Banco Del Mutuo Soccorso
Seguendo Le Tracce
(2005 - recorded in 1975)
Italy

Fantastic Live recording of this legendary band, captured at their peak. Great sound, great performances, people clapping - you name it, this one delivers. Material ranges from their excellent debut album through the ill-conceived Banco, which as I'm sure you know is primarily an English-language rehashing of earlier material. Which bring us to the good and bad of this recording - I'll start with the bad: "R.I.P." - a masterpiece when sung in Italian, is rendered pretty lame here in comparison, due to the awkward lyrics and heavily-accented English vocals of Francesco Di Giacomo. The music doesn't suffer, but you have to regret those distracting vocals, 99% of which are unintelligible. Now the good: everything else is sung in Italian! And, the one bright spot from the aforementioned Banco record - "L'Albero Del Pane", kicks major ass here, as does the rest of the material. I defy you to listen to this record and sit still. A major discovery, you really have to wonder how a recording of this caliber sat in the vaults for such a long time. You're unlikely to hear a better Live album by a Prog band, or any band for that matter. Simply incredible.

SA

Gryphon
Raindance
(1975)
England
By the time Raindance came along, Gryphon had pretty much completed the transition from a Renaissance-influenced (the period not the band) acoustic group, to a straight-up, unabashed Symphonic Progressive Rock group. There's still plenty of recorder, bassoon and period percussion from the older sound, but for the most part this is an electric album and an excellent one at that. There are some similarities to Yes, most notably in the Howe-like guitars of Graeme Taylor and Richard Harvey's keyboard work, which often brings to mind Rick Wakeman. Not surprising really, as Gryphon supported Yes on much of the Relayer tour. Not to say this is a Yes ripoff, just a reference point. Stand-out tracks include the 16-minute opus "Ein Klein Heldenleben" and a beautiful rendition of "Mother Nature's Son". Normally, I consider it sacrilege to cover a Beatles tune, but this one is excellent - captures the essence of the original while venturing into new territory. Highly recommended.

SA

SBB
Anthology
(1974/2004)
Poland

Let me introduce you to the first 2 CDs of this Box Set collection of 22 CDs, both from 1974. The first one a studio album and the second one Live. This band formed in 1971, had its first record out in 1974. SBB has a Jazzy/Fusion-oriented style, though many Rock tunes are present in their music. Some King Crimson's Lark's Tongues in Aspic influences can be detected, but in a very personal style. What I can certainly assure is that these guys loved jamming. Mostly instrumental, both albums give an astonishing view of their music. You won't regret having these.

Loccanda Delle Fate
Live
(1977)
Italy
It was really starting to bother me that here we've started a Prog Blog, and have yet to post any Italian Prog. But so much of it is available at other blogs, it's a bit tough to offer something everybody hasn't heard already. So, here's something that just maybe you've missed out on along the way. LDF's Forse le lucciole non si amano più is pretty much legendary, and included in plenty of folks' top ten Italian Prog albums of all time (certainly mine). This is a live recording of that album + an unreleased track, taken from Italian Radio back in '77. For those that know that record, I need only tell you that this is a damn-near-perfect performance of those songs, albeit a bit ballsier. I must add that while the sound quality is not superlative, it is very, very good for a radio broadcast, and you'll be amazed at how well the band executes the often complex material. Their command of dynamics is superb, and the arrangements are spot on. For those that don't know them, just imagine Banco crossed with Genesis while both were at their peak - seriously, LDF is that good. Stunning and transcendent Progressive music. Highly recommended.
SA

Eik
Hríslan Og Straumurinn

(1977)
Iceland
Absolutely killer 7-piece Symphonic group. Intricate, sometimes whimsical music with punchy rhythms and varied instrumentation. A true ensemble effort, each player contributes equally to the richness of this music - quite the accomplishment when you're talking about 7 players, a few of whom are multi-instrumentalists. Closest comparison may be Wigwam circa Fairyport/Being, owing to the abundance of simultaneous piano and organ work, and the terrific sense of melody displayed in the music. They not only write good music, they write good songs. But this is in no way commercial-sounding music, just tuneful enough that you can hum the melodies - if you can hum in odd time-signatures! And they've got the funk - laying down some nasty grooves, which in a moment's notice can morph into delicate interludes replete with acoustic guitars, flutes, chimes and other tinkly things. A favorite - do not ignore!

