| "Illusions On A Double Dimple" is a breathtaking masterpiece and IMHO perhaps Triumvirat’s PHD of all their albums. “Illusions” is essentially 2 epic tracks and stands as highly creative in scope and ambition with its fusion of classical, pop, rock and even some jazz elements. For the most discerned listeners will love this album with continuously shifting musical interludes and dazzling mood and tempos shifts. The songs themselves are brilliantly written and the Harvest Records Remastered version brings out the deep tonal sophistication and true analog feel the album is rich in. Band line up is Jurgen Fritz (keyboards), Hans Bathelt (drums), and Helmut Kollen (guitar, bass, vocals). The overall sound of the album is very crisp and fresh sounding not sounding like an old 70’s release. I hear lots of elements on “Illusions” with allusions to ELP (Obviously) , Beatles, ELO, YES and Gravy Train. This is an album that either you love to death or I guess don’t get, but I definitely love this album all the way thru and will take this one to the desert Island. | |||
| Matthew Parmenter I suppose would be more recognizeable in his main role as lead singer in the US Progressive Rock band “Discipline”, but treats us to something new in his first solo release “Astray”. As you know from my earlier review I am a big fan of Patmenter’s emotive style ,pungent lyrics and vocalizations but I had no idea he could play so competently all these instruments. Parmenter plays all piano, guitar, drums, saxophone, violin, organ, synthesizers, marimba, Theremin, and Mellotron parts (an of course vocals). The end result is a deep thought provoking dark musical montage of seven personal songs delivered with Parmenter’s conviction and vocal cinematics. Songs each s build and move thru a range of emotions, tempo and mood swings and all kind of end up in that dark and border line angry space. Oh yes I should also mention that album also contains a nice ling epic track “Modern Times”. “Astray” is IMHO a piece of genius and lovers of DISCIPLINE” will need to get their hands on a copy of this album. | |||
| For me the early work of Tangerine Dream rank as some of the most profound electronic albums of all time. After “Electronic Meditation”, both Klaus Schulze and Conrad Schnitzler abruptly left, and were replaced by Steve Schroyder (later briefly of Ash Ra Tempel) and a teenaged Chris Franke. Alpha Centauri transitioned Tangerine Dream away from the rock’ish sound found “Electronic Meditation” towards the interstellar deep space caverns of the darkest voyages into other worlds. Alpha Centauri as an album moves quite slowly and only contains a bit of percussion with the rest being a great collection of vintage keyboards. Without question I should mention the psychedelic-like state actually created here with flute and phased electronics. In many ways the 22 mins epic Alpha Centauri carries traces (and a creative pre cursor) to my favourite electronic album of all time “Epsilon In Malaysian Pale”. Also definitely hear Pink Floyd’s psychedelic influences throughout the album (minus the guitars and drums of course). Tangerine Dream for me were a band I really discovered at the tail end of my high school days and on into university life. I highly recommend you pick up the Sequel Records Re-Mastered version which is infinitely better than the Castle Records attempt to do the same…… Today, I still love to play these early Tangerine Dream albums. | |||
| So here is one of the most beautiful albums to have come along from the new millennium. “Au-Dela Des Ombres” is the work of a Canadian Music teacher in named Robin Gaudreault who has released one beautifully crafted album from start to finish. On this album you will get it all, breathtaking instrumentation (mellotron, rickenbacker and fretless basses, flutes, acoustic guitars and inspiration vocals with abundant harmonies). Each song has been carefully crafted and truly resembles the feel and tones of the 70’s golden progressive rock era. The band lineup is Robin Gaudreault – Vocals, 4 and 8 string Rickenbacker, fretless basses, 12 string acoustic guitars, flutes, keyboards, piano, Jacques Livernoche – Drums and percussion; Éric Brassard – Electric guitars; Chloé L’ Abbé – Flute; Jocelyn Guillemette – Violins & soprano saxophone; Stephan D. & Frank B. – Vocals; François Fortin – Clarinet. Hard to peg all the music comparisons here but Mike Oldfield, Mike Rutherford aka "Smallcreeps Day", Genesis and even the Moody Blues. Overall a highly inspirational album with great color and tones. | |||
