| Todd Rundgren wrote and released a ton of music over his career with the pinnacle album represented here with Utopia’s 1977 Masterpiece “RA”. This album has it all, with pop, rock and progressive leanings featuring Utopia's signature four-part vocal harmonies throughout. Without a question I hear musical allusions to STYX, 10CC, Adrian Belew, The Alan Parsons Project and YES on this album. Todd and Roger Powell create some truly hypnotic synth and guitar interplay on this album…often trading licks back and forth (aka the track Sunburst Finish) Although I love all tracks on this album, the standout piece is the Tolkienesk classic epic prog-rock piece “Singring And The Glass Guitar (An Electrified Fairytale)” which tracks in at 18 Mins and makes we really wish they had written and recorded more of this kind of music. From an approach perspective this song plays out very reminiscent of Tull's "The hare who lost his spectacles" with its quirky narration. A fun little album with some very memorable numbers and inspirational pieces. | |||
| Grobschnitt’s debut album is one the pinnacle undergound Krautrock albums of 1972 and with a bang introduced the world to their “Wonderful Music”. This album is very different from that of Rockpommel’s Land or Solar Music Live and really plays more like the underground 70’s German stuff that was pouring out of Plank’s studio (less symphonic prog). Grobschnitt was Stefan Danielak (Wildschwein) -rhythm guitar, vocals, Joachim Ehrig (Eroc) / drums, percussion, electronic effects, Axel Harlos (Felix) / drums, percussion, Gerd-Otto Kühn (Lupo) / lead guitar, Hermann Quetting (Quecksilber) / organ, piano, spinet, percussion and Bernhard Uhlemann (Bär) / bass, flute, percussion. 2 big songs on this album with Symphony clocking in at 14 Mins and Sun Trip at 18 Mins and both very memorable and highly captivating songs. This is actually an amazing album and is one I play quite a bit still to this day. | |||
| Sandwiched somewhere in the prog-metal, avant-prog school of genre categorization comes Anekdoten’s second and IMHO most complete work “Nucleus”. Musically this band show no sign of anything but high adrenaline performance skills and although have a strong tendency towards an aggressive style on this album, also behave in contrast with mellotron led interludes and passages that ebbs and flow. Up and down , high and low …this is the trade mark of “Nucleus” and in many ways plays out like Japan’s “Happy Family” with hard, crazy hectic musical explosions and highly controlled passages. I guess by nature it is hard not to draw some similarities between King Crimson (aka RED era) and Anekdoten. Guitarist Nicklas Berg's does play in a Fripp-like manner at times and musically their songs act in the mid Crimson period flavour. Their originality is branded in their mix of Scandanavian folk and avante-garde prog-metal. Line up is Peter Nordins (percussion), Jan Erik Lijestroem (bass, vocals), Nicklas Barker (Guitars, Clavinet and Voice) and Anna Sofi Dahlberg (Cello, Mellotron, Voice). Those lucky enough to own the Arcangelo Record remastered version will immediately hear the major sound improvement in the re-mastering and according to liner notes Anekdoten were never really pleased with the original sonically and this is a major improvement. Also with this version is an additional and awesome tune “Luna Surface” which was cut from the original line up and now has accurately been placed on the album as originally intended. | |||
| At 8:00 PM, on the evening of October 30, 1938, six million Americans listened to the controversial broadcast describing the dramatic extraterrestrial invasion of earth as written by HG Wells. In 1977, Jeff Wayne musically re-visited this world-stunning radio masterpiece with one of greatest epic soundtracks of all time. The music of The War of the Worlds was composed, orchestrated, conducted and produced by Jeff Wayne himself. For this epic production, Wayne gave the narration role of 'The Journalist' to movie star Richard Burton. Other people who played roles in the story were Julie 'Don't Cry for me Argentina' Covington (Beth), David Essex (The Artilleryman) and Thin Lizzy's Phil Lynott (Parson Nathaniel). In addition Manfred Man's Chris Thompson and Justin Hayward of the Moody Blues both also sang on the album. Musically this album is full of orchestration, sound effects and rock genres. Overall a fantastic album and one that needs to be listened to from start to finish like my daughter and I mamange to find time to do. | |||
