of Ice" is fantastic, no less. For lovers of heavy Rush, Magellan and in general bombastic progressive sympho-metal.

After reading the previous review of this band, and a couple encouraging reviews, I picked this gem up. First listen, it appeared to be a regular lite-metal band. However, on subsequent listens, I keep picking up more. My best description of this band would be a milder Dream Theater. They are definitely bombastic, and do have moments of "gee, aren't we good?," but they're not too overpretentious. They also have some interesting innovations in songs (a flute?!), but the best song on the album is probably "The Queen of the City of Ice," a 17 minute long epic. It has a some total of maybe three minutes of metal; the rest is just acoustic. First listen, it seemed kind of dull and repetitive, but like most good prog, it grows on you. Also of note: "Say Goodbye to the Morning" uses the "widdly-widdly" keyboard sound that Mark Kelly uses in Marillion, making it sound a bit like them. If you like Dream Theater, or a cross between lite-metal, Rush, and acoustic guitar, you'll probably enjoy this CD.

Watercourse way (76), Shadowfax (82), Shadowdance (83), The Dreams of Children (84), Too Far to Whisper (86), Folksongs Of The Nuclear Village (88), Odd Get Even (??)

Their first album Watercourse Way was a stunning mixture of blistering guitar driven jazz-rock fusion, cerebral piano acoustics and powerful dynamics. Shadowfax, at the time, appeared to be one of the most promising new bands around. Unfortunately it took them seven years to do their next album, and in the meantime They'd squandered their brilliance, as the new stuff (and all albums since) was merely warmed-up new-age world music that couldn't cut through soft butter.

Ring of Roses (92)

Neo-prog band led by Karl Groom and Clive Nolan (ex-of Pendragon), much better than most. They move out of the neo-prog umbrella in several places on the album and explore some new ideas with fortitude. Not bad, especially considering one of the guys comes from one of the worst bands on the planet :-)

This is the first release by this UK neo-progressive band, which includes Clive Nolan, the keyboardist from Pendragon. The music is quite similar to Pendragon, mixed in with influences from Rush and Marillion. However, the overall effect does not sound as derivative as one might expect, primarily due to the melodic abilities and crisp execution displayed by the band. This release was at the top of the Dutch progressive music charts for a couple of months, dethroning Camel's Dust And Dreams!

[See Arena | Casino | Nolan, Clive | Pendragon | Strangers on a Train]

Vol. 1 (72)

Complex jazzy prog comparable to Moving Gelatine Plates.

Shape Of The Rain (71), Riley Riley (7?)

Pastoral prog/rock.

Someone To Turn To (70)

Scottish folk/prog band w/acid guitar.

Shingetsu (78)

While in Japan I was told they only had one album, self titled. The first track "Oni" sounds very much like Foxtrot-period Genesis with a female lead singer (singing in Japanese, of course). The rest of the album is not as derivative, but not all that interesting either IMHO. Very old stuff, mid seventies.

Mellow Clouds II (92)

The album Mellow Clouds II is an album of long symphonic conceptual pieces, which could be grouped in the same category as stuff like The Enid or Cyrille Verdeaux or Gandalf. Shirakawa has created a very serene, often introspective soundscape using a battery of electronics and synthesizers galore, and for the most part it doesn't sound particularly electronic, but very natural and carefully composed. Dynamics are used generously, and some of the pieces are rhythmically very strong, in a symphonic sort of way (and yes, there is another "bolero" variation here as well). Shirakawa does everything himself with no outside help, even right down to the cover artwork. completely instrumental. Brilliant and recommended.

Coming To A Head (69), Take Me To The Mountains (70), In The Prime Of Life (??), Psychedelic Yesterday (78)

Psych/prog.

Shortwaveband (75)

Ursa Major (80), Embryo (80), Phantom (80), Firemusic (81), Thoughts Of War (81), Assassin (84)

Electronic music.

Stourtsite (78), The Taste of Time (??)

Started as Beatles-influenced band, later became hard-rock/prog.

Shub Niggurath (86), Les Morts Vont Vite (86), Live (89), C'étaíent de Très Grands Vents (91)

Shub-Niggurath is music from the Art Zoyd/Magma/Univers Zero school, but much more dense, dark, and atonal, ranging from beautiful to frightening. It's great stuff, impossible to describe in words accurately, but I WILL say it's probably not for everyone. If you like the aforementioned three bands, then chances are you'll like these guys, and if you don't - you wont. If you're not sure about it, I'd start out with something by one of the other bands first.

This RIO band has been compared to Magma, but C'étaíent de Très Grands Vents displays few characteristics with which we usually associate Magma: furious rhythms, Gregorian chanting, and bleating horn races. Instead we find a nearly all-instrumental, only occasionally rhythmic, dark nightmare. The opening track, "Glaciations," builds from a faint hum to a distorted cacophony of clangs and bangs, Frith-like scratchy guitar feedback, and growling bass - similar in spirit to Henry Cow's Western Culture period. The rest of the album follows similar strategies. This album will probably attract hardcore RIO-heads, but those who need symphonic underpinnings and/or harmonic development will more than likely dismiss this as an abstract mess. Perhaps that's the main fault I find with this album. unlike Univers Zero and Henry Cow, Shub Niggurath never really resolves their formidable noise attacks with any sense of convergence or development. Most of the album is nearly inaudible, and even when it does turn up the juice, it doesn't pack the emotional whallop of Univers Zero's "La Faulx" or Henry Cow's "Half the Sky." So in that respect its a dissapointment; not for what you hear (which is shred-worthy in and of itself), but for what you don't hear.

Spoken of in the same breath as Magma for some weird reason. Shub-Niggurath are also often described as "fusion." Both these descriptions are wildly misleading. Imagine Univers Zero's "La Faulx" but without the catchy bits! There is little identifiable melody, it's mad drums, distorted bass and guitar and wild horns in a very dark mixture of quiet haunting backgrounds and insane crescendo. It's completely fantastic. Darkly beautiful. "Prométhée" from C'étaíent de Très Grands Vents (this track was called "Prométhée Foudroyé" on their earlier live Auricle tape) has Stella Vander-style vocals which are operatic and hair raising. Incredible.

Dark, spacious and often disturbing are the three best adjectives to describe Shub-Niggurth's C'étaíent De Très Grands Vents CD released by Musea. The phrase "Shub-Niggurath" comes from the writings of one of the masters of the horror genre, H.P. Lovecraft. The music on C'étaíent would fit very well as a soundtrack for many of Lovecraft's stories. Instrumentation consists of bass (Alain Ballaud), electric guitar, piano, harmonium (Jean-Luc Herve), drums (either Michel Kervinio or Edward Perraud, both on "Prométhéé"), bass trombones (Veronique Verdier), and occasional voice (Sylvette Claudet). Analogy is perhaps the best way to describe Shub-Niggurath's music. Imagine a mix of Present or early Univers Zero with Henry Cow improvisations, playing while on downers. C'étaíent opens with the seven minute "Glacíatíons." The song consists of quiet, icy emanations broken by occasional fissues of frenzied drums, bass and guitar. "Océan" is four minutes of meandering trombone improvisation and distorted guitar, followed by one minute of intense zeuhlish improvisation that calls to mind Happy Family, then a long fade into nothing. "Prométhéé" is a clear vocal line sung against crashing, discordant guitar chords. The vocals are eventually replaced with meandering bass, much like the trombone of "Océan." Herve just bangs out distorted guitar chords for the entire five minutes. I think you are beginning to get the picture. Because the instrumentation and improvisation is used sparse, the music is very spacious, often almost ambient in nature, perhaps as a result of influences from some avant-garde classical composers such as Penderecki. Yet, the atmosphere is always very tense, and songs don't always have detectable direction or musically resolved ending. Shub-Niggurath do not play music for casual listening and generally only for the experimentally-minded and those predisposed toward the avant-garde. -- Mike Taylor

Giarlogues (76), Ile De Fievre (78)

Prototypical late '70s French trio with strong influence from King Crimson. While not at all derivative, they had a strong improvisational flair and a musical diversity that in turn influenced many of the French progressives of today (Minimum Vital, Xaal, Tiemko all come to mind immediately). The album to go for is Ile De Fievre, the earlier one is not all that interesting.