SA

Mona Lisa
De l'ombre à la Lumière
(1998)
France
Singer Dominique le Guennec (from the 70's version of Mona Lisa) and members of 90's Theatrical Symphonic group Versailles team-up for this reformation. Sound is reminiscent of the older Mona Lisa, meaning it's also reminiscent of Genesis and Ange. Definitely has the old school Symphonic sound, but the arrangements are more straightforward, and the longer instrumental passages that were a trademark of the older group are missing for the most part. Hey, not everything I post here is gonna be a "masterpiece" or "essential ", and I won't pretend that this one is. Still, it's a darn good record with much to offer for lovers of 70's French Prog. M. le Guennec's voice remains in fine form, and the band proves quite capable of capturing the spirit of the original group. Certainly worth a listen.

SA

Atlas
Blå Vardag
(1979)
Sweden

At a time when many Progressive bands were calling it a day, this instrumental quintet got together to produce one of the best Scandanavian Prog records of the 70's. The group featured 2 keyboard players, so you'll hear lots of great Hammond, Mellotron and general keyboard goodness throughout. However, they wisely mix up the instrumentation on a per-song basis, thus avoiding overpowering the other members, and sounding like what you might think when you hear the term "dual keyboards". In fact, the guitar is quite prominent - and the guy's real good too, sounding like a cross between Andy Latimer and Steve Hackett. So it's not a stretch by any means to say that this group will appeal to fans of Camel and early Genesis, along with other Nordic favorites like Sinkadus or Wobbler. A great record worthy of any Prog collection. I will allow that the cover's pretty ugly, but I think that's on purpose.

SA

Carmen
Dancing On A Cold Wind

(1974)

England
British band with Spanish members, a wonderful combination for this album, with superb arrangements mixing the 70's Prog with Spanish Flamenco. With John Glascock (later with Jethro Tull) playing bass guitar. A real gem.
Banda inglesa con integrantes españoles, una mezcla perfecta para este album con el poderoso rock de los 70 con arreglos de flamenco español. John Glascock en bajo (exbajista de Jethro Tull) en un trabajo excelente. Una verdadera joya.

Shylock
Il De Fièvre
(1978)
France
Highly-regarded instrumental quartet, often compared to Red-period King Crimson. Some of the comparisons ring true - this is very angular music, and the guitars often have a Fripp-like quality, especially the soloing. The drumming is also very Bruford-esque - albeit a but busier - if you can imagine that - with extensive use of crisp snare drums and exotic percussion. But these guys are far from a clone band. Keyboards play a very significant role, and there are elements of Classical, Fusion and even a bit of Funk in their sound. A very influential group who helped lay the groundwork for modern day Proggers like Anekdoten and Anglagard, amongst others. Interesting side-notes: noted Patrick Moraz associate Jean Ristori is the engineer on this record, and some of the keyboards used in the recording were actually borrowed from Mr. Moraz himself. Guitarist Frédéric L'ÉPÉE went on to form the much more successful Philharmonie, another Crimson-influenced project. Compelling and essential Progressive music.

SA

Emilio Del Guercio
Pintada
(1983)

Argentina

Pintada is the unique solo album of Emilio, who has been the bassist and vocalist of Aquelarre and Almendra. This is a song-based album, with smooth melodies in what we can call music of Buenos Aires (not Tango!). A beautiful record full of melodies and great arrangements.

Pintada es el único album solista de Emilio, quien fuera bajo y voz de Aquelarre y Almendra. Este es un disco de canciones, con excelentes melodías suaves de exquisito arreglo orientado hacia la música urbana. Un gran album, no reconocido en todo su valor.