| One year after the release on Kraftwerk 2, "Ralf and Florian" was released providing us with IMHO really the first glimpse into the start of the "bits and bytes-era for Kraftwerk......but only a glimpse. This is really the first album where synthesizes were used but still very much in a subtle way and still is not synth driven. Ralf and Florian is still very much a misunderstood album and if far too oft negated from discussions. Kraftwerk then were Ralf Hutter and Florian Schneider who handle all the instrumentation (Keys, strings, wind instruments, drums and electronics). The overall sound is simply fantastic with an overall laid-back , chill-like vibe running throughout and some outer-worldly musical mysticism. I live the early years albums from Kraftwerk equally in in many ways more than the classic albums. For those who love early space electronic albums with loads of experimentation will likely fall for this album ! I Did ! | |||
| Now here is a very special album that needs to be listened to over and over and over again. Blackfield is the genius of the duo of Israel’s avant-garge music idol Aviv Geffen and Porcupine Tree’s Steve Wilson. The end result is a 10 track album of shorter yet very powerful tracks that resonate with the musical prowess of Porcupine Tree and ooze with the incredible song writing talents of Aviv Geffen. Musically this album is quite particular with great emphasis on deep instrumental tones and remarkable sound. Most of the singing is performed by Steven Wilson and carried with his little psychedelic phasing and haunting harmonies. Drumming is handled on the album by the likes of Gavin Harrison, Chris Maitland and Jeremy Kaplan. Instrumentally the songs on Blackfield contain lots of fluid guitar work, symphonic strings and lots of great keyboards. Overall a fantastic album full of highly memorable songs and that certain spark that seems to follow Steve Wilson around where ever he travels. | |||
| I have always been a big fan of the concept album format and coupled with the creative genius of Agostino Macor (Finnesterre) and his band they have created another monster album with “Il Grande Labrinto”. After being completely enamoured with their debut album I had to hear the follow up album and find it again a mark of genius and hear it in similar light. La Maschera Di Cera are Alessandro Corvaglia (Vocals), Agostino Macor (Guitars and keyboards), Andrea Monetti. (Flute and Sax), Fabio Zuffanti (Bass, Guitar, bass pedals and Maurizio di Tollo. (Drums). For those who believe that Progressive rock is only capable from the 70’s era need to wake up and listen to this album. These band have it all going for them with giant symphonic passages (aka Mellotron and vintage keyboards), great guitar and bass interplay vivid flute (love flute in music like this) and excellent drums and vocals (sung of course in Italian). Musically these guys can really write music with some awesome moments that will make the hair stand up on your arms. I also have a natural tendency to gravitate towards the lengthier songs on albums and I must tell you that the 22 mins “Il Viaggio Nell’ Oceano Capovolto Parte 2 is a truly magnificent piece of work. Hard exactly to peg musically but I would suggest a cross of 70’s Italian prog band Metamorfosi with PFM, portions of Finnesterre and a good dose of Genesis. A wonderful album and one of the more captivating albums I have heard in a wee while. | |||
| For those who do remember, the band Shakti were a bi-product of Mahav’s John McLaughlin's longstanding interest in Indian music. Musically Shakti integrated guitar with Indian instruments and develop some very original and very progressive music along the way. 1997’s double CD release “Remember Shakti” was a mind numbing album which still sends shivers down my spine as I listen to it. 3 years later McLaughlin and Hussain are back with a few twists: McLaughlin plays a Gibson 335 rather than an acoustic guitar and Hariprasad Charasia has been replaced by the electronic mandolin giant U. Shrinivas and V. Selvaganesh (Kanjira, Ghatam and Mridangam). This exceptionally well recorded album features some incredible World musicians at play and at work. This album contains some of McLaughlin’s finest guitar work I have heard in a long time not to mention some wonderful tabla via Mr. Zakir Hussain. When the four of them get rolling along the combo of Tabla, e-guitar and mandolin will amaze you. Highly recommended album full of emotion and originality. | |||