I only know one release by this band and that is Ile de Fievre. This is a band with a latter day King Crimson influence. However that is not brought to the fore in the title track which is a 10-12 minute masterpiece of progressive that achieves a wonderful synthesis of guitar and keyboard comparable with the very best in symphonic progressive. That track alone makes this a disk worth getting. The disk drops off after this but is still well worth the attention (especially for those who enjoy King Crimson).

When I was first getting into the more obscure progressive rock groups, I got a copy of Ile De Fievre, Shylock's second and final album. The self-titled track on this album is virtually one of the greatest symphonic progressive songs ever made, and it made a really heavy impact on me. Much later, when Änglagård released Hybris, one of the first things that came to my mind was just how much parts of Hybris sound like Shylock. Yes theres a lot of King Crimson, a bit of Genesis (although not nearly as much as Änglagård have), but overall its very original with excellent guitar work by Frederic L'Epee (now in Philharmonie), over the top keyboards, and lighting drumming. The album certainly drops in its intensity after this 13 minute classic and there are some different explorations into fusion, King Crimson in the vein of Larks Tongues..., and a slow synth space out at the end. All in all its the opener that makes this album worth the purchase.

An incredible album, one of the best to come from France. There is a unique blending of styles on Ile de Fievre. Guitar is sometimes reminiscent of Steve Hackett while other times Robert Fripp is invoked. At times, there is a load of atmospheric mellotron while other times the Frippian guitar creates its own intensity in concert with drums and bass. Other tracks vary across fusion, occasional funk, and more of the style of the title track, but in a weaker form. If only the remaining tracks were as excellent as Ile de Fievre this album would easily be one of the all-time classics. As it is, the album's worth owning for the title cut alone.

[See Philharmonie]

Play It By Ear (79)

[See Perigeo]

Sailin' With The Wind (8?)

Mainstream prog.

Qualcosa si Crea Nulla si Distrugge (78), Iceman (79)

Prog.

Silver Apples (68), Contact (69)

Two guys from NYC who made two albums in the late 60's. Simeon (the simeon, actually a wall full of audio oscillators and signal generators with hand, foot, elbow and knee pedals to actuate them and Dan Taylor (drums) played a proto-electronic industrial rock that would later be refined when rediscovered by the likes of Kraftwerk and others in the '70s.

The psychedelic sixties produced many an odd band, but I'd be hard-pressed to find one odder than Silver Apples. A New York-based duo composed of drummer Danny Taylor and Simeon, who plays the Simeon. The Simeon is an assortment of cheap audio oscillators arranged so that they can be manipulated by the hands, elbows, knees and feet. I have their first album. It may be seen as the very first synth-pop album, but in a very psychedelic vein. Actually, "synth" might conjure up ideas of sophistication, which this assortment of blips and bleeps set to mesmerizing percussion and hippie-dippy vocalising (both members sing) sure ain't. The even rarer second album, Contact, added a banjo to the instrumentation! A historical curiosity, nothing more. -- Mike Ohman

Ceinwen (95)

This band plays symphonic progressive rock. Imagine something sounding like Chris Squire on bass, Steve Hackett or David Gilmour on guitar and Gordon Haskell on vocals, with very much mellotrons, UK harmonies, Genesis arrangements, and a bit of rap. The man behind all this is Stefan Renstrom, also known as the bass player of The Moor and of Egg [Sweden]. -- Gunnar Creutz

[See Egg [Sweden] | Moor, The]

Da Tremila Anni (72), Per Proteggere L'Enorme Maria (72), E La Mia Mente (73)

Man Over Moon (78)

Ex-Caravan keyboardist.

Caravan of Dreams (91), R.S.V.P. (94?)

Bassist/singer for many a UK band, including Hatfield and the North, Camel, and Caravan. Has a really pleasant voice that can make you sing along to the tritest of lyrics. How does he do it without dying laughing? Sinclair is a fine bassist, as well. Caravan of Dreams is said to be very good.

Caravan of Dreams, by the Caravan frontman, also features Dave Sinclair, who left Caravan in 1975, on keyboards, and also ex-Camel drummer Andy Ward. The music is very much in the style of early Caravan, with jazz-inflected compositions, and Sinclair's distinctive vocals. The CD also includes some live pieces from the band's first concert in mid-1991, which run together as the last few tracks on the CD.

I've only heard some of his stuff with Camel and Hatfield and the North; he was with Caravan and is now involved in a project called Caravan of Dreams with Andy Ward (ex-Camel). Sinclair's voice is great. Very even with a strong English accent, and easy to listen to.

Caravan of Dreams consists of Richard along with long-time Canterbury flautist Jimmy Hastings and ex-Camel drummer Andy Ward. This 60 minute CD features eight new songs followed by four recent live recordings of Caravan of Dreams covering old Caravan tracks. I was at the edge of my seat when listening to this for the first time. After all, we know how reunions usually go. I'd heard great things about this CD and read positive reviews. In all honesty it didn't live up to my expectations, but I'm happy to report that it's not an attempt at commercial success nor a sell out on any level. The music picks up where Caravan left off, but with a jazzier style. Gone are the side long tracks and extended jams, but the distinct Sinclair vocal style and playing remains. Richard hasn't lost a chop in 20 years, though his writing is less ambitious than it was back then. The songs are all under eight minutes, catchy, and not as complicated as one would expect. Caravan fans will most likely find this a suitable and welcome offer. But for one looking to get into the band, I suggest starting with the earlier material. While this is one of the best reunions yet, it could have been much better.

[See Camel | Caravan | Hatfield and the North]

Odgpig (73)

Recently rereleased was this British prog/folk rarity, originally on the tiny Medway label and commanding ultra-high prices. The music is an original mix of British folk and prog rock that sounds similar to some Jethro Tull, Fruupp and others. Their biggest innovation was the inclusion of a member on glockenspiel and oscillators! No keyboards, but the interplay between the two guitars (acoustic and electric) and the odd use of recorder more than make up for it. Good stuff. -- Mike Ohman

Still (73), Stillusion (93)

Lineup includes host of early King Crimson folk. Worth having. I think he only has this one solo album.

Best known as lyricist for King Crimson and ELP.

[Stillusion is a reissue of Still with additional tracks from a planned second LP that was never completed.]