| For many years this album was on my wish list but I was unable to track it down and now thanks to a great new technology we can all finally enjoy this masterpiece from the 70’s , completely restored to CD from the kiln and a process of re-baking the oxide to the original mastertape. “Assault On Merryland” is a concept album based around a fantasy land called Merryland and a tale of a prince, princess and king who manage to reverse a spell which left Merryland in total darkness. Musically this is a 4 piece ensemble comprised of Rick Bess (guitars, bass), Blair Blake (Organ, piano, moog, Taurus pedals, celeste), Dave Kelly (drums), Mark Biehl (Vocals, Flute, trumpet). Musically these guys are tight and play with great lustre and technical skill. Songs area all very well written and offer great themes and varied tempos and moods. Overall this album is quite symphonic and perhaps best way to describe the music of Surprise would be a mix of Fireballet, King Crimson and classic Camel. Overall a wonderful album and a definite need for your collection. | |||
| Camel’s "Harbour Of Tears" is a beautiful concept album centered by content and feel of Irish immigrants leaving for America. Mae McKenna opens the album with a little traditional Irish aire and really sets the mood of the album. The quality of this album rests in its haunting, melodic and symphonic nature. Andy Latimer's guitar, as ever, shines strong and there are nice touches of flute, oboe, french horn, cello and violin. Songs are very well written and really do take on a slight Irish feel in composition and as always contain that symphonic Camel way. Latimer is joined by Colin Bass (Bass), Mickey Simmonds (Keys), David Paton (Bass), John Xepoleas (Drums) and a good chunk of chorus members. As we now come to expect from a Camel album the vocals are in short supply with just five of the tracks containing them but when they do come they enter just at the right moment and enhance the whole concept. Overall a wonderful album with some great breathtaking passages and vintage Camel swoops. | |||
| Rose were a Canadian rock band where on "A Taste Of Neptune" carried some progressive leanings. Kind of a cross of bands like Kansas, Boston and Sweet with great guitar work (Brian Allen) and keyboard grinds (Ron Glatley). I actually don't know a lot about this band, but understand they were from Barrie Ontario and 2 members went on to participate in Canada's "Toronto" and "Honeymoon Suite" acts. Their music is very vocal orientated and song based. If you are hunting for this gem, it was released on Si-Wan Records a number of years ago and seems to turn up every now and then. Overall a fine little album and well worth you hunting down. | |||
| Amongst fans this is simply known as “Neu ’75” or the “Black Album”. This was really the 3rd album released by these German pioneers of electonic space prog rock Neu! and IMHO is a simply killer album worthy of major praise. Without a question you need to have this album in your collection and now thanks to the folks at Astralwerks we can enjoy this in audio re-mastered brightness. Neu! in 1975 was Michael Rother (guitars, piano, synths), Thomas Dinger, Hans Lampe and Klaus Dinger (organ, percussion and guitar). This classic space rock album was recorded in the famous Krautrock kitchen of Konrad Plank studios. All 3 classic Neu albums shine in different yet connected light : where the first album is an adventure in minimalism, Neu! 75 is more colorful and slightly more accessible although just as adventuras. Neu! were obsessed with sonic textures with this album dripping in crystalline images and frosted by deep tonal analogue synthesisers and pristine lead guitars. This is the perfect headphone experience album for those who love to still sit and get totally wrapped up in an album from start to finish. A masterpiece ! | |||
| The early Golden Earring albums are absolutely in my handful of most beloved 70's AOR /Prog /Classic / Psychedelic Rock work. "Together" was actually earring's 5th studio album and marks a wonderful fusion or classic and prog rock. This is a pretty heavy album full of great acid laced guitar (George Kooymans) with ripping drum and bass interplay (Cesar Zuiderwijk and Rinus Gerritsen). Flutes and keyboards cover the musical landscape with some pretty awesome grooves. Songs are all very melodic yet carry that free flow form that was being built off the 60's psychedelic popularity. Song mood and tempo swing are abundant here with everything from acoustic guitar blues mood to a full prog rock organ drench atmosphere. Without a question "Together" is one fine little album and a neccessity if I may say so in your growing colleciton of music. | |||