Pescado Rabioso
2
(1975)
Argentina
I can't call this Prog, and I doubted to post it here, but - what the hell - I grew up with this! After the dissolution of Almendra, Luis Alberto Spinetta formed this exotic Hard Rock/Psych band, which moved the structures of the Argentinean Rock of those years. Absolutely astonishing. Deserves a try for sure!

Apocalypse

Live in USA

(2000)

Brazil
Este grupo surge en la ciudad de Caxias do Sul, en la región sur de Brasil, en 1983. Luego de unos cambios en su formación, la banda liderada por Eloy Fritsch comienza a grabar sus primeros albumes y participar en festivales interancionales de música progresiva. Apocalypse hace un rock sinfónico progresivo con aditamentos de música clásica producto de la formación del tecladista Fritsch influenciado por los grandes grupos británicos de los '70.
This band was formed in Caxias do Sul - Southern Brazil - in 1983. After some changes in membership, the band led by Eloy Fritsch begins to record their first albums and to participate in many Progressive events. Apocalypse plays a Symphonic Progressive Rock with touches of Classical tunes - due to keyboardist Fritsch being influenced by the major UK Prog bands of the 70's.

However
Sudden Dusk
(1981)
USA

If you happen to read just a few of my reviews, it won't take you long to figure out that I'm an absolute nut for Gentle Giant, who are an obvious influence on this Virginia-based group. Therefore, I happen to like them quite a bit. I can't imagine why these guys aren't more well-known - I think they rank up there amongst America's best Progressive bands. Complex and rhythmically challenging material, heavy on percussion and woodwinds, with humorous (but not silly) vocals and weirdo subject matter. There's also a distinct Canterbury and/or RIO feel to much of their sound - however, However (had to do it) tend to have a stronger emphasis on structure and melody. Zany and brilliant.
SA

Van Der Graaf

The Quiet Zone/The Pleasure Dome

(1977)
England

Lots of Van Der Graaf Generator stuff shows up in various blogs, but rarely (if ever) do I recall seeing this one posted. This is the last studio record before leader Peter Hammill disbanded the group for a number of years. Exceptional, for several reasons - organist Hugh Banton is missing, woodwinds player David Jackson is reduced to "guest" status, bassist Nic Potter returns from an earlier incarnation of the group, and finally string player Graham Smith is added to the line-up. And they've shortened the name to just "Van Der Graaf". Musically this one is equal to their best, just a bit different. Smith's violin and viola do a fine job filling in for the missing keyboards, and Hammill plays quite a bit more guitar and piano than on previous releases. The songs are shorter and the arrangements are less elaborate, but this is still classic VDGG material worthy of any collection. Some have dismissed this record as too "Popish" due to the streamlined sound - nonsense. A classic - and there are two covers, each representing a side of the original LP.

SA

Alain Markusfeld

Platock

(1978)
France
Platock offers ethereal, delicate and fragile melodies based on the perfection of this guitarist and multiinstrumentist. The result is close to a great success worthy of Jade Warrior or Steve Tibbets, made of highly evocative, long instrumental parts. A second more surprising comparison can evoke the unlikely meeting between an acoustic Larry Coryell and an electric Randy California (SPIRIT). The "Platock" album reveals a style consisting of tuning and retuning his guitar, creating a cascade of several notes at the same time.

Fermata
Biela Planeta
(1980)
Slovakia
Nacidos en 1973, Fermata desarrolló un jazz-rock progresivo con mucha improvisación de alta calidad (que derivó en una orientación hacia la fusión). Biela Plantea (El Planeta Blanco) es su 5° album.

Formed in 1973, Fermata developed a Progressive Jazz-Rock with high-quality improvisations (which finished in a orientation towards Fusion). Biela Planeta (The White Planet) is their 5th album.

Pete Sinfield
Stillusion
(1973)
England

"Stillusion" es la re edición del único disco como solista de Sinfield , "Still". Un disco extraordinario, que reúne elementos como el progresivo clásico, la armonía, y una música que acompaña la poesía que encierra cada canción. Como solista Pete sólo tiene este disco, pero como escritor ha sido la lírica de grandes bandas como King Crimson, Emerson, Lake & Palmer y Premiata Forneria Marconi.