The Eve Of Innocence (92)

New neo-prog band from holland with an excellent vocalist. They assimmilate the styles and ideas of bands like Menel-period IQ, Egdon Heath, Saga, the "M" band, Chandelier, and others in that general style, although they don't seem to actually steal any licks per se. Any big fans of the aforementioned bands should enjoy Sinister Street a lot.

Neo-progressive rock, very much in the Marillion/Aragon camp.

Running To Paradise (82), The Three Bushes (84)

Enchanting keyboard-based symphonic prog. Led by singer Stefan Neubauer, whose flamboyant, Liberace-like piano playing is oddly apropos for this type of music. He has a high-pitched tenor which, while not exceptional, is very easy on the ear; it's the perfect vehicle to carry along the bouncy, likable melodies. Organist/string-synthesist/harpsichordist Stefan Papsthorst adds additional colour to Neubauer's piano and synths. There's some good, clear guitar solos here and there by Martin Vogel, who doubles on bass. Might be compared to other European symphonic bands like early Flame Dream, England or Dragonfly. Both albums are of the highest quality: Running To Paradise featuring guests on strings and flute, The Three Bushes on sax and percussion. Also, Neubauer contributes some most un-Indian-sounding sitar to The Three Bushes. While one would think the instrument would sound quite incongruous in a symphonic context, it sounds like it has always belonged. -- MIke Ohman

[See Mr. Sirius. Precursor to that band.]

Il Viaggio Senza Andata (69-71, released 91)

[See Celeste | Museo Rosenbach]

Lungo Il Sentiero Di Pietra (89), Spettacolo Annullato (92), Confine (95)

This Italian band has every prog ingredient that's available, combining proper time signatures with occasional hooks. Spettacolo annulatto is their second disc. Two keyboard players, with the guitarist also playing keys, should make this band very keyboard-oriented. But they don't come through as from the mold of ELP or Il Balletto di Bronzo. Rather, the keyboards are used for developing melodic lines that intertwine, giving dynamics going from a somewhat melodic contrapuntal approach to a symphonic styling. Vocals are in Italian and depicts what seems to be dialogues forming a story. The opening piece, "La recita del silenzio", clocking at 22:15 sets the mood with its atmospheres ranging from tranquil to down-to-earth prog fare. The accent is on developing melodies, be them instrumental or vocal, and the band never indulges in too long passages, preffering to expand on musical ideas, making for a recommended album of '90s Italian progressive. -- Alain Lachapelle

This band shows the usual lineup of double-keyboards, guitar, bass, drums and an excellent voice. Spettacolo Annullato is also typical with a variety of arrangements (soft and heavier) often inspired by classical music. The vocals (in Italian), guitar and keyboards share the progression of the melodies thru many episodes with different rhythms. The sound shifts easily from baroque, jazzy or rock ambiences but usually favours electric instruments. Some fresh music with influences that certainly include some from Italian bands from the '70s. Confine still relies on rich and varied arrangements but the band often returns to a rock sound where the electric guitar and keyboards play an important part. The compositions and melodies remain Italian but the sound seems to become more electric, more accessible to British or American listeners. -- Paul Charbonneau

Trip Away (71)

Prog.

Skaldowie (68), Krywan Krywan (72)

Good 70's Polish progressives.

Late 60's work in psych vein.

Learn to Talk (84)

Fred Frith and someone else. One of Frith's worst projects.

Another Fred Frith related band. Only heard one song so I'll reserve judgement, although I like it. Featuring Zeena Perkins (harp) and Tom Cora (cello).

Skryvania (77), Tristan (78)

Rare, but excellent example of early '70s French progressive rock replete with slabs of the dated mellotron sound, proficient guitar. Their only release was self-titled, and the LP is a collector's item demanding large amounts of money. They have a couple of covers of Genesis and Yes songs on that one.

Their first is thought to be the rarest French symphonic progressive album.

Podroz W Kraine Wyobrozny (84)

Sounds like SBB with much more vocals. Only for huge SBB fans. Podroz contains electronic music from a concert.

[See Niemen, Czeslaw | SBB]

Sky (79), Sky II (80), Sky 3 (81), Forthcoming (82), Five Live (83), Cadmium (84), The Great Baloon Race (86), The Mozart Album (90)

The original lineup included classical guitarist John Williams and ex-Curved Air keyboardist Francis Monkman, with Kevin Peek, Herbie Flowers and Tristan Fry. The early albums blend elements of classical, light pop, jazz and rock, but the sound (mostly due to Williams' classical guitars) was really unique, sometimes full of fire, sometimes very restrained. By the fourth album both Monkman and Williams had walked, Monkman being replaced by Steve Gray, and their sound began to lose the edge. New songs, with a few exceptions, sounded like retreads of old ones. Five Live is a very respectable live set recorded in Australia, but after that the band went downhill fast. Several compilation albumss are out, any of these would be a good starting point for newbies, but their best album is clearly the first.

Sky was a group formed by John Williams, a British classical guitarist, whose approach involved combining the classical music form with the energy of rock. After a string of successful albums, they embarked on The Mozart Album, a collaboration with Sir Neville Marriner and the Academy of St. Martin-in-the-Fields, to interpret a variety of Mozart compositions. This release had a short-lived existence on CD in Japan, entitled Sky Meets Sir Neville Marriner, and is now, for all practical purposes, available only on vinyl. In general, it is fashionable for purists (and those who aspire to purism) to criticize such efforts. However, taken on its own merits, as a display of instrumental prowess and composition, this effort is quite decent, more so for those who enjoy such adaptations, also a staple of bands such as Ekseption, Los Canarios, etc. The Best of Sky compilation offers a good introduction to the style of the band, and contains some of their best tracks, including "Carillon," "Vivaldi" (also covered by Curved Air), and "Dies Irae." The group is powered by the keyboard prowess of Francis Monkman and the guitar-work of John Williams, to realise a range of moods, from the energetic to the pastoral.

[See Rumplestiltskin]

Skyeros (99)

Prog.

Skywalk (84), The Bohemians (86), Paradiso (88), Larger Than Life (92)

Canadian six-piece progressive/fusion outfit featuring bass, guitars, keys, saxes and two percussionists, that occasionally pull some influence from the world-beat genre, but never actually cross over into it wholeheartedly. The playing is cohesive and fluid, and full of high energy conversations between the saxes, guitar and keys. Their newest has one vocal track on it, but other than that they're entirely instrumental. Start with the new one.