| The Cosmic Couriers were the precursor to The Cosmic Jokers whose music I have treasured. “Tarot” is really no exception to this and is really the first album that Gottsching, Schulze, Dollase and Grosskopf made together. Walter Wegmuller was a gypsy painter who had designed a 78 card Tarot set and had a dream of putting an outer-worldly album of music to his cards. And that is exactly was “Tarot” does with music spreading out over 2 CDs addressing each card in tonal harmony and space attributes. The Cosmic Couriers were Manuel Gottsching, Hartmut Enke, Harald Grosskopf, Jurgen Dollase, Jerry Berkers & Walter Westrupp. The music is classic space-out Krautrock (ala early Ash Ra Temple / Cosmic Jokers). I really did not know this album was even in existence until my pal Jeff brought it to my attention. "Tarot is one highly enjoyable yet very trippy excursion into the deep underground German electronic canyon. Hate to say it there friends, but you if you love electronic space music then this is an essential one to pick up. | |||
| “Dark Matter” is truly nothing short of the truth with IQ digging into their “noir souls” and reaching right out to grab us right from the opening foreboding synthesizer swells of “Sacred Sound” to the epic “Harvest Of Souls”. Okay so this I suppose will sound like a cliché but what the heck, but this album really brings back the early IQ feel with some darker (aka The Wake) eerie transitions and darker melodies. The membership of IQ is still Paul Cook (Drums), Mike Holmes (Guitars), John Jowitt (Bass), Martin Orford (Keys) and Peter Nicholls (Vox). As you would expect the musicianship, vocals and lyrics are nothing short of beathtaking with some tremendous musical moments for your little ears to enjoy. Epic track "Harvest Of Souls" is a real doozie with 6 parts with hints of YES, Pink Floyd, Marillion and of course the one and only IQ. "Dark Matter" is definitely forever for me ! | |||
| Ptarmigan were a Psychedelic Folk Progressive rock band from Vancouver Canada who released a genuine beautiful album in 1974. Ptarmigan’s debut album resonates with a highly unique charm and character with very few true comparisons. Without a question there is a strong Native North American Indian feeling to this album with flute, hand drums and lots of acoustic guitar. Line up included Monte Nordstrom : vocals, 12 string guitar, Kat Hendrikse : drums, Dave Field : acoustic bass, Richard Mayer : electric bass, Glen Dias : lead vocal, alto, tenor & bass recorder, incidental percussion and Peter Wheeler : hand drums. Overall album is quietly psychedelic with some great songs and a semi-haunting nature to them. Vocals are soft and well done and generally sung in harmony. No rock out here, this is one of those “back to nature” albums and a great one to get lost in. | |||
| Solemn and yet enchanted, “The River” is an album to live as much as to listen to. Based solely around the haunting piano of Ketil Bjornstad and the deep resonating speech of David Darling’s cello this album will clearly take you into deep thought. This is a very relaxed album resonating with sadness and purity in both musical color and texture. The entire album is essentially one song made up of 12 different movements each showcasing this duo’s talents and deep conviction for music. Without a question lovers of the slower melodic parts of “Godspeed You Black Emperor’s” music will love this album as will anyone who loves both piano and cello. Highly recommended for those chilled out Sunday mornings. | |||
| Self titled Golden Earring is actually their 3rd album but the first of the 70's and IMHO a true classic. Lost somewhere in the classic 70's early rock format and the psychedlia, this album is magic. These guys were very talented musicians who really knew how to let it all out. George Kooyman's lead guitar work is fantastic and is backed back some great bass, drums and keyboards interplay. Although there are some pretty solid rock grooves on this album, they never get too heavy and try to stay in their themes. The songs are very memorable and all carry a rock melody in nature. Musically these guys share a musical conviction not unlike bands like FREE and KIN PING MEH. A great album for those who like original ground breaking early 70's rock. | |||