| “Atomic Roooster” was the first album that started it all off for the Roost and marks IMHO their best. Based on the mantle of Rhythm and blues , this album took blues based prog rock in a new direction with psychedelic and Canterbury leanings. The line up for this debut album was Nick Graham (bass, guitar, flute and vocals), Vincent Crane (Organ) and a very young Carl Palmer (percussion) (Crane and Palmer were first paired together during their tenure in Arthur Brown’s Crazy World). Musically this album fits really no specific categorization but I guess you would call this Psych-Canterbury” school and is really a mix of the work of bands like “Egg”, “Caravan” , “Gravy Train” , “Van Der Graaf Generator” , “Pink Floyd” and even “Collesseum”. Rooster contains orchestration , cello, strings as well as a heavy doze of acid laced guitar and Hammond pounding with the sophisticated drumming of Palmer (who would after this album exit for a long standing career with ELP). Clearly one of my personal favs from the Roost and another essential album from a historic progressive perspective. | |||
| Nick Drake died of a drug overdose in 1974 and left behind three studio albums that were at the time commercial failures, but have since been revered by critics and hugely influential and of certain genius. “Made To Love Magic” is a brilliant album of rarities, remixes and recently discovered songs. Many of the versions and songs are from Drake’s amateur recordings while at University in Cambridge, and outtakes from his solo albums. This album has been carefully and very precisely re-recorded offering a remarkable sound quality throughout. In fact to preserve as much personal connection and album integrity , the album was mixed completely by the man who did so on Drake's s studio albums (Robert Kirby). Nick Drake enthusiasts will need to own this recording and the end result is a bit more of Drake's "magic" and that is a good honest thing. | |||
| “Being” was Wigwam’s 5th album and represents one of the most profound and highly dramatized concept albums mixing religious and political themes in a very strange little album. The trademark of Wigwam’s music was their unique ability to compose music of high progressive quality and complexity while still incorporating strong “pop-rock” aspects. The end result is a wild mix of Steve Hackett with the complex chording and musical themes not unlike Gentle Giant achieved (some pretty musically twisted parts). This album features great and varied instrumentation with great emphasis on keyboards (piano, organ, synths). Essentially ‘Being’ picks right off where "Fairyport" left off but does deliver a more aggressive and complex album. The Love Records Re-mastered version is quite excellent sounding really and brings this masterpiece album to life with awesome speaker separation and crisp sounds. A magical album that I recognize may take others a few listens to get into but once you have the taste watch out kids !. | |||
| Growing up in a small Northern Ontario city was all about listening to Rush albums and 2112 was definitely played in my house a ton. IMHO 2112 is the defining moment for RUSH prog a progressive rock. Complete with the 21 Min epic “2112” Rush transports us back into the temple of Syrinx and into the future with “Twilight Zone”. As always the line-up are the 3 young Alex Lifeson (Guitars), Neil Peart (drums) and Geddy Lee (Bass, vocals). Long standing friend Hugh Syme also appears on “Tears” playing some very lovely mellotron (which may be the only RUSH album with mellotron!). Musically these guys were and still are superb, but there is something extra special about 2112 …something that can only be explained by listening to this album. Hate to say it but for me this is a pure masterpiece…. | |||
| Kraftwerk were pioneers of early electronica and although may be best remembered for albums like "Autobahn" and "Man Machine", were also very influential in the early 70's as originators. On Kraftwerk 2 they found IMHO the perfect mix of etheral sounds with gentle analog pulsations (Bass and Rhythm), space flute accents and imaginative song writing and lots of intersting keyboard tings. Kraftwerk 2 centerpiece is the 18 mins epic track "KlingKlang" which will clearly transport you into another solar system. This album features a very differetn sounding Kraftwerk's with few connection to what would be to come. This The overall sound at time reminds me actually of the vibe I get from Fripp and Eno's "No Pussyfooting" album. Kraftwerk 2 actually has very little in the way of keyboards on it and in fact very litle electronica. I do not have a list of all instrumentation used by I do hear rhythm box, bass guitar, flutes, electric piano, electric guitar, bass guitar, and echo box. Overall a great album from the cellar once again of Conny Plank. | |||
| Now try to imagine a combination of King Crimson (“Beat-era”) with Middle Eastern, Arabic and Indian music and you will not be far off describing the music of Azigza. This is total cerebral music complete with unique and killer ethnic percussion and ethereal strings . Musically this band combine a diverse set of world instruments with guitar, bass and electric violin. The end result is something you have definitely not heard before but am sure will simply love from start to finish. “Kriya” is essentially 6 ragas of instrumental beauty, each contrasting with an explosion of progressive rock and world genres and manage to explore unique ground in both texture and theme. For those looking for something very original, very professional and very tasty please pick this album up…………amazing music | |||
| Recorded only a few month before the known departure of Gustavson and Pohjol, Live Music From The Twilight Zone captures Wigwan at their creative height. Originally released as a double vinyl album, this is some pretty amazing music recorded over 3 nights and according to documentation was the last live show for Wigwam with their mark One progressive line-up. Members included Ronnie Österberg (drums), Jukka Gustavson (vocals, organ), Jim Pembroke (vocals, electric piano), Pekka Pohjola (bass), Pekka Rechardt (guitar). Wigwam were known for delivering some pretty crafty live shows often not really playing a lot of their studio tracks but instead improvising and building on themes of other songs…..someone once suggested Wigwam were the Grateful Dead of Progressive rock ! Fitting true to this state, Wigwam open up side one with a shattering and explosive 17 mins cover version of “The Band’s” “The Moon Struck One” which originally appeared on The Band’s 1971 Cahoots album as a 4 mins song!. The Beatles are borrowed for “Let It Be” and “Imagine” which are very tastefully re-done with heavy organ grinds and guitar soloing. Again a lot of live energy is put into these tracks and I love the heavy deep organ welts that kind of make your speakers resonate and vibrate. What is amazing on this live concert is that only 1 track is from any of their previous studio albums (”Pig Storm” from Nuclear Nightclub). Lots of improvisation here and these guys get into some pretty heavy and tripped out grooves…..without a question Wigwam were something pretty special and one of my fav’s from the Euro 70’s prog era. | |||
| “Agaetis byrjun” is a soul crushing album of beauty and temporal reflective material. Although I have simply no idea of what this album is about or what they are singing about (sung in a fictional language they refer to as “Hopelandish”), they speak spades to me thru their music. Trapped somewhere in the Mercury Rev, Radiohead, Godspeed school of recordings, “Agaetis byrjun” will move you with their symphonic landscapes and seductive songs. Sigur Ros juxtapose waves of unidentifiable noise with ethereal voices and space vibes to create a unique and thought provoking wall of sound to contemplate to. Their songs are generally moody in theme, yet spiritually uplifting. This is another one of those albums that you live as much as listen to. Put this one in the essential category in your music collection my friends. | |||
| Jumbo was Grobschnitt’s reply to “Solar Music” and really was a set up to Rockpommel’s land and for may has been incredibly overlooked, but stands out equal to both as a great album. All 5 songs again came from the studio of Conny Plank and for Grobchnitt brought a slightly more approachable and concerto-like concept based approach. Of course Grobschnitt continue to retain their slapstick humour sustained by Eroc’s inane lyrics and uniquely used quirky voices and sound effects. Musically Jumbo is dominated by key song writers with Lupo's talented lead-guitar work and Mist's keyboards. The Repertoire Remastered CD contains both English and German releases of Jumbo and offeres fantastic sound reproduction. Musically most of this album is actually reminiscent of themes to be explored in more theatric detail in Rockpommel’s land and none finer than the track 'Jupp/The Excursion Of Father Smith' which is perhaps my favourite Grobschnitt track from all their albums. The Line up on Jumbo was Joachim Ehrig (Eroc) - Drums, Electronics, Silly Voices, Stefan Danielak (Wildschwein) - Rythm Guitar, Vocals, Wolfgang Jager (Pepe) - Bass, Gerd-Otto Kuhn (Lupo) - Lead Guitar and Volker Kahrs (Mist) - Organ, Mellotron, Piano, Synthesizer. Jumbo is a significant part of Grobschnitt's discography and an album I treasure. | |||
| This was Anyone’s Daughter’s 3rd album and represented for them their largest single accomplishment at that point in time with this 40 mins epic track based on a concept fairy tale by Herman Hesse. On Piktors, Anyone’s Daughter recorded for the first time vocals in native German (as they would with the 2 subsequent albums In Blau and Nerve Sterne) with most of the words actually being spoken (obviously citing and quoting Hesse’s thoughts and words) with all narration put to music. The end product is quite symphonic and quite beautiful throughout with my only wish that I could speak German and catch more of what Bareth and Co. are referring to (maybe someone out there can translate the lyrics for me ?). The album is full of some lovely sonic imagery and some very captivating symphonic progressive rock. This is an album that although I have owned for a long time was personally overshadowed (I will admit) by Adonis and their first album (which I love to pieces) and I now consider in the same light as those other albums. | |||
| A talented guitarist , a wonderful song writer, a troubled mind…and of course an originator. So why you might ask have I included all of Drake’s album in the same light as the progressive rock acts that I equally adore? Well the answer is very simple really and that is I find Drake’s approach and lyrics quite progressive in the folk rock sense (aka Pink Floyd’s “Summer of 69”, “Seamus” etc…). “Five Leaves Left” was Drake’s debut album and is a unsettled mix of folk and light symphonic rock with Drake’s foreboding voice and lyrics. One can not listen to these albums and not reflect on aspects of ones life. A bit of genius in all his art and this album is pure heaven for this music lover. | |||
| Contrappunti was released in 1974 and was le Orme’s sixth album (fourth prog rock album) and was the beer chaser to their masterpiece “Felona e Sorona”. On Contrappunti a fourth and new member was added (Gian Pero Reverberi) who added additional piano and would help facilitate a transition into a slightly more “simple” music approach and slightly less symphonic sound than achieved on Felona. In many ways “Contrappunti” actually reminds me of the 70’s output of the legendary Lucio Battisti with his song based creative music. Musically Le Orme blend 70’s analog keyboards with great bass and percussion interplay. I have always been a lover of Le Orme’s music and regard this album in the top of my register. | |||
| Valhalla’s sole album originally released in 1969 is a firm expression of a mix of heavy psychedelic and progressive prog rock genres. Led by organist and vocalist Mark Mangold (who later would collaborate with Aldo Nova!) , Valhalla is another long lost bands who left us far too early. Essentially Valhalla blend a prototypical dose of heavy rock with prog leanings, all wrapped up outside a great psychedelic organ drenched rock vibe. Vocals are very fitting to the jam based organ drones and heavy reverb bass, guitar and drum interplay and really provides that underground edge. This album also features some symphony interludes and give off a vibe of the Animals and The Small Faces (aka Ogdens'). Fans of early Deep Purple, Kin Ping Meh, early Atomic Rooster will definitely need to track this little gem down. Highly recommended album if you like your chops a bit heavy and psychy. | |||
| In 1974 Grobschnitt took the 30 mins+ rock opera “Solar Music” into the studio and along with 5 other choice cuts released “Ballermann”. Although I too love the now many versions of Solar Music, the studio version represents yet another excellent interpretation. With very much prototypical Grobschnitt sounds, this album delivers dreamy symphonic landscapes marked with great musicianship and their signature delivery (as well as a bit of creative silliness along the way). I know this album is often forgotten and lost in the shadow of Rockpommel's and Solar Music Live, but musically this album is very reminiscent of this output and is yet another bit of genius from one of my personal favourite bands of all time! This is an essential album and should be in everyone's frequent play list. | |||
| Home were a much less known UK 70’s prog rock band than the fame their members would achieve in later years in other large acts. Home in their first incarnation were best known for their twin guitarists Laurie Wisefield and Mick Stubbs…Laurie Wisefield who later would join “Wishbone Ash” and bass player Cliff Williams who is now an important member of AC/DC. I suppose Home’s signature album is their mighty concept album , “The Alchemist” (3rd album) , but I am partial as well to this debut album. Home’s debut album is a mix of folk, psychedelic and rock genres with strong vocals and harmonies throughout. If you like 70`s rock with good vocal harmonies, a driving rhythm section and twin-guitar riffing & soloing-then this is the album for you. | |||
| So here it is on 3 full CD’s, the complete 1981 Illegal tour in its entirety. This four hour concert has been remarkably well preserved and re-mastered and runs from start to finish in a flawless fashion (hand re-mastered by Eroc of Grobschnitt). Fans of Grobschnitt in Germany have been citing for years that the Illegal tour was simply unforgettable and I only wish I had seen these guys play live…in the mean time we now have thanks to Eroc a great keepsake for those who missed this one. This four hour concert puts a spotlight on the tracks from Illegal (as it was this tour) but also contains lots of variations and vaudeville’ian improv’s on songs as well as a large mitt full of other great songs from their discography. For me highlights are numerous, but I must make mention of a few like the deep symphonic version of “Rockpommel’s Land”, the bone chilling version of the dual acoustic guitar duet of “Silent Movie”, Jumbo’s “Jupp/The Excursion Of Father Smith” (one of my personal fav’s of all time) and the 1981 40 mins version of Solar Music to top it all off. | |||
| On May 29th, 1999 Iona performed a magical concert with the "All Souls Orchestra" at London's Royal Festival Hall marking a return not only to live concerts for IONA but the first time they combined a full orchestra with their spiritual progressive celtic rock. The end result is a highly uplifting live album which works exceptionally well from many perspectives. The sound quality on this CD is excellent with a nice micing job as the orchestra really fits in well and accents the music of IONA never outdoing or masking the talents of the band. Musically IONA are a mix of Celtic and progressive rock genres with highly compassionate music full of soul and inspriation. The music performed is a mix from their 4 studio albums and highlight for me is the 12 mins epic "Encircling" which is re-presented live here quite brilliantly. An excellent live album for sure and a unique way to hear IONA. | |||
| "Cantafabule" was published 1975 as double vinyl album and marks the undisputed high point in the career of this Romanian act. Phoenix blend Romanian folk vibes with classic and prog rock themes and deliver a cool mix of tunes. “Cantafabule” contains some great vocal harmonies and memorable songs full of originality and musical depth. I find this album more progressive overall than “Cei ce ne-au dat nume “. Some great keyboard work here by Guenter Reininger with the rest of band adding nice musicianship (Nicolae Covaci (Voice, Guitar), Josef Kappl (Voice, Bass, Violin), Ovidiu Lipan and Mircea Baniciu (Voice, Guitar)). When this band let thier heair down they get into wicked instrumentation with "Filip şi cerbul " being my favourite from the album. Overall a great album full of expressionism and Romanian-Prog originality. | |||
| Late 60’s/ 70’s British Progressive rock band Rare Bird released a few great albums over their career with “Epic Forest” representing one of their milestones. Although Rare Bird are best known for their organ-driven progressive sounds, “Epic Forest” reduced the emphasis of the keys here and added a wider jazz prog feel with a slightly more contemporary 70’s soft rock vibe. The musicianship is very strong with some great vocal harmonies and instrumentation. As in all early Rare Bird albums the songs are very well written and are very memorable with Dave Kaffinetti as the helm of the song writing department (later in his career would co-write with Big House, Marillion). On this album we saw the departure of Graham Field and Mark Ashton who were replaced by Fred Kelly (drums) and Ced Curtis on guitar. Instrumentally these guys were excellent with very much an original develop sound and approach. | |||