Sort of (72), Acnalbasac Noom (73), Desperate Straights (74, with Henry Cow)

Multi-national trio composed of Dagmar Krause (Germany, vocals, ex-ID Company), Peter Blegvad (U.S., guitar) and Anthony Moore (England, keyboards). I have Acnalbasac Noom. I would hesitate to call it prog. Perhaps "alternative pop" would be the most fitting term. Blegvad's lyrics are very literate and sophisticated. The band uses many different styles, modern and old-fashioned, to get their point across: Byrds-ian guitar rock, Supremes-esque soul, Amon Düül II-ish space rock, waltzes, tangos, pop-rock, cabaret-styled torch songs, etc. In other words, they cover pretty much every style. Krause's otherworldly, piping soprano doesn't always fit well into all of them. Overall, the bands' members have shown lots more elsewhere: Krause in the Art Bears, Blegvad in the Lodge. -- Mike Ohman

Rather peculiar RIO style German pop/folk band famed for their weird and wonderfu singer Damgar Krause. Joined with Henry Cow for the superb Cow album In Praise of Learning in 1975. Dagmar continued to hang out with Cow members while the other Slapp Happy people split with them rather acrimoniously. Slapp Happy play sort of dreamy and peculiar music with a sinister undercurrent all hacked into almost "normal" song structures. Apparently, they considered their signing by Polydor for their second album rather subversive as they had been signed to make some "pop" albums. They tried to do craft their RIO influenced music into normal structures in order to infiltrate popular music. It works. Sound like Faust at times. Dagmar's vocals range from the love-it-or-hate-it style typified on In Praise of Learning to a sweet melodious croon that sounds nothing like that. Apparently she regained her voice after two years of problems to sing with this band. I haven't heard Sort Of but Desperate Straights is great and definately the better of the last two.

[See Art Bears | Henry Cow | News From Babel]

Stadacone (7?), J'un Oeil (7?)

Offbeat fusion-based prog from Quebec. Stadacone starts off very jazzy and gradually gets more and more complex as the album progresses. Superb sax and guitar work, but the mesmerizing ARP synthesizer leads are the standout on the instrumental edge. The keyboardist has a fiery synth tone not unlike Et Cetera's Marie Bernard. Also notable are the strange Swingle Singers-like massed wordless vocals, almost some sort of scat-singing. J'un Oeil has some more conventional singing (with lyrics on more than just one track this time round), but is still outstanding. One of Canada's most striking bands.

Smak (75), Crna Dama (77), Ulazak u Harem (77, English language version: Black Lady), Stranice Naseg Vremena (78, English language version Smak Dab In The Middle), Rock Cirkus (80), Zasto Ne Volim Sneg (81), Hitopazeda (??, EP), Nevidljive Terazije (??, EP)

Their first two albums are reputed to be outstanding prog, replete with side-long pieces. The only one I have heard is Black Lady, the English version of Ulazak u Harem, recorded in London, and featuring a guest spot by percussion maestro Morris Pert (of Brand X). Much of what's here is superb: energetic fusion-tinged prog, with some low-key spaciness resembling the lighter moments of Tako. Unfortunately, not everything is as high-quality as "Domestic Lesson" or "Hello". There are also some rather mainstream bluesy rock tunes, which apparently make up the bulk of their subsequent output. The '80s albums are said not to be prog at all. -- Mike Ohman

[See Ristovski, Laza]

Vanguardia y Pureza del Flamenco (78)

Classic prog.

[See Gualberto]

Gettin' Smile (7?)

Hard rock/prog, pre-Queen.

[See Queen]

Med Tofraboga (8?)

Obscure Icelandic (!) release by ex-Van der Graaf/String Driven Thing violinist.

[See String Driven Thing | Van der Graaf Generator]

Vital Information (83), Orion (84), Global Beat (87), Fiafiaga (88), Vitalive (91), Easier Done Than Said (93)

Early albums are credited to Smith, newest album is credited only to "Vital Information," all albums feature Smith, who's undoubtedly one of the finest drummers around. The band (current lineup) features Jeff Andrews (bass), Frank Gambale (guitar), and Tom Coster (keys); As might be expected, their sound can be anything from tight, blistering fusion, to cool laid-back jazz, with some occasional carribean/South American. influence, highly melodic, inventive, and (of course) rhythmic. These guys are one of the most impressive fusion outfits going today. Start with Vitalive, you'll be blown away.

Chewing Hides the Sound (79), Greener Pastures (80), Manual of Errors (82)

The psuedonym for guitarist Phil Lithman, also part of Chilli Willi and the Red Hot Peppers and affiliated with Fred Frith early efforts before both relocated to US. Also the Residents guitarist. All these releases on Ralph Records. Sometimes backed by parts of Captain Beefheart's band members. Chewing Hides the Sound includes "Jesus Was a Leprechaun." Manual of Errors includes cover of United States of America's "Garden of Earthly Delights."

Defroster (78)

A sort of mini-supergroup: Roye Albrighton from Nektar on guitar and vocals, Dave King from Embryo on bass and synth, Kristian Schulze and Curt Cress from Passport on keyboards and drums, respectively. The style is closest to Passport, slick studio fusion with Albrighton on lead vocals. The use of polyphonic synth sometimes reminds me of Release Music Orchestra. I doubt anyone will find this an essential purchase, but it's competent enough. -- Mike Ohman

[See Embryo | Nektar | Passport]

Macbethia (87), It Reminds Me Of Those Days (90)

Dominated by the keyboards and writing of Nobuo "Kodomo" Endoh, this Japanese trio comes off sounding a lot like ELP or maybe more accurately like the American group Mastermind, given the currency and freshness of their sound. Macbethia is a very strong and ambitious first effort deserving a place in any progressive collection, whereas the second It Reminds Me of Those Days seems a little less inspired, although it too has many outstanding moments. There are good Japanese vocals on most tracks, but overall their music is predominantly instrumental. They are a current band so hopefully we'll be hearing more from them again soon. Their covers all have beautiful Roger Dean style artwork.

Social Tension are proof that the keyboard power trio is still a viable format and that ELP simply ran out of good ideas. Led by Nubuo "Kodomo" Endoh, Social Tension plays a music that is very similar in style to ELP, with a nice blend of old and new keyboard technologies. Along with the Hammond, piano and Moog (some nice moog work is to be heard here), you'll hear mellotron, harpsichord, and digital synths. The vocals are in Japanese and are none too powerful. Fortunately, they're not heard often. They write interesting compositions with a good balance between heavy pomposity and lighter delicacy. The drummer certainly is no Palmer so sometimes Social Tension lack the energy heard in ELP but it's nice to hear some good ELP-styled keyboard prog without all of Emerson's tired cliches and classical rip-offs. Kodomo also plays on the King's Board's album. Either album is a good place to start.

[See King's Boards]

Drank The Cronium (??), On The Wings (76), Phos (76)

The band was originally called Socrates Drank the Cronium but later shortened the name to just Socrates. Early albums were heavy rock, but with Phos, they added Vangelis Papathanassiou, of Aphrodite's Child and Vangelis fame. His keyboards added depth and some degree of progressiveness to their overall sound. Thus, I would call Phos a heavy progressive work. In addition to the keyboards, there is acoustic and electric guitars, and a fair amount of English vocals. Most of the songs have a strong influence from Grecian folk music. First Vangelis will be laying down layers of synths and bell-like sounds, which will give way to acoustic guitars playing in a folk-like manner. These will weave together and the electric guitar come in to drive the sound. Variations on this basic idea describe the music on Phos. The opening cut, for example, is driven by the electric guitar and reflects their heavy rock aspect, while other cuts get very spacious and somewhat akin to Pink Floyd or Omega. There's also a psychedelic vibe here and there, such as one dreamy cut when they sing "close your eyes/and leave your mind." Sounds like that, anyway. - Mike Taylor

[See Aphrodite's Child | Vangelis]

Rogue Element (78)

Canterbury fusion.

[See Hopper, Hugh | Gilgamesh | Soft Heap | Soft Machine]

Soft Heap (79)

This was a one-off reunion of former Soft Machine/Hatfield and the North members: Pip Pyle, Hugh Hopper, Elton Dean and Alan Gowen. Sounds a lot like Soft Machine circa Fourth or Fifth (is that any surprise?).

[See Dean, Elton | Gilgamesh | Hatfield and The North | Hopper, Hugh | National Health | Soft Head | Soft Machine]

Soft Machine Volume One (68), Soft Machine Volume Two (69), Live at the Proms 1970 (70), Thirds (70), Fourth (70), 5 (72), Six Album (72), 7 (73), Bundles (75), Softs (76), Triple Echo (77), Alive and Well in Paris (78), Land of Cockayne (81)

The first album is very much in the psych vein, but its experimental edge makes it seem much more progressive than it otherwise might. The instrumentation is primarily just organ, bass and guitar, the music is pretty much just their live show translated to vinyl with added sound effects and treatments. Robert Wyatt's intricate drumming and high-pitched singing voice, along with Mike Ratledge's unique organ playing, were all very influential on the other Canterbury musicians. Bassist Kevin Ayers sings on the classic track "Why Are We Sleeping?", which he later redoes on one of his solo albums. Another good track: "A Certain Kind." The second album added new bassist Hugh Hopper as well as some additional instrumentation: saxes, flutes, guitars, etc. Definitely a touchstone album in the history of fusion, adding a complex jazzy style to the psych jamming of the first album, and sounding way ahead of its time. Note songs like "Hibou, Anemone And Bear", in 13/8 with powerful organ soloing, jazzy sax arrangements and a fine vocal and drum-solo by Wyatt. The third album is the landmark album, a double LP consisting solely of four tracks, each in the 18-minute range. They now have full-time members on saxophones and trombone, expanding from a trio to a sextet. Each of the tracks has its own character. Hopper's "Facelift" grows out of a lunatic, noisy organ solo into a vibrant horn-riff, followed by a lovely flute solo. "Slightly All The Time" is a very jazz-orientated piece with a magnificent sax-solo about three-fourths of the way into it. Wyatt's opus "Moon In June" starts as a lyrical vocal tune with heavenly bass soloing by Hopper. Half-way through, it becomes instrumental, with Ratledge's organ dominating, and the music becoming ever darker. Fascinating! The closing number, "Out-Bloody-Rageous", opens with an electronified glittery electric piano cadenza that reminds me of some of Terry Riley's work, or perhaps some of the German electronicians. This leads into the main section, a 9/4 movement with superb drumming by Wyatt. After a brief echo of the opening, we are greeted by some beautiful acoustic piano forming a bed for a very nice sax solo. Almost all fusion and experimental rock bands owe them a debt for this album. Later albums competent but rarely as inspired. -- Mike Ohman

I should put a label on this band's music so you can all conveniently file it away and forget about listening to it. Unfortunately, it's not so easy so let's just call it "composed and improvised music played on electrically amplified instruments." All in all, not very danceable. DISCLAIMER: The following is typed completely from memory as circumstance has temporarily separated me from a large part of my record collection. Especially unreliable are the dates attributed to some of the recordings.

The Soft Machine: First official album. Lineup: Robert Wyatt, Mike Ratledge and Kevin Ayers. The music bears Ayers stamp more than anyone elses. Here, the group has already taken a big turn away from normal pop music. Individual songs are bridged by improvised bits. Ratledge's organ solos are killers. Some goofy sixties production values date the work, however (big panning and swish boom effects). Produced by Chas Chandler and Tom Brown) but the story has it that the band effectively produced themselves while Chas was on the phone.

Volume II: Produced by George Martin. Ayers replaced by Hugh Hopper, their former roadie. Features long complex compositions with a backing horn section. The group has started to take to improvisation in a big way ("Esther's Nose Job") though some pop values remain ("Dedicated to You," "As Long as He Lies Perfectly Still").

Third (two discs): One of their most brilliant efforts. The classic lineup of Wyatt, Ratledge, Hopper, and Elton Dean (horns). Four sides, four compositions featuring extended improvisations from all musicians. Influences ranging from Terry Riley to Eric Satie. "Moon in June" is the last sample of Wyatt's singing with the band.

Four: Same lineup as Third. Roy Babbington has a guest appearance on double bass. More "jazzy," less dramatic and cooler than Third.

Fifth - The other essential Soft Machine album. Wyatt has left to form Matching Mole (from the French translation of "soft machine": "machine molle"). Replaced by Neil Dolen, then John Marshall. One piece of music that I have not grown tired of listening to after eight years, especially the opening cut "All White" where Elton Dean blows extremely hot.

Six (two discs, one recorded live): Karl Jenkins comes on board to replace Elton Dean. The live stuff is pretty bland. The studio disc contains four compositions of which "Chloe and the Pirates" makes buying the whole set worthwhile. "Stanley Stamp's Gibbon Album" contains a lot of manic energy but Ratledge's improvisations seem to be losing their edge and the whole song bogs down in repetitivity. Hugh Hopper's "1984" is a rather dark experimental piece. Jenkins' piece presages "New Age" music with some complex but repetitive polyrythms.

Seven: Roy Babbington in, Hugh Hopper out. This album can be classed as the last of the Soft's main period as Jenkins begins to assume control of the band. Interesting but not entirely successful.

Bundles: Allan Holdsworth joins up. Ratledge is still present but on the margin. Jenkins more or less ceases to play his horns and takes up keyboards. The presence of Holdsworth exemplifies the music on this album, which is mostly in the heavy guitar based jazz-rock vein. Holdsworth fans should definitely get this one.

Softs: Ratledge and Holdswort leave. Guitar taken over by John Etheridge. Music continues to develop in the Jenkins direction: new age tinged jazz-rock (hmm, that might suggest Pat Metheny to some but that's not right. Think of Mahavishnu Orchestra's Birds of Fire with a dose of Wyndham Hill or vice versa).

Alive and Well: From a series of Paris concerts. More of the same.

Land of Cockaigne: Last studio album (last album ever?). Mostly a Karl Jenkins solo effort with backing from an orchestra, Marshall, Holdsworth, and Jack Bruce(!).

The Peel Sessions (Top Gear BBC recordings, 2 cd's): Fantastic collection of live recordings featuring Wyatt, Ratledge, Hopper, and Dean. Contains recordings of the brief seven man lineup with the addition of Marc Charig, Lyn Dobson, and a third person. ('69, '70, '71).

Triple Echo: Legendary three disc compilation of material up to Fifth or Six. In 1983, I saw a battered copy in a used record shop in New York going for $100.

The Unbeatable Soft Machine: Compilation of Jenkins-era material. With 78 minutes of music on one disc, you can buy this one and forget about Bundles and after.

[See Ayers, Kevin | Dean, Elton | Grimes, Carol and Delivery | Hopper, Hugh | Isotope | Matching Mole | Soft Head | Soft Heap | Wyatt, Robert]

For Those Alone (78)

Chip-Meditation (85)

electronic?