| Cano were a 70’s Franco-Ontarian folk based prog band who released a couple of great little albums. “Tous Dans L’Meme Bateau” is a gentle album of high quality musicianship and careful instrumentation. Musically I would characterize Cano as a mix of Canada’s HARMONIUM and parts of YES. Cano were a large band in terms of membership and I think on this album were 12 strong. With heavy emphasis on acoustic guitars, piano and that classic Cano-folk imaging brings me back to my heritage of life in Northern Ontario and life around lake Nippissing. Lyrics are all sung in French and contain deep soul and great voices that really suit their musical landscapes. At times this album does sway into some honky tonky jives and bluegrass like offerings but always seems to come back to their folk roots. A very fun album to listen to and offers quite a nice range of emotions and musical themes. | |||
| I really don’t know a lot about the band Sweetwater but that they played Woodstock in ’69 and were a real underground discovery for this music lover. In typical late 60’s style, Sweetwater were a prototypical Psychedelic band whose in different light included as main instruments both cello and lots of hand percussion in addition to organ, flute, drums, bass and guitars. The overall sound is quite progressive and yet obviously very psychedelic. “Cycles” is really a collection of their first 3 albums from Reprise records with each track carefully re-presented to us by the fine folks at Rhino Hand made Records. According to CD packaging they only printed 10,000 copies and do not plan on re-issuing this package so I would suggest if interested you get going. Musically Sweetwater were a wild mixture of Janis Joplin, Annie Haslam, and The Mama’s & The Papa’s. There is no question that Nancy Nevins had a remarkable voice and fits perfect into the Annie Haslam camp in terms of style, power and beauty. | |||
| OK so to this day I have still not heard or read a favourable review of “Second Birth” which was Gravy Train’s 3rd album and often forgotten and literally dismissed in the brilliance of their great bookend albums. Without a question Gravy Train were in transition from the Vertigo Records days and yes had a few years off in between releases and yes maybe there are some strong borrowed parts, but I really like this album. Perhaps It is because I love the sound these guys created and am a big fan of Norman Barrett vocals and guitar work. As with all Gravy Train albums guitars are in the forefront with some excellent flute, bass, key and drum interplay. My favourite track is “Motorway” which gets to really find some space to groove to and is complete IMHO with flute accents, raging guitar, Barrett’s harsh vocal screeches and syncopated timing. Overall “Second Birth: does not reach all the highs of "(A Ballad of) A Peaceful Man”, but still is a very good album and one which needs to be seen in different light. | |||
| Wow...this one was a real find kids.......Myriad are a band all their own and very much progressive in their fresh new approach. Musically these guys are ontop of the world with some exceptional guitar , keyboard and percussive moments. Myriad blend the robustness of the California Guitar Trio with heavy King Crimson and Porcupine Tree breakouts and synth charm of vintage 70's bands. The band is really the genius of Matthew Heindorff (Guitars, Bass, Vocals, Synths and Organ) and Darren Finch ( Drums, cymbals, djembe and congas). Mood swings are just the order of the day on this album and songs move from very serene to heavy guitar-laden breakouts. Lovers of Porcupine Tree will without a doubt love this little album. Symphonic and Magestic yet impulsive and dark........highly recommended | |||
| I Dik Dik were a late 60’s Italian Mod group who in the 70’s like so many others (ie. I Pooh, I Gigianti...) made a transition and took a stab at Progressive rock. The output were 2 excellent album with “Suite Per Una Donna Assolutamente Relativa” in discussion here. For this writing and recording session, I Dik Dik added former “Osage Tribe” drummer Nunzio Cucciolo and Italian Prog band "Trip"'s keyboardist Joe Vescovi which gave them the progressive prowess to record this jem. In addition, Dik Dik were original members Erminio Salvaderi (guitar, vocals) and Roberto Facini (guitar) and Pietruccio Montalbetti. “Suite Per Una Donna Assolutamente Relativa” is an 11 track concept album full of beauty and grandeur. Guitars and keyboards are standout with an overall sustained 70’s vibe throughout. At time this album carries the same sound and musical characteristics for me as of “Corte Dei Miracoli” with well written and interesting and memorable songs, vocal harmonies and deep keyboard presence. All vocals are sung in native Italian and are very well done. Hate to say this but this is another essential Italian progressive rock recording. | |||