"Stillusion" is the reedition of the only solo album of Sinfield - "Still". An extraordinary album which merges elements such as classic Prog and harmony, and a music that matches with the poetry within each song. Pete has recorded this only album, but as a writer, he has been the words of bands as King Crimson, Emerson, Lake & Palmer and Premiata Forneria Marconi.

Ripaille

La Vieille que l'on Brûla

(1977)

France

Only release by this relatively obscure ensemble, some of whom were associated with Breton stalwarts Alan Stivell and Malicorne. That said, there's nothing overtly Celtic about the music - it's really more of a fusion of Jazz Rock and Symphonic Prog with Medieval and Folk undertones. If you admire Gentle Giant or later-period Gryphon in the way that they are liable to use both Krumhorns and Funky Clavinets in the same song, you're sure to like this group. Vocals are typical of French Prog - enough drama, theatrics and spoken word stuff to make Ange blush. May take a few listens, but it'll be worth it.

SA

Granada

Valle Del Pas

(1977)
Spain
Some of best Spanish Progressive music comes the late 70's, just as the rest of Progdom seemed to be going into "hibernation", if you will. Masterminded by keyboardist Carlos Cárcamo, Granada played instrumental Prog incorporating elements of Classical, Jazz-Rock and Spanish folk. Strikingly original music, featuring Galician bagpipes and other exotic woodwinds along with the usual line-up of keyboards, guitars, bass and drums. A real treasure.

SA

Alma y Vida
self-titled
(1971)
Argentina

As a pioneer of the Jazz-Rock scene, Alma y Vida was formed as the support group for a popular singer, from whom they split in 1970. This was a band formed by musicians who were in love with Jazz and made incursions into the Rock and Beat movements of that era without forgetting their roots. With the addition of Gustavo Moretto in replacement of Mario Salvador, Alma y Vida find their true form, and after succesful shows they recorded their first self-titled album with strong influences of Chicago and Blood, Sweat & Tears. The original band was then formed by:

· Bernardo Baraj: sax, flute

· Juan Barrueco: guitars, voices.
· Alberto Hualde: drums, percussion
· Carlos Mellino: keyboards, voices.

· Carlos Villalba: bass guitar.

· Gustavo Moretto: trumpet,

keyboards, voices

As a note, Gustavo Moretto left the band in 1974 after 4 albums to explore new sounds and rhythms, forming the supreme band Alas.

Pionera del jazz-rock en el país, Alma y Vida nació como banda soporte de un músico popular de Argentina de quien se separaron en 1970. Esta banda estaba formada por músicos amantes del jazz incursores en el rock y el beat de la época pero que no olvidaban sus raíces. Con la incorporación de Gustavo Moretto en reemplazo de Mario Salvador, Alma y Vida encontró su mejor formación y luego de una serie de recitales exitosos grabó su primer disco con influencias notorias de Chicago y Blood Sweet & Tears. La banda estaba formada por Bernardo Baraj, Juan Barrueco, Alberto Hualde, Carlos Mellino, Carlos Villalba y Gustavo Moretto. Como nota, Gustavo Moretto dejó la banda en 1974 luego de haber grabado 4 discos con ellos para seguir una nueva orientación musical hacia la búsqueda de nuevos sonidos y ritmos que desencadenó en el eximio grupo Alas.

Redd Land

De Tiempos Pasados

(1978)
Argentina
While Redd Land is very much a band with several core players, as opposed to a project, no less than thirteen musicians help shape this colorful Fusion-Rock hybrid, two-thirds of which pays tribute to the players’ Art Rock influences. Thank you Puentes Amarillos.

Akritas

self-titled

(1973)
Greece
Symphonic Progressive rarity, to my ears quite similar to Italian groups at the time such as PFM and Banco. Plays as one entire piece of music - delicate and acoustic one minute, powerful and thematic the next - but never bombastic or boring. Very melodic as a matter of fact. I should think that if you're into the Italian scene, you'll like this band quite a lot. Supposedly this is a concept album, but since I don't read Greek - who knows?

SA