Soho Orange (71, released 90)

Someone told me that this Scottish band, whose one album was recorded in 1971 but not released until 20 years later, was progressive, and I'd like to find him and get my fingers round his neck. To be fair, Soho Orange is far from the worst album I've ever purchased, but to be honest, it's not really progressive in the least. The band is apparently composed of dual guitars, bass and drums...no keyboards. In the lighter, more acoustic sections, the guitar interplay often resembles Amon Düül II, but for the most part it's grungy, bluesy garage-psychedelia. The vocals are often whiny and irritating, though not nearly so bad as, say, Gravy Train. Fans of Deep Purple or sixties garage-psych/punk may enjoy this, but fans of progressive music are advised to avoid this one.

Concerto Grosso (72), Solar Plexus (73, aka Solar Plexus 2), Det Er Inte Baten, (74), Hellrre Gycklare An Hycklare, (75)

Odd Swedish jazz-rock band that took a very unusual approach to fusion on their second album. Most of their work consists of cover versions, or is somehow adapted to the work of others (like "Spider," which is based on a poem by Norman Mailer!). The original song "Don't Believe" reminds me most of Traffic. Elsewhere are jazzy versions of "Danse Russe" from Stravinsky's "Petrouschka" (not exactly the movement I'd prefer to hear from that, but good anyways), Carole King's "Smackwater Jack" (singer/percussionist Tommy Korberg seems to have ties to the Brill Building songwriters) and a Handel song with English lyrics (most of the lyrics are Swedish, except "Don't Believe," "Silent Worship," "Smackwater Jack" and "Spider"). -- Mike Ohman

[See Made In Sweden]

Solar Project (95)

Marsbeli Kronikak (85), 1990 (90), Live in Los Angeles (96)

Their first album Marsbeli Kronikak or the "Martian Chronicles" is an album with quite a reputation, Solaris deliver a heavily symphonic rock with lots of great guitar and flute and real drums unlike the electronic ones on their second one, Solaris 1990.

Excellent instrumental band from Hungary. Their music contains elements of Pink Floyd, Alan Parsons and Jethro Tull. They have two releases to date, both excellent! Their first release The Martian Chronicles is an ultra classic, and an absolute must for any prog rock collection.

Highly recommended. Flutes, keyboards, guitar, drums in that order of prominence. No vocals, unless you count the squeaking of the Martians on their first album. Until I heard this group, I didn't think I could like any group that was entirely instrumental. Beware: 1990 was released as a double LP, but side 3 was cut when the album was tansferred to a single CD. Both albums are great. I've since caught on to many other instrumental bands, but few of those can touch Solaris.

Solaris is a recent Hungarian band that I know next to nothing about. There are extensive liner notes with the Marsbeli Kronikak CD but they are written in Japanese. Solaris 1990, a more guitar dominated album than the former release. On Marsbeli Kronikak, the six part title suite, "The Martian Chronicles," is over 20 minutes long and will appeal to any fan of Pink Floyd and Richard Wright circa Wish You Were Here. This epic is the album's showcase. Parts 1-3 of the suite state the theme and the flute, guitar, and keyboards take turns developing it. Though continuously developing, I never had the impression the music dragged on too long. By the fourth part, the band is cooking with wonderful interplay between flute, guitar, and some really nice synth. None of the players are particularly outstanding musicians but together they create a breathtaking, spatial atmosphere where flute and synthesizer go on forever. Though the rest of the songs are shorter, they all sound to me to be variations on the main theme which gives a cohesive feel to the album. The Martian Chronicles isn't for everyone here, but I think many of you would enjoy it. The rest of the album is quite listenable if not always equal to "The Martian Chronicles." I've tried turning two friends onto Solaris. One attempt was very successful and the other was a flop. If you listen only for excellent musicianship, then forget this album. When I'm in that mood, I don't listen to this album, either. But I often find "The Martian Chronicles" suite very exhilarating and am sure many of you would, too. -- Mike Taylor

Solaris' sound tends to blend metallic rock theatrics with a heavy electronic influence, bright melodies, powerful dynamics and pyrotechnic guitar and keyboard outbursts. Flute plays an important part in their melodic statement, also the influence of classical music and eastern European folk themes; There are no convenient comparisons here, but there are some paralells with Jethro Tull, Focus, Horslips and others. Both albums are outstanding.

Solaris 1990 is a brilliant CD of prime progressive rock driven by keyboards and punctuated by very proficient flute leads. These guys have taken a leaf out of the books of Camel, ELP and the like, and have added orchestral backing on some tracks to create a 70-minute masterpiece.

I'll say it again, I love these guys! Great instrumental prog-rock. Should appeal to fans of Jethro Tull and Camel. Definitely worth the expense.

Solid Gold Cadillac (72), Brain Damage (73)

fusion. See Mirage.

Espresso (81)

Silent Dance (84), New Life (93)

Solstice was a prominent band in the early '80s UK progressive revival, but never had many commercial interests, instead opting only to play live. Their only album from that period was released privately in extremely limited quantity. Their sound could be described easiest in terms of comparisons: Imagine the folk-classical stylings of the first album by It's A Beautiful Day (complete with ripping violin), inject it with more symphonics, and add to that a female vocalist that sounds like Jon Anderson: this fairly accurately describes the sound on the first album. The production and recording quality of the original LP was fairly substandard and the CD transfer improves on this only a little; still the performance shines. By the end of the '80s some personell changes had occurred, including the singer. The new album features a much stronger vocalist, and a more powerful overall style, with more emphasis on the guitar and violin, and moves into a more fusion oriented direction.

Solstice is a UK band fronted by the vocals of Sandy Leigh, whose music is quite fairly in the neo-progressive vein. Silent Dance was recorded in 1984, and reflects the style of that era, including bands such as IQ and Twelfth Night. Interestingly enough, Ms. Leigh's voice is a trifle low, when compared with female lead vocalists such as Annie Haslam, which results in a style and pitch that recalls Jon Anderson!

I'm not impressed by my initial listens to Silent Dance. A cross between Reniassance and Marillion, I can't decide whether this is bad prog or good neo-prog. A five piece British effort, Solstice features the vocals and orchestration of a band that wants to sound like Reniassance, and a rhythm section that, "fits the music well" (i.e., they aren't very good). Ok, now that I've got that out of my system, let's try again. Solstice isn't half bad if you're not looking for a particularly virtuostic band. The songs are too poppish for me, but I could see how many progressive rock fans would like this band. So far I don't, but don't let that dissuade you. There is some quality music on this disc, but the accessibility of it makes all my warning bells go off. Female lead vocals, spacey synths and a...well...plodding rhythm section, sum up Solstice. If you are a neo-prog fan, you'll probably like this. If you prefer the more avant garde progressive rock, don't bother.

Solution (72), Divergence (73), Cordon Bleu (75), Fully Interlocking (77), It's Only Just Beginning (80), Runaway (??)

This band should be considered an essential of the Dutch progressive scene. Blending elements of experimental Soft Machine, the lyricism of Italian progressive, and their own vision, Solution have created a unique sound that is hard to classify. Flute, sax, organ, and guitar are used to spin a musical web of ideas that catches anything that flies near, yet remains squarely within the sounds typical of bands from the Netherlands and Norway.

[See Brainbox]

Epsilon (91)

Ozric Tentacles-styled psych band, said to be excellent. Not to be confused with the mediocre Allan Holdsworth project of the same name.

Suspiro (76), Jenny Sorrenti (79)

Ex Saint Just. Sister of Alan Sorrenti.

[See Saint Just]

Space Art (77), Trip In The Center Head (78), Play Back (79)

Electronic head music.

Fantastic Arrival (79)

Progressive/fusion that is done very well, based on the little that I have heard. It starts out in Return to Forever-style fusion with progressive overtones, then blends into somewhat cosmic-style passage with deep moog, violin, and guitar, turning into progressive with fusion overtones. Guitar player sounds very good. This band sounds like it has some quality musicianship.

Going Home For Eternity (89)

Reissue of early '70s spacy guitar rock.

Maximum Contrast from Moment To Moment (79, 7" EP), Go Commercial (80, 7" EP), Tell White Lies (81, flexi), Have A Lousy Xmas (81, EP), Do Generic Ethnic Muzak Versions Of All Your Favorite Underground Punk/Psychedelic Songs From The Sixties (87), Pink Noise (8?)

[See Birdsongs of the Mesozoic | Family Fun]

Paradoxe (78)

Guitar/synth duo, comparable to early Amon Düül II and Ash Ra Tempel.

[See Delired Cameleon Family | Red Noise]

Balance of Power (93)

Balance of Power is Tony Spada's solo effort and is, not surprisingly, of a style very similar to Holding Pattern, of which Spada was the guitarist and driving member. In fact, the supporting cast represent most of a recent formation of Holding Pattern. Tony Castellano provides bass and keyboards, Kirk McKenna plays drums and Jeff Brewer, a Holding Pattern member since 1984, contributes percussion. A few other musicians guest on a few songs. As I already noted, Spada's solo album is not much different in style from Holding Pattern. Eight of the nine songs are entirely instrumental. Only the 12 minute "The Final Act" has vocals by Spada. "Opposite Ways" and "Sun Song" are very engaging tunes, with nice use of both guitar and synth. Spada's style is best summed as equal parts of mid-'70s Genesis, Yes and Mahavishnu Orchestra, with a dash of Jimi Hendrix, and twisted around for some semblance of originality. I had a few minor problems with this album, though. Balance of Power suffers from Solo Artist Syndrome. The main focus is Spada's guitar work (in and of itself, that's not bad), with a minor emphasis on keyboards. There is little group interaction, however. The drummer and bassist keep the groove over which Spada solos. They are not integral to the music, other than to keep time with basic cliche rhythmic patterns. It's more than a touch ironic that I bemoan a lack of total group effort because "Sun Song," one of the most melodically engaging tunes on the disc is performed only by Spada and Castellano. Still, across the entire album, the rhythm section is nothing to get hot and bothered about. On the Holding Pattern album, there was often more involvement from drummer and bassist but not always. If you get into Steve Hackett, Camel, Bill Pohl and other melodic Prog, check out both Spada and Holding Pattern. -- Mike Taylor

[See Holding Pattern]

Spectrum (72), Terminal Buzz (73)

Prog. Terminal Buzz is a double live LP.

Speed, Glue, and Shinki (71), Eve (72)

Crazed, grungy blues/psych featuring the heavy guitar work of Shinki Chen. Recorded in the early '70s, this trio (plus a guest or two) is the epitomy of the drug-crazed heavy psych of the early Japanese rock scene. The self-titled first is a double LP of bluesy guitar jams. The English lyrics (sung by drummer Joey Smith) are a mix of "bad women who done me wrong" and hippie themes of peace, love, drugs and oppression by the establishment. Often, they're a combination of several of these "themes." Musically, they are closest to bands like Mountain. As a matter of fact, listen to "Bad Woman" and see if you can't fit in "Mississippi Queen" almost note for note. You'll also hear bands like Cream or Taste, plus other Japanese psych bands such as Foodbrain, Love Live Life + One, etc. There's also a long excursion of psychedelic experimentalism somewhat akin to early Amon Düül II. The double album can be a bit much to take unless you're into heavy, grungy blues. Some of the more psychedelic songs do feature some very nice guitar work. Eve is a single album of the same, without the guests. You might want to find Eve first to get a feel for the style. It jams pretty good without dying from its own bulk like the double tends to do.

[See Foodbrain]

Collection 983-Spectral Voyages (84)

New age guitarist. His LP Collection 983-Spectral Voyages is mostly just improvisations in the space mode, with a lot of echoey gimmicks and such, a good album at the listening, but nothing to take away with you.

Spekstar (74)

Keyboard trio.

Spektakel (96)

Spektakel was the precursor to Schicke, Führs and Fröhling, existing from 1969-1974. They recorded music in 1974 for an album that was never released. The Laser's Edge label that released all three SFF albums on a two CD set uncovered Spektakel's music and released it on CD.

[See Führs and Fröhling | Schicke, Führs and Fröhling]

23rd Century Music (92)

The duo of Randy Rico (guitars,keyboards,drum programming) and Jeff Aldrich (bass) from Colorado. Their sound could be described as new-age wall of sound synthesizer meets heavy metal guitar, in an instrumental progressive short song format. The music is very powerful, inventive and brilliant, although it all would have been a tad better had they used a real drummer.

Sperrmull (73)

Brain-label prog.

Spheroe (77), Primadonna (78)

French fusion trio (keys, guitar and drums). Best comparison would be Brand X. Not bad! -- Achim Breiling

Spin (76)

Spirit (68), The Family That Plays Together (69), Clear (69), Twelve Dreams Of Dr.Sardonicus (70), Feedback (72), Spirit of 76 (75), Son Of Spirit (75), Farther Along (76), Future Games - A Magical Kahauna Dream (77), Live (78, 3 different versions each w/different track list), Potatoland (80), Thirteenth Dream (84, aka Spirit of 84), Rapture In The Chambers (89), Tent Of Miracles (90).

While not progressive in the ELP/Genesis/Yes sense, this band went far early on to create bridges between rock, jazz and classical styles long before it was stylish to do so. The end result was a respectful hybrid, not a fusion. The original lineup consisted of drummer Ed Cassidy and keyboardist John Locke, both experienced jazz circuit musicians, bassist Mark Andes, guitarist Randy California, and keyboardist-turned-lead singer Jay Ferguson. This lineup released four outstanding albums between '68 and '70, culminating with the classic Twelve Dreams of Dr.Sardonicus. The best of these four, plus some rare soundtrack and single material, is available in the double CD compilation, Time Circle. In '70, Andes and Ferguson left to start the boogie-rock band Jo Jo Gunne. At roughly the same time, California dropped out, so two new members (Al and John Staehely) were recruited and the band carried on as a four piece to record what is possibly the band's most commercial album, Feedback. Locke then dropped out, and after a tour as a three piece, Cassidy did as well. Meanwhile, California had recorded a solo album Kaptain Kopter and The Fabulous Twirly Birds, featuring Noel Redding on bass, Cassidy, and other musicians. This new partnership between Cassidy and California (who incidentally was Cassidy's step-son) would eventually lead to the reformation of Spirit as a three-piece, with various bassists coming and going, which would last throughout the balance of the '70s, '80s and into present times. The sound of the reformed Spirit was more guitar oriented with California at the helm, with less of a jazz/classical influence as compared to the early period. The albums from this period tend to be less lyrically sophisticated, and more basic rock and roll, with obvious nods to Bob Dylan and Jimi Hendrix, although there are some gems in here, most notably the late '70s Spirit Live (was released with three different track lineups in Germany, the UK, and the US), the classic Future Games - A Magical Kahauna Dream, and Potatoland, their best concept album since Sardonicus. One note about Potatoland, it was originally recorded in the 1974 period, and completely re-recorded in 1980 when it was finally released. In the '90s they're still going strong, although albums are released much less regularly these days. Best places to start: Early Period: 1st album, Sardonicus or Time Circle. Later period: Potatoland, Future Games, or any version of Live.

[See California, Randy]

Lies to Live By (74)

A Canadian band that went through several formation changes before arriving with this name. Their earlier styles were influenced by the West Coast psych sound, but Lies to Live By, while still in the psych vein, had a unique sound with mellotron and song structure lending some progressive overtones. Strongly dominated by Preston Wynn's smooth, powerful tenor and Rob Bulger's frantic lead guitar, their conceptual album explores the darker side of the human psyche. Dashes of piano can be heard throughout. There are three shorter songs (3-4 minutes) and three longer songs (8-11) minutes. Both showcase the band very well, exploring the fear of war, frustration and emptiness, dehumanization and loss of freedom, and the human puzzle in general. This is a very strong album, and one most pysch fans and many prog fans would thoroughly enjoy.

[See Reign Ghost | Christmas]

St. Radigunds (71), Old Boot Wine (72), Bells, Boots and Shambles (73)

Early Britsh folk-prog in vein of Trees or Fairport Convention, known for being Barbara Gaskin's first band.

[See Stewart/Gaskin]

Umanamnesi (96)

Uomo Irregolare (80)

Ex-Metamorfosi.

[See Metamorfosi | Thor]

Mental Notes (75), Second Thoughts (76), Dizrythmia (77), Frenzy (78), True Colors (80), Corroboree (81, aka Waiata), Beginning Of The Enz (81, pre-first album), Time and Tide (82), Conflicting Emotions (84), See Ya 'Round (85), Living Enz (85), History Never Repeats (87), Rear Enz (93, Box Set), Live (??), Enz Of An Era (??)

Great band, fun music. Only their first couple may appeal to progressive fans, Mental Notes and Second Thoughts. Mental Notes is molded firmly in the Foxtrot/Nursery Cryme style of Genesis (although a little bit more quirky). Second Thoughts is a remake of Mental Notes.

Pop band from New Zealand with some experimental/progressive tendencies (mostly in the early part of their career), in many ways like 10cc or like that. Later they became very mainstream, had a couple hits, then flaked. Best stuff would be Beginning Of The Enz, Mental Notes thru Dizrhythmia. Also, Corroboree and Time and Tide have some real nice stuff on them too.

New Zealand band best known as being the predecessor to Crowded House, but that began as a rather twisted symphonic prog band which featured two lead vocalists, the fine wistful tenor of Tim Finn and the grating, often maniacal vocals of Phil Judd. They added a touch of the British music-hall to their sound, most often taking residence in the loony sounds (spoons, blow-whilstles, sirens and such) of percussionist Noel Crombie, and the slightly detuned, barrelhouse piano (played alternately by Finn and main keyboardist Eddie Rayner). It is primarily keyboardist Eddie Rayner who gives the band its symphonic edge with lush waves of mellotron and Moog synth. The Australian Mushroom/Festival-label pressing of Beginning Of The Enz chronicles the band's earliest days and is supposed to be good for those who like their prog period. Mental Notes is their first official album, with moods ranging from whimsical ("Amy (Darling)," "Walking Down A Road") to pensive (the beautiful "Time For A Change") to dark and moody ("Stranger Than Fiction") to borderline dementia ("Under The Wheel," "Titus"). The pervasive mellotron and Judd's acoustic guitar (and on "Titus", mandolin) remind of Foxtrot-period Genesis, Wally Wilkinson's electric guitar solos are not far-removed from Camel or Sebastian Hardie. Second Thoughts (the American release confusingly titled Mental Notes in a revised Mental Notes cover with a pink, scalloped border) contains four tracks from Mental Notes in rerecorded versions. Lead guitarist Wally Wilkinson is replaced by sax/trumpet player Bob Gillies, there are also some additional guest players on cello and violin, making the new arrangements of the old songs (especially "Walking Down A Road" and "Stranger Than Fiction/Time For A Change") The use of horns brings out the "music-hall" element in their sound, most evident on the rather twisted "The Woman Who Loves You", about a man who robs the grave of his dead fiancee! The piano and horns echo this sound, there's also a spoons solo (!) in the middle. This album is probably the one to get first. Dizrythmia is the first album without Judd, but his ghost still hants this album (he wrote or co-wrote three of the songs, many of the other songs sound as though he could have written them). Judd's replacement is Finn's little brother Neil. The most progressive song is the lunatic whirlwind "Jamboree." Other standouts include the haunting "Charley," which may well be the band's best song, and the musing "Without A Doubt." Other songs are quirky, herky-jerky little tunes, not especially progressive but very enjoyable. I haven't heard Frenzy, but it apparently emphasizes the quirkier (i.e. least progressive) elements of Dizrythmia. By True Colours, they had transformed completely into a winsome pop band. Not prog at all, but if you're open-minded, you may be able to appreciate its simple charms. Ditto for the rest, and the Crowded House LPs, which are similar. The live album (The Living Enz) includes a couple of tracks from their prog days ("Time For A Change" and "Charley"). The box set (Rear Enz) also includes rarities from their Mental Notes days, even a 15-minute track!. -- Mike Ohman

The Light (95), Beware of Darkness (96)

What Is Life? (81)

Symphonic prog.

Alidai Star (73), Revel, Weird and Wild (76), Time Will Pass (77), Magic Lady (79)

Folk/rock; later just Spriguns. Not sure if they are the same or not.

Spring (71)

The eponymous release by the British band Spring has long been regarded as a classic of the early '70s UK progressive sound, to which bands such as Fields, Greenslade, etc. contributed. This sound was built around organs and keyboards, was generally melodic in nature, never very intense, and featured contemplative lyrics. Almost always the sound included the lush stylings of the mellotron, and, this band had the benefit of three (!) mellotron players, making the release a fantasy-come-true for those who enjoy the instrument. In terms of comparisons, the best description that comes to mind is that of a cross between ELP and the Moody Blues. Interestingly enough, the band features Pique Withers on drums and glockenspiel, before he went on to fame and fortune with Dire Straits (as Pick Withers)!

Usually, the first thing you read about this band is that there are *three* mellotron players. The mellotron, however, isn't the predominant instrument, though it obviously makes many appearances. Spring is a classic of the early UK progressive scene. Very melodic but with a somewhat unpolished feel typical of many early UK prog bands. Typical of this scene, there's a lot of electric guitar but no extended soloing like the German undergound scene, however, some of the solos are very nice. Vocals are a little rough but no worse than most prog bands. The Laser's Edge CD reissue contains three bonus tracks though that makes the album a little tiring over the long haul. Comparable to Fantasy, Cressida, and Cirkus. Pique Withers (later of Dire Straits) played drums.

A Silk Purse (75), The Happy Handful (75), Smoking On The Bog (77)

Celtic folk-rock with prog influences.