| “Flight” is Tai Phong’s 3rd album from 1977 and was aply titled as it was the last album recorded by this original band. Although I suppose you would say that this album is definitely more accessible than their first two brilliant albums, “Last Flight” also shines in its own light. Gone is the obvious “YES” and “Pink Floyd” allusions, but is replaced with more of a Canterbury feel (aka Caravan) and AOR Prog (aka 10CC). Tai Phong were Jean-Jacques Goldman (Vocals & Guitars), Khanh (Vocals & Guitars), Michael Jones (Bass, Vocals), Pascal Wuthrich (keyboards) and Stephan Caussarieu (Drums). It is really sad that these guys did not really become as big as was their music and all the Tai Phong albums are fantatsic and unique in color and texture. 2 2 longer songs on this album are very recognizeable as "Tai Phong" "Last Flight" and "Farewell Gig In Amsterdam" which are given lots of room to be explored and carry a very classic progressive feel to them. Overall "Last Flight" is a fun album to listen to and essential if you are a fan of Tai Phong. | |||
| I guess Japan would more be more traditionally considered a 70’s alternative rock/punk band than a progressive rock act, but on their second album Obscured Alternatives, they managed to really produce an interesting and very unique album with lots of tonal character and pop challenging tunes. Japan were David Sylvian (Vocals & Guitars), Richard Barbieri (Porcupine Tree Keyboards and analog Synthesizers), Rob Dean (Guitars), Mick Karn (Bass, Sax) and David’s brother Steve Jansen (Drums). Overall the album feels like some classic David Bowie tossed in with Gary Numan and lots and lots of JAPAN. | |||
| With deep conviction and an innocent introspective feel, Marillion's double CD release Marbles will keep you rolling along. Marbles is a slow and sombre album full of gorgeous deep tones, carefully crafted melodies and songs and that special Marillion flare. As a big Marillion fan, Marbles sounds very different yet again and is another excellent piece of work from start to finish. There is a lot of great keyboard work and guitar accents throughout the album with deep bass tones. This double CD album pretty well stays on the softer side of Marillion...not unlike tracks like "Afraid of Sunshine", "Cathedral Walls", House, When I meet God etc...Overall Marbles is a very fine album and although many will feel perhaps Marillion's new direction is a bit too quaint, I dig it and I am into it. | |||
| Volando was the 6th studio album from I Dik Dik and catches this tremendous band at the height of the Italian Progressive Art era representing one of my personal favs of all time. Deeply rooted in the symphonic keyboard and orchestra aided style, Volando is oozing with beauty and color. In many ways I would best describe this album as a cross of classic PFM with I Pooh and La Bottega Dell’arte. All 11 tracks are rich in tone and creativity and have been carefully restored in this Japanese re-mastered version by the fine people at M2U Records. I Dik Dik weave acoustic guitars, bass and drums with lots of organ and 70’s synths, all supported by rich vocals and harmonies sung in native Italian. This is another essential Italian recording and one of my favs. | |||
| La Maschera Di Cera (The Wax Mask) are a new Italian five piece band who definitely play a vintage 70’s replica with total originality and deep musicianship. Hate to overuse this expression, but here it goes…this is a total masterpiece IMHO. La Maschera Di Cera blend powerful vocals, piano, mellotron, organ, moog, 'clavicembalo'-VCS 3 synths ,flute, bass/acoustic guitar and drums and create some of the best sounds I have heard out of Italy for a long time. The first side is a sole magnificent 20 mins epic track which carries the “Attack-Decay” style of Sweeden’s Anglagaard with the symphonic beauty of classic PFM and jazz elements of Echolyn….totally unpredictable and totally creative song writing. The second side is 3 tracks which continue right where side 1 left off…. Musically these guys play some pretty sophisticated and deep music with tons of vintage keyboards , flute and guitar dominating. I must also tell you that the drummer is very good and so too are the bass and guitarist. Hard to exactly peg this album in terms of comparison but I would say musically a dead mix of Standarte , PFM with Finesterre. Overall a fantastic album and one of those albums that after you hear you will not be able to put down. | |||
| My first and lasting knowledge of Monte Nordstrom was from Canada’s Ptarmigan (see review earlier)…an album that I love. “After All..” is a 2004 release from Mr. Nordstrom with some interesting connections to Ptarmigan. This CD is basically fractured into 2 distinct parts…. Part one features recent and fresh compositions, while part two premieres previously unreleased tracks from the Ptarmigan recording sessions and early 70’s era material. Nordstrom is a great musician carrying vocals, guitars, harps and mellotron, but is aided with the talents of Keizo Endo(founding member of the progressive rock group, Wappa Gappa) , Peter Gustavsson (guitar & vocal tracks) and a mit full of other session talents. Best track on the album is definitely "Precipice" which really touches a sweet spot for this music lover. | |||
| "Ghost Of A Rose" is the 4th studio album by Ritchie Blackmore and the lovely Candice Night and represents another excellent renaissance-like court jester era album. Along the way we are treated to 15 lovely tunes with perhaps the best track yet in a awesome rendition of Joan Baez's "Diamonds and Rust". As you would expect the tracks are all quite acoustic and are given lots of white space for the beautful voice of Candice Night to shine thru. One of the standout aspects of this album is the superb instrumentation and tone quality. Overall a very tranquil album with a nice mixture of folk, classical, prog and turn of the century instrumentation. | |||
| Sweet Smoke were a 70’s Progressive Rock band who spent more time in Europe than in the Continental US. Along the way they managed to bump into Conny Plank who Co-engineered this album with Klaus Lohmer. Sweet Smoke combine fusion jazz elements (aka Miles Davis) with German Krautrock elements and with the addition of flute and sax gives a Canterbury feel as well. Vocals are present and quite psychedelic sounding actually at times with some banter and chanting going on. This album is essentially 2 long epic tracks oscillating between blues, jazz, rock, funk and psychedelia. Band was Andrew Dershin (Bass), Jay Dorfman (Drums and percussion), Marvin Kaminowitz(Solo guitar, Vocals), Michael Paris (Tenor sax, alto recorder, vocals, percussion), Steve Rosenstein (Rhythm guitar, vocals). With the length of the 2 tracks there is lots of room for exploration and an almost improvised feel to the movements. On track 2 “Baby Night” there is a simply killer percussion solo which sounds like solar drums and will absolutely blow your mind. This is truly awesome music and is heavily recommended to lovers of prog-psych rock. | |||
| The Enid are one of those "Hate em or Love em" type of bands with this music lover camping on the "love em" side. This was the 6th album from Robert John Godfrey and Stephen Stewart mixing 6 wonderful symphonic tracks and 1 killer live 20 min epic "Song Of Fand". As with all of The Enid's music we are treated to a real collaboration of classical, symphonic and rock genres. Both Godfrey and Stewart perform keyboards and synths with these dominating the album. The overall feel is very lush and tranquil with some grand swoops and mystical melodies. At this time in their career, The Enid had added full time member David Storey (Drums) as well. Vocals for the Enid are quite interesting with the fine lead vocals of Godfrey and the background 1950's sounding harmonies. Overall The Spell is a great little album with some very creative art rock and progressive musical moments. | |||
| Here is essentially where it all started for The Cosmic Jokers with thier debut album from 1973 and giving us all a very spacy introduction and prelude of what would be to follow. For the uninitiated, The Cosmic Jokers are the clash of space cadets Manuel Göttsching, Dieter Dierks, Jürgen Dollase, Harald Großkopf and Klaus Schulze. As you may have guessed by now I am a huge fan of these early pioneering space-psych-prog rock albums and none are finer that this 2 epic track album. This album is full of deep space effects, lots of free form jamming, analog 70's keyboards, guitars, amazing pulsating bass lines and trippy vocals and chanting. Musically this album is far out with some way too cool vibes and instrumental parts. This album is one of my late night space-festi-favs and without a question side 2's "Cosmic Joy" is one of my most treasured 70's space rock tracks. Spacefully yours ..........James | |||